The personal stories, experiences, and ideas from those who shape the dance field.

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Movers & Shapers: Liz Lerman

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PODCAST 163: Liz Lerman

Release Date: 9.18.23


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The Independent Thinker, Liz Lerman

Episode 163: Show Notes

Liz is a choreographer, performer, writer, teacher, and speaker. For the past forty years, she has infused her artistic exploration with a personal touch, humor, intellectual vibrancy, and a contemporary edge. Her choreography has delved into a wide spectrum of topics, ranging from her experiences as a go-go dancer to an exploration of the intricacies of choreography and connections with community. Today, she shares with us insights into what ignited her love for dancing and reflects on the abundant influences that have affected both her life and artistic career. She talks about the importance and complexities of our feelings and how she rode the wild waves of her 20s to discover, for herself, what dance could mean for her. We hear about the impact of her mother’s life and death on her stubbornness to figure life out for herself, why rehearsals should always matter, and the unfolding of events that surround the founding of The Dance Exchange. She expresses and reflects on how she views herself as more of an interdisciplinary artist and her eagerness to be generous about spreading her wealth of knowledge. She then details her passion for the Critical Response Process (CRP) and how that was formed over the years. Join in as we delve into the chronicles of her life and her pursuit of understanding. Tune in now.

Key Points From This Episode:

  • Liz offers insight into where she comes from and what ignited her love for dancing.
  • She reflects on the myriad of influences that have affected her life and dance journey.
  • A wild ride in her 20s: riding the waves of figuring out what dance could be for her.
  • The impact of her mother’s life and death on her stubbornness to figure life out for herself.
  • How working intergenerationally moved and shifted her mindset.
  • The response she experienced when she started making work/performances.
  • Making rehearsals matter.
  • More about the founding of The Dance Exchange.
  • She goes into detail about how her different works unfolded uniquely.
  • Her thoughts on the nomadic life and being an ethical visitor.
  • How she began to extract herself from The Dance Exchange: composting Liz.
  • Reflections on how she views herself as more of an interdisciplinary artist.
  • She talks about the Critical Response Process (CRP).
  • Liz delves further into her current projects and pursuits.

About Liz Lerman

Liz Lerman is a choreographer, performer, writer, teacher, social activist, thought leader and inspirational speaker. She has spent the past four decades making her artistic research personal, funny, intellectually vivid, and up-to-the-minute. Her choreography has examined everything from her days as a go-go dancer in 1974, to investigating the matters of our origins by putting dancers in the tunnels of the Large Hadron Collider at CERN-Switzerland.

A key aspect of her artistry is opening her process to everyone from shipbuilders to physicists, construction workers to ballerinas, resulting in both research and experiences that are participatory, relevant, urgent, and usable by others. She founded Liz Lerman Dance Exchange in 1976 and cultivated the company’s unique multi-generational ensemble into a leading force in contemporary dance until 2011, when she handed the artistic leadership of the company over to the next generation of Dance Exchange artists.

In 2016, Liz was named the first Institute Professor at the Herberger Institute for Design and the Arts at Arizona State University. There, she is also a Senior Global Futures Scientist at the Global Institute of Sustainability and Innovation, a faculty affiliate in Jewish Studies and a fellow at the Center for the Study of Race and Democracy. She is currently a senior fellow at the Yerba Buena Center for the Arts. Liz conducts residencies on Critical Response Process, creative research, the intersection of art and science, and the building of narrative within dance performance at such institutions as Harvard University, Yale School of Drama, Wesleyan University, Guildhall School of Music and Drama, and the National Theatre Studio among others.

Most recently, she and her dancers created and performed Wicked Bodies, a piece inspired by powerful and grotesque images of women’s bodies over multiple historic periods. Her work premiered April 2022 at the Green Music Center at Sonoma State University. It toured to Jacob’s Pillow Dance Festival in August, Arizona State University’s ASU Gammage Theater in September and Yerba Buena Center for the Arts in October. Wicked Bodies, an intimate spectacle, brings together several consistent themes of Liz’s choreographic output including the invisible ways and means of feminine thinking and action which have been celebrated, erased, or criminalized; legal systems that attempt but often fail to bend our actions towards a fairer and more just world; and how a group of intergenerational artists brings their personal lives to the stage within characters that are imagining futures.

Among her current projects is building the Atlas of Creative Tools, an online resource intended to create a better, more interesting realm of learning and discovery. Users will be able to interact with dozens of tools and learn how to use them. Resources will include art-making techniques, essays and stories about the tools, examples of their applications and an extensive glossary.

Liz’s most recent book, Critique is Creative: The Critical Response Process in Theory and Action (with co-author John Borstel), was published just last year. It addresses the Critical Response Process, a communication system for giving and receiving feedback that Liz invented decades ago as an antidote to kind of comments that can kill inspiration and rob a creative person of their agency.

Her signature blend of dance, spoken word, music, technology, social commentary and audience involvement has garnered her countless awards and honors, including most recently a Guggenheim Fellowship, the 2017 Jacob’s Pillow Dance Award and a MacArthur "Genius" award in 2002.

One reviewer had this to say about Liz: “She’s not so easy to sum up; but among the things that go into her makeup are assuredly an impish sense of humor (she could have been a fine stand-up comedian), an almost metaphysical intensity and seriousness, the imagination of a born fabulist, manic energy and no small dollop of plain old chutzpah.”


Connect with Liz Lerman

Liz Lerman website

Hiking the Horizontal
Liz Lerman’s Critical Respone Process
Critique Is Creative: The Critical Response Process® in Theory and Action


Links Mentioned in Today’s Episode:

Liz Lerman: Critical Response Process

Hiking the Horizontal

Ethel Buttler

Martha Graham

Florence West

Ruth Page

Life Magazine Marilyn Monroe Covers 1952-1962

Merce Cunningham

Jan van Dyke

The Dance Exchange

Leslie Jacobson on LinkedIn

Why Survive?

A Woman of Clear Vision

Podcast produced by: The Moving Architects
Interviewer: Erin Carlisle Norton

Movers & Shapers: Anna Pasternak and Blair Brown with Movement Exchange

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PODCAST 162: Anna Pasternak and Blair Brown with Movement Exchange

Release Date: 8.4.23



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Anna Pasternak and Blair Brown with Movement Exchange 

Building Community through Arts Education

Episode 162: Show Notes

Our guests today are passionate about dance, dance education, and serving communities. Join us today as we share a podcast with you featuring an interview with Anna Pasternak, the Founder of Movement Exchange, and Blair Brown, the organization’s current Executive Director. During our conversation, we hear about their journeys with dance, what captivates them about the arts, and how their life paths led them to Movement Exchange. Movement Exchange is an international non-profit organization that provides accessible and sustainable dance education to youth of all ages. They share all about how it started, how it evolved, and their plans for expansion. We hear more about their university chapters and international volunteer dance exchanges and how they build leadership development, cultural awareness, and a passion for community building through arts education. To hear more about their year-round sustainable programs in underresourced communities, be sure not to miss out on today’s episode with Anna and Blair from Movement Exchange!

Key Points From This Episode:

  • Anna shares her personal history and transformative journey with dance.
  • What it was about dance that drew her in and sparked her love for dance.
  • She elaborates on her aspirations after high school and how getting into Harvard impacted her dance journey.
  • A gift from Harvard: how anthropology influenced and broadened her knowledge of culture and dance.
  • Fly and be free; the pull to see and experience everything the world had to offer.
  • Anna talks about the exciting journey of founding the Movement Exchange.
  • Her biggest worry stepping down as Executive Director at Movement Exchange.
  • What it meant to Anna working at and being part of Movement Exchange.
  • We hear from Blair about who she is, where she’s from, and what brought her to dance!
  • Blair expresses what it is about the arts that captivate her.
  • Her plans for after high school: ditching the pointe shoes for modern dance.
  • She elaborates on the biggest shift that altered her life as an artist: dance education.
  • Meeting Anna and Movement Exchange; the second jump in her career.
  • She elaborates on her thesis topic and completing her MFA.
  • We discuss the realization of the barrier to dance, even in the USA.
  • Blair expresses her favorite aspects of the role she holds at Movement Exchange.
  • They talk about any pushback experienced with Movement Exchange (and how they counter it).
  • How you can get involved in the Movement Exchange programs.

“There will be nothing in my life that will be as important or have made me as happy as running Movement Exchange.” — Anna Pasternak

Anna Pasternak with Movement Exchange

Anna Pasternak, founder of Movement Exchange, was 25-years-old and working in international development when she dreamed of a way for dancers to make a difference in the world. She asked, “How can dance education reach underserved populations, and how can trained dancers use their skills to give back to the world?” It was her work with Global Brigades in the rural and indigenous regions of Panama that connected Anna to the dance community of Panama, and subsequently inspired her vision for Movement Exchange. Like many young dancers, Anna spent endless hours in a dance studio and thought she was on the path to becoming a professional dancer. However, her interdisciplinary studies at Harvard and years living abroad allowed Anna to look at dance from a different perspective. Intent on the idea of creating a global community of like-minded dancers passionate about service and social justice, Anna founded Movement Exchange in 2010. Anna’s work has been featured in the Harvard Magazine, as a young artist on National Public Television, among other international publications. Anna received her BA from Harvard University and her MS, Nurse Practitioner from UCSF. She previously studied dance at the San Francisco High School of the Arts, the National Arts School of Cuba, and received her early training with Shely Pack-Manning. In 2011, she was a Fulbright Scholar in Mexico City. She is now a proud member of the board of directors for Movement Exchange and continues to guide the organization.

 “Dance is social. It’s all about community and how do we connect with that and make our communities stronger.” — Blair Brown

Blair Brown with Movement Exchange

Blair Brown (MFA, BA) received her BA in Dance from Loyola Marymount University and her MFA in Dance from University of California, Irvine. Since 2012 she has been involved with the non-profit organization Movement Exchange taking part in and leading international exchanges focused on building community through dance. For 10 years she was teaching dance in public schools, community centers, artist residency programs and more in California and New York before taking the position of Executive Director for Movement Exchange. Her career has been led by the passion to create more accessible opportunities for all students to have exposure to arts education. In New York City she created a comprehensive yoga, dance and health program at Storefront Academy Harlem and then spent five years as the dance specialist at Bronx Charter School for the Arts where she created a sequential curriculum for the dance program, oversaw implementation of new arts integration curriculum, and choreographed five productions per year. She has been a big proponent of dance and media technology having created four dance films that have won awards both domestically and internationally. She also used her background in film and media to integrate technology into the dance classroom. Her research has centered around the effects of service learning on developing artists and how experiential learning involving service and cultural exchange can have a lasting impact on one’s artistry and career. She has presented at NDEO conferences and continues to be an active member of the dance education community.



Links Mentioned in Today’s Episode:

Revelations by Alvin Ailey

Pittsburg Ballet Theatre

Martha Graham

Le Moyne Dance 

Bob Fosse

San Francisco High School of the Arts

Harvard University 

The Theatre Oppressed, Brazil 

‘The Theatre of the Oppressed’ 

Habitat for Humanity

Indiana University 

UC Irvine 

Guna People (Atlas of Humanity)

University of Panama

Loyola Marymount University

Trinity Laban

NDEO Conferences

Podcast produced by: The Moving Architects
Interviewer: Erin Carlisle Norton

Movers & Shapers: Mark Morris

By Podcast

PODCAST 161: Mark Morris

Release Date: 7.31.23


    • Apple Music: Subscribe, Listen, Rate Us HERE

    • Stitcher: Subscribe and Listen HERE

    • Spotify: Follow and Listen HERE

    • Any Smartphone Podcast app: Subscribe and Listen


Around the World with Mark Morris

Episode 161: Show Notes

From the age of seven, Mark Morris was enamored with dance. Immersing himself in everything from flamenco to Israeli folk to ballet to modern, Mark has lived, trained, and worked in many different parts of the world. In this episode, Mark takes us on a journey from the audition that signaled the start of his career to the Mark Morris Dance Company’s first show in 1980 to his years in Brussels, where he did his “grandest work.” We also take a look at the work that Mark devotes his time to these days, which involves choreographing “dances of the future” that are only intended to be seen by the public after his death.  His life has been eventful, to say the least, and this episode will give you a taste of the passion and flair that epitomize Mark Morris!

Key Points From This Episode:

  • Where Mark’s love for dance originated.
  • Different dance forms that he has been drawn to during his life.
  • How his life changed when he was just 11 years old.
  • Mark’s experience training and working overseas.
  • Why he moved to New York and the various companies he danced for while there.
  • The driving force for the founding of the Mark Morris Dance Group.
  • Mark Morris Dance Group’s first show and how the company evolved from there.
  • Some of Mark’s career highlights.
  • Where he did his grandest work.
  • The contradictory attitudes that he dealt with during his time in Brussels.
  • How the Mark Morris Dance Center came to be.
  • Where Mark finds inspiration to continue to choreograph.
  • Insight into his “dance of the future” concept.
  • The profound role that music plays in his life.

“I like excellence and I like surprise. I’m very interested in work that engages me and that’s not necessarily what everybody else agrees with.” — Mark Morris

MARK MORRIS, praised as “the most successful and influential choreographer alive, and indisputably the most musical” (New York Times), was born on August 29, 1956, in Seattle, Washington, where he studied with Verla Flowers and Perry Brunson. In the early years of his career, he performed with the companies of Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble. He formed the Mark Morris Dance Group (MMDG) in 1980 and has since created over 150 works for the company. From 1988 to 1991, he was Director of Dance at the Théâtre Royal de la Monnaie in Brussels, the national opera house of Belgium. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov. Morris is also an acclaimed ballet choreographer, with twenty-two works commissioned by ballet companies worldwide.

Noted for his musicality, Morris has been described as “undeviating in his devotion to music” (The New Yorker). He began conducting performances for MMDG in 2006 and has since conducted at Tanglewood Music Center, Lincoln Center, and BAM (Brooklyn Academy of Music). In 2013, he served as Music Director for the Ojai Music Festival. Morris also works extensively in opera, directing and choreographing productions for The Metropolitan Opera, New York City Opera, English National Opera, and The Royal Opera, Covent Garden, among others.

He was named a Fellow of the MacArthur Foundation in 1991 and has received eleven honorary doctorates to date. He has taught at the University of Washington, Princeton University, and Tanglewood Music Center.

He is the subject of a biography, Mark Morris, by Joan Acocella (Farrar, Straus & Giroux), and Marlowe & Company published a volume of photographs and critical essays entitled Mark Morris’ L’Allegro, il Penseroso ed il Moderato: A Celebration. Mark Morris: Musician-Choreographer, by musicologist Stephanie Jordan, was released in 2015. Morris’s memoir, Out Loud, co-written with Wesley Stace, was published in paperback by Penguin Press in October 2021.

A Doris Duke Artist, Morris is a member of the American Academy of Arts and Sciences and the American Philosophical Society, and has served as an Advisory Board Member for the Rolex Mentor and Protégé Arts Initiative. He has received the Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement, the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, the Benjamin Franklin Laureate Prize for Creativity, the International Society for the Performing Arts’ Distinguished Artist Award, the Cal Performances Award of Distinction in the Performing Arts, the Orchestra of St. Luke’s Gift of Music Award, and the 2016 Doris Duke Artist Award. In 2015, Morris was inducted into the Mr. and Mrs. Cornelius Vanderbilt Whitney Hall of Fame at the National Museum of Dance in Saratoga Springs, New York.

Morris opened the Mark Morris Dance Center in Brooklyn, New York, in 2001 to provide a home for his company, subsidized rental space for local artists, community education programs for children and seniors, and a school offering dance classes to students of all ages and levels of experience with and without disabilities.


Mark Morris Dance Group


Links Mentioned in Today’s Episode:

José Greco

Verla Flowers

Chamber Dance Company

Joffrey Ballet

The Juilliard School

Eliot Feld

Lar Lubovitch Dance Company

Laura Dean

Hannah Kahn

New Jersey State Council of the Arts

Brooklyn Academy of Music

Harvey Lichtenstein

Arlene Croce

Nixon in China

John Adams

Alice Goodman

Peter Sellars

The Death of Klinghoffer

Béjart Ballet Lausanne

Gerard Mortier

La Monnaie / De Munt

George Balanchine

Annie Leibovitz

Sam Black

Trisha Brown Dance Company

Stephen Petronio

Nancy Umanoff

Future Library



Podcast produced by: The Moving Architects
Interviewer: Erin Carlisle Norton

Movers & Shapers: Melissa M. Young

By Podcast

PODCAST 160: Melissa M. Young

Release Date: 7.3.23


    • Apple Music: Subscribe, Listen, Rate Us HERE

    • Stitcher: Subscribe and Listen HERE

    • Spotify: Follow and Listen HERE

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Take Up Your Space with Confidence with Artistic Director Melissa M. Young

Episode 160: Show Notes.

Often, as dancers, we have a choice to take up space with confidence or feel defeated and hold back. Our guest on today’s episode is one that continuously chose to take up space and inspired others to follow their intuitions, pursue what they love, and embrace their curiosity. This is an inspiring interview with the Artistic Director of Dallas Black Dance Theatre (DBDT), Melissa M. Young. Our conversation with Melissa is incredibly touching as she talks about why she loved the exploration of dance and remembers certain key impressions that impacted her greatly throughout the years. She tells us why she always chose to dance to the beat of her own drum and why she pursues uncovering herself in the most authentic ways before sharing about her time spent in New York City and how she ultimately ended up dancing at the Dallas Black Dance Theatre. She’s an amazing individual with a passion for dance and holds the responsibility of being an artistic director with such fervor. Tune in now to hear about the pure joy derived from Melissa’s life in dance. Enjoy.

Key Points From This Episode:

  • Melissa talks excitedly about who she is and where her love for dance ignited from.
  • Why she loved the exploration aspect of dance.
  • She talks about the impact of The Stack-Up by Talley Beatty (Alvin Ailey) on her life’s journey.
  • Melissa remembers taking a class from Donald McKayle and the impression it left on her.
  • Why Melissa never put a timeline on her career and allowed the journey to flow.
  • The pull to New York and the blossoming opportunities to do as they were doing at Ailey.
  • She shares thoughts on her firm belief in doing what you see for yourself.
  • Navigating the shoulds, the coulds, and the woulds, and why she chooses to dance to the beat of her own drum.
  • What you see is what you get: uncovering herself in the most authentic way.
  • How the culture shock of moving to New York City made her feel more alive.
  • We hear about her time spent in New York at The Ailey School.
  • How she came upon the DBDT audition notice and took a chance.
  • How her journey at DBDT has allowed her to discover herself.
  • What it was like to move to Dallas: another culture shift.
  • She shares information regarding the current dance and art scene in Dallas.
  • The DBDT and her journey with the company.
  • Her thoughts on the culture, dynamic, and community at DBDT (as a dancer and as staff).
  • How she transitioned from being a dancer to a staff member after 10 years of performing.
  • Looking back at her career, she reflects on some challenges she’s faced and overcame.
  • How she approaches being the artistic director at DBDT (and any role she’s ever filled).
  • Things that are sparking excitement in Melissa for the future.
  • Why she looks for great human beings first when looking at prospective dancers.

“What I love about dance is I look at it like professional problem-solving. The choreography is the problem and the equation of how you get there working with everyone else, that’s how you get to the “answer”.” — Melissa M. Young

Melissa M. Young is a Honduran American raised in Santa Ana, California. She attended Orange Coast College with a focus in Business Administration. She is a graduate of The Ailey School—The Official School of the Alvin Ailey American Dance Theater in New York City. During her Fellowship studies, she was one of five students selected to train as an exchange student at Amsterdam University of the Arts in the Netherlands.

Melissa is celebrating her twenty-ninth season with Dallas Black Dance Theatre (DBDT). Young started her career at DBDT as a dancer for eleven years, then moved up the ranks as Rehearsal Director, Academy Director, Associate Artistic Director, Interim Artistic Director, and was appointed as Artistic Director in September 2018. Her most notable performances include The Kennedy Center, Lincoln Center Out-of-Doors, and for the U.S. Ambassadors to Ireland and Zimbabwe. She has restaged and rehearsed the diverse repertoire of DBDT, which spans over 100 ballets. She was an Assistant to the Choreographers, Hope Clarke for The Dallas Opera’s Porgy and Bess and Christopher L. Huggins for Dallas Theater Center’s production of The Wiz. Melissa is most proud of thoughtfully leading DBDT through the pandemic by using the many restrictions as a guide to push the boundaries of her imagination into a creative reality.

Teaching master classes both nationally and internationally, Melissa specializes in the Dance Technique of Lester Horton. She was the primary Horton Technique Instructor for the Dallas Black Dance Theatre company dancers from 1998-2017. As an Adjunct Instructor, she has taught at Southern Methodist University, Texas Woman’s University, and Abilene Christian University. Over the years, she has led several movement workshops for Leadership North Texas and Leadership Dallas.

Melissa is a graduate of the Leadership Arts Institute, Class of 2022, a program of Business Council for the Arts in Dallas County. She is a member of the International Association of Blacks in Dance, Inc. Melissa has served as an advisory panelist for arts organizations that include the City of Dallas Office of Arts and Culture, Texas Commission on the Arts and Mid Atlantic Arts Foundation, and is a former board member for the Dance Council of North Texas.

Melissa was presented with The Dancer’s Award in 2000 for her artistic excellence and dedication to Dallas Black Dance Theatre. She was chosen as one of “The Talented Tenth” by The Dallas Weekly in 2010, for being a Young and Emerging Leader. In 2014, she received an Award of Recognition from the South Dallas Dance Festival for her service to dance and in 2016, the Natalie Skelton Award for Artistic Excellence. In 2017, Melissa received the Shining Star Award from the Texas Association for Health, Physical Education, Recreation and Dance for her significant contributions to dance in Texas and beyond. During the 57th Annual South Central District Conference of the National Association of Negro Business and Professional Women’s Clubs, Inc. in 2019, Melissa was honored with the “We Speak Your Name” Career Achievement Award.

MSP 159: Susan Klein

By Podcast No Comments

PODCAST 159: Susan Klein

Release Date: 6.19.23


    • Apple Music: Subscribe, Listen, Rate Us HERE

    • Stitcher: Subscribe and Listen HERE

    • Spotify: Follow and Listen HERE

    • Any Smartphone Podcast app: Subscribe and Listen


Creating a Technique that Honors the Individual with Susan Klein

Episode 159: Show Notes

Today’s guest Susan Klein is a true luminary, having shaped the modern dance landscape with her groundbreaking theories as creator of the renowned Klein Technique. In this episode, we explore her transformative journey as a movement pioneer, uncovering her dance background, the hurdles she overcame following a series of debilitating knee injuries, and her return to the world of movement. We discover how her experience ignited her passion for understanding the body and teaching others about movement, and how this ultimately led to the development of the Klein Technique. Susan recounts the pivotal moment she realized the limitations of imitation-based teaching and explains why she believes in nurturing individuality within dance. She opens up about her quest to safeguard her unique contributions, and why she decided to concede, despite her concern about the potential harm of her work being taught incorrectly. Join us as Susan shares her unique journey to quietly becoming one of the most valuable and influential players in the modern dance field.

Key Points From This Episode:

    • Introducing Susan Klein, an “unsung hero of modern dance” and creator of Klein Technique.
    • Susan’s dance background and training.
    • Why she believes teaching through imitation to be ineffective.
    • Her influences and how they shaped her journey.
    • The series of knee injuries that temporarily derailed her dancing career and her return to dance, post-injury.
    • How Susan’s experience ultimately led to the development of the Klein Technique.
    • The importance of individuality in dance and Susan’s continued fascination with movement and teaching.
    • Susan mentions notable dancers she taught.
    • What drew people to her work in the modern dance field.
    • The various methods she attempted to protect her work from being copied.
    • Why she finds the widespread adoption of her work both gratifying and concerning.
    • Her journey of developing a technique class based on Laban’s principles.
    • Challenges she’s faced in her dancing career and the various career paths she’s explored.
    • Susan teases her plan to share her knowledge in book form.

“When I work with people, that’s always exciting because their potential and what’s going on in their lives or in their body is infinitely interesting.” — Susan Klein

Susan Klein is founder and director of the Susan Klein School of Movement and Dance.  She has been developing Klein Technique™ since 1972, teaching dancers to use their bodies correctly thus decreasing their possibility of injury and increasing their capacity and longevity as dancers. Her work has been most influenced by Barbara Vedder, D.C., Irmgard Bartenieff, Bonnie Bainbridge Cohen, Fritz Smith, M.D., and J.R. Worsley, D.Ac. Susan started dancing at 5 years old and by 19 years old was seriously injured. Klein Technique™ is a result of her personal journey to get well, and serves as a way for people to work through individual injuries, to understand the workings of their bodies, and to heal themselves. Susan has a private practice as a Movement Therapist, Certified Zero Balancer, Senior Zero Balancing Teacher, and Traditional Acupuncturist, L. Ac., M.Ac., B. Ac. (UK), Dipl. Ac. (NCCAOM).

Connect: KleinTechnique

Links Mentioned in Today’s Episode:


Podcast produced by: The Moving Architects
Interviewer: Erin Carlisle Norton

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