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CNADE Podcast - Dance Education In The 21st Century

CNADE Podcast - Dance Education In The 21st Century

Canada's National Academy of Dance Education is a leader in progressive and accessible dance teacher training.

Listen in as we discuss current and relevant topics related to 21st century Dance Education.
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How to create self-efficacy and foster individuality with pre-professional dancers: In conversation with the Associate Professor of Dance at North Kentucky University

CNADE Podcast - Dance Education In The 21st Century

How to create self-efficacy and foster individuality with pre-professional dancers: In conversation with the Associate Professor of Dance at North Kentucky University

CNADE Podcast - Dance Education In The 21st Century

Does Yoga inform our practice as dancers, performers and choreographers? – A conversation with a Principal Dancer from the National Ballet of 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​.
November 11, 2020
Folk Dancing: History, philosophy, influence and engagement with Phd student of Scottish Country Dance
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. 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 Inc. (“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. DEC makes no representations about the accuracy or suitability of this content. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns.
November 9, 2020
The Boston Ballet’s ChoreograpHER Initiative: A conversation with the Artistic Director of the Boston Ballet
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 Inc. (“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. DEC makes no representations about the accuracy or suitability of this content. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns.
November 9, 2020
Expressing the Expressions: A conversation with a Doctor of Kathak.
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. 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 Inc. (“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. DEC makes no representations about the accuracy or suitability of this content. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns.
November 9, 2020
Developing the adolescent male into a strong and resilient dancer and pas de deux partner: A discussion with the Strength Coach for the Queensland Ballet Academy and Company
Discussions surrounding dance injuries are plentiful these days, which is why at Canada’s National Academy of Dance Education 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.
November 3, 2020
Insight into the Hiring Process – What dance educators need to know – A conversation with the associate artistic director of Canada’s Royal Winnipeg Ballet
At Canada’s National Academy of Dance Education, 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. After graduating from the Royal Winnipeg Ballet School in 1991, Ms. Brithwhistle 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.
November 2, 2020
Ankle & Foot Health in the Dancers – A conversation with the principal physiotherapist of The Australian Ballet
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.
November 2, 2020
The Creative Process: In Conversation with the Artistic Director of LA Dance Moves
At Canada’s National Academy of Dance Education, 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.
November 2, 2020
How to create self-efficacy and foster individuality with pre-professional dancers: In conversation with the Associate Professor of Dance at North Kentucky University
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.
November 2, 2020
Teaching Musicians to Work within the Dance Studio Setting with a Professor of Dance and Music
At Canada’s National Academy of Dance Education, 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.
November 2, 2020
Dance in America – Fostering its Integrity: In conversation with the Assistant Professor of Dance at Southern Utah University
At Canada’s National Academy of Dance Education, 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.
November 2, 2020
The Use of Imagery in Technique Classes
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.
November 2, 2020
Embodied Cognition in Dance: In conversation with the Head of the Department of Dance Studies at the University of Malta
At Canada’s National Academy of Dance Education, 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.
November 2, 2020
Just because your dance teacher taught you that way… doesn’t mean it’s right! – In conversation with a guest Dance Teacher from the Scottish Ballet
At Canada’s National Academy of Dance Education 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.
November 2, 2020
Pointe Shoe Fittings – A discussion with the New York City Ballet’s Pointe Shoe Supervisor
At Canada’s National Academy of Dance Education, 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.
November 2, 2020
Preventing Overuse Injuries in Dancers with a Doctor of Physical Therapy
At Canada’s National Academy of Dance Education, 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.
November 2, 2020
This is 21-st Century Dance Education – In conversation with Artistic Coordinator of the Australian Ballet
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.
November 2, 2020
The Dance Teacher: Using psychological skills and strategies to be the best you can be for your dancers: A conversation with a Doctor of Sport and Exercise Psychology
At Canada’s National Academy of Dance Education, 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.
November 2, 2020
Jose Limon: In Conversation with the Artistic Director of the Jose Limon Foundation
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 Canada’s National Academy of Dance Education, 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.
November 2, 2020
Merce Cunningham – After the Arbitrary: with Carrie Noland Author
At Canada’s National Academy of Dance Education 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. Canada’s National Academy of Dance Education 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.
September 6, 2020
The U.S. Government's use of Modern Dance in its Cultural Propaganda Campaign during the Cold War - In conversation with a Doctor of Dance
At Canada’s National Academy of Dance Education 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.
August 30, 2020
The Place and Role of the Dance Educator in our Prevailing Culturally-Diverse World - In conversation with a Doctor of Dance Studies
At Canada’s National Academy of Dance Education 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.
August 30, 2020
The Ballet Pianist: Communication Tips between the Pianist and the Ballet Teacher
At Canada’s National Academy of Dance Education 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”. will find his original compositions of piano music for ballet class on his three albums entitled Ballet Etudes.
August 30, 2020
“LIVE” Music in the Dance Class. A Conversation with a Solo Pianist for the New York City Ballet
At Canada’s National Academy of Dance Education 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.
August 30, 2020
Dance Training and Dance Education in Conversation /w Emeritus & Senior Scholar of Dance
At Canada’s National Academy of Dance Education we know that dance teacher training is so much more than just learning steps. It includes integration of various components of an education in dance, to bridge the gap between dance training and dance education. Focusing on one or the other was and sometimes is common practice, but in today’s world, like we always say at CNADE we need to provide our dancers and dance educators with a “whole dance education” experience. Helping us better understand how both approaches can inform and enhance one another is Emeritus and Senior Scholars from the Dept of Dance at York University Ms. Claire F. Wootten. GUEST: Following completion of her studies with the Professional Division at the Royal Winnipeg Ballet School, Claire danced professionally with the Alberta Ballet Company. She is a graduate of the Teacher Training Program at Canada’s National Ballet School and has taught extensively throughout Canada. Claire has been on faculty in the Department of Dance at York University since 1990, joining the full-time roster in 2004 and holding the role of Department Chair from 2010-14. Her area of teaching specialization is contemporary ballet, dance education and community dance. She is a certified instructor of 3-D Workout, an integrated fitness program based on the work of Bartenieff and Laban. Recently retired from full-time teaching at York, Claire has returned to freelance work.
August 30, 2020
The Creative Process of a Canadian Conductor and Doctor of Musical Arts with her International Ballet Portfolio
At Canada’s National Academy of Dance Education we know that it is likely your own dance training lacked the inclusion and incorporation of the creative process, which would have allowed you you to create, explore and express movement that was your own. If this sounds familiar, you are not alone. Elements of creative movement were not often a part of commercial studio dance training. However things are changing, the more dance teacher education is becoming prevalent, the better understanding dance educators have of the creative process and the importance of incorporating it into their own dance classes.  But who do we learn best from? Fellow dance educators, professors, researchers and dance scholars? What if instead we look to our artistic community? What if to gain an enriched understanding of the creative process we looked beyond the dance community and explore the creative process of other artists? Today we will do just that… today we have the honour of speaking with Assistant Professor at Berklee College of Music and world-renown conductor Ms. Genvieve Leclair. GUEST: Geneviève holds a Doctor of Musical Arts degree in Orchestral Conducting from Boston University, with a Bachelor's and Master's degrees in flute performance from the Université de Montréal. She was appointed Assistant Professor at Berklee College of Music in 2016. Equally at home in the symphony, ballet and opera worlds, she was a recurring guest conductor with The National Ballet of Canada and Northern Ballet in the UK, as well as Assistant Conductor and Guest Conductor for Boston Ballet. Geneviève was awarded the 2017 American Prize in Conducting, college/university division and in 2010, received the Sir Ernest MacMillan Memorial Foundation Award in Orchestral Conducting. In addition to her expertise and experience as a conductor, Geneviève has published several music literature and theory exercise books.
August 30, 2020
The Luigi Technique: Development, Teaching and Relevance - In Conversation with a faculty member of the Joffrey Ballet and Luigi Student
At Canada’s National Academy of Dance Education we know that an understanding of how specific dance styles developed and what specific styles influence one another is essential in being able to truly understand movement. Knowing these details will help you teach movement based on its fundamentals and stylistic qualities. Even some of the most contemporary syllabi were not created of out thin air, they were influenced by pioneering founders of dance and movement techniques. Why is this important? Being a dance educator calls to question how you incorporate your own style influences in class.  Teaching dance is not simply sticking to a syllabus and exam work, it is your constantly evolving stylistic qualities and incorporation of all your experiences that influence your own creation of movement. Today we have the pleasure of speaking with Ballet and Luigi Technique teacher on faculty at the Joffrey ballet Mr. William Waldinger William Waldinger is a regular faculty member at The Joffrey Ballet School. In addition to his position at Joffrey, he also teaches at Broadway Dance Center and the New York Film Academy among other notable schools and colleges.  He has taught and directed several dance programs, including his role as Director of Jazz at The Manhattan Ballet School. Certified by Luigi to teach the Luigi Jazz Technique, Bill has recently been filmed and interviewed for the recently released feature film Uprooted which chronicles the history of Jazz Dance. As a performer, Bill has appeared in various industries including musical theatre, concert dance, commercials, music videos, television and industrials.
August 30, 2020
The Hidden Signs of Core Weakness in Dancers - In conversation with a Doctor of Physical Therapy
At Canada’s National Academy of Dance Education we know that in order for dancers to achieve prime performance, their training requires a balance of exercises for both strength and flexibility. However, in today’s world, this message can become distorted with the amount of extreme stretching videos and tools that dancers have access to. At Canada’s National Academy of Dance Education, we know that dance educators play an essential role in not only teaching dancers how to safely execute stretch and strength exercises but in helping dancers reach the fullest extent of their talents. This can be achieved through individual physical assessments for the purpose of determining each dancer's personalized training regimen. Often overlooked or sometimes misdiagnosed is “core weakness” in dancers.  GUEST: Dr. Alexis Sams, is the owner of AZ Dance Medicine Specialists based in Phoenix, Arizona a mobile service for local dancers. She holds a Doctorate in Physical Therapy from Long Island University, Brooklyn and is well known for her holistic approach to maximizing performance and injury management. Over the last six years, her business has grown, adding coaching, education, professional development and consulting dance professionals and related fields. Alexis combines over 20 years of dance training, teaching, and choreography with over 10 years of practice as a physical therapist to treat and educate dancers, instructors, and clinicians all over the world.
July 26, 2020
Creating a Safe Space for Performance - Setting up Students for Success with Recipient of the Queen's Diamond Jubliee Medal
At Canada’s National Academy of Dance Education, we know that dancers can realize the fullest extent of their talents in a nurturing, positive and safe physical and cognitive environment. Part of a “whole dance education experience” includes allowing dancers to explore their own creative process. Allowing dancers to express their own thoughts and ideas through movement, while giving them opportunities to communicate through creation, will help dancers form a deeper understanding of movement and its connection to storytelling. Is there a specific recipe that includes ideal conditions required for dancers/performers to truly immerse themselves in a focused, engaged explorative experience?  We will take a look at answering this question today. Helping us understand how important creative expression is for our performers, and how to create ideal conditions for successful performances is the recipient of the 2013 Queen’s Diamond Jubliee Medal and Founder and Director of Burlington Student Theatre is Mr. Rainer Noack.  GUEST: Rainer Noack is a graduate of Sheridan College, McMaster University, and the University of Toronto. His experiences have influenced his decisions to develop, coordinate, implement, and encourage countless theatre programs in the Burlington area including founding the 40 year running Burlington student theatre program. He has taught Drama in both the Public and Catholic School Boards all while inspiring hundreds of students to pursue careers in the Arts. Rainer is the recipient of many notable awards, including the Burlington Arts Person of the Year and Burlington Performing Arts Centre Hall of Fame inductee. Rainer believes that a future of peace for humankind will come from artists, because that is what they do. Strength, confidence, and great work ethic are core values that Rainer applies to his career as an Arts Educator, and instills in his students as a sure path to success. The work
July 25, 2020
Creating Content & Branding for Dance Educators & Studio Owners with 5X TEDX Speaker
At Canada’s National Academy of Dance Education we know that Dance Educators and Studio Owners are busy navigating this new world of online branding and marketing. With the amount of platforms and access to information, it is easy for Dance Educators to become overwhelmed, be misinformed and feel frustrated. We know that providing our dance educators’ with access to experts in the space of business, branding and marketing, they will be better able to spend time and effort on projects and promotions that will make a positive impact on their business. Today we are pleased to welcome one of Inc. Magazine’s Top 100 Leadership Speakers Bobby Umar.   GUEST: Bobby Umar is a 5x TEDx speaker and one of the top influencers in the world, with over half a million followers. He has been named the 2nd best business coach to follow on Twitter and the 4th best leadership influencer according to Kred. Bobby is an international author of two books, including a #1 best-seller, and is also is a Huffington Post contributor. He hosted a weekly tweetchat called “The Power of Connection” that reached over 65 million impressions weekly. To date, his social media influence has garnered over a billion impressions. Bobby was also named a “2015 Speaker to Watch” and one of the Top 7 Networking gurus to follow. He founded the social enterprise DYPB – Discover Your Personal Brand, which organized the largest conference in North America dedicated solely to personal branding, featuring 60 experts and over 300 delegates. 300,000+ people from across the world have experienced Bobby’s high-energy keynotes, interactive teambuilding activities, and engaging workshops. Bobby helps professionals ramp up their careers or businesses with focus, clarity and mindset and help ‘lost leaders’ transition to find their authentic path of passion and purpose.
July 25, 2020
How Musical Time Signatures affect Adagio in Ballet
At Canada’s National Academy of Dance Education we know that dance teacher training, is so much more than learning steps. It is an understanding of various components of a dancer's training and technique, some of which include anatomy, dance injuries, dance history and music. To better support dancers’ “whole dance education” dance educators should be able to use music as a tool, as inspiration and method through which students can learn about their execution, performance and art form as a whole. Today we will focus on one exercise in ballet, “the adagio” to learn how time signatures can affect its execution.  GUEST: Ms. Leal holds a BFA in Performing Arts from Providence College in Manitoba.  She has worked as a piano accompanist for over 19 years with some of Canada’s most prestigious schools and companies including the Royal Winnipeg Ballet, the Alberta Ballet Company and Albert Ballet School. In addition to her work as a piano accompanist for ballet exams and Ms. Leal has also taught music to ballet teachers throughout various programs.
July 25, 2020
Let’s Talk Hip Impingement in Dancers with a Doctor of Physical Therapy
At Canada’s National Academy of Dance Education, we care about providing our dance educators with access to the most current and relevant topics in dance education. This includes providing them with insight into specific dance injuries, their symptoms, contributors and prevention techniques, which is why we are excited to welcome Dr. Jenna Loewer to our program today. GUEST: Dr. Loewer graduated from Nazareth college in Rochester, NY with a Doctorate in Physical Therapy. After graduation, she spent time specializing her practice by focusing on the field of dance medicine. Dr Loewer has worked with The Rochester City Ballet, Garth Fagan Dance Company and Eastman School of Music. In 2016 Dr. Loewer opened On Pointe Wellness and Rehab with the goal to help others through personalized Physical Therapy in Virginia State fulfilling a lifelong passion for providing quality dance medicine practice in the state. She has served as adjunct faculty member at Nazareth College and George Mason University and is an active member of the American Physical Therapy Association (APTA), Orthopedic Section of the APTA, Performing Arts Special Interest Group, and the International Association for Dance Medicine and Science.
July 9, 2020
Preparing for Re-opening: Considerations for Dance Studio Owners and Educators
As we all navigate this new world, amidst studio closures, stages of reopening and a worldwide pandemic, we need to come together to share ideas, suggestions and considerations more than ever.  At Canada’s National Academy of Dance Education, we believe in the power of “team”. Our team includes researchers, scholars, doctors, professionals and experts in the related fields of dance education, science, medicine and business. We also know that you, our dance community are a part of our team. You play an essential role in helping us navigate the needs of 21-st century dancers, dance educators and studio owners. As a collective, we can combine our efforts, share our ideas and inspire and encourage one another in our practice as studio owners and dance educators to help dance in Canada flourish. Canada’s National Academy of Dance Education recently held a 3-week free webinar series in June 2020 for dance educators and dance studio owners. Over the course of these 3 weeks, we met many many dance educators, who shared ideas, suggestions and strategies for reopening in September 2020. During these past 3 weeks, I’ve had the pleasure of getting to know many great studio owners, 2 of whom I’ve invited to be guests on our podcast today, to share their experience, knowledge, and expertise both in their 40th year of dance studio leadership/ownership.
July 9, 2020
Women in Leadership: A perspective from the fitness industry with Senior Director of Corporate a Business Development at Goodlife
At Canada’s National Academy of Dance Education, we know that it can sometimes feel lonely at the top. Leadership, especially that of a dance studio owner, can be challenging yet rewarding, frustrating yet fulfilling. Today we approach leadership from the perspective of one of the Senior Administrators and leaders at Canada’s largest fitness company, Ms Tammy Brazier. GUEST: Tammy Brazier is the Senior Director of Corporate & Business Development at GoodLife Fitness. She has over 20 years of experience focusing on the business of optimizing health and well-being, Tammy’s true passion has been centered on inspiring and coaching others to realize and experience the best versions of themselves. As a leader, influencer and champion at GoodLife Fitness, her personal journey and leadership track has inspired her to share her story and insights with professionals in a range of sectors including corporate, non-profit and government. Drawing on her experience in developing a team from the ground up that now works with over 3000 Canadian organizations from coast to coast, Tammy has demonstrated a true appreciation of the challenges, demands and responsibilities that leaders face, and the skills required to succeed.  
July 9, 2020
Studio Ownership, A Seasoned Perspective
At Canada’s National Academy of Dance Education we believe strongly in supporting our Dance Educators in all stages of their career, including Studio Ownership. So for today’s podcast we have invited 3 seasoned and experienced Dance Studio Owners who have been in business for over 10 years. We will discuss what they have learned, what they have sacrificed and how things have changed over the years. They will give us some tools, tips, tricks and strategies to help you save time, save money and not only stick to your vision and mission but flourish in it.
June 20, 2020
Healthy Child Development: Achieving Excellence in Training and Performance in a Positive Environment with Senior Coordinator of High Five Canada
At Canada’s National Academy of Dance Education, we know that dance teachers play a lifechanging role in their dancers’ lives.  This role, if positive, induces a safe physical and cognitive space through which their dancers can achieve excellence in a supportive and caring environment. Challenging dated and possibly questionable practices of dance teachers is needed to ensure that each and every dance educator is reflecting positively on the dance educator community as a whole. To help us learn how to create a positive excellence-driven environment is Ms. JaimeLynn Nobari. GUEST: JaimeLynn holds Bachelor of Physical Education and a Diploma in Fitness and Health Promotion. She has coached varsity level sports, worked as a registered kinesiologist and children’s programs supervisor, while attaining both her coaching and fitness trainer certifications. Jaime currently works with Parks and Recreation Ontario, focusing on healthy child development in her role as Senior Coordinator, HIGH FIVE® Training and Stakeholder Engagement.  HIGH FIVE® is Canada’s quality standard for children’s programs while providing support for Adults and Seniors as well.
June 20, 2020
Women in Dance: Navigating dance education in this new climate /w Assistant Teaching Professor of Dance
At Canada’s National Academy of Dance Education we are proud to not only support women in dance leadership, but give our dance educators access to amazing women in dance leadership., because as The Dance Data Project states there are “gender imbalance in artistic and administrative leadership in dance companies, venues, and organizations.” Today we will discuss the current climate from the perspective of women in dance. We welcome the Founder/CEO of Women in Dance Ms Sandra Parks to our program today. GUEST: Sandra Parks is a choreographer, dance educator, and an advocate for female leadership. She is the founder and CEO of Women in Dance, a non-profit organization that promotes female leadership in dance and related fields. Sandra holds her BFA from New York University and MFA from Smith College, MA. Originally from Taipei, Taiwan, Sandra danced as a soloist with Four Seasons Ballet and Wu-I (ee) Dance Company. Sandra has been a faculty member of many renowned universities and colleges including Boston University and Louisiana State University. She is currently a full-time assistant teaching professor and the Dance Program Director at Drexel University.
June 20, 2020
The Dance Teacher – A Dancer’s Point of View with Former First Soloist of Canada's Royal Winnipeg Ballet
At Canada’s National Academy of Dance Education we know that by allowing our dance educators to hear a variety of perspectives with regards to teaching dance, that they will become more well-rounded dance educators that will allow them to access a variety of sources and strategies in these diverse studio environments. Which is why the perspective of the dancer matters. Today we are gaining some insight into the life of a professional ballerina. We will hear about some teaching styles that inspired her, and those that left her feeling weak and humiliated. We are very excited to have the brave, transparent, articulate, motivated and hardworking Sarah Murphy Dyson speaking with us today. GUEST: Sarah Murphy-Dyson was a 1st soloist with the Royal Winnipeg Ballet. After retirement, she was cast in the North American premiere of Dirty Dancing (Mirvish) which brought her to Toronto. Sarah has appeared on such shows as Suits, Diggstown, Rookie Blue, The Next Step, and as Isabelle’s ballet teacher in the recent American Girl movie. She has won a Gemini Award and has worked as a stunt double for Milla Jovovich, Kate Beckinsale and Jaime King. Ms. Murphy-Dyson holds a BFA in theatre from the University of Winnipeg.
June 20, 2020
Let’s Talk Bunions and Foot Pain in Dancers with Canadian Orthopaedic Clinical Specialist
At Canada’s National Academy of Dance Education we believe strongly in providing our dance educators with access to experts in the field of dance science and medicine. Dance injury diagnosis, assessment and rehab is best left to the experts who have devoted their life, education and research to the study of dance science and medicine, which is why today we are beyond excited to welcome one of Canada’s top physiotherapists specializing in dance injuries. GUEST: Alan has been awarded some of the most prestigious and most highly regarded honours in his field including becoming a Fellow of the Canadian Academy of Manipulative Physiotherapy and earning the title of certified Orthopaedic Clinical Specialist in Canada, becoming one of only a handful of physiotherapist to earn. He has earned a certification from the North American Institute of Orthopaedic Manual Therapy and is currently in the process of completing the prestigious Doctorate of Science in Physical Therapy (DScPT) program at Andrews University.
June 20, 2020
The ART of Stretching: Stretching to Prevent Injury - In conversation with a MScPT
At Canada’s National Academy of Dance Education, we believe in providing dancers with a whole dance education. This involves giving dancers access to a team of professionals who can help prevent, diagnose and treat dance injuries to increase the longevity of a dancer's career. This partnership includes a relationship with a registered physiotherapist. GUEST: Krista Ross holds an Honours Bachelor of Arts in Human Kinetics from St.Francis Xavier University and a Master of Science in Physiotherapy from Dalhousie University. Krista has obtained post-graduate certifications in advanced manual therapy skills, pelvic floor rehabilitation for both men and women, and core/pelvic floor considerations for female athletes. 
June 20, 2020
Studio Ownership, the first few years. What I know now, and what I wish I had known.
At Canada’s National Academy of Dance Education, we believe strongly in supporting our Dance Educators in all stages of their career, including Studio Ownership. So for today’s podcast we have invited 2 new Dance Studio Owners who have been in business for less than 3 years. We will discuss some of the challenges they faced opening their studio within the first few years with hopes of helping other new studio owners navigate these challenging years.
May 31, 2020
Establishing Pointe Readiness in the Adolescent Dancer - Current Guidelines from a Doctor of Physical Therapy
At Canada’s National Academy of Dance Education we believe in providing our dance educators with the most current and relevant practices in dance education which is why we are passionate about connecting you with experts like Dr. Jessica Davis who are academics, researchers, scientists and doctors in the field of dance medicine and science. GUEST: Dr Davis received her Doctorate in Physical Therapy from Chatham University and is a Board-Certified Specialist in Orthopaedics. She has been on faculty with numerous programs and universities including the Institute of Clinical Excellence and with Slippery Rock University Dance Department. Today we will debunk some myths and squash dated pointe shoe readiness assessments. Dr Davis will provide us with current research surrounding the assessment process, and provide some tips, tools and techniques to use when screening your dancers readiness for pointe. 
May 10, 2020
How to Navigate the Social and Cognitive Well-Being of your Dancers, While Creating a Trauma Informed Environment in the Dance Class - In Conversation with a Licensed Clinical Counselor
At Canada’s National Academy of Dance Education, we believe strongly in providing dance educators with the tools and knowledge they need to make informed decisions about their dancers' well-being both cognitively and physically. Having met and spoken with many dance educators across the country and beyond, one of the most important conversations that ensues surrounds the assessment of our current practices, and how they consider the cognitive and physical well-being of the dancer.  GUEST: Erica is a licensed clinical professional counselor and board-certified dance/movement therapist. She is also the founder and CEO of Chicago Dance Therapy, a group practice founded in 2011.  As an expert on the intersection of movement and mental health, Erica’s work has appeared across various platforms some of which include, Dance Informa Magazine, Buzzfeed, and Reader’s Digest. Erica has a multitude of experience in everything from cognitive and movement disorders to neurologic conditions, from PTSD to anxiety and depression, making her an expert of her practice.
April 25, 2020
Why Cross-Training for your Dancers is Important, and how Dance Educators can Set Up their Season to Include Cross-Training in their Programming.
At Canada’s National Academy of Dance Education, we believe strongly in empowering the dance educator. We accomplish this by providing our Dance Educators with access to the most relevant and current practices in 21st-century dance education. We also accomplish this by teaming up with people like Jennifer, who are specialists in their field of study. Dancers' injury prevention, care, and rehab are topics that we regularly discuss throughout our programming and events at CNADE. Today’s podcast, however, is going to focus specifically on the cross-training component of dance injury prevention and care especially for dancers with hypermobility issues.  Jennifer Milner is a ballet coach and certified Pilates trainer. She worked for Westside Dance Physical Therapy (the official physical therapists for New York City Ballet and the School of American Ballet), and has trained a variety of clients, from Olympic medalists to dancers from professional companies such as the New York City Ballet and San Francisco Ballet. 
April 25, 2020
Dance Injury Prevention, Care, Rehab and Recovery with a Doctor of Chiropractic
Join us as the Part 1 & Part 2 students of Canada's National Academy of Dance Education's Dance Teacher Training Program, engage in meaningful discussions with Dr. Setrakov about best practices surrounding their dancers injury prevention and care. Listen in as we address the role of the 21st-Century Dance Educator in dance injury prevention and rehab. GUEST: Dr Setrakov began dancing at the age of 3 and continued dancing as a competitive and exam dancer most of her life. Dr Setrakov graduated from the University of Saskatchewan with a Bachelor of Science. She is also graduate or the Palmer College of Chiropractic. As a practicing Chiropractor at ONE Wellness Group in Hamilton, ON Kirsten is currently completing her Contemporary Medical Acupuncture course at McMaster University. We welcome Dr. Setrokov to our program. Dr Setrakov is a Doctor of Chiropractic currently studying contemporary acupuncture at McMaster University. 
March 28, 2020
Societal Influences in/on Dance Education: Selma Odom Lecture Recap with a Doctor of Dance Studies
CNADE presents... Dr Tanya Berg PhD in Dance Studies: Societal Influences in/on Dance Education An afterthought and recap from Dr. Tanya Berg's presentation at the Selma Odom Lectures at York University in Toronto, Canada.
February 1, 2020
Dance Education in Public Schools - A discussion surrounding its current state and a call to action for school board administrators
CNADE presents... CNADE's Founder/Director Jolanta Oko and 2 x CNADE-DTTPV Grads who are all Dance Educators' both in the classroom and studio settings.  This group of 3 experienced and educated scholars, researchers and students discuss Dance Education in Public Schools - A discussion surrounding its current state and a call to action for school board administrators.
February 1, 2020
Why CNADE's Online Dance Teacher Training is changing the norms for dance teacher training.
Meet 3 graduates from Canada's National Academy of Dance Education Online Dance Teacher Training Program. Hear from these Part 3 grads first hand why Canada's National Academy of Dance Education was their school of choice for acquiring certification as a Dance Educator.
May 19, 2019