How do we learn about our feelings and emotions? How do we learn about the expressions that convey our emotions? How do we express our emotions through our body language and where do we go to explore our own expressions? A good starting place, that some might not immediately consider, is the dance class. The reasons people study dance can vary from a unique fitness experience, to a social outing, while others love to express themselves through movement. Expressing oneself is empowering, and using our expressions and body language to do so, can become even more empowering. Dr Vrushali is using the art of Indian Classical Dance to help others gain a deeper understanding of their emotions, expressions, body language and feelings. Today we have the honour of speaking with Dr. Vrushali, who will give us some insight into her research, work and practice.

GUEST: Dr Vrushali started training in Kathak at age 6 under the guidance of Guru Dr Manjiri Deo and Guru Mookoondrajdeo and has spent the last 23 years promoting Kathak dance. She recently completed PhD in Kathak. She acquired her BA and MA degrees from Gandharva University and an MA in Kathak. She is the recipient of numerous notable awards including the rotary excellence award and hosts many workshops for her community in her spare time.

INSTA: @dr.vrushali.dabke

FB: @kathakbyvarushali

LINKEDIN: Dr Vrushali Dabke

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 global discussions surrounding the imbalances of gender representation in leadership roles in professional companies arise, we begin to understand our role in not only developing a deeper understanding of these issues, but what steps we can take to promote action. A good starting point is using the work of companies that are already taking action, to inform our initiatives. The Boston Ballet Company is one of those companies. Listen in as we speak to the brilliant and accomplished artistic director of the Boston ballet Mr Mikko Nissinen as he speaks to us about the Boston Ballet’s ChoreograpHER initiative.

GUEST: A Helsinki native, Mikko Nissinen began studying ballet at the age of 10. His professional career took off soon after with the Finnish National Ballet at age 15. During his 19 year professional career, Nissinen toured across the Netherlands and Switzerland, also performing as a principal dancer with the San Francisco Ballet. As the artistic director of Boston Ballet since 2001, Mikko’s vision and passion for the art form, has allowed him to transform this world-class ballet company. Mikko has pushed the repertoire beyond classical story ballets, by including more contemporary works by notable choreographers as John Neumeier, Wayne McGregor and William Forsythe.

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 dance studios adopt, and as tv shows spotlight more contemporary western styles of dance, the interest in the study of more traditional forms of folk dance dissipates. Today we will ask questions that challenge our minimal engagement with classical folk styles of dance and question their relevance, importance and enrichment in today’s society. Helping us better understand our role in the preservation of these traditional dance forms, is Yang Zhao.

GUEST: Yang Zhao is currently engaged in a PhD in Education in Scottish country dancing at the University of Edinburgh. She graduated with Cohort 2016 Choreomundus with an International Master in Dance, Knowledge, Practice, and Heritage in 2018. The Erasmus Mundus joint master was awarded by four partnership universities: Norwegian University of Science and Technology, Université Clermont Auvergne, University of Szegedi (segette) and Roehampton University London. While enrolled in a Master of Science in Dance Science and Education at the University of Edinburgh in 2016, she was actively engaged in learning Scottish dancing.

INSTA: @sunshineraising

FB: @themorningraisingsunshine

LINKEDIN: Yang Zhao Sunshineraising

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 addresses gender equality under various conditions some of which include unequal pay, education as well as economic and political rights, today’s guest focuses on women empowerment through dance, specifically Indian Classical Dance. Today we will touch on why preserving the culture, values, traditions and heritage of Indian Classical Dance is important and how an education in dance is valuable for girls and women. 

GUEST: Guru Dr. Rehka Desai, is the Founder of Kalakruti Dance Academy. She has worked tirelessly for over 3 decades to empower girls and women through the culture and tradition of Indian Classical dance. Desai holds a Masters in Commerce, a Master of Arts and was honored with a PhD from Chennai University in 2017. She is currently writing her biography, as well as a book on the Indian Classical Dance Kalakruti Margam. She also holds a diploma, post-diploma and teacher training certification in the Bharatanatyam ba-rata-nat-ti-em training method. Currently Desai is working as a pranic psychotherapist and life coach, while facilitating workshops on girl, child and women empowerment.

INSTA/FB: @kalakrutidanceacademy

LINKEDIN: Dr. Rehka Desai

WEBSITE: kalakrutidanceacademy.in

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 the dance community begins to lean on cross-training techniques and develop individualized training programs for dancers, the search for unique methods and tools becomes activated. Dancers continue to strive for excellence by trying and employing the latest techniques to enhance their performance. But what if instead of looking for the most current trend and most contemporary technique, we took a look at an ancient art form and used its methodologies and philosophies to inform our practice, what would then transpire? Well, we will find out today with the help of a principal dancer from the National Ballet of Canada, Mr Skylar Campbell.

GUEST: Recognized by Dance Magazine as one of the “top 25 Dancers To Watch” in 2015, Skylar Campbell is a revered dancer, artist, curator and founder of the Skylar Campbell Dance Collective. Skylar was born in Laguna Beach, California and trained with Victor and Tatiana Kasatsky in Orange County. Mr. Campbell joined The National Ballet of Canada as an RBC Apprentice in 2009 and was promoted to Principal Dancer in 2018. Skylar has danced principal roles in, Etudes, Paquita and, George Balanchine’s Tarantella and among many others and has most recently performed in Crystal Pite’s world premiere of Angels’ Atlas with the National Ballet of Canada. In addition to his dance credits Skylar has worked closely with influential dance makers around the world some of which include James Kudelka, William Forsythe, Crystal Pite, and Wayne McGregor . Mr. Campbell is the recipient of many prestigious awards notably a Bronze Medal at the Youth American Grand Prix, a finalist in the Prix de Lausanne in addition to winning the William Marrie Award for artistic achievement for his role in La Fille Mal Garde.

INSTA: @skylar.campbell

WEBSITE: skylarcampbelldancecollective.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.

Movement is the way through which we express ourselves and our body the medium. But does the verbal language we use in class, whether it be used for a correction, for instruction or to describe a particular quality/energy affect the way we move? How can language be used as a teaching tool in the dance class and what are some of the effects of language that is detrimental to the physical and cognitive well being of our dancers? Today we will explore those questions and more with the help of Ms. Blanca Huertas-Agnew

GUEST: Blanca Huertas-Agnew began her training in her native Puerto Rico. She was a member of the corps of ballet at Ballet Concierto de Puerto Rico, later, joining Ballets de San Juan, as a Principal Soloist. Her professional career allowed her to perform across the globe including the United States, Central America, South America, and Europe. Blanca has a bachelor’s degree in Business Administration from Temple University, an MFA in Choreography and is certified to teach dance through various certification programs. Blanca is currently the Founder and Artistic Director of the Puerto Rico Classical Dance Competition, and on faculty and The School of Pennsylvania Ballet.

INSTA/FB: @prcdc2020

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 lesson planning is an important part of every dance teacher’s training, which is why, not only do we publish a DANCE EDUCATORS’ PLANNER designed to help dance educator’s plan out their year, but we also include the topic in Part 1 of our Dance Teacher Training Program. Why is planning, progression and goal setting important? We will discuss its value today in and how it allows our dancers to achieve the fullest extent of their talents. Enlightening us with his experience and knowledge on the topic of motivating our dancers through goal setting is the Artistic Director of the West Australian Ballet Mr. Aurélien Scannella.

GUEST: Aurelien is a Belgian born dancer, ballet master, choreographer and director. He completed his training at the prestigious Royal Ballet School of Flanders and was subsequently accepted into the Royal Ballet of Flanders. After three years in Flanders he was appointed as a Soloist at Deutsche Oper am Rhein, and then promoted to the role of Principal Dancer the State Theatre Wiesbaden, Deutsche Oper Berlin and Ballett Basel. In 2008, he retired from dancing to focus on teaching. Quickly, Aurélien became one of the most sought after Ballet Masters on the market working with some of the best companies around the world such as Dutch National Ballet, Finnish National Ballet, Royal Swedish Ballet and Hong Kong Ballet. Aurélien took the helm as West Australian Ballet’s Artistic Director in 2013 and has since developed the West Australian Ballet into a versatile and diverse 21st-century company with a total of nine nationalities represented within the company.

INSTA: @waballet

FB: @westaustralianballet

LINKEDIN: West Australian Ballet

WEBSITE: waballet.com.au

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.

These days there is plenty of discussion surrounding the mental well-being of our students both in the studio and in the classroom. But, what about the teachers? It is often said that we are no good to anyone if we don’t take care of ourselves first. How can we shift the conversation and switch the context in so that we are looking inwards, to our own personal wellness? Today's very important discussion will address the mental wellness of the dance educator, and give us some insight into tips, tools and strategies to help us become aware of, manage and maintain our own mental health. Helping us understand the role that self-care plays in the lives of the dance educator in Ms. Celine Butte.

GUEST: In 1999, whilst going through a personal crisis, Ms. Celine Butte found out about dance movement psychotherapy (DMP), and enrolled in the MA in DMP with Roehampton University. She qualified in 2002 with a PGDip in DMP and completed her add-on MA in 2008. She has since worked as a dance movement psychotherapist with marginalized and vulnerable individuals. She currently works within Merton Arts Therapies team for People with Learning Disabilities and in Private Practice in South London. A core member of the teaching team on the Creative Approaches to Supervision Diploma with the London Centre for Psychodrama, she embeds attention to the body and movement within this action-oriented supervision training for practitioners across modalities. She has taught DMP/T internationally and has been a visiting lecturer at the Roehampton University. She Is the co-founder of the ARTSjAM,  was on council at the Association for Dance Movement Psychotherapy UK and was the Treasurer of the European Association for Dance Movement Therapy. As a Dance Movement Psychotherapist and dancer, she considers the moving-dancing-living body as a source of inspiration, play and healing.

LINKEDIN: Celine Butte

WEBSITE: heartofmovement.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.

Dance Education Canada's approach to dance teacher training is unique in that we address all aspects of teaching, beyond the teaching of just steps. This unique approach allows dance educators to be the best they can be in so that their students can thrive, excel and progress in an environment that is nurturing and supportive while maintaining excellence and mastery in their performance. Part of a “whole dance education experience” includes teaching performers, artists and dancers how to express themselves through movement. I have heard it many many times from adjudicators, teachers and even artistic directors of company’s that there is too much focus on technique these days and not enough emphasis on the storytelling. Today we will discuss the importance of finding the balance between both technique and expression with the help of Dr. Cynthia Dariane.

GUEST: For Cynthia, dance is more than just an art: it is a life discipline and an identity. In addition to her stage experience, she obtained the French State diploma in jazz dance teaching while integrating Terpsichore’s art in her studies. She holds a PhD in French Literature focused on the relationship between literature and dance, and a Masters in dance research focused on gender studies in Baladi. She believes in the richness of heteroclites. Involved in choreography, theatre, concerts, teaching, and conferences, Cynthia is an well-rounded scholar who juggles between the worlds of writing, literature and dance.

INSTA: @cynth_da

LINKEDIN: Cynthia Dariane

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 understand the importance of giving our dance educators the most current tools and knowledge as it relates to their practice, in so that their approach as dance educators is progressive, current and student-centred. In previous podcasts, we’ve provided dance educators with important topics about the whole dance education experience including expression, imagery and even musicality. Today will add another notch to our belt by discussing “listening what it looks like and feels like on our dancers” with the help of Ms. Danielle Bazinet.

GUEST: Danielle Bazinet has been teaching dance and theatre for over twenty years in K-12 private, public, and dance studio settings. She completed her MA in Dance and Dance Education at New York University and holds a dual BA in Theater Education and Communications from Regis College. Currently, Danielle is pursuing her Doctor of Education (EdD) in Leadership in Higher Education at Regis College. Her research is focused on arts education, best practices of arts curriculum, and the benefits of studying the arts and their ability to foster 21st-century skills. Danielle has presented her work across many organizations including the Massachusetts State Dance Education Organization Conference and The New England Gifted and Talented Conference. She is a founding member of the Massachusetts Dance Education Organization and currently working as an adjunct professor at Bridgewater State University in the Dance Education Program.

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.