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TRANSCRIPT
The Art of Teaching Shaping the Practice & Perception of Dance
FDEO CONFERENCE 2016 Miami Beach, FL
www.fdeo.org
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Florida Dance Education Organization Conference October 20-‐22, 2016
FDEO President and Conference Chair Welcome
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Welcome to Miami Beach!
FDEO is delighted to welcome all attendees to our 14th Annual Conference hosted by Miami City Ballet. The conference encourages a rich exchange of ideas and practices that celebrate diverse pedagogical approaches and our collective vision for the future of dance education. Embrace this opportunity to share your voice, experiences, pedagogical triumphs and concerns in this inclusive forum for our Florida dance community.
Our conference theme, The Art of Teaching: Shaping the Perception and Practice of Dance seeks to create dialogue and collaboration around the following topics in dance education:
• How can we strengthen the connection between technique, artistry and performance?
• What are some best practices for educating the well rounded, versatile dancer and next generation of creators and educators?
• What is the role of dance educators in educating dancers on injury prevention? How
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can/do we teach injury prevention through technique?
• How can we bridge the gap between private studios and higher education/K-‐12 dance education?
We invite you to use this conference as an opportunity to re-‐connect with colleagues and friends across the state, and forge new relationships with fellow educators and dancers. Take a technique class, collaborate in a movement workshop and glean invaluable nuggets of pedagogical insights from one of our 30 sessions this weekend. Recharge your spirit and energize your teaching!
Thank you for being a part of FDEO. Thank you for all the work you do in schools and studios across Florida. Thank you for joining us this weekend to celebrate dance and its infinite possibilities!
Valerie Barreiro FDEO President Corinne Colon FDEO Conference Chair
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Keynote Presenter
Toni Pierce-‐Sands, Artistic Director TU Dance Prior to co-‐founding TU Dance, Minnesota native Toni Pierce-‐Sands performed with Minnesota Dance Theatre, Tanz Forum in Germany, Rick Odums in Paris, and Alvin Ailey American Dance Theater, where she was a featured soloist in such signature pieces as Revelations. Toni has also appeared in the Twin Cities as a guest performer with Ragamala Music and Dance Theater, Shapiro & Smith Dance, VocalEssence, Stuart Pimsler Dance and Theater, and Robin Steihm’s Dancing People Company. Her command of the Horton Technique has led to teaching posts throughout the United States and Europe. Toni directs programming and teaches classes at TU Dance Center in Saint Paul and at the University of Minnesota, where she is also the Director of University Dance Theater. Toni was awarded a 2004 McKnight Artist Fellowship in Dance, named the Sage Awards’ “2011 Outstanding Dance Educator” and recognized with a 2013 Links Emerald Service Award for service in the arts. She was recently named as a 2015 USA Fellow, receiving this year’s Knight Fellowship in Dance together with TU Dance co-‐founder Uri Sands.
Master Classes
Friday: 10-‐11:15AM Technique Class Studio 1 Friday: 2:30-‐3:45PM Technique Class* Studio 1 Saturday: 9:30-‐10-‐45AM Technique Class Studio 1 Saturday: 1:30-‐2:30PM Pedagogy Lecture/Workshop Studio 2 *Same as morning session
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AIM to Bring Dance to Every Classroom, Lori Madl Friday, 8-‐9:15AM – Studio 3 Art integration is a great vehicle to bring life to any subject matter, especially through dance! Using dance as the vehicle, this session will include art integrated and art enhanced lesson plans for grades K-‐8. Subjects include social studies, ELA (poetry), science, and math. Additional dance lesson plans will be shared covering the introduction of social dance and the human skeleton. Beginning and seasoned teaching professionals are welcome. Attendees can expect a brief overview of arts integration and arts enhanced lessons, their basic components, and lesson plans which have been executed in the dance and academic classroom. Short videos of at least 2 lessons will be presented. The presenter will share the lesson plans in hard copy or via email to all participants.
The Therapeutic Barre as a Warm-‐up Tool for the Ballet Class, Richard Allan Ploch, Robin Pollara, RDE, Tampa Ballet Center Friday, 8:30-‐9:45AM – Studio 2 The Therapeutic Barre developed by Jo Anna Kneeland provides a somatic pre-‐barre warm-‐up to the ballet class. It is a seven to ten minute series of exercises designed to gently warm up the body and prepare it for the rigors of the ballet class. The presenters will teach the Therapeutic Barre to participants and discuss how and why it is a beneficial tool for class and the rehearsal hall and an asset in injury prevention. Provide participants with a safe structured somatic methodology to prepare dancers for the ballet class and rehearsal hall through a series of exercises that begin with large bending movements, moves through specific body parts and finally end with full bodied movements. Participants will have a deeper knowledge of the Therapeutic Barre and it uses and benefits.
Core Synergy: Aligning the Bones to Support Movement, Maureen O'Rourke Friday, 8:30-‐9:45AM – Studio 1 We all know stress as the bogeyman to be avoided at all costs, but stress on the bones, ligaments, tendons & muscles is what allows our dance instrument to develop and stay healthy! Many dance injuries result from overuse of muscles & tendons and excess stress on the bones & joints. Technique teachers spend time fine-‐tuning all the aspects of movement, but often the technical problems come from a basic imbalance grounded in skeletal misalignment. As a result, some muscles become weaker even as regular class and performance over-‐strengthens others. This imbalance leads to the Achilles & hip tendinitis, knee and back pains, gripping in the thighs and shoulders, and other common dance-‐related dysfunctions. Taking the time to present and reinforce good skeletal alignment in class will re-‐balance the muscles and relieve unhealthy "over-‐stress" on the body.
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ABSTRACTS In presentation order
Pathways to Becoming a Florida Arts Model School, Julie Hebert Friday, 9:30-‐10-‐15AM – Studio 3 The Florida Department of Education (FDOE) supports a complete and comprehensive education that includes dance, music, theatre and visual arts for all Florida students. To help achieve this goal, the Florida Department of Education, in partnership with the Florida Alliance for Arts Education (FAAE), seeks to identify model arts education programs in schools throughout Florida. The Florida Arts Model Schools (FAMS) program recognizes schools that offer exemplary programs in ANY of the four arts disciplines and partners them with rural/underserved schools desiring to either enhance an emerging arts program or implement a new arts program. Join FAAE staff to learn how your school can earn the FAMS Designation.
Implementing Pilates in Dance Technique Classes, Jin Lee Hanley Friday, 10-‐11:15AM – Studio 2 It’s widely acknowledged by dance educators, researchers, clinicians that Pilates enhances a dancer’s success and longevity. This class will teach you how to integrate Pilates’ exercise into a dance class' warm-‐up/technique. Pilates focuses on deep core support, pelvic alignment and full range of motion. It teaches us to how to integrate the spine with our limbs, leading to efficient, fluid, whole body movements that are essential principles of dance. When appropriately incorporated into a dance class, Pilates can provide necessary physical adaptations to ensure optimal performance and reduced risk of injury. Because many dancers do not have access to Pilates due to lack of time, finances, or course availability, Pilates can be extremely valuable as a regular part of a dance class' warm-‐up/technique.
Intentional Delivery of Core Dance Education Values: A Wider Lens, Kathryn White Austin, PhD Friday, 10:30-‐11:15AM – Studio 3 After decades of standards design, implementation, and assessment strategies, dance education is still in need of
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viable tools for the training and preparation of 21st century dance curricula and an assessment tool for dance educators. There are simply too many variables in each individual teacher's educational setting and expected educational outcomes to make remarkable inroads in equipping new to the field dance educators. These Core Dance Education Values are intended to be used both as a design framework for class curricula and an assessment tool for dance educators. By employing the concept of intentional delivery of these CDEV to the broad range of "ends;" the "means to end" continues to be fluid, flexible and creative from the educator's vantage point.
Dance Where You Are, Ricardo Canchola , Daniel Lewis Friday, 11:30-‐12:15PM – Studio 1 We make the learning of Dance affordable and accessible to all people in the State of Florida through WebRTC (Web Real-‐Time Communications) utilizing the latest HTML5 programing. "Dance Where You Are" combines real-‐time engagement between on location attendees, virtual students, and a virtual teacher. The presentation includes the use of the Interactive Academy of Performing Arts' own technologies connected to a professional camera, smart-‐TV, and a laptop connected to the Internet.
Florida Dance Performance Assessment and Beyond the Test, Patricia Paige Parks, Kelly Rayl McCormick, Kathy Follensbee Friday, 11:30-‐1215PM – Studio 3 The Florida Dance Performance Assessment committee will share the purpose and benefits of FDPA and BTT including the required paperwork, forms and fees. The session will include Ballet and Modern Etude and connections to the NHSDA chapters and concert.
Acting for Dancers, Nicole Perry Friday, 11:30-‐12:30PM – Studio 2 Getting dancers to involve their face in their dances can be a challenging task for a choreographer and teacher. Acting for Dancers will explore body language and movement styles, facial expression and dancer intent to develop your students' storytelling abilities. Answer Daniel Nagrin’s Six Questions and an additional four questions from the Actors of the London Stage to help create and communicate meaning through your dancers. Learn how to guide students to use Laban's Eight Effort Actionss for character development. You will also be given a list of other resources to facilitate acting and emoting in dance.
Advocating For You and Your Legacy, Daniel Lewis and Donna Krasnow Friday, 1-‐1:45PM – Studio 3 You are the next generation of dancers, dance makers, educators, critics and dance support staff. It is time to start advocating for yourself. Your work is important and should be remembered for generations to come. Members of the panel will guide you through how to be your best advocate; making sure that the art, teaching and projects you are developing get recognition and are documented. Making sure that, your legacy is correct and is the image of not only your work, but, who you were and the effects you had on the dance world through your work. We will talk about our years of experience in the dance world and the things we have learned, and what each of us are doing to make sure that it is the whole person, not just our work that is remembered. The Fundamentals of Movement – A to Master Correct Body Mechanics for Improve Performance, Amanda Thom Woodson Friday, 1:15-‐2:30PM – Studio 2 The Fundamentals of Movement is a method of mastering correct body mechanics for improved performance, injury prevention, and/or rehabilitation. It is designed by Physiotherapist Megan Rich to include Alignment, Stability, Range of Motion of your joints, muscles and nervous system, Balance, and Breath. It is impossible to progress and achieve more difficult skills without mastering correct execution of the Fundamentals at their basic level to the advanced level. Practicing the Fundamentals in your cross training or using them as part of a dance warm up will help you to learn how to effectively approach advanced materials. As dance teachers we can include this work in our teaching to support a solid, physically sound, dance foundation. The concepts can be applied throughout a technique class to provide opportunity for students to master these skills. Sharing Our Humanity: Creating a Movement Choir, Dale Andree Friday, 1-‐2:15PM – Studio 1 Sharing Our Humanity: Creating a Movement Choir will take the participants through a process of choreographic investigation influenced by basic Laban concepts of Body, Effort and Space. The outcome will be a Movement Choir built on the shared contributions of all participants. The power of the collective experience is finding the common threads that unite different movement voices and realizing the wealth of imagination that we can harvest in a shared creative experience.
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E_motion: A Practical Look at Emotional Intelligence and Movement, Charmille Walters Friday, 2-‐2:45PM – Studio 3 It is easy to become disconnected from our body and emotions in a society dominated by electrical devices. This interactive workshop zooms in on emotional intelligence and movement analysis to rewire students for success on stage and in life.
Problems Seminar – Using Improv to Ignite Choreography in Digestible Bites, Stacey Enyart Friday, 2:45-‐4PM – Studio 2 In our work we will explore the creative process through movement invention, spatial acuity, craft analysis and group discussions. In addition we will continue to develop what I like to refer to as the choreographer’s "informed intuition,” that is the ability to make interesting, surprising and satisfying compositional choices quickly and with confidence. This "informed intuition" is developed by practicing multiple compositional processes. Starting and Maintaining a NHSDA Chapter, Martha Satinoff and Erin Sinsley Friday, 3-‐3:45PM – Studio 3 This presentation will inform attendees how and why to start a chapter, as well as ideas for chapter activities. We will review new procedures through the new NHSDA website at NDEO, and share exciting new options for the Merit Award in Florida. Choreography for All, Elana Lanczi Friday, 4-‐5:15PM – Studio 1 This workshop will explore ways for dance educators to encourage students of all levels to create and contribute to the creative process. After many years working with dancers of all levels, from beginner to professional, I have found ways of working collaboratively to create choreography that employs the unique talents of each dancer. Together we will improvise, develop and set choreography. This process can be adapted for a variety of populations and educational settings. Dance and Healing Through Dance Therapy, Cara Hazel Friday, 4-‐4:30PM – Studio 3 Dance and Healing is a theme that can benefit both dance teachers and dancers. My research combines dance therapy (expanding one’s movement possibilities to expand one’s possibilities in life, forgiveness (as a component of positive
psychology), and Anne Green Gilbert’s dance concepts to explore and develop resilience. This presentation will combine research as well as movement activities. As a future dance therapist, I am interested in doing this with patients: finding and focusing on their strengths and virtues while exploring dance concepts to experience greater resilience. Biomechanics and Ballet: Application of Current Research, Jessica Aquino, LAT, ATC Friday, 4-‐5PM – Studio 2 This session will emphasize current trends in dance medicine and scientific research and discuss how to clinically apply the results and conclusions. This session will use a biomechanical approach to treat, rehabilitate, and prevent common injuries in amateur and elite ballet dancers.
SATURDAY Lester Horton: Strong Technique Performance Artistry, Patricia Paige Parks Saturday, 8-‐9:15AM – Studio 1 This Horton Technique will focus on the fundamental vocabulary in a warm-‐up, progressions, elevations and combinations. The class will also clarify the Horton concepts specifically used in the Florida Dance Performance Assessment – Modern Etude. Somatic Flow Techniques: Integrating Somatic Approaches into Dance Practices, Toranika Washington Saturday, 8-‐9:15AM – Studio 2 Somatic Flow Techniques is an ongoing life-‐long project that is structured on imagery, improvisation, and play. Movers increase fluidity and ease of movement while rolling, falling, catching, spreading, releasing, resisting, and exchanging weight. By shaping and integrating these exercises into a collection of movement experiences, I have deepened my approaches to teaching dance and creating choreography. The goal of SFT practices is not the end result; rather, it is the emergent process; a practice that will develop, shift, and change with new experiences.
ABSTRACTS In presentation order
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Connecting to Interactive learning: Using Dance Resources to Maximize Teaching and Learning, Gayle Kassing Saturday, 8-‐8:45AM – Studio 3 Today’s dance students are interactive learners who use multiple media sources to gain content knowledge. Dance Resources with media supports dance educators and dance students. For dance educators, dance resources help them meet national and state standards, educational initiatives, new curriculum directions, college and career goals and 21st century skills. For students, interactive dance resources provide avenues to learn and then apply the knowledge they gain in class to continue their individual development as dancers learning dance technique, composition, performance skills. Students learn dance through active participation, but also extend their learning through writing, responding, revising, and connecting dance theory and content. Interactive learning is a powerful strategy to help focus students on their individual physical, mental, and psychological development today and for their future. Creating Musical Theatre Choreography, Nicole Perry Saturday, 9:30-‐10:45AM – Studio 2 Creating dance for musical theatre production is a different task than creating choreography for concert dance. However, there are very few classes and resources dedicated to this form. Nicole Perry, a former professional stage actor, choreographer and director, will guide you through addressing some of the challenges theatre choreographers face in both discussion and movement. The class with focus on creating movement that carries the characters through the story. Students will also receive a list of resources for Musical Theatre education.
The NCCAS Model Cornerstone Assessment Pilot and Benchmarking Initiative , Susan McGreevy-‐Nichols, Patricia Paige Parks, Tenaj Davis Saturday, 10-‐11AM – Studio 3 Panelists will share their experience with designing and implementing the High School Model Cornerstone Assessments (MCA) that were developed for the National Core Dance Standards and the benchmarking of student work generated from the pilot. Models, process and student work will be shared. This National initiative was run by NDEO in partnership with the National Collalition for Core Art Standards (NCCAS) and was generously supported by the National Endowment for the Arts (NEA).
Combining Pedagogies: How Do We Make Our Students Better Teachers?, Susannah LeMarquand Saturday, 11-‐11:45AM – Studio 1 Since 2012, I have been structuring my dance classes using Anne Green Gilbert’s 5-‐ part, concept-‐ based, lesson plan to my students. After training with Anne at her Summer Dance Institute for Teachers, I found new inspiration in the classroom. Unfortunately, when delivering this approach to students and educating our Applied Dance Majors in Brain-‐ Compatible teaching methods, we received resistance. This became discouraging because our program is passionate about the value of a Brain-‐ Compatible dance education. Luckily, the following summer I attended Bill Evan’s Teacher’s Institute and finally found the connection that I needed to deliver Anne’s Brain-‐ Compatible method to my own students, in a way that they could relate-‐ the idea of ‘working backwards’. There are many connections between Bill Evans’s and Anne Green Gilbert’s pedagogies….student-‐ centered learning, Laban/Bartnieff vocabulary, improvisation, and of course, body/mind integration. What I found was missing for my students, was the idea of technique. They could not understand that Anne’s method provided so much more than just creative movement, and that technique was still an incredibly important element. Yet, the students themselves also did not understand how to structure a technically sound movement class. It was the Bill Evans pedagogy of ‘working backwards’ that finally sparked their interest. Once they understood that, I was able to show them how it could fit perfectly into Anne’s 5-‐part lesson plan and Brain-‐ Compatible teaching methods. While it takes practice, I have finally seen the light switch go on for my students and their lesson plan content has evolved.
The Science Behind the Pointe Shoe Fittings , Gaby Martinez de la Portilla Saturday, 11:15-‐11:45AM – Studio 3 A lot of people inside and out of dance community don't understand the science behind a pointe shoe fitting. We are so used to dance in pain that we don't realize both pain and injuries can be reduced dramatically when the ballerinas are able to have a good pointe shoe fitting, a professional one, designed to follow a methodology.
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Jessica Aquino, LAT, ATC Jessica Aquino is the Athletic Trainer for Performing Arts Medicine through U18 Sports Medicine. Since 2012, she has worked with amateur, collegiate, and professional dancers. She has a Performing Arts Medicine certification within her scope of practice through the American College of Sports Medicine and the Performing Arts Medicine Association.
Dale Andree Dale Andree is director of National Water Dance and a Knight Arts recipient. She is a graduate of the Boston Conservatory of Music and received her CMA from LIMS in NYC. She directed Mary Street Dance Theatre for 15 years and presently teaches at New World School of the Arts. Kathryn White Austin Kathryn White Austin, PhD, is the director of the Centre for Dance & the Performing Arts; a full service dance education facility dedicated to whole-‐child development through age-‐appropriate curricula and performance opportunities for recreational and pre-‐collegiate students. Dr. Austin has 35 years of teaching experience in a variety of settings including higher education, K-‐12 and artist-‐in-‐residency programs as well as professional credits in concert dance, television, and musical theatre. She is a Fellow of the British Association of Teachers of Dancing and specializes in teaching traditional Scottish Highland and National Dancing. Richard Canchola Richard Canchola is the founder of the Interactive Academy of Performing Arts. His foremost goal is to build the most innovative virtual and successful performing arts learning center in the world while helping nurture artistic talents in children at a young age. Tenaj Davis Tenaj Davis, FDEO Immediate Past President, holds a Doctorate in Education with a minor area of concentration in curriculum development from Nova Southeastern University. She holds a Masters of Science from Barry University and a BFA from California Institute of the Arts. Dr. Davis spent several years as a commercial dancer working out of Los Angeles and has been featured in several national and international publications. She was a member of the 2010 Next Generation Sunshine State Standards Writing Team, the 2011 Florida Department of Education Course Description Writing Team, served as a task force member, lead reviewer and writer on the federally funded Race to the Top Performing and Fine Arts Assessment Project. She was a contributing designer of the 2014 Florida Arts Model Schools Program and a contributing designer of the 2016 online course series for arts educators titled ‘Teaching Students With Disabilities in the Fine Arts’. Dr. Davis has taught and performed in nine countries and throughout the United States. She is presently employed by Miami-‐Dade
County Public Schools (M-‐DCPS) where she has taught in general and magnet dance programs, managed district-‐wide professional development programs, mentored new teachers, coordinated the School Center for Special Instruction, served on the Educational Excellence Advisory Council and is currently a member of the school site leadership team at South Miami Middle Community School Center for the Arts. Stacey Enyart Stacey Enyart received her graduate degree from University of North Carolina Greensboro with a focus in Dance Education and BA Degree from Point Park Conservatory in Pittsburgh. She is currently serving as a Director at large on the FDEO Board of Directors. She has studied with many choreographers and artistic directors throughout the world. Stacey has performed with Celebrity Cruises traveling around the world and has choreographed for numerous companies throughout the globe. Stacey is founding director of the dance department at WCHS, and is the Owner and Artistic Director of Suncoast Dance Theatre in Lutz, FL.
Kathy Follensbee Kathy Follensbee received a B.S. in Physical Education from Florida State University and a Masters of Fine Arts in Choreography from Jacksonville University. She is the full time Dance Director at Dr. Phillips Visual & Performing Arts High School (DPHS – VPA) as well as an adjunct professor of Modern with Valencia College. Kathy is a past President of Florida Dance Masters (FDM) and the founding Secretary for the Florida Dance Education Organization (FDEO). She has served on writing teams for the Florida Next Generation Sunshine State Standards, Florida’s Race To The Top and Orange County Public Schools End of Course Exams (EOCs) for Dance. As the Dance Director of the DPHS – VPA, her students have won many honors and are now dancing in colleges, performing and teaching across the nation. Kathy has an eclectic background in movement. She was a Synchronized Swimmer and Dancer for the Louisiana World's Fair Exposition in 1984, and is a Master's National Synchronized Swimming Champion as well. She has judged dance contests and taught master classes throughout Florida and New York.
BIOGRAPHIES In alphabetical order
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Jin Lee Hanley Jinyoung Lee Hanley holds an M.A. in Dance/Dance Education from New York University. She is an Assistant Professor of Dance at Palm Beach Atlantic University, where she has taught since 2005. She previously danced professionally with Park Ballet (South Korea) as a principle dancer, Chen and Dancers in New York City, and with the Columbia Ballet Theatre in Spokane, WA. She has presented her choreographies and taught master classes throughout the U.S. and South Korea. Professor Hanley is also a Pilates instructor, holding certification through internationally-‐acclaimed master teacher Lolita San Miguel's Legacy program.
Cara Hazel Cara Hazel is a senior Psychology and Applied Dance major at the University of Tampa. Cara has taught dance for more than six years and works with various populations, including children and adults with physical and developmental disabilities. Her research has been presented at UT and Florida Undergraduate Research Conferences.
Julie Hebert Julie Hebert was appointed Executive Director with the Florida Alliance for Arts Education in July 2014. She came to the position with fifteen years of experience as an arts educator in the elementary music classroom, earning National Board Certification in 2003. She holds a Bachelor of Music Education from The University of Central Florida and a Masters in Educational Leadership from The University of South Florida. Julie has written articles and presented sessions on elementary music and arts integration at the local, state, national, and international level. She has been integral in the development of the Florida Arts Model Schools program. In addition, Julie currently serves as the Immediate Past President of the Florida Elementary Music Educators Association.
Gayle Kassing Gayle Kassing, PhD, performed professionally in ballet, modern dance, and musical theatre. She has taught in universities, public schools, and community settings. Gayle is author of The History of Dance, Beginning Ballet and Discovering Dance. Gayle is an Acquisitions Editor in the Division of HPERD at Human Kinetics.
Donna Krasnow Donna Krasnow, PhD, Professor Emerita from York University, has worked as a dancer, choreographer, artistic director, educator, researcher, editor, and writer. She performed with the Daniel Lewis Repertory Dance Company in New York, directed her school Dance Source and company Möbius in San Francisco, and headed the modern dance division at the Canadian Children's Dance Theatre in Toronto
Donna’s dance science research Conditioning with Imagery for Dancers with concentrates on injury prevention, dance conditioning, and motor learning. Donna has co-‐authored three books: Jordana Deveau, documenting Donna’s conditioning-‐with-‐imagery method (C-‐I Training™); Motor Learning and Control for Dance: Principles and Practices for Performers and Teachers with Dr. Virginia Wilmerding; and Dancer Wellness with Dr. Virginia Wilmerding. She is Associate Editor for Dance for Medical Problems of Performing Artists.
Elana Lanczi Elana Lanczi, is a dance educator, choreographer and dancer who has been living and working in South Florida since 2000. She is currently Associate Professor of Dance at Nova Southeastern University and a FDEO board member. Elana holds a M.F.A. in Dance from Temple University. Susannah LeMarquand Susannah LeMarquand (MFA, MA) is an Assistant Professor of Dance at the University of Tampa. She has danced professionally with Royal Caribbean Cruise Lines, Busch Gardens Tampa and multiple production companies for corporate events. Susannah has also staged and choreographed for Norwegian Cruise Lines, Silver Seas Cruise Lines and Busch Gardens Tampa. She has studied with artists such as Bill Evans, Ana Marie Forsythe and Anne Green Gilbert. After graduating in 2009 with her MA in Dance Education from New York University, she came back to Tampa and taught as an adjunct professor at The University of Tampa and Hillsborough Community College, accepting a full time position at University of Tampa in Fall 2012. Susannah is the Director of The University of Tampa’s Student Dance Happening and helped to create the Applied Dance Major, which began in Fall 2013. She recently graduated with her MFA in Choreography from Jacksonville University. Daniel Lewis Daniel Lewis, President Miami Dance Futures 1988-‐present, and founding dean New World School of the Arts 1987 to 2011. Member of the dance faculty and assistant to Martha Hill the Juilliard School 1967-‐87. From1962-‐74 danced with the Limón Company. Following Limón’s, death he became the company's artistic director. Formed his own company Daniel Lewis Dance. Staged Limón works for, Royal Swedish, Royal Danish Ballet, Alvin Ailey, ABT. His choreography on The Juilliard School, and many schools, companies around the world. The Illustrated Dance Technique of José Limón, published in three languages. Gold Medal for Lifelong Achievement in Dance by NASL 1990; NDEO 2010; Martha Hill Foundation 2011. An Honorary Doctor of Fine Art Degree from University of Florida 2012.
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Lori Madl Lori Madl, B.A., Dance, University of Kansas, and M.A.A, Arts Administration, Indiana University has been teaching dance for over 20 years at dance studios, universities, as a guest artist in schools, and currently teaches middle school dance at North Fort Myers Academy for the Arts in Lee County, FL. During her performing career with the Prairie Wind Dancers and Dance Alliance she found another passion, arts integration. Gaby Martinez de la Portilla Gaby Martinez was born in Merida Yucatan. She trained with the best teachers of her time, including Alberto Alonso, Ramona de Soa, and Julio de la Rosa. Former dancer and teacher for the past 40 years, she designed a unique method to fit pointe shoes using her scientific background, proving that it is possible to reduce the injuries on the feet, as well as pain, when dancers use the right pointe shoe.
Susan McGreevy-‐Nichols Susan McGreevy-‐Nichols is the Executive Director of the National Dance Education Organization. Susan is on the NCCAS leadership Team and developed six Model Cornerstone assessments for NDEO and a series of assessment courses for the NDEO Online Professional Development Institute (OPDI). As a teacher at Roger Williams Middle School in Providence, Rhode Island from 1974-‐2002, Susan founded and developed that institution’s nationally renowned middle school dance program. She is the developer of a cutting edge reading comprehension strategy that uses text as inspiration for original choreography created by children. This literacy-‐based methodology combines the creative process with reading instruction. Co-‐author of five books: Building Dances (1995) (2005), Building More Dances (2001), Experiencing Dance (2004) (2014), Dance about Anything (2006) and Dance Forms and Styles (2010).
Kelly Rayl McCormick Kelly Rayl McCormick is currently at Howard W. Blake Magnet High School and is a Board Member of the Florida Dance Education Organization. She holds a BS in Chemistry, BFA in Dance, and a MS in Curriculum and Instruction. Prior to her career in Hillsborough County Public Schools, Kelly was a dancer with Moving Current Dance Collective. She was an Item Writer and Scorer for Race to the Top (RTTT) for Performing Arts Assessment.
Maureen O'Rourke Maureen O'Rourke, LMT, CNMT, BFA-‐UCSB, is a former dancer teaching Pilates technique & muscular anatomy-‐in-‐clay for dancers using the Maniken® model, and anatomy/physiology & kinesiology/injury prevention in the dance program at UF / NWSA since 1988. Specializing in dance rehabilitation & injury prevention,
she’s given workshops for dancers, dance educators, massage therapists & Pilates teachers around the world.
Patricia Paige Parks Patricia Paige Parks, FDEO Florida Dance Performance Assessment Chair, is a graduate of the University of Michigan, Ann Arbor. She continued her training at The Alvin Ailey American Dance Theater with Ana Marie Forsythe and James Truitt, The Harvard Summer Dance Program and Jacob's Pillow followed by professional company, commercial and touring performances. Patricia recently directed, produced and choreographed a live, fully orchestrated, choral and dance production of "Les Miserable". Patricia is currently the chair of the distinguished Pinellas County Center for the Arts -‐ Dance Department, at Gibbs High School, where she has taught Horton Technique for twenty-‐three years. Patricia chosen as a pilot teacher for the The College Board, Pre-‐AP High School Dance Module and the NDEO, NCCAS Model Cornerstone Assessments that were developed for the National Core Dance Standards.
Nicole Perry Nicole Perry is a drama and dance teacher at St. Andrew's in Boca Raton. She is the former Resident Choreographer at Hedgerow Theater (Philadelphia) and Director of Dance for Miami Children’s Theater. In addition to work in theatre and dance, Nicole is a certified Pilates Instructor through Romana’s Pilates.
Richard Ploch Richard Allan Ploch, R.D.E., Artistic Director for Acanthus, a chamber-‐sized Ballet Company and Adjunct Instructor of Dance at Hillsborough Community College and University of Tampa in Tampa, Florida, has taught ballet for over 30 years. He has his MA in Dance from Ohio State University. His mentors and principle teachers are George Zoritch, Nenette Charisse, Peff Modelski, and most recently Ruth C. Petrinovic. Ploch has performed with various ballet and modern companies in New York City. Ploch is active in International Council of Kinetography Laban/Labanotation, CORD and CORPS-‐de-‐Ballet.
BIOGRAPHIES In alphabetical order
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Robin Pollara Robin Pollara, R.D.E., Director of the Tampa Ballet Center, a not-‐for-‐profit corporation dedicated to the art of classical ballet education in Tampa, Florida. She has been teaching ballet for more than 20 years. She instructs her students using the Petrinovic syllabus and teaching techniques. In her professional performing career, she danced with The Tampa Ballet, Bay Ballet Theatre, Dance Theatre of Florida, Ballet Theatre International, Acanthus Ballet, Florida Nature Coast Ballet, and the Tampa Ballet Center. Ms. Pollara continues to expand her knowledge in the art of teaching and is working extensively with Ms. Petrinovic in the creation of the RPM methodologies, and passing on the training methods to her students.
Martha Satinoff Martha Purl Satinoff is the head of the dance department at Bak Middle School of the Arts in West Palm Beach, Florida. After dancing professionally, she directed the Charleston Civic Ballet School then earned her degree in education from Edinboro University. She is chair of Florida’s NHSDA and served on the FDEO board, was co-‐chair of the NGSSS dance writing team, and served on the Task Force for Florida’s Fine Arts Assessment Project. This year, she co-‐wrote dance portions of Teaching Students with Disabilities course for Florida professional development portal and organized the dance textbook adoption committee for Palm Beach County. Martha Satinoff is an ABT® Certified Teacher who has successfully completed the ABT® Teacher Training Intensive in Primary through Level 7 of the ABT® National Training Curriculum.
Charmille Walters Charmille Walters is a teaching artist and program administrator who advocates multiple intelligence theory and integrating arts and academic curriculum. Ms. Walters also serves as a panelist for the Miami-‐Dade County Department of Cultural Affairs Community Grant and works on A-‐list music concerts and live televised shows. Toranika Washington Toranika Washington MA, MFA, CMA. Broward County Dance Arts Teacher of the Year 2013, MA Teaching and Learning, Nova Southeastern University, MFA Choreography, Jacksonville University, CMA Certified Movement Analysist, Laban Bartenieff Institute of Movement Studies, New York. Currently, Dance Director at NSU University School of Nova Southeastern University.
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