At Dance Education Canada our discussions surrounding the role of the 21st-century dance educator in 21st-century dance education, reoccur regularly, as we feel that we cannot present this topic enough, due to its importance in the overall development of our young dancers. At the heart of our mission and vision is always the wellness of the dancer and how dance educators can be the best they can be to teach, train and promote excellence in young dancers whether they choose to pursue a career in dance or not. Excellence is not only reserved for professional ballet schools and post-secondary institutions. These same expectations can be also fostered in a supportive, encouraging and nurturing studio environment. As dance educators, we need to seek out current practices that foster healthy child development whether it be through conferences, events, dance teacher training and certifications. The excuse “well my dance teacher did it” is not a good enough reason to model or present a specific teaching method in today's dance classes. Discussing this important topic with us today is a teacher, rehearsal director and stager who has worked with many reputable companies and schools including the Royal Ballet and English National Ballet, Ms. Kristen McGarrity.

GUEST: Born in Glasgow, Scotland, Kristen McGarrity trained at The Royal Ballet School before graduating into the Birmingham Royal Ballet Company. After leaving the Birmingham Royal Ballet she completed her Bachelor of Science in Psychology from Open University and received her teaching diploma from the Royal Ballet School. Kristen has guest taught at some of the UK’s top vocational schools, namely the Royal Ballet School, Elmhurst School for Dance and Urdang Academy. She most recently embarked on a mentorship opportunity with the English National Ballet School. Kristen is currently guest teaching at Scottish Ballet and continues her career as a freelance performer, stager and coach.

INSTA: @kristenjmcgarrity

TWIT: @KJMcGarrity

LINKEDIN: Kristen McGarrity

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 encourage dance educators to offer their dancers so much more than a physical experience in their dance classes. In order to bridge the gap between dance education and dance training, we need to foster an all-encompassing understanding of dance for our dancers. Part of this “whole dance education experience” includes embodied cognition. What is embodied cognition? Why do we need to talk about it and what will it look like in our dance classes? Providing us with answers to these questions and more is the Head of the Department of Dance Studies at the University of Malta, Dr. Lucia Piquero Alvarez.

GUEST: Dr. Lucía Piquero-Alvarez trained in Classical Ballet and read for a Bachelor of Science in Psychology in Spain. She then studied contemporary dance training at The Place, London, received her MA in Choreography from Middlesex University, and completed her PhD at Roehampton University. She is currently head of the Dance Studies Department at the University of Malta. She researches embodied cognition and the experience of emotion in dance. She has presented her research and choreographic works internationally for numerous conferences, commissions, and residencies.  She has also directed several choreographic practice-as-research projects.

INSTA/FB/TWIT: @lupiquero

LINKEDIN: Lucia Piquero

WEBISTE: luciapiquero.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.

As our world changes, as students change and as we become more knowledgeable towards informing our practice through collaborations with other fields related to dance education, our teaching method must change. How do we evoke a particular energy, quality, effort and get our dancers to execute steps with a particular momentum or fluidity? One of the most current and practical methods, particularly relevant in today's virtual world, is to teach dance using imagery. Helping us better understand how to incorporate the use of imagery for maximum results is the adjunct dance professor at Western Michigan University Ms. Marie Chamberlain.

GUEST: Marie Stanek Chamberlain earned a Bachelor of Arts in Modern Dance from Brigham Young University and a Master of Arts in Dance Education from New York University. She is the founder and artistic director of Chamberlain Dance, a modern dance company committed to developing work that examines the human experience. Marie Chamberlain has taught at many renowned institutions some of which include the Regional Center for the Arts, the Hartford Conservatory and Western Michigan University. Marie Chamberlain is certified in the Laban/Bartenieff movement system and is pursuing her MFA at Wilson College. She currently works with Education for the Arts, teaching dance residencies and aesthetic education in Kalamazoo County schools.

FB: @chamberlaindance

LINKEDIN: Marie Chamberlain

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.

Discussions surrounding dance injuries are plentiful these days, which is why at Dance Education Canada we are passionate about providing our dance educators with specific, current and relevant content regarding dance injury prevention, care and rehabilitation. We take time to ensure our topics are unique, thought-provoking and informative for today's dance educators.  We also ensure we connect you with professionals who have not only researched these particular methods but have extensive experience in putting these techniques into practice. Which is why today for our topic on strength training for the adolescent male dancer, we welcome the Strength Coach of the Queensland Ballet Academy and Company Mr. Tony Lewis.

GUEST: After studying full-time at the Australian Ballet School, Tony began his 15 years as a dance professional with The Australian Ballet Company followed by his retirement as Principal Dancer from the Queensland Ballet in 2003. After experiencing a career where refined physical maintenance and injury rehabilitation was perpetual, a career move to health and fitness was a natural transition for Tony, thus health and fitness business, TONY LEWIS STRENGTH & CONDITIONING was born. In 2014 he was invited to be the Strength and Conditioning Coach for the Queensland Ballet Academy. His work with the male students at the Academy led to accepting a position with Queensland Ballet’s Health Team. By drawing on his past, and using both traditional and modern Strength and Conditioning techniques, Tony has developed a unique style of training. His focus is on creating lean, strong and agile bodies.

INSTA/FB/TWIT: @tonylewispt

LINKEDIN: Tony Lewis

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. Our mission is embedded in challenging the dated teaching methods that no longer suit today's dancers and today's dance classes. We know teaching practices and methods need to progress along with dance research, curriculums, and dance programming. The good news is, is that we are not the only ones who are passionate about changing the norms. How we speak about dance, how we teach dance and how we represent ourselves contributes to the way our profession is perceived. With us today is the Assistant Professor of Dance at Southern Utah University Ms. Danielle Sheather.

GUEST: Danielle Sheather completed a BFA in Dance and BA in Psychology from Honors College and received her MFA from the University of Arizona. She has received numerous awards some of which include the Outstanding Graduate Teaching Assistant for the College of Fine Arts, the Creative Achievement Award and the SUNY Chancellor’s Award. Danielle has previously served as Clinical Assistant Professor at the University at Buffalo and as Guest Artist and Instructor at East Carolina University Currently serving as Assistant Professor at Southern Utah University she is interested in exploring the neuromuscular/psychosomatic connections that exist between the mind and body in order to develop sound anatomical alignment, longevity, and injury prevention techniques. She is also passionate about continuing the legacy of choreographers both past and present and has an active research agenda in Dance Documentation and Preservation.

INSTA: @dlsheather

LINKEDIN: Danielle Lydia Sheather

WEBISTE: daniellelydiasheather.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 believe that dance teachers can best support their dancers' training and progression by having a well-rounded understanding of all of the components that make up the dance class from technique and performance, to progressions and musicality. Today we will focus on the musicality aspect of the dance class, including how musicians read the dancing body. We will answer questions such as How do piano accompanists know what play? And What cues do they take from the dancers and dance educators? Today's discussion about “musicians working within the dance studio setting” is with the Professor of Dance and Music at the University of Michigan, Mr. Christian Matijas-Mecca.

GUEST: A native of Los Angeles, Christian earned his undergraduate and graduate degrees in Harpsichord and Early Music Performance at the University of Southern California. Over the past four decades, Christian has served as musical repetiteur in the staging of dances for artists some of which whom have worked with Balanchine, Graham and Lubovitch. He has accompanied for a plethora of directors and artists from renowned dance companies including the New York City Ballet, Bolshoi Ballet, Martha Graham Dance Company, Trisha Brown Dance Company, Miami City Ballet, and many more. As a leading researcher and pianist in Dance & Music Studies, Christian has presented conference papers at professional societies across the globe. As the author of several books including The Words and Music of Brian Wilson, Christian is on faculty at the University of Michigan with current research interests in popular music.

INSTA/FB/TWIT: @magicxtian

LINKEDIN: Christian Matijas-Mecca

WEBSITE: smtd.umich.edu/departments/dance

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.

Today's dancers and dance classrooms are not the same as they were 20 years ago. The hierarchical and teacher-centred approach to instruction is dated and ineffective in today's classrooms. Long gone are the days of dancers nodding their heads in agreement or obedience without saying a word. Today's classrooms are student-centred learning environments that incorporate inquiry-based approaches to learning.  Why should the dance studio learning environment be any different? In order for the learning environment to feel safe both physically and mentally for each dancer, the dancer needs to have a voice. Helping us better understand how to foster a learning environment that promotes self-efficacy and individuality in our dancers is the Dance Coordinator and Associate Professor at North Kentucky University Ms. Tracey Boner.

GUEST: Tracey Bonner received her Bachelor of Fine Arts from Shen -en-dough-a Shenandoah University, her Master of Fine Arts from the University of California, Irvine, and is currently pursuing a Master's of Arts in Integrative Studies. Her extensive background in academic and artistic research which focuses on using dance in creative ways across academic disciplines has led her to receive multiple awards for her work. Since becoming Associate Professor of Dance & BFA Dance Coordinator at Northern Kentucky University Ms. Bonner has quadrupled enrollment in the Bachelor of Fine Arts dance program and established a new student performance entitled The Emerging Choreographers Showcase among other notable accomplishments. Tracey Bonner has a long-standing career as an artist, an arts advocate, an artistic leader, and entrepreneur. She has developed specific course work in higher education to redefine artistic and academic leadership for women, while simultaneously refining and developing her own artistic aesthetic in dance.

INSTA: @traceydancesnsings

TWIT: @bonner_tracey

LINKEDIN: Tracey Bonner

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 learning is a 2-way process. If dance is a form of creative expression, then why aren’t we letting the dancers create? Composing steps for, and imposing steps on a dancer does not engage the dancer in their own creative process and means of self-expression through movement. A part of a whole dance education experience includes modelling the creative process. Should dance educators challenge, explore and modify their own creative process in so that they are inspiring students through this experience? The creative process should be fluid, in that dance educators and choreographers are constantly revisiting and revising their own practices.  New inspirations, new techniques and new processes is what helps us grow. Listen in today to the creative process of the artistic director of LA Dance Move Ms. Nancy Paradis as she dissects her own process.

GUEST: Nancy Paradis performed as a principal and soloist dancer for many renowned companies including the Washington Ballet, Richmond Ballet and Louisville Ballet Company. She is no stranger to the commercial TV space having performed and choreographed for numerous shows in both the dance and fitness space including NBC Must See TV, A&E Promo, MTV Movie Awards while appearing in several fitness and yoga videos for crunch fitness and power core yoga. Fall 2020 Nancy is excited will return to the Richmond Ballet to choreograph a new work/world premiere.

INSTA/FB: @ladance_moves

TWIT: @LADMparadis

LINKEDIN: Nancy Paradis

WEBSITE: ladancemoves.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.

The discussions surrounding dance injury care, prevention and rehabilitation for today's dance educators needs to be specific, relevant and proven/practiced by the health care teams of today’s dancers. So it is no surprise that today's topic, focusing on the ankle and foot health of dancers, is one we’ve visited in the past, due to the nature of, and demands on this particular muscle group in dance training. Today we have the pleasure and privilege of speaking with the Principal Physio Therapist at the Australian Ballet Dr. Sue Mayes.

GUEST: Dr Sue Mayes, is the Director of Artistic Health and has been the Principal Physiotherapist of The Australian Ballet since 1997. She has consulted for the AFL, Cricket Australia, and the Victorian Institute of Sport. She was appointed Adjunct Research Fellow at La Trobe University following the completion of her PhD in 2017. She has published papers titled: ‘Hip joint health in professional ballet dancers’, and co-authored many ballet injury-related publications. As a part of the partnership between the Australian ballet and La Trobe University, Dr Mayes is researching ankle, foot and hip joint health in professional ballet dancers and athletes. She has been invited to speak internationally at the IOC World Conference, the International Association of Dance Medicine and Science, among other lectures throughout Australia and Europe.

TWIT: @s_maysey

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 love providing insight into the various realms of not only a dancer's training, care and education, but that of their post-secondary aspirations as well. These post-secondary aspirations are not only relevant after dancers have left their school, as dancers' decisions are highly influenced by their dance educators, directors, studio owners and classmates. The role dance educators play in preparing dancers for the future in dance is very important. These aspirations could include everything from career goals, to professional training and education. Today we will gain insight into the hiring process of one of Canada’s Professional Ballet Companies the Royal Winnipeg Ballet. Today’s tips will hopefully help guide dance educators as they prepare their dancers for their careers, dance-related or not. We are pleased to welcome the associate artistic director of Canada’s Royal Winnipeg Ballet to our program today Ms. Tara Birtwhistle.

GUEST: After graduating from the Royal Winnipeg Ballet School in 1991, Ms. Birthwhistle was hired into the Royal Winnipeg Ballet company eventually accepting the role as principal dancer. Birthwhistle holds many accolades including: MacLean’s “One of 100 Young Canadians to Watch”, her Majesty’s Diamond Jubilee Medal and a Gemini award. Since retiring from the stage, Birtwhistle has been an integral part of the Royal Winnipeg Ballet artistic team. At the end of the Royal Winnipeg Ballet’s 2017-18 season, Birtwhistle was appointed Associate Artistic Director of the Royal Winnipeg Ballet. As Associate Artistic Director, Birtwhistle is a member of the senior leadership team, participating in strategic planning with responsibilities including casting, scheduling, development, marketing and overall management of the artistic team.

INSTA: @rwballet @tarabirt

LINKEDIN: Tara Birtwhistle

WEBSITE: rwb.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.