Disability Belongs in Dance

In this episode of DanceCast, Silva interviews Melissa van Wijk, founder and director of Born Dancing, a nonprofit based in New York City that creates performances featuring dancers with and without disabilities, orchestrates dance education opportunities for children with disabilities, and supports the entry of people with disabilities into the dance field. She shares how one day on a train in Manhattan she realized she had never been in a dance class with a person who uses a wheelchair or who is Deaf. It catalyzed an interest in integrating disability, in both performance and education spaces, that would reshape her life. She believes we should be teaching all students that disability belongs in dance.

Melissa van Wijk was born and raised in The Netherlands where she attended Dansakademie Brabant and performed with the Elisabeth Dancers and Dans Studio Gerda Zaandam. She is the founder and director of Born Dancing andserves as choreographer for their original dance productionsand as lead dance educator for their education programs. She holds five NYS Teaching Certifications and has taught dance at NYC Public Schools in all five boroughs, working primarily in special education. Melissa has choreographed performances at The Cunningham Studio and Mulberry Street Theater among others. She is a Doctoral Candidate working on her dissertation research in Dance Education at Columbia University Teachers College. Previously Melissa worked as a Teaching Artist for New York City Ballet and Young Audiences. Melissa served as  program director of an infant movement program at Gymtime/York Avenue Preschool and currently works as a SEIT (Special Education Itinerant Teacher) and Early Intervention Specialist in New York City. 

To learn more about Born Dancing, visit www.borndancing.org.

In this episode of DanceCast, Silva interviews Gladys Agulhas, a multi-award-winning independent dance artist, choreographer and dance facilitator who has pioneered inclusive dance practices in South Africa. Gladys shares her early love of dance and social work during apartheid and how an introduction to Adam Benjamin's " Table stories" created for Candoco Dance Company changed her trajectory. She describes how she learned from the dancers with disabilities themselves working in relative isolation in South Africa where disability carried stigma and basic access was not met. She created her own ways of working with blind and Deaf artists and people with other disabilities, as well as parents of children with disabilities and how they can find self-care through dance. She reflects on the state of inclusive dance in South Africa.

Gladys Agulhas has more than three decades of experience in Johannesburg thinking of the body as a visual, tactile, spatial, emotional and healing mechanism and auditory medium. Her integrated dance studies started with renowned teacher Adam Benjamin. She has a long history of involvement in dance in education and started The Foundation of Community Arts in Eldorado Park, a platform where community families can access and experience the excellence and transformative elements of the performance arts through active participation and international collaboration. Gladys is a member of various research networking groups that help marginalized community members, especially persons living with disabilities and senior citizens. She is the founder of former Agulhas Theatre Works – Inclusive Contemporary Dance Company which presented work locally and internationally.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

Breadth of Bodies: Discussing Disability in Dance seeks to investigate stereotypes often used to describe professional dancers with disabilities. Spearheaded by Emmaly Wiederholt and Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team interviewed 35 professional dance artists with disabilities around the country and world, asking about training, access, and press, as well as looking at the state of the field.

Purchase your print copy of Breadth of Bodies: Discussing Disability in Dance on Amazon, Barnes and Noble, Herringbone Books, Green Apple Books, Walmart, and other online retailers.

Purchase your ebook copy on Kindle, Kobo, Scribd, and other platforms.

Purchase your audiobook copy on Audible.

Details: Authored by Emmaly Wiederholt and Silva Laukkanen, illustrations by Liz Brent-Maldonado, design by Christelle Dreyer, edited by Donne Lewis and April Adams, audiobook narrated by Sami Kekäläinen.

“I Have Terrible Anxiety but I Love Being Onstage” 

In this episode of DanceCast, Silva interviews her intern Emily Heath, a dance student at Bennington College. As a young person, Emily reflects on the economic uncertainty of pursuing dance and their desire to learn more entrepreneurial and marketable skills in addition to somatic-based curriculum. Emily reflects on their ongoing experience of anxiety, and how they now feel supported in dance environments but acknowledge that getting a diagnosis and treatment can be a privilege. Their future goals feel tempered by the pandemic, but they describe their interest in exploring digital spaces and developing a movement vocabulary to process emotion. Finally, Emily expresses how showing up with anxiety in dance spaces is an ongoing negotiation.

Text by Emmaly Wiederholt

Emily Heath is a dancer and student at Bennington College. They have studied many different styles for more than 10 years. The work they are doing now is centered around understanding their internal landscape and how dance can become a tool to heal. They are curious about how to make dance accessible to those who may not feel welcome in the dance community for various reasons. They believe that every person and experience has something to teach them and they are excited to learn those things. 

Check out my collaborator Stance on Dance  which is a 501c3 dance journalism nonprofit that educates the dance community and wider audiences about dance from the perspective of underrepresented voices and access points. 

To see more about what I do, check out bodyshift.org.

Emily Heath's video project about anxiety "Whirlpooling Thoughts" is coming soon. 

Exploring How Performance is Experienced

In this episode of DanceCast, Silva interviews Jess Curtis, an award-winning choreographer, performer, and scholar based in San Francisco and Berlin. Jess reflects on his entrance to dance through skiing and how he was immediately hooked to being onstage. He shares how his career took a turn when he accepted a job in an interdisciplinary nouveau cirque company in France, and how he later established himself in Berlin while still running his company Jess Curtis/Gravity in the Bay Area. A pivotal working relationship with Scottish disability dance artist Claire Cunningham turned Jess’ focus toward integrating access accommodations like sign language interpretation or audio descriptions into performance. This work also informed his PhD, which looked at phenomenologies of perception and how vision is over-utilized in performance.

Text by Emmaly Wiederholt

Jess Curtis is committed to an art-making practice informed by experimentation, innovation, critical discourse, and social relevance at the intersections of fine art and popular culture. He has created and performed multidisciplinary dance performance throughout the US and Europe with seminal group Contraband, the radical performance collective CORE and the experimental French circus company Cahin-Caha, Cirque Batard. From 1991 to 1998, he co-directed the ground-breaking San Francisco performance venue 848 Community Space with Keith Hennessy and Michael Whitson. In 2000, Jess founded his own trans-continental performance company, Jess Curtis/Gravity, based in Berlin and San Francisco. In 2011 he was presented the prestigious Alpert Award in the Arts for choreography and the Homer Avila Award for innovation in physically diverse performance. Jess is active as a writer, advocate, and community organizer in the fields of contemporary dance and performance, and teaches dance, contact improvisation and interdisciplinary performance for individuals of all abilities throughout the US and Europe. He has been a visiting professor at the University of California at Berkeley and the University of the Arts in Berlin. He holds an MFA in Choreography and a PhD in Performance Studies from the University of California at Davis.

To learn more, visit www.jesscurtisgravity.org.

Check out my collaborator Stance on Dance  which is a 501c3 dance journalism nonprofit that educates the dance community and wider audiences about dance from the perspective of underrepresented voices and access points. 

To see more about what I do, check out bodyshift.org.

In this episode of DanceCast, Silva interviews disabled dance artist and researcher Kate Marsh. Based in the UK, Kate shares her perspective as an assistant professor at Coventry University. She reflects on how the discourse on disability has evolved during her career, from breaking literal barriers to breaking attitudinal barriers, and yet how today’s dance education landscape is experiencing economic cuts. She discusses her personal trajectory and how the pipeline she traversed is the epitome of a successful career in dance, and yet how so much of success in dance is based on luck, especially for those dancers with disabilities. She questions what institutions can learn from the bespoke training that disabled dancers have been giving themselves for a long time.

Kate Marsh is a disabled dance artist and researcher with more than 20 years of experience in performing, teaching, making, and researching dance. Her interests are centered around perceptions of the body in the arts and notions of corporeal aesthetics. Specifically, she is interested in each of our lived experiences of our bodies, and how this does (or doesn’t) inform our artistic practice. Her practice-research focuses on leadership in the context of dance and disability and draws strongly on the voices of artists to interrogate questions around notions of leadership, perceptions and the body. Kate’s work is strongly fed by co-design and co-facilitation, where we all arrive into our practice from our own place and pace, and this informs the ways we work together, privileging all experiences and ways of being, and prioritizing a playful, accessible and generative environment. 

How Dance is Taught / Daniel Levi-Sanchez. 

In this episode of DanceCast, Silva interviews the dance educator Daniel Levi-Sanchez. Daniel reflects on his formative years teaching himself street forms as well as eventually receiving more traditional training from the Inner-City Ensemble Theatre and Dance Co., from Juilliard, and from Twyla Tharp herself. Daniel advocates for a teaching style that empowers students instead of isolates them. He muses on how a ballet or jazz class will lose a lot of students if the class is presented in the public schools, or how students who go to a studio often end up dropping out after high school or college. In 2019, Daniel was diagnosed with an autoimmune disease and acquired a disability. After successfully completing a dance challenge from an old colleague, Daniel began to revisit dance with a focus on dance teachers with disabilities.

Text by Emmaly Wiederholt

Daniel Levi-Sanchez, from Paterson, New Jersey, received his formal dance training from the Inner-City Ensemble Theatre and Dance Co. and the Juilliard School of Dance. He performed with Twyla Tharp Dance, American Ballet Theatre, and ODC/San Francisco and is a dance educator with a master’s degree in Education from Rutgers University. Daniel has taught ballet and modern dance at Rutgers University, Raritan Valley Community College, and for three years at PS 191, The Paul Robeson School in Crown Heights Brooklyn. In 2019, Daniel was diagnosed with Myasthenia Gravis, a neuromuscular disorder brought on by an autoimmune response resulting in permanent disability. Today, Daniel is focusing on his health first, as well as finding ways of remaining involved in the dance community through advocacy for teachers with disabilities, advice for dancers and teachers, writing and testing the limits of what he can and cannot do in the hope of someday being able to teach again. Daniel currently resides in Kingston, Rhode Island.

This episode was published in collaboration with Stance on Dance.

And more about Silva does at Art Spark Texas check out the dance programs website, bodyshift.org

In this episode of DanceCast, Silva interviews Tebandeke Joseph, an African contemporary dance artist based in Uganda. He shares how athletics led him to contemporary dance, and how he sees dance as an engine for change. Tebandeke aims to change the community perspective on disability through street performances and through the schools. He dreams of eventually opening an accessible dance center with an adjoining library about dance and sports so people with disabilities can have more support and exposure. Tebandeke describes how the village mindset in his country believes dance isn’t valid, and the effects of the pandemic have hurt the existing dance scene even further. He believes a center for dance in Uganda would go a long way to rectifying many of the problems he perceives. Finally, Tebandeke discusses the need for role models because the experience of disability in Africa is much different than in Europe, and more role models would normalize and empower people with disabilities in Uganda.

Text written by Emmaly Wiederholt. 

Tebandeke Joseph practices disability inclusion in Uganda and has set up platforms and projects that make people with and without disabilities in Africa believe in themselves. He believes dance is a language that all can access in an era of post colonialism and decolonization. He has worked in different locations such as the Freiburg contact improvisation festival (Germany 2019), East Africa Nights of Tolerance (Rwanda 2017), Tuzinne Festival Where Human Rights Dance (Uganda 2017 - 2018), Ubumuntu Arts Festival (Rwanda 2018) and Segou’ Art (Mali 2019). As an active choreographer, Tebandeke has created several productions with Candoco Dance Company (United Kingdom), Splash Dance Company (Uganda), Mambya Dance Company and Pamoja Dance Company (Kenya). Tebandeke also runs free workshops in his local communities once a week to promote inclusion in dance. He hopes to share contemporary dance to youth with and without disabilities. It is a passion that fuels him to this day.

Joseph has been invited the teach in a festival in Helsingborg Sweden and is currently fundraising money for travel, visa and insurance costs. Any amount and each share helps him reach his goal. Thank you! 

https://gofund.me/db6b0da4

Check out DanceCasts awesome collaborator Emmaly Wiederholt's work at Stance on Dance

And more about Silva does at Art Spark Texas check out the dance programs website, bodyshift.org

Link to Joseph Tebandeke's YouTube, is here. 

In this episode of DanceCast, Silva interviews Magda Kaczmarska, a dancer, researcher, and creative aging teaching artist based in New York City. Magda describes how her path as an immigrant with a background in dance and the sciences shaped her interest in and commitment to community based dance in the field of creative aging.  She revisits how exposure to Dance for PD®, a program by Mark Morris Dance Group for people with Parkinson’s led her to eventually leave her research career in pursuit of an MFA in Dance. An injury during grad school reinforced her career focus to expand access to creative aging for all communities. In NYC, she worked with the company Dances for a Variable Population with whom she supported 100s of diverse older adults in exploring their creative expression through movement. Now, as an Atlantic Fellow for Equity in Brain Health, she is working to expand creative aging programs globally, building programs that support brain health across the life span and allying with communities of people living with dementia to amplify their creative voice. She expands on her belief that aging is a lifelong process, and at any point in our lives, our experience that can be translated into creative expression through movement. She invites us to consider and question how better we can support interconnectedness and meaningful creative expression for all as we age.

Text by Emmaly Wiederholt

Magda Kaczmarska received her MFA in Dance Performance and Choreography and her BS in Biochemistry and Molecular Biophysics from the University of Arizona. Magda has dedicated her career to utilizing the vehicle of dance and movement to amplify and support creative community. Her multidisciplinary work leverages a dual background in neuropharmacology and dance to build bridges between seemingly disparate sectors. Through all her work, she seeks to foster safe, creative, and inclusive spaces for discovery, agency and meaning. She believes all of us possess the ability to harness our creative expression to support building meaningful communities around us. As an Atlantic Fellow for Equity in Brain Health at the Global Brain Health Institute, Magda builds collaborations to design and expand access to creative aging programs that support brain health across the lifespan.

To learn more about Magda’s work, visit magdakaczmarska.com.

To read more interesting dance articles visit, stanceondance.com

To learn more about Silva's work at Art Spark Dance visit, bodyshift.org

Rachel describes how she had always wanted to teach special education, but her path led her on a professional dance track first. She eventually switched careers to public education through the New York City Teaching Fellows Program. To her surprise, her principal (no “s”) requested she teach movement and dance across multiple school sites instead of general education serve as a classroom teacher, so she became a dance educator to students with severe disabilities. That experience restructured how she thought about movement, what movement means to students, and what goals benefit them. The inquiry led Rachel to become passionate about writing dance curriculum that infuses academics and developing creative assessment tools.

Text by Emmaly Wiederholt

Rachel McCaulsky (MSEL, MST, BFA) is the arts coordinator, remote learning unit coordinator, and movement teacher at P396K, a New York City Department of Education District 75 school servicing students with severe to profound disabilities. She incorporates movement into the school’s curriculum, creating units of study that fuse literacy and social studies with dance. Her movement units have been published multiple times in the NYC Department of Education Blueprint for Teaching and Learning in Dance. Rachel holds a master’s degree in Educational Leadership, a dual master’s degree in Childhood Education and Childhood Special Education, and a bachelor’s degree of fine arts in Dance. She has performed with Complexions Contemporary Ballet, Ballet Hispanico, Ailey II, and Dallas Black Dance Theatre.

You can find Rachel's frog life cycle unit here: https://drive.google.com/drive/folders/1ZS03Y2q_3yVUwI1nmGkcxl3wSfs-ctLn

Advocating for Inclusive Dance in the Public Schools

In this episode of DanceCast, Silva interviews New York-based dance educator and advocate Sandi Stratton-Gonzalez. Sandi shares her dance beginnings and describes how she always identified as a teacher, even as she pursued performance opportunities, which directly led to her career as a dance educator in the public schools. She ended up working for 20 years at the first fully inclusive public school in the country, where there was also a robust performing arts program. Sandi reflects on the value of those experiences and how they informed her later work in city-wide efforts to represent dance educators and advocate for students with disabilities. She talks about how she’s staying active in the field post-retirement and adapting to online spaces.

Text by Emmaly Wiederholt, founder of Stance On Dance.

Sandi Stratton-Gonzalez taught dance to children with special needs in inclusion and self-contained classrooms for more than 20 years at PS 372 in Brooklyn. Recently retired from the classroom, Sandi is the coordinator of the Arnhold Programs for Dance Educators and the Dance Transition Team Leader at the Office of Arts and Special Projects in NYC. She is a professional development facilitator with the Arts for Students with Disabilities Team (NYC), advocacy director for the NYS Dance Education Association and teaches dance for students with disabilities for NDEO. A member of NDEO since 2005, Sandi works with the NDEO Dance and Disabilities Task Force, whose goal is to increase the organization’s capacity to support the dance and disability community. She is co-author (with C. Gallant and D. Duggan) of Dance Education for Diverse Learners: A Special Education Supplement to the Dance Blueprint and has been published in Dance: Current Selected Research Volume 7 and Dance Education in Practice, where she is a member of the editorial board. Sandi was an adjunct professor at Hofstra University from 2008-2018, teaching Dance in Elementary Education. Prior to teaching fulltime, Sandi was the founding artistic director of Soundance Repertory Company (1984-1999), and her choreography has been presented throughout the Northeast.

In this episode he describes how he reluctantly came to dance after learning about it from another wheelchair user, and how he found integrated dance to be radically different than the dances of his culture. Kadar reflects on the therapeutic and social benefits of dance, and how performing boosted his confidence as both a person with a disability and as an immigrant. He shares more about his involvement with an all-wheelchair group that improvises about the environment and accessibility, as well as why he decided to become a member of DanceAbility Finland’s board to promote dance to other disabled immigrants.

Text by Emmaly Wiederholt.

This episode was originally part of X Dance Festival. 

This episode was published also at Stance on Dance. 

You can see Perch on Tuesday the 8th of June 2021. This performance is donation based and you can register here. 

Perch is part of the X Dance Festival 2021. 

You can find out more about Amy Voris and Katye Coe and about their impressive work in the field of dance and Somatics. 

In this episode of DanceCast, Silva interviews Tali Wertheim and Hai Cohen, artistic directors of Vertigo Power of Balance, an Israeli based inclusive dance company. Hai describes how he came to dance almost by accident, meeting Tali in a workshop led by Adam Benjamin that culminated in a performance. Tali shares how she and Hai felt that contact improvisation and inclusive dance needed to continue in Israel. They fervently studied Adam Benjamin’s exercises, and within a year Vertigo Power of Balance was born. Tali and Hai speak about how they developed their teacher trainings for one teacher with and one teacher without a disability, as well as their summer intensive programs. They also share the process developing their most recent piece, Shape on Us, choreographed by Sharon Fridman, through a pandemic and war. Hai describes how he was struck by the raw and real way in which Sharon chose to display disability in the piece.

Text by Emmaly Wiederholt. 

You can learn more about Vertigo Power of Balance on this link. 

This episode was originally recorded for X Dance Festival.

This episode is published also at Stance on Dance. 

Photo by Yoel Levy.

In this episode of DanceCast, Silva interviews Georgie Goater, a dance artist and pedagogue based in Helsinki, Finland where she moved from Aotearoa (New Zealand). Georgie describes her early attraction to dance as a place of nonverbal communication where she discovered through improvisation that there is no right or wrong. She reflects on her introduction to integrated dance through Touch Compass Dance Company in New Zealand. Later, her path led her to Helsinki, Finland, where she concentrated on pedagogy and immersed herself in the Finnish dance community. Silva and Georgie contemplate the importance and impossibility of acknowledging one’s dance lineage and who shaped them along the way. Finally, Georgie reflects on her experience performing in choreographer Kat Rampackova’s recent work and her hopes for the future.

Text by Emmaly Wiederholt. 

Georgie Goater is a white, non-disabled dance artist and pedagogue from Aotearoa (NZ) based in Helsinki. She gained her MA in Dance Pedagogy from the Helsinki Theatre Academy in 2019, and her BA in contemporary dance from Unitec NZ in 2006. Her dance, choreographies and writing stem from collaboration and betweenness, as well as bodily interests in materiality, dreaming, and process-oriented creation. She has had the privilege of working with choreographers in NZ, Finland and the UK, as well as inclusive dance companies Touch Compass and Kaaos Company. She values dialogical practices and the body as a site for shared learning and making.

This episode was orginally recorded as part of the X Dance Festival .

Learn more about Georgie’s work, visit www.georgiegoater.com

This episode is also published at Stance on Dance.

Today my episode is with a dance student Ida Mokki who talks about her journey to the dance world and her dreams after graduating in December from Live Vocational College.

Ida is teaching with her fellow student two of the Daily Dances that are happening for the first seven mornings (6-12.6.) during the X Dance Festival at 11-11.30am EEST. Check out this awesome promo for the Daily Dances here.

This episode is mostly in Finnish.

"Olen 25-vuotias ja opiskelen Ammattiopisto Livessä viimeistä vuotta tanssijaksi.Rakastan tanssimista, koska sen avulla pystyn tutustumaan itseeni ja siihen mitä kaikkea voin olla. Tanssijana hyödynnän paljon sisäisyyttäni ja tanssin omia tunteitani näkyväksi. Tanssin muodoista eniten lähellä sydäntäni on improvisaatio. " -Ida Mokki

In this episode of DanceCast, Silva interviews dance artist Elisabeth Motley, a New York City-based choreographer, scholar, and teacher whose work is concerned with disability as a framework for creative practice. Elisabeth describes how her journey began in rigorous normative dance practice and how she came to disability by way of a recurring brain disease that impacts her physical and cognitive abilities. Her pedagogy revolves around her own experience and her dreams of a curriculum that is not fixed and that centers disabled students. She pushes boundaries as a teacher with a disability in higher education and works in ways that refuse the system.

Elisabeth Motley has a PhD from University of Roehampton in Dance Studies focusing on choreography and disability dance, an MFA in Interdisciplinary Arts from Goddard College, and a BFA in Dance from The Juilliard School. Elisabeth is a 2025 Brooklyn Arts Exchange (BAX) Artist in Residence. She has been a 2023 Movement Research Access. Movement. Play. (AMP) Artist in Residence, a 2019-2021 Movement Research Artist in Residence, a 2020 & 2021 Dance/NYC Disability. Dance. Artistry. Dance and Social Justice Fellow and is a recipient of the 2018-2019 Fulbright US-UK Scholar Award. Elisabeth is the co-creator of Crip Movement Lab (co-created with Kayla Hamilton), a pedagogical framework centering cross-disability accessible movement practice. Her writing has been published in Dance Chronicle and Choreographic Practices Journal.

In this episode I spoke with Kati Raatikainen, choreographer, performance artist, dance and yoga teacher, and a thinker that likes to write.

We spoke about Kati's interests and her latest work Kvartetto that will be performed at the X Dance Festival on the Wednesday the 9th and Thursday the 10th of June, Thursdays performance is also being live streamed. 

You can get your tickets to Kvartetto here: https://tinyurl.com/kvartettoXDF-2021tickets

Here are links to things that Kati was mentioning on the podcast:

https://www.erkkajooga.com
 

https://www.facebook.com/erkkajooganvertaiset
 

https://www.valokeilassakoillinen.fi/tapahtuma/koillisesta-koilliseen-osaprojektissa-syntyy-paikallisten-taidetekoja/
 

http://www.liikekieli.com/tanssitaide-ekososiaalisesti-kestavassa-yhteiskunnassa-1-2020/

In this episode of DanceCast, Silva interviews Kat Rampackova, a choreographer, performer, and dance activist based in Barcelona, Spain. Kat shares her journey finding herself as a freelance dance artist after studying theater, contemporary dance, and improvisation across Europe. She is the co-founder of Priestor Súčasného Tanca (PST), a place for developing contemporary dance in her native city Košice in Slovakia. Kat describes PST’s emphasis on access, not elitism, and how that led her into the world of inclusive dance. Her recent piece, Mirage, is a collaboration with Finnish dance company Kaaos and is inspired by the artistic work of Catalan visual artist Joan Miró. Another international project Kat is involved with, Sound in the Silence, takes young people to places of historical significance for educational and artistic workshops. She talks about how learning history and transforming a place through art and dance can be a cathartic experience.

Follow Kat on Instagram at @katrampackova.

Here are links to her work and to the art space that she co-founded PST.

PST - Priestor Sucasneho Tanca: https://www.facebook.com/pst.kosice 

Here are clips of her previous works, performative-choreographic exposition in collaboration with Sztuka Nowa -theater company based in Warsaw, Poland, dance performance for children Jumika  and inclusive dance performance Body Recognition.

This interview was originally part of X Dance Festival.

In this episode of DanceCast, Silva interviews Finnish artist/theater director Teemu Mäki and Finnish dance artist Maija Nurmio about their collaborative work Éliane, which is based on the French composer Éliane Radigue's composition L'Île Re-Sonante. Teemu describes why he was drawn to Radique’s experimental music and how a collaboration sprung up between himself and Maija. Maija shares how Radique’s music had a physical effect on her, how they negotiated creating a work that included choreography, film, visuals and Teemu's spoken-word poem that was influenced by the events of a mass murder that happened in Norway a decade ago. The work wrestles with mortality, the meaning of art, and the purpose of experimental music/art-making.

Text by Emmaly Wiederholt. 

You can find more information about each one of them, by clicking their name Éliane Radigue, Teemu Mäki and Maija Nurmio.

This episode was originally recorded to be part of X Dance Festival 2021. 

DanceCast partners with Stance on Dance .

In this episode of DanceCast, Silva interviews her collaborators from the Discussing Disability in Dance Book Project: dancer/writer Emmaly Wiederholt, and visual artist Liz Brent-Maldonado. The project has been a four-year process interviewing 25 professional dancers around the world who identify as having a disability. Together, Silva, Emmaly, and Liz discuss the impetus for the project, what themes they've seen emerge, how they've grown in their understanding of disability while working on it, and how they hope the book project serves as a jumping point for other perspectives and conversations regarding disability in dance.

To learn more about the Discussing Disability in Dance Book Project, visit http://stanceondance.com/discussing-disability-in-dance/.
And to donate to the GoFundMe to cover illustrator, designer, printing and audiobook fees, visit https://gofund.me/1d44d437

Turning Setbacks into Comebacks

In this episode of DanceCast, Silva interviews Zazel-Chavah O’Garra, founder and artistic director of
ZCO/DANCE PROJECT, a physically integrated dance company in New York City. Zazel shares the story of
her benign brain tumor that left her partially paralyzed and how she began her dance company after
performing at the Brain Tumor Foundation’s Awareness Day. She also discusses what her company is
doing to stay active through the pandemic, how she works to prepare students with disabilities to
pursue a career in the arts, and why she urges dance majors in college to pursue double majors.

Photo credit to Meri Greene.

Text by Emmaly Wiederholt.

Interview with Karen Daly; Being Seen as A Dancer

In this episode of DanceCast, Silva interviews Karen Daly, a dancer in Eugene, OR with DanceAbility
International. Karen shares the story of her entrance into dance in her 40s and some highlights from her
career working with DanceAbility. She also discusses the process of creating performances through
DanceAbility’s framework, and how the principles of sensation, relationship, time and design serve to
augment the performers’ ability to communicate to each other and to the audience. Finally, she reflects
on how it’s sometimes still difficult to see herself and be seen as a dancer.

Text by Emmaly Wiederholt

http://stanceondance.com
https://www.bodyshift.org
https://www.amazon.com/Joy-Ride-One-Legged-Journey-Self-Acceptance-ebook/dp/B077YB9VVL/ref=sr_1_1?keywords=joy+ride+my+one+legged&qid=1574101046&sr=8-1
https://www.artsparktx.org

Interview with Roman Baca; Dancing the Veteran Experience

In this episode of DanceCast, Silva interviews Roman Baca, who is an Iraq War veteran, the director of EXIT12 Dance Company, and an MFA candidate in Choreography at Trinity Laban Conservatoire in London. He describes his upcoming MFA final performance, which seeks to choreographically share the experiences of five veterans on the lawn at Trinity Laban. He also shares his transition back to civilian life after serving in the Marine Corps, how finding dance again was necessary to overcome his internal anger and frustration after serving in Iraq.
Text by Emmaly Wiederholt

http://exit12danceco.org
https://vimeo.com/312834658
http://www.stanceondance.com
http://www.bodyshift.org

There’s No Such Thing As “We Can’t Do Something”

In this episode of DanceCast, Silva interviews Karenne Koo, a dance artist in Tucson, AZ, committed to developing and practicing multidisciplinary approaches to encourage and stimulate the art of inclusive dance as an instrument for building community. Here, she discusses her involvement with the Mettler-based dance community and the breadth of her outreach work – from working with survivors of trafficking and abuse, to children with severe medical issues, to low income families, to adults and children with diverse abilities, to horses. She reflects on how her own community makes all the facets of her work possible.

https://www.karennekoo.net
https://www.dancesequences.com
https://www.barbaramettler.org
https://www.artsparktx.org
https://www.bodyshift.org
https://www.stanceondance.com

Interview with Michaela Knox: Expanding the Dance Community

In this episode of DanceCast, Silva interviews Michaela Knox, a DanceAbility instructor who recently initiated an inclusive dance program in Maine. Michaela looks back on her early desire to work with people who don’t identify as dancers. She discusses her time working with schoolchildren through the National Dance Institute of New Mexico, and how she eventually felt like she couldn’t effectively teach or integrate students who might be Deaf or non-verbal. Since training in DanceAbility, Michaela shares more about her budding inclusive dance program in Maine and her longer-term goals.
Text by Emmaly Wiederholt

http://stanceondance.com
http://bodyshift.org
http://www.sparkdanceprogram.org

A Philosophy of Inclusion

In this episode of DanceCast, Silva interviews Olivia O’Hare and Veronica DeWitt, her colleagues at Body
Shift in Austin, TX. They each share their entry points into improvisational dance and DanceAbility in
particular, as well as discuss the strengths of DanceAbility, its philosophy of inclusion, and how Body
Shift was built on that foundation. They also share how they’ve applied the methodology to other areas
of their practice like theater and fitness.

https://www.bodyshift.org
http://stanceondance.com
http://stanceondance.com/discussing-disability-in-dance/

In this episode of DanceCast, Silva interviews dance artist Devin Hill. Devin describes their experience growing up with a rare eye condition and how it affected their motor skills. Their mother put them in dance to help with balance and coordination. Devin shares their experience pursuing dance in college and learning to be an advocate for themself as a dancer with a disability by communicating their needs. They share how change often starts with just having people with disabilities be in the room. Devin reflects on their undergraduate experience and how institutions need to start taking responsibility for making their dance programs accessible and available to students with disabilities. As Devin has become a teacher and taken on leadership roles, they have been empowered by breaking down ableism in dance and giving others an opportunity to directly express what they need.

This episode is part of a series interviewing institutions with inclusive dance programs and individuals who identify as disabled and have experienced formal dance education as either students or teachers. This series is part of Silva’s ongoing work as the director of Art Spark Texas’ dance program. This year, she is continuing the multi-year community-engaged research project, funded in part by the National Endowment for the Arts, that explores disability-centered accessibility in dance education and how we can create barrier-free dance education for students with disabilities in the US.

Devin Hill is a graduate from the University of Central Oklahoma with a BFA in Dance Performance. Their love of dance began at the age of three and has lasted more than 20 years. Devin set sights on dance as a career during their time at Collin College in Plano, TX.  While at Collin College, they were exposed to jazz, ballet, modern, hip hop, tap, African, improvisation, and Latin ballroom. Devin has had the opportunity of working with Christopher K. Morgan, William “Bill” Evans, Clarence Brooks, Brandon Fink, Hannah Baumgarden, Jeremy Duvall, Gregg Russell, Lachlan McCarthy, Kristin McQuaid, and Cat Cogliandro. They were a member of the 2015-2016 award-winning Kaleidoscope Dance Company. Since graduating from UCO, they have continued to further their knowledge of dance by performing, choreographing, teaching, and participating in intensives and workshops across the US. In 2018, Devin had the honor of performing with Liz Lerman’s Dance Exchange at the John F. Kennedy Center for the Performing Arts. They were also a cast member on the hit Facebook Watch series “Dance with Nia.” Devin currently resides in Washington D.C. and New York City, where they perform and educate as a member of catastrophe! Dance Company, ReVision Dance Company, and Kinetic Light. Devin also serves as a board member for Feel The Beat and is an educational specialist for Bodywise Dance. Devin strives to use their artistry to create a more safe, equitable, and accessible dance industry for everyone.

“It Comes Down to Loving Movement”

Text by Emmaly Wiederholt

In this episode of DanceCast, Silva interviews Ginger Lane, a Chicago based dancer, teacher and
choreographer. Ginger shares how the themes of dance and disability activism have come together in
her career, specifically through her involvement with Access Living and MOMENTA Dance Company. She
discusses the struggle that physically integrated dance faces in being seen as a legitimate art form, the
slow progress in the US as compared to Europe, and the difficulty building repertoire in physically
integrated dance.

https://www.accessliving.org
http://momentadances.org
https://3arts.org/artist/ginger-lane/
https://stanceondance.com
https://bodyshift.org

Interview with Sally Davison; The Language of the Body is the Oldest Language.

In this episode of DanceCast, Silva interviews Sally Davison, a dancer, choreographer, and master
DanceAbility teacher in the UK and Finland. Sally discusses the strength of DanceAbility as valuing
participant-led knowledge and making inclusion possible. She asserts that DanceAbility is not just about
disability, but about the beauty of giving space to others and moving beyond one’s own patterns to
listen to someone else’s vocabulary or timing. Silva and Sally also discuss how embryology and birth, as
well as basic movement patterns, can affect a person’s sense of body and self.

Text by Emmaly Wiederholt

https://www.bodyshift.org
http://stanceondance.com
http://www.danceabilityfinland.com
http://danceabilityfinland.com/kaaos/

Access is Good for Everybody

Text by Emmaly Wiederholt

In this episode of DanceCast, Silva interviews Aaron Wheeler-Kay, creative director of Echo Theater
Company in Portland, Oregon. Aaron, a master DanceAbility teacher, shares how he applied
DanceAbility to create an accessible circus arts space, as well as leverage his privilege to feature and
support other voices. After teaching DanceAbility to his staff, he describes the shift in culture at the
company and how creating an accessible space isn’t a checkbox but an ongoing process and continuous
reassessment.

Aaron Wheeler-Kay lives in Portland, Oregon, where he is the creative director of Echo Theater
Company, a non-profit with a focus on combining different performance disciplines including circus arts,
dance and devised theater to produce original performance works. Aaron teaches dance, acrobatics and
aerial arts to people of all ages and abilities. He became certified to teach DanceAbility in 2016.

https://www.bodyshift.org
http://www.echotheaterpdx.org
https://www.danceability.com
http://stanceondance.com

Dance Applied to Real Life

In this episode of DanceCast, Silva interviews Margot Greenlee, a choreographer, theater director and
artist educator based in Washington DC. Here, Margot discusses her involvement with Jacob’s Pillow’s
Curriculum in Motion® and her own project, BodyWise Dance, which provide dance classes and
workshops for individuals and groups in healthcare, education and corporate settings that offer
movement as a way of learning and processing information. She details one program of BodyWise
wherein dance and theater practitioners work with a group of people with intellectual disabilities to
create and perform an original show with the goal of using performance as an opportunity for community integration.

Text by Emmaly Wiederholt

http://stanceondance.com
http://www.bodywisedance.com
https://www.jacobspillow.org/programs/community/jacobs-pillow-curriculum-in-motion/
https://www.bodyshift.org

Experiencing the Democracy of Dance

In this episode of DanceCast, Silva interviews Connie Vandarakis, a master DanceAbility teacher
in Philadelphia. Connie shares her unusual entrance to dance, her experience in academia, how
chronic hip pain and a hip replacement led her to DanceAbility, and why she deeply believes in
the curriculum of DanceAbility. Her drive to serve in the arts felt answered by DanceAbility’s
mission and vision. She describes how the use of improvisation calls for everyone to be
responsible in the moment, both in and out of the dance studio.

https://www.danceability.com
http://stanceondance.com
http://www.bodyshift.org
https://www.who.int/disabilities/world_report/2011/report.pdf

Interview with Jana Meszaros; Promoting Freedom and Equality

In this episode of DanceCast, Silva interviews Jana Meszaros, a DanceAbility instructor in Eugene, OR.
Jana describes her small-town upbringing, how she discovered DanceAbility through contact
improvisation, and her road to becoming a Master Teacher. She shares her belief in DanceAbility as a
tool for creating experiences where disabled and non-disabled dancers can dance together, as well as
her preference for the term ‘facilitator’ rather than ‘teacher’ because everyone in the room can always
learn from each other.
Text by Emmaly Wiederholt and photo by Jennifer James Long

http://www.danceability.com
http://www.bodyshift.org
http://stanceondance.com

Exploring Her Own Access and Excellence

PODCAST BY SILVA LAUKKANEN TEXT BY EMMALY WIEDERHOLT
In this episode of DanceCast, Silva interviews India Harville, a dance artist and teacher in the Bay Area.
India shares her journey to inclusive dance through yoga, body work, and her ongoing experience with
temporary paralysis. She also describes her recent one-woman show, Enough, which explored a
recovery process for her recurring feelings of not feeling black enough, disabled enough, or able-bodied
enough, as well as her future goal of making a video piece about dancers who cannot regularly and
easily leave their homes. She discusses how to track progress and measure rigor when common
assessments cannot apply to her.

http://lovingtheskinyouarein.com
http://www.stanceondance.com
http://www.bodyshift.org
http://www.danceability.com

Maylis was visiting me here in the US after dancing and studying with Axis Dance Co in their annual summer intensive. While we were finishing our lunch we chatted about her work and future plans. Maylis shared her visions for her next choreographies and where she is currently with her own work. Thank you Maylis for being so open and willing to share.

MAYLIS ARRABIT
I took my first class / dance class in 2011 with AXIS in Oakland, California. It's there that everything has changed!
In 2012, after finishing my Masters in organizational psychology and returning to my native region, I joined Co&ciedanse (Biarritz) as a student and dancer, a contemporary dance company for amateurs led by Deva Macazaga. Thanks to her, I have learnt a lot for two years in contemporary dance and contact improvisation, grew a lor as a dancer, each time discovering new possibilities of movement and I even participated in the creation of BoxFloor, for Biarritz dance festival, Le temps d'aimer la danse (2013) . Following the departure of Deva from Biarritz, I have kept taking mainstream contemporary dance classes with Wyllia Lapouge and various teachers in France and Spain.

I enriched and keep enriching my knowledge of inclusive practice by taking workshops with Adam Benjamin, Candoco dance company, Jordi Cortes and more regularly Stopgap dance company for which I have a real admiration.
As a dance artist, I participated in Integrance (2014-2015), a EU funded project, which brought together 4 companies from Belgium, Scotland, France and England to promote the practice of inclusive dance. In March 2015, I also danced in Gorputza, an dance piece choreographed by Jordi Cortés as part of the festival dFeria, in San Sebastian (Spain). Later, I started a choreographic work on a solo called In (-) Between, a search currently in parentheses. At the end of 2016, I chose to focus on dance and I am currently working on my first project as an artistic leader, Habra Que Ponerse Cachas, a duet for two male dancers with and without disabilities. In 2017, I have joined InterDanse, a newly based dance company, under the artistic leadership of Tomos Young (Normandie, France). We premiered InterDanse's first creation, #Onesttoutslashrien in July 2017, as part of Les Sorties de bain festival, Granville, France and hope that it's just the beginning.

http://www.interdansecie.com
http://www.bodyshift.org

Choreography for An Arm and A Half

PODCAST BY SILVA LAUKKANEN; PHOTOGRAPHY BY TIM ISOM AND TEXT BY EMMALY WIEDERHOLT

In this episode of DanceCast, Silva interviews Julie Crothers, a freelance dancer and emerging choreographer in the Bay Area. After dancing with AXIS Dance Company for three years, Julie began exploring her own choreographic voice. She describes the impetus of her piece Secondhand, which explores alternate uses of her collection of prosthetic arms. Julie shares stories and perspectives of what prosthesis has come to mean for her, and how she came to the decision in her early 20s to not use a prosthetic arm day-to-day. She goes on to explain how she feels able to dance more freely without filling in that space, and her growing curiosity about what her body uniquely does.

In this episode of DanceCast, Silva interviews Gretchen Pick, executive director of Young Dance in Minnesota’s Twin Cities region. Young Dance offers youth classes and performance opportunities, and started to include dance classes for children and adults with disabilities in 2010 after realizing nothing else was being offered locally. Gretchen shares her belief in recognizing the uniqueness of individual bodies and supporting that expression, her passion for teaching, and how she’d like to expand and build upon Young Dance’s All Abilities program in the future.

http://www.youngdance.org
http://www.croiglan.com
http://www.bodyshift.org
http://stanceondance.com

The Value of Studying Dance

DanceCast is a podcast that spotlights non-traditional dance artists. It is produced by Silva Laukkanen, an advocate for inclusive dance based in Austin, TX.

In this episode of DanceCast, Silva interviews Jasmiina Sipilä, who works as a leading teacher in the dance department of Vocational College Live, where they offer the only professional dance degree in Finland for dancers with special needs. The professional degree in dance is aimed for students with special needs, which means these dance students need individual support, modifications, and extra guidance in their studies and working life. The definition of special needs is used in this interview as an umbrella term to mean students who are neurodivergent, have developmental disabilities, have mental health challenges, or have different bodies and motor functions.  Jasmiina describes how, in the degree, the students focus on contemporary dance, cooperation, somatic skills, performing, choreographing, and inclusive dance theory, as well as curriculum in dance practice and theory. The students’ degree has many applications after graduation, from dancing professionally to working in the community with different populations.

This episode is part of a series interviewing institutions with inclusive dance programs and individuals who identify as disabled and have experienced formal dance education as either students or teachers. This series is part of Silva’s ongoing work as the director of Art Spark Texas’ dance program. This year, she is continuing the multi-year community-engaged research project, funded in part by the National Endowment for the Arts, that explores disability-centered accessibility in dance education and how we can create barrier-free dance education for students with disabilities in the US.

Jasmiina Sipilä is a dancer (BA Hons in Contemporary Dance, Trinity Laban, City University of London), a dance teacher (Master of Dance, University of the Arts, Helsinki), and a special education teacher (professional teacher training college, Haaga-Helia, Helsinki). She has worked widely for 18 years as a dancer, choreographer and teacher in Finland and Europe. Jasmiina loves exploring inclusive dance practice and its possibilities in improvisation and somatic work.

Rethinking Assistive Technologies

PODCAST BY SILVA LAUKKANEN
In this episode of DanceCast, Silva interviews Merry Lynn Morris, assistant director of dance at the
University of South Florida. One aspect of Merry Lynn’s work has involved inventing new assistive
technologies for disability dance, including a rolling dance chair with remote control, height change and
omni directionality. In this podcast, she discusses the relationship between freedom and control, how
her father’s disability shaped her view of disability and technology, and the importance of embedding
disability dance in the college curriculum.
Text by Emmaly Wiederholt

https://usf.academia.edu/MerryMorris
http://www.graphicstudio.usf.edu/CAM/cam_artinhealth.html
http://artsanddisability.blogspot.com/
http://www.revdance.org/
http://bodyshift.org
http://stanceondance.com
https://keshetarts.org

In this episode of DanceCast, Silva interviews Dwayne Scheuneman of REVolutions Dance in Tampa, Florida, whose background in wheelchair sports led him to co-founding Tampa’s first integrated dance company. Dwayne discusses his passion for education and the difficulty starting classes for children with disabilities from scratch, his relationship dancing with AXIS Dance Company and how it has informed the development of REVolutions Dance, and his international work in Russia and China teaching community workshops.
Text by Emmaly Wiederholt

http://www.revdance.org
http://www.stanceondance.com
http://bodyshift.org
http://www.cvent.com/events/2018-vsa-intersections-arts-and-special-education-conference/event-summary-0d1758f71722482784e571550614075d.aspx

In Between Dance and Musical Theater

PODCAST BY SILVA LAUKKANEN

In this episode of DanceCast, Silva interviews Meredith Aleigha Wells, a dancer with Dancing Wheels Company in Cleveland, OH. The Massachusetts native has a background in musical theater, and started using a wheelchair while in college. She discusses the support she received in college, how the process of translating able-bodied dance onto her body has given her technical and choreographic skills, and the similarities and differences between having a disability in dance versus musical theater. She recently ended her contract with Dancing Wheels, and looks forward to freelancing more in musical theater.
Text by Emmaly Wiederholt

http://stanceondance.com
http://keshetarts.org
http://www.meredithaleighawells.wixsite.com/home
http://bodyshift.org

Experimentation and Inclusivity

In this episode of DanceCast, Silva interviews Eric Kupers, a director, choreographer and performer in the Bay Area. He is the co-director of Dandelion Dancetheater and director of Bandelion (the interdisciplinary ensemble within the company). Eric discusses his experimental approach to dance-making, the creative significance of inclusivity (both in terms of different bodies as well as different artistic genres), his intro to performance through folk dance at his public elementary school and why exposure to dance is imperative in education, and his development of an inclusive dance program at Cal State University East Bay.
Text by Emmaly Wiederholt and photo by Luiza Silva

http://www.dandeliondancetheater.org/
http://keshetarts.org
http://stanceondance.com
https://www.dancemagazine.com