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Christina S Ho, Professor of Law at Rutgers University, is deeply engaged in questions around access to healthcare, law and governance – but is also a lover of ballet. We relish enriching conversations with non-dancers on Why Dance Matters, and Christina who not only cherishes her time in ballet class, but also sees ballet as a model for civil society. Issues around the right to health or the rule of law aren’t quiet questions in today’s United States – are Christina’s ballet classes a sanctuary from the onrush of turbulent headlines?
Christina S Ho is Professor of Law at Rutgers University. She previously held senior roles at the China Health Law Initiative at Georgetown University Law Center, and on the Clinton Foundation’s China program. During the Clinton Administration, she worked on the Domestic Policy Council at the White House and later led Senator Hillary Clinton’s health legislative staff. Her book, Normalizing an American Right to Health, was published last year by Oxford University Press.
Christina at Rutgers https://law.rutgers.edu/christina-s-ho
Christina’s book https://academic.oup.com/book/45833
Why Dance Matters is a dance podcast featuring inspiring conversations with extraordinary people from the world of dance and beyond. Hosted by David Jays, editor of Dance Gazette, this podcast explores how dance shapes lives and why it matters to us all. Brought to you by the RAD, which inspires the world to dance, these insightful stories will surprise and delight. Tune in and discover more on our website.
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This special episode was recorded live to celebrate International Women’s Day. The RAD gathered three distinguished dancing dames in front of an invited audience to discuss their lives in dance. A ballerina, an artistic director and a choreographer: Dame Darcey Bussell, Dame Monica Mason and Dame Arlene Phillips. All three were previously guests on Why Dance Matters, and there are other points of connection: Darcey and Monica were both luminaries of the Royal Ballet and are now the RAD’s President and Vice-President respectively; Darcey and Arlene have both been judges of Strictly Come Dancing. This is a rare opportunity to hear them compare notes about their extraordinary careers and love of dance.
Why Dance Matters" is a dance podcast featuring inspiring conversations with extraordinary people from the world of dance and beyond. Hosted by David Jays, editor of Dance Gazette, this podcast explores how dance shapes lives and why it matters to us all. Brought to you by the RAD, which inspires the world to dance, these insightful stories will surprise and delight. Tune in and discover more on our website.
Hosted on Acast. See acast.com/privacy for more information.
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Valentino Zucchetti
When Valentino Zucchetti won the gold medal at the Genée International Ballet Competition in 2006, Dance Gazette called him ‘dazzling’ and ‘above all, devastatingly charismatic.’ The Italian artist has brought those qualities as dancer with the Royal Ballet in London (especially in vivid roles like Mercutio in Romeo and Juliet, Lescaut in Manon and Lensky in Onegin), and an award-winning choreographer. Works like Scherzo, Anemoi and Jeunesse (created for the RAD’s Fonteyn competition in 2023) radiate a lyrical eye and a heartfelt response to music. As he prepares a premiere for the London Handel Festival, he discusses the rewards and challenges of his dual career.
Valentino Zucchetti trained at La Scala and the Royal Ballet School and won the RAD’s 2006 Genée International Ballet Competition (now The Fonteyn) and the 2007 Solo Seal award. He danced with Zürich Ballet and Norwegian National Ballet before joining the Royal Ballet in 2010, promoted to First Soloist in 2014. He won the RBS’s Ursula Moreton Choreographic Award in 2005, and has created ballets for New English Ballet Theatre (Orbital Motion, Enticement’s Lure, Firth of Fifth, Into the Light) and the Royal Ballet, including Scherzo (South Bank Sky Arts Award for Dance) and Anemoi (Critic’s Circle National Dance Award). He created Jeunesse for The Fonteyn 2023.
LINKS
https://www.london-handel-festival.com/show/2025-double-bill-tales-of-apollo-hercules/
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The architect Takero Shimazaki was born in Tokyo but is a longtime Londoner. He has designed many kinds of buildings – including the London home of the Royal Academy of Dance. It’s a warm, open, lovingly designed space and last year, the Royal Institute of British Architects gave it both an RIBA National Award and RIBA London Award, calling it “an uplifting, welcoming and inclusively safe place.” So how do you take a heritage organisation like the RAD and build it a 21st century home? An architect can shape the way bodies move through space, just like a choreographer – so we ask Takero why dance matters to him.
Takero Shimazaki is an architect and a director of Takero Shimazaki Architects, t-sa. He studied at University of Wales, Cardiff and The Bartlett, UCL. He has worked for Richard Rogers Partnership, Itsuko Hasegawa and Alison and Peter Smithson, and is a lecturer in Architecture at the School of Art, Architecture and Design at London Metropolitan University.
LINKS
https://www.t-sa.co.uk/
https://www.ribaj.com/buildings/riba-awards-2024-london-south-west-royal-academy-of-dance-takero-shimazaki-architects-education-wandsworth
https://www.royalacademyofdance.org/
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Vicki Igbokwe-Ozoagu is an inventive choreographer, an Olympic movement director and a very positive lifecoach. Her dance company Uchenna promises to Empower, Entertain & Educate, while she wants everyone she engages with to Think Fierce, Be Fabulous & Live Free Spirited. Sadler’s Wells in London are channelling that positive spirit, asking her to create Our Mighty Groove, a show that will open their brand new theatre in London’s Olympic Park – just minutes from where Vicki helped create the legendary opening ceremony of the 2012 London Olympics. Vicki tells us about taking her own advice, and
how she first got her groove on.
Vicki Igbokwe-Ozoagu is the founder and joint CEO of Uchenna, an international touring dance company. Her work in theatre as a choreographer and movement director includes productions at Leeds Playhouse, Regents Park Open Air Theatre, Greenwich and Docklands International Festival, National Youth Theatre, Royal Court and more. She created Uchenna’s four touring shows: Our Mighty Groove, The Head Wrap Diaries, Hansel and Gretel and The Head Wrap Diaries – Fierce and Free. Internationally, she has worked as a mass movement choreographer for Olympic and Paralympic Ceremonies, including London 2012. She is Director of Empowerment at People Make It Work and is the Self-First Instigator, empowering creative women to kickstart the habit of putting themselves first.
LINKS
https://www.sadlerswells.com/whats-on/vicki-igbokwe-ozoagus-our-mighty-groove/
https://www.vickiigbokwe.co.uk/
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India is renowned for its rich dance traditions, but rarely for ballet. Pia Sutaria is changing that. Pia’s career has been immensely varied – from ballet to modern, from TedX talks to musical theatre. She’s also an RAD dance teacher, and in 2018 set up the Institute of Classical & Modern Dance in her home city of Mumbai. It aims to broaden access to dance, and particularly ballet, for those who might not otherwise have the opportunity to pursue it. Students from the ICMD are already training in some of the world’s best vocational schools. Pia tells us how Billy Elliott brought her to ballet, and why dance matters to her.
Pia Sutaria is a registered teacher of the Royal Academy of Dance. She also received the Disney Theatrical Scholarship at the Royal Academy of Music, London and performed in the UK tour of the musical Bombay Superstar, with Welsh National Opera and more. Her performances in India and beyond include touring internationally with Navdhara India Dance Theatre. She has represented global brands and gave a TEDx talk on dance and classical ballet in India. In 2018, Pia founded the Institute of Classical & Modern Dance (ICMD) to make vocational training in dance accessible to young artists in India. The school has successfully sent students on scholarships to top performing arts institutions in Europe, UK and USA.
Institute of Classical & Modern Dance https://icmdindia.com/faculty/
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To celebrate our tenth series, we are launching this season with a brilliant episode with Sir Matthew Bourne whose Swan Lake returns this year for its 30th anniversary.
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Our guest today is the dancer and choreographer Aakash Odedra. Based in the UK, his work tours internationally, and he collaborates with artists from across countries and art forms. Each piece he makes seems more ambitious than the last – next is Songs of the Bulbul, which premieres at the Edinburgh International Festival. His manner is gentle, but under the bonnet of his works sit difficult subjects like dyslexia or ageing. We find out how he shapes these themes into mesmerising dance.
Aakash Odedra was born in Birmingham, and trained in kathak and Bharatanatyam, and incorporated that training in a unique synthesis with contemporary dance, both in his own choreography and his collaborations with other choreographers. He formed Aakash Odedra Company in 2011 as a vehicle for commissioning solos and to develop his own choreographic work. His work forms the heart of the company and as a soloist he has performed over 300 full length performances in 40 countries, receiving numerous awards and bursaries.
LINKS
Aakash Odedra Company https://aakashodedra.com/
Songs of the Bulbul https://www.eif.co.uk/events/songs-of-the-bulbul
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The Royal Academy of Dance will soon hold the annual Margot Fonteyn International Ballet Competition, where promising dancers from across the world dance their hearts out in front of some of ballet’s big names. In 2014, the Australian ballerina Eilis Small took part in the predecessor to the Fonteyn, the Genée, held that year in Antwerp, but didn’t make the final. Yet she now has a fulfilling career with Birmingham Royal Ballet – she’s here to prove that what happens in a ballet competition shouldn’t stop you from living your best dancing life.
Eilis Small was born in Canberra, Australia. She trained at the Lisa Clark Academy and Australian Ballet School, and took part in the Genée International Ballet Competition. In 2018, she joined Birmingham Royal Ballet, where her roles include creating the lead role in Daniela Cardim’s Imminent, alongside prominent roles in Carlos Acosta’s Don Quixote,
David Bintley’s Cinderella, The Nutcracker Swan Lake and The Sleeping Beauty.
LINKS
Eilis Small at Birmingham Royal Ballet https://www.brb.org.uk/profile/eilis-small
The Fonteyn https://www.thefonteyn.org/
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We often talk about how dance changes lives on Why Dance Matters. No one exemplifies that more than the remarkable RAD dance teacher Michael Wamaya. He works with Project Elimu in Kibera, Kenya. Kibera faces many challenges – extreme poverty, intense lack of resources. But Mike offers children and young people the chance to engage in artistic activity and dance, and to think too about sexual and reproductive health. It’s an immensely ambitious programme, which attracts great acclaim. But why is RAD ballet part of the mix? And why does dance matter to him?
Michael Wamaya is a dance teacher and community activist in Kenya. He teaches ballet in Kenya’s Kibera and Mathare slums for Project Elimu, combining the teaching of dance skills with social skills. The programme explores individual human potential and creativity, and works to develop confidence and self-esteem. Many children within the programme have gained scholarships, enabling them to finish their studies, and the programme has created a platform where children can engage in creative activities while developing their careers.
LINK
https://www.projectelimu.org/
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Did you know the Royal Ballet had a performance psychologist? Britt Tajet-Foxell was a pioneer in the discipline, which is more familiar in the sports world. As well as dancers and musicians, Britt also works with elite athletes: at the Olympics in Paris, she’s working with teams from both the UK and her native Norway. There may be less stigma around discussing mental and emotional health than when Britt began her career – but she still addresses sensitive subjects like anxiety, returning from injury or taking on an exposing leading role.
Britt Tajet Foxell was a chartered physiotherapist with the Royal Ballet for 20 years before retraining to become a chartered psychologist. She is an accredited European psychologist and cognitive behavioural psychotherapist, and an Honorary Fellow at Goldsmith College, University of London. She has been the psychologist to the Royal Ballet for over 20 years, and also works with the British and Norwegian Olympic Associations.
LINKS
Britt in conversation with Darcey Bussell https://www.royalacademyofdance.org/mind-games/
How Britt worked with ballerina Yasmine Naghdi https://www.theguardian.com/stage/article/2024/jun/18/royal-ballet-yasmine-haghdi-britt-tajet-foxell-psychologist
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Crazy Smooth
Our guest today is the Canadian hip hop dancer and choreographer professionally known as Crazy Smooth. We ask how Crazy Smooth came by his dance name? What makes Canadian street dance distinctive? In this Olympic year, where breaking makes its debut in the Paris games, should we really think of dance as a sport? And if breaking is a young man’s game, how does a b-boy feel when he becomes a b-man?
Crazy Smooth is one of Canada’s top street dance ambassadors, a choreographer, dancer, teacher and community leader. He is the founder and artistic director of Bboyizm, an award-winning dance company that has been instrumental in the preservation and proliferation of street dance in Canada and beyond. Smooth founded Bboyizm in 2004 and the company has successfully brought authentic street dance choreography onto the professional stage. His most recent show, In My Body, won four 2022 Dora Awards including Outstanding Performance and Outstanding Original Choreography, and Crazy Smooth was named Dancer of the Year at the 2023 Dynastie award.
LINKS
Bboyizm website https://bboyizm.ca/
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Nine years ago this month, Misty Copeland became the first ever Black American woman to be promoted to principal at American Ballet Theatre. One of ballet’s most inspirational figures, she opens this new season of Why Dance Matters. Was she prepared for the attention around her promotion? What can ballet give young people? How does George Michael’s I Want Your Sex figure in her dance career, and will she return to the stage after ‘one of the longest maternity leaves in ballet history’? Misty reflects on her extraordinary journey – and why dance matters to her.
Misty Copeland is acclaimed as a champion of change. Born in Kansas City and raised in California, she began her ballet studies at the late age of 13. A member of American Ballet Theatre since 2001, in 2015 she was the first African American woman in the company’s history to be promoted to principal dancer, having made history as the first Black woman to perform the lead role in its Swan Lake. In 2022, Misty launched The Misty Copeland Foundation, with its signature program BEBOLD, which aims to bring greater diversity, equity and inclusion to dance, especially ballet.
Misty Copeland Foundation https://www.mistycopelandfoundation.org/
Misty's website
Misty on Instagram @mistyonpointe
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Life changing moments with Why Dance Matters!
We’ve made over 50 episodes of Why Dance Matters, and the conversations often hinge on life-changing moments. This special episode gathers some compelling chats about change. Some are personal choices which prove momentous: the unlikely decision to pursue ballet, or to host a ballet class in your front room. Others include being part of a major cultural event, like a movie the whole world is watching, or a period of historic change, happening before your eyes.
From Carlos Acosta to Barbie, here are moments that changed our guests’ lives: past, present, even future. And don’t forget to explore our previous episodes, for more life-changing conversation with the people for whom dance matters.
Carlos Acosta is artistic director of Birmingham Royal Ballet. Dame Monica Mason is a Vice-President of the Royal Academy of Dance and former director of the Royal Ballet. Victoria Treviño is an RAD dance teacher based in Mexico. Jennifer White is a stage and film choreographer. Wayne McGregor is a choreographer and director of Company Wayne McGregor.
Find out more about the work of the RAD
Read a transcript of this episode
Follow the RAD on social media and join the conversation with host David Jays:
Instagram @royalacademyofdance
Facebook @RoyalAcademyofDance
Twitter @RADheadquarters
YouTube / royalacademydance
David Jays @mrdavidjays
Sign up to our mailing list to keep in touch!
RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.
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With members in over 80 countries around the world, and Royal Academy of Dance’s relationship with its members depends on its National Directors. They include Olivia Lume, who last year celebrated her 40th year with the RAD. As National Director for the Academy in Africa, she has lived through historic changes, and has seen the RAD grow, especially after its flagship event – now The Fonteyn, formerly the Genée International Ballet Competition – was held for the first time in Africa, in Cape Town in 2011. How did a professed non-dancer come to be crucially woven into the heart of a dance organisation?
Olivia Lume is National Director, Africa, for the Royal Academy of Dance. She is based in Johannesburg, South Africa.
Find out more about the work of the RAD
Read a transcript of this episode
Follow the RAD on social media and join the conversation with host David Jays:
Instagram @royalacademyofdance
Facebook @RoyalAcademyofDance
Twitter @RADheadquarters
YouTube / royalacademydance
David Jays @mrdavidjays
Sign up to our mailing list to keep in touch!
RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.
Hosted on Acast. See acast.com/privacy for more information.
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The Silver Swans programme is one of the Royal Academy of Dance’s most life-enhancing initiatives. Silver Swans are people of 55 and over taking a specially-designed programme of RAD ballet classes: some are experiencing dance classes for the very first time, and describe how Silver Swans fosters physical and emotional wellbeing. Rebecca Yates, an RAD teacher in north east England has developed a committed community of Silver Swans. But what are the charms and challenges of teaching people old enough to be your parents? And has Rebecca herself been changed by her teaching?
Rebecca Yates is Founder and Director of Complete Ballet CIC. She took her first classes at the Kathleen Burdon School of Ballet at the age of six, progressing through the full RAD examination syllabus and achieving RAD Registered Teacher Status in 2012. She has since become officially licenced to teach RAD’s Silver Swans and is a Practical Teaching Supervisor for the RAD to assess and support trainee dance teachers.
Find out more about the work of the RAD
Read a transcript of this episode
Follow the RAD on social media and join the conversation with host David Jays:
Instagram @royalacademyofdance
Facebook @RoyalAcademyofDance
Twitter @RADheadquarters
YouTube / royalacademydance
David Jays @mrdavidjays
Sign up to our mailing list to keep in touch!
RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.
Hosted on Acast. See acast.com/privacy for more information.
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Patrick Makuakane is a dance maker, teacher and hula master and recently received a fellowship from the MacArthur Foundation. The fellowships are given to preeminent artists and thinkers and are popularly known as the ‘genius’ awards. Patrick is a passionate and thoughtful advocate for hula, a form of dance inextricably linked with Hawaii’s history and culture. Born in Honolulu, Patrick is now based in San Francisco, where he has built a vibrant community of hula dancers and students. He speaks to us from Hawaii.
Patrick Makuakāne studied hula with several kumu hula (master teachers) and received the title of kumu hula himself in 2003. He has been the director and founder of Nā Lei Hulu i ka Wēkiu, a community-centred hula company and cultural organisation, since 1985. He also serves as a spiritual and cultural advisor for the Native Hawaiian Religious Spiritual Group at San Quentin State Prison. His company has performed at venues in New York, San Francisco, Hawaii and New Orleans. He was awarded a Fellowship by the MacArthur Foundation in 2023.
Find out more about the work of the RAD
Read a transcript of this episode
Follow the RAD on social media and join the conversation with host David Jays:
Instagram @royalacademyofdance
Facebook @RoyalAcademyofDance
Twitter @RADheadquarters
YouTube / royalacademydance
David Jays @mrdavidjays
Sign up to our mailing list to keep in touch!
RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.
Hosted on Acast. See acast.com/privacy for more information.
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In 2021, Naomi Smart qualified as a teacher from the Royal Academy of Dance. ‘Never thought dance teaching was an option for me but here I am – Deaf people can do anything.’ What are the particular challenges around ballet and dance teaching for a Deaf teacher? How did Naomi create a way of teaching that works for her and her students, and what advice would she have for teachers trying to make their classes as inclusive and welcoming as possible?
Naomi Smart is an RAD teacher based in London. She is also a writer and Deaf awareness activist, and is researching a PhD about community dance at Kings College London.
Find out more about the work of the RAD
Read a transcript of this episode
Follow the RAD on social media and join the conversation with host David Jays:
Instagram @royalacademyofdance
Facebook @RoyalAcademyofDance
Twitter @RADheadquarters
YouTube / royalacademydance
David Jays @mrdavidjays
Sign up to our mailing list to keep in touch!
RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.
Hosted on Acast. See acast.com/privacy for more information.
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We launch the new season of Why Dance Matters with a vital figure in African contemporary dance. Wesley Ruzibiza discovered dance almost by accident – he was studying financial management at the University of Rwanda when he decided to sample a dance class. It set him on the path to becoming a choreographer and co-Artistic Director of the École des Sables in Senegal, one of the world’s most influential training organisations (their production of Pina Bausch’s Rite of Spring is an international sensation). Wesley grew up in turbulent times: Rwandan, he was raised in Kinshasa in Congo; the family was imprisoned for almost a year during the civil war. He recently created a festival around the idea of Tolerance – there’s no one better to ask about dance’s role in troubled times.
Wesley Ruzibiza is a dancer, choreographer and co-Artistic Director of the École des Sables in Senegal. He is also Associate Professor at the CPARC research centres in Bordeaux, National University of Rwanda and Muda Africa School of Dance in Tanzania. His productions have toured all over the world and he co-founded the award-winning Amizero Company, with the University of Rwanda’s Centre for the Arts, and created the international festival EANT in 2012, one of the first professional contemporary platforms in East Africa.
Find out more about the work of the RAD
Follow the RAD on social media and join the conversation with host David Jays:
Instagram @royalacademyofdance
Facebook @RoyalAcademyofDance
Twitter @RADheadquarters
YouTube / royalacademydance
David Jays @mrdavidjays
Sign up to our mailing list to keep in touch!
RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.
Hosted on Acast. See acast.com/privacy for more information.
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Why Dance Matters celebrates its 50th episode in conversation with one of the world’s great ballerinas. Olga Smirnova’s Giselle with Dutch National Ballet will be broadcast to international cinemas on 21 January. She joined the company after making headlines in 2022 with a courageous, life-changing decision to leave Moscow’s Bolshoi Ballet in response to Russia’s invasion of Ukraine. In a wide-ranging and thoughtful conversation, she discusses stage fright (she never feels it), the challenges of being a ballerina in the age of smartphones, her momentous decision to leave Russia and her profound sense of why dance matters.
As a young girl, Olga Smirnova had no dream of becoming a ballerina. However, she did go to dance classes, and was then accepted into the famous Vaganova Ballet Academy in St Petersburg. On completing her training in 2011, she joined the Bolshoi Ballet, starting immediately as a soloist and shining not only in the classics, but also in new and modern works. In 2016, she was promoted to prima ballerina, but when Russia invaded Ukraine in 2022, Olga – strongly opposed to the invasion – decided to leave her homeland, making the transition to Dutch National Ballet.
Find out more about the work of the RAD
Follow the RAD on social media and join the conversation with host David Jays:
Instagram @royalacademyofdance
Facebook @RoyalAcademyofDance
Twitter @RADheadquarters
YouTube / royalacademydance
David Jays @mrdavidjays
Sign up to our mailing list to keep in touch!
RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.
Hosted on Acast. See acast.com/privacy for more information.
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- Visa fler
