Dance Education Canada believes strongly that all areas of dance research, science, medicine and studies can and should inform our practice as dance educators. Included in that list of valuable subject areas for dance educators is dance history. Dance history is so important to us that we’ve included it as a subject in Part 2 of our dance teacher training program. Today we have the honour and privilege of speaking with a Doctor of Dance Studies from Norway, Dr. Elizabeth Svarstad.

GUEST: Dr. Elizabeth Svarstad is a dancer, choreographer, teacher and researcher specializing in historical dance and dance history. She holds a BA in dance from the Norwegian Ballet Academy and a Nordic Master of Arts in Dance Studies from The Norwegian University of Science and Technology (NTNU), University of Copenhagen and Stockholm University. She defended her PhD in dance studies at the Department of music at NTNU with the project Dance as social education in Norway 1750–1820. She has studied baroque dance in France, England and the US and is well established as the only specialist baroque dancer in Norway. She has taught historical dance and dance history at Norway's performing arts institutions and universities and is currently a lecturer at Oslo National Academy of the Arts and the Norwegian Academy of Music. In 2019 she was awarded the Parelius Prize for deserved artists.

INSTA: @elizabethsvarstad

LINKEDIN: @esvarstad

WEBSITE: elizabethsvarstad.no

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 decision to pursue post-secondary training or education in Dance can often be met with challenges and biases surrounding this decision to pursue the Arts as a post-secondary degree. Some of those biases may include the lack of career opportunities, the lack of stability and the overall value of an education dance in supporting a competitive candidate in the job market. Despite these challenges, many dancers decide to pursue a post-secondary dance degree/diploma program, but often when they begin they soon realize it is not what they expected. I can certainly speak from my own experience with regards to the challenges I faced transitioning from a commercial studio to a post-secondary dance education institute. Why is the transition into post-secondary dance education so challenging for dancers, what roadblocks or misconceptions are there and how can dance educators better prepare their dancers for post-secondary dance studies? We will answer all of those questions and more, today, with the help of Ms. Jenfer Davies.

GUEST: Jenefer Davies is a Professor of Dance at Washington and Lee University and is the Artistic Director of the W&L Repertory Dance Company. She received an MFA in Choreography and Performance from The George Washington University and a MALS in Dance from Hollins University. Davies founded the contemporary modern dance company, Davies & Dancers and created one of the first academic programs in aerial dance in the country. Davies has been published in the International Planetarian Magazine, World Congress on Dance, the Nu Delta Alpha Journal and the Athens Institute for Research in the Arts Consortium, among others. She serves on the Editorial and Reviewer’s Board of the Athens Journal of Humanities and Arts and has reviewed dance proposals for Oxford University Press. Her book Aerial Dance: A Guide to Dance with Rope and Harness was published by Routledge Press in 2018 and she is currently writing a book on dance composition.

INSTA/TWIT: @jdayvvv

LINKEDIN: Jenefer Davies

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 mission of Dance Education Canada is to not only promote lifelong learning and professional development for dance educators, but to provide them with the best and most current practices and training in 21st-century dance education. But what about musicians that play for dance, is there a training and certification program for them? If yes, what does that training encompass and why is it important? If no, how have musicians that play for dance typically acquired their skill set? We will explore these questions and more today with the help of a musician and educator currently working with the Scottish Ballet Ms. Karen MacIver.

GUEST: Karen MacIver has been associated with Scottish Ballet since 1990. She was a guest repetiteur with Birmingham Royal Ballet and worked as a contract musician at the Edinburgh Festival. In 1999, Karen turned her skills towards film and gained her postgraduate Masters in Music in Music for Film and TV. It was at this point in her career that she re-marketed her job title as ‘Musician working in Moving Image’, which embraced the duality of her work. IN 2006 Scottish Ballet invited Karen back, to become the first full-time teacher of a pioneering postgraduate Master's course for young musicians wishing to work in the world of Professional Dance. Karen creates content for her audience through various channels some of which include her Youtube channel and her E-book, The Art of Class, where she has documented her work as an improviser for Moving Image. Karen has lectured around the world and is most passionate about encouraging excellence in music for dance.

FB: @musicforballetanddanceclass

TWIT: @musicdesignuk

LINKEDIN: Karen MacIver

WEBSITE: artofclass.online

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.

Pursuing post-secondary education, training or employment in the Arts is often a difficult decision for most. Why is it such a difficult decision? I think we are reminded during a time like now, where arts Organization and Arts Businesses are not just struggling to stay open, but shutting down. It is during times like these where we realize the instability, the lack of financial security and employment opportunities there is in Dance. But we, the dance community have to despite constantly facing challenges must unite and inform. We must continue to educate the public about the benefits of an education in dance. Today we discuss the benefits of pursuing an education in dance whether you decide to pursue a career in dance or not with the help of Professor Emeritus Ms. Tauna Hunter.

GUEST: Tauna Hunter is a retired Professor and Chair of Dance at Mercyhurst University. She earned B.F.A. and M.F.A. degree in ballet performance and choreography. In 1985, she co-founded DANSOURCE, and as its managing director, she was highlighted in “Megatrends 2000” and featured in “Success” Magazine as a trendsetter in the future of the arts. She has been honoured with the Chautauqua Artist Teacher Award, the University of Utah Legacy Award and was highlighted in the July 2017 issue of Dance Teacher Magazine. She has served many boards including the University of Utah Artistic Advisory Council, the Advisory Boards of Ballet Concerto and Dance Now Miami.

LINKEDIN: Tauna Hunter

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.

Many of our podcast perspectives come from our valued community of scholars, researchers and dance educators… but it is also important that dancers have a voice as well. In today’s world, it is important that dancers' confidence is nurtured in so that they are able to step up and acknowledge their need for modifications and adaptations themselves. This is especially important if a dance educator is not encouraging individualized learning plans and implementing unique individualized approaches for their dancers. Which is why today we will hear from a talented and highly reviewed Principal Ballerina from the Scottish Ballet Ms. Constance Devernay, who will provide us with insight into the importance of dancer-specific training and conditioning programs. We will discuss when and how dancers should advocate for their individual needs as it relates to their overall mind and body wellness, and hear firsthand as she shares her advice for dancers and dance educators.

Guest: Constance Devernay was born in Amiens, France. She trained pre-professionally at the Rosella Hightower school in Cannes, then at the English National Ballet School, in London. Constance joined The Scottish Ballet permanently in 2009, and became a Principal dancer in 2016. She has worked with renowned choreographers some of which include David Dawson, Peter Darrell and Christopher Hampson. Some of her performance highlights include the Sugar Plum fairy in The Nutcracker and Cinderella and The Snow Queen. In addition to teaching dance, Constance is currently studying for a Bachelor of Science in Sport, Fitness and Coaching. She practices Yoga alongside her professional career and holds a level 3 instructor diploma in Yoga and a diploma in meditation.

INSTA: @instacoco16

TWIT: @balletcoco

LINKEDIN: Constance Devernay

WEBSITE: scottishballet.co.uk

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.

Lifelong learning and professional development are at the foundation of ALL programs at Dance Education Canada. We are passionate about dance teacher training being so much more than just teaching steps, thus is why dance pedagogy guides our curriculum design. It is essential for those dedicated to the vocation of teaching, that workshops and other professional development opportunities are a part of your yearly learning plan. What does your lesson planning look like? Do you lesson plan? How do you structure your classes? What are the theories and research that support the structure of your classes? Perhaps it is fear of the unknown, or fear of being judged that fosters some insecurities in seeking out new information as dance educators. The only way we can continue to promote the value of an education in dance is if we model self-improvement and motivation. Maybe this podcast is a first step for you… in which case I enthusiastically applaud you. What a great step you are taking towards updating your skillset and questioning your current practice. So to help guide us on our journey of continued learning today, providing us with a mini pedagogical refresher is Ms. Diana Harris.

GUEST: Holding a B.A. in Dance Education and an M.S. in Exercise Science, Diana has taught dance in private schools, public schools and dance studios for almost 30 years. In 2012 she received a grant from the Guilford Fund for Education to develop and implement a curriculum that used dance to teach geometry to second graders, while directing a dance outreach program for fourth graders. She has served on the boards of the Connecticut Dance Alliance and New England Ballet Company and is a member of the International Association of Dance Medicine and Science. She currently teaches in the dance department at Naugatuck Valley Community College and in the theater department at University of New Haven. Her textbook, Beginning Musical Theatre Dance is used in both high school and college musical theater classes.

FB: @thehealthydancer

TWIT: @healthydancer1

LINKEDIN: Diana (Dart) Harris

WEBSITE: thehealthydancer.blogspot.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.

Welcome to 2020. A new world in the middle of a global pandemic. We are all holding our breath watching arts organizations, dance companies and dance studios struggle to stay open, terminating service, while other are shutting down permanently. Amidst the struggles comes a rapid shift to serving, performing and teaching through an online learning platform. The learning curve so steep, that some say that we are now 10 years ahead of where we would have been without the pandemic. The demands on and changes to dance education have been drastic and the effects on the arts detrimental. But what do we do? Well dancers are known for being adaptable, resilient and flexible. So we pick ourselves up and learn. We embrace this new world, look at the benefits of these changes, and address the challenges. Providing us with some tips to help us better deliver our virtual classes is Ms Elisabeth Higgins

GUEST: Elizabeth Higgins is Associate Professor and Coordinator of Dance at Howard Community College.  Elizabeth received her MFA in Dance from Florida State University and a BFA in Dance from Rutgers University. She served on the faculty at Marymount Manhattan College as an Assistant Professor of Dance Composition and has taught at several studios and institutions including Manhattanville College, Columbia University and Florida State University. She served as a teaching artist for the New York City Ballet Education Program for six years, working in public school system outreach. Her company, Elizabeth Higgins Dance Theater, premiered its first season at Joyce SoHo and subsequently was chosen as one of the critics' "Best Picks" by Back Stage Magazine.

INSTA: @howardccdance

FB: @howardcommunitycollegedanceprogram

LINKEDIN: Elizabeth Higgins

WEBSITE: howardcc.edu/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.

What perceptions do people have about dance? What does a dance class, dance performance, dance lesson look like in the minds of others? Is dance training interpreted as an elite unattainable art reserved only for the gifted and talented? If yes, then it is easy to see how fears and insecurities about embarking on ones own dance journey can be met with hesitation. How can we change peoples understanding of dance, in so that ones own interest in pursuing it as a hobby, form of exercise or area of study can be realized. We will address some of the contributing factors that may lead to the feeling that “Dance is Scary” with the help of Ms Jenny Patrone.

GUEST: Jenny has worked in all aspects of the industry, both locally and internationally splitting her time between the U.K and Australia. Current Disney Audition Choreographer in the UK and Australia for Tokyo, Disney cruises. Jenny's is a teacher, choreographer and performer, having danced with rock legend Neil Young and on the popular television program Downton Abbey. She is the co-creator of 1920s entertainment group The Gatsby Girls, performing throughout the UK and Europe. Jenny currently works with professional actors and singers under the company she founded CBS Dance, offering dance classes to this exclusive group of performers in the UK.

INSTA: @cbs_dance

TWIT: @dancecbs

FB: @cbsdancelondon

LINKEDIN: Jenny Patrone

WEBSITE: cbsdance.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.

Today we welcome the charismatic, confident, intelligent, passionate, stunning and talented Mrs. Jessica Ping-Wild to our program. With over 10, 000 Instagram followers Jessica is challenging the norms, smashing the stereotypes while shifting biases and perspectives on dance and self-expression through movement one follower at a time. The energy she exudes in her videos is contagious and her mission clear, to inspire, advocate and support her community as a role model, influencer and leader, through dance and song. Through Jessica we are inspired to embrace each day, and live life to the fullest, despite challenges and struggles along the way. Jessica is a perfect addition to the CNADE Podcast Family, as her mission to challenge the norms and stereotypes often associated with dance, aligned with our own views of embracing a new era of dance and dance education.

GUEST: Jessica Ping-Wild, a graduate of the University of Notre Dame, was born with a very rare disease known as CHILD Syndrome. Only affecting 60 people worldwide, this disease impacts both the skin and limbs on one side of the body. Jessica’s particular case leaves her with only one full leg and arm on her right side. Despite this, she grew up loving dance. Jessica began taking ballet lessons at age 3.  As she grew older, she joined a dance performance company and a competitive dance team. Now, Jessica is passionate about educating people about disability through her lifestyle blog, The Rolling Explorer, where she posts videos of herself dancing for all to see.

INSTA/FB: @therollingexplorer

TWIT: @rollingexplorer

LINKEDIN: Jessica Ping-Wild

WEBSITE: therollingexplorer.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.

Technology VS the arts is certainly not a new topic of discussion. If Dance on film has been around for years, then what is difference between then and now? Well the relationship is different. The relationship between the arts and technology resembled a cutting and pasting technique, where the film crew did their thing, while the choreographers and dancers did theirs. So what did this collaboration (if we can even call it that) look like? What ensued? Basically dance on film usually involved plopping a video camera at the front of the stage and recording dance from one viewpoint in 2 dimensions. So what has changed? What does the relationship look like now? Should we be fearful of technology? Should students be leaving their cell phones at the door? We will answer these questions today, while discussing how we can embrace technology and use it as a tool in our dance classes… because well as we all know its not going anywhere. Enlightening us with her perspectives on and experience with technology is Dr Kate Sicchio.

GUEST: Dr. Kate Sicchio is a choreographer, media artist and performer whose work explores the interface between choreography and technology with wearable technology, live coding, and real-time video systems. Her work has been shown internationally in many countries including the US, Germany, Australia, Belgium, Sweden, and the UK at venues including the Banff New Media Institute in Canada, V&A London, and the Artisan Gallery Hong Kong. She co-edited the book "Intersecting Art and Technology in Practice: Techne/Technique/Technology" (Routledge) with Dr. Camille Baker. She has given invited talks and presented at countless conferences, universities and events across the globe some of which include: EU Parliament, Expo ‘74 and the Dance Studies Association. She is currently Assistant Professor of Dance and Media Technology at Virginia Commonwealth University.

INSTA/TWIT: @sicchio

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.