Why Dance Matters

No one moves like Charles “Lil Buck” Riley. The dancer, renowned for Memphis jookin’, has a breathtakingly fluid style which has led to collaborations in ballet, music, fashion and more. His latest project is part of the opening season at Oxford’s new arts centre: he is a Schwarzman Centre Cultural Fellow, and collaborating with ZooNation on 1776, a new piece marking 250 years of American independence. How does that make him reflect on America in 2026? And how does Lil Buck feel about a dance journey that has taken him from the parking lots of Memphis to a global audience?  1776 is at Schwarzman Centre, Oxford on 26 June https://www.schwarzmancentre.ox.ac.uk/whats-on/1776-z24j  https://www.lilbuck.comWhy 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.

As the RAD releases its new Musical Theatre syllabus, Dr Nathan James (the RAD’s Deputy Artistic Director – Education) describes what makes it distinctive. From falling under the spell of the tap-happy musical 42nd Street in childhood, to performing in the show as an adult performer, he tells us about discovering his calling as teacher, his research into MGM musicals, the rigours of tap and whether choreographers are right to complain that dance is often ‘bottom of the list’ in contemporary musicals. https://www.nathanjamesdance.com/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.

Sir Peter Wright is living proof that doing what you love will sustain you. The ballet producer and artistic director turns 100 in November, but has been involved in recent revivals of his cherished productions of Giselle, The Nutcracker and Swan Lake for the Royal Ballet and Birmingham Royal Ballet. In this special episode of Why Dance Matters, we listen in as Sir Peter talks about his life and work to the RAD’s Patrons’ Circle (who support the RAD’s charitable work). He discusses the star dancers he worked with, and how ballet has changed during his remarkable life in dance. Peter Wright made his debut as a dancer with Ballets Jooss during World War II. In 1961 he joined John Cranko’s new Stuttgart company, choreographing ballets and mounting his first production of Giselle. His productions of the classics now feature in the repertories of companies around the world. In 1977 he became Director of Sadler’s Wells Royal Ballet, supervising its transformation into Birmingham Royal Ballet (he became Director Laureate on retirement from the company in 1995). In 1990 he received the RAD’s Queen Elizabeth II Coronation Award, and a knighthood in 1993. He is a Vice-President of the RAD. The RAD’s Patrons Circle https://www.royalacademyofdance.org/support-dance/#patronBirmingham Royal Ballet celebrate Sir Peter Wright on 18 June https://www.brb.org.uk/shows/sir-peter-wright-centenary Hosted on Acast. See acast.com/privacy for more information.

Jordan James Bridge is a sharp mover and thinker and an ambitious talent. Having danced for Company Wayne McGregor, his own choreography has made a splash on screen and in the Ballet Nights series of dance gigs. It all began for Jordan at school near Wigan, in the north of England, where he first discovered dance – where he returned last summer because the dance studio at Fred Longworth High School has been named after him. This full circle moment seems the perfect time to ask Jordan about forging his path, defying the gatekeepers – and why dance matters.Jordan James Bridge is a multi award winning choreographer/performer for stage, screen and fashion. A longstanding dance artist of Company Wayne McGregor, he more recently appeared in Disney's The Marvels and walked for Moschino in Milan fashion week. Nominated for ‘Emerging Artist’ as both dancer and choreographer in the National Dance Award 2024, he has won multiple awards for his dance films Us, Locked Down and PARASITE. He made a ballet for Györi Ballet, Hungary, and is a consistent creative entity at Ballet Nights in London. He is a renowned lecturer in both Cunningham based technique and his signature Guided Improvisation method.Jordan James Bridge https://jordanbridgedance.co.uk/Jordan premieres two works in New English Ballet Theatre: Covent Garden Choreographics on 21 March (Clore Studio, RBO) https://www.rbo.org.uk/tickets-and-events/new-english-ballet-theatre-covent-garden-choreographics-details Hosted on Acast. See acast.com/privacy for more information.

Dr. Mark Broomfield is a dance scholar and artist, and the author of Black Queer Dance: Gay Men and the Politics of Passing for Almost Straight. Born in London, he has spent much of his career in New York, currently as Associate Professor of English and the Founder and Director of Performance as Social Change at SUNY Geneseo. He says his work is about “moving minds, moving bodies and moving souls” to advance transformational social change. We’ll ask about bodies, identity and change. Dr. Mark Broomfield is Associate Professor of English, Founder and Director of Performance as Social Change™ at SUNY Geneseo. The award-winning, London-born scholar and artist of Jamaican heritage has numerous publications on race, gender, sexuality, dance and ethnography, and he has lectured, choreographed and directed widely. His first book is Black Queer Dance: Gay Men and the Politics of Passing for Almost Straight (Routledge), while his forthcoming documentary Danced Out explores Black, gay male dancers in New York City.Mark’s website https://www.markbroomfield.org/Black Queer Dance https://www.routledge.com/Black-Queer-Dance-Gay-Men-and-the-Politics-of-Passing-for-Almost-Straight/Broomfield/p/book/9780367076351 Hosted on Acast. See acast.com/privacy for more information.

Our first guest of 2026 is the choreographer of the Wicked movies: the defying gravity force field that is Christopher Scott. In two phenomenal films, based on the hit stage musical, Christopher brings the land of Oz to stomping, whirling life – continuing his collaboration with director John M Chu (including In the Heights and the web series Legion of Extraordinary Dancers). How does Christopher, who began as a street dancer, work with stars like Cynthia Erivo and Ariana Grande? And there is no Oscar for choreography – how does this passionate advocate for dance feel about that?Christopher Scott graduated from the Hollywood High Performing Arts Magnet Program, and began his choreography career in the Step Up dance films. He became associate producer and choreographer of The LXD: The Legion of Extraordinary Dancers. From 2010-16, he was a resident choreographer on So You Think You Can Dance, receiving three Emmy nominations. He has directed for stage and screen and has worked with artists such as Miley Cyrus and Gloria Estefan. In 2019, for director Jon M Chu, he choreographed the film of Lin Manuel Miranda’s In The Heights, followed by Wicked and Wicked: For Good.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.

Here’s an unusual compliment: “Evie has amazing eyes that can emote both compassion and complete psychotic behaviour.” This is a director describing Evie Templeton, who at 16 stars in the hit Netflix series Wednesday. Evie brings her compassionate/psychotic presence to Agnes DeMille – stalker and ally of Wednesday Addams in the comic and macabre series. The character, named for the pioneering choreographer Agnes DeMille, even dances to an original number by Lady Gaga. Evie herself has a background in RAD ballet (her sister Jessica was a medallist at the RAD’s Genée competition). How has ballet shaped Evie’s approach to performing? Evie Templeton was born in Barbados and later moved to England. Aged 10, she played young Cosette and Eponine in Les Misérables in the West End. She made her film debut in Red, followed by roles in Life After Life, Disney’s Pinocchio and Lord of Misrule. As well as playing Agnes DeMille in Wednesday, she is due to appear in Return to Silent Hill. Wednesday on Netflix https://www.netflix.com/gb/title/81231974Why 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.

To be artistic director of one of the world’s great ballet companies is a daunting task. But Tamara Rojo is accustomed to pressure: as Royal Ballet, artistic director of English National Ballet, and now of San Francisco Ballet (SFB), America’s oldest classical company. Tamara has the gift of making each programmes an event; the highlight of her first season at SFB was Mere Mortals, a ballet for the age of AI, which attracted a new audience to watch and party. We ask Tamara: how does she juggle all the demands of her role? And what is it like to lead a major arts organisation in modern America? Tamara Rojo is a celebrated leader and principal dancer who became Artistic Director of San Francisco Ballet in 2022. Previously, she was Artistic Director and Lead Principal of English National Ballet (ENB) for over 10 years, having also been principal dancer of the Royal Ballet. Her repertoire includes lead roles in all full-length ballet classics, as well as works by Balanchine, Robbins, Ashton and MacMillan. Her numerous awards include the Olivier Award for Best Achievement in Dance in 2017 and the Principe de Asturias Award in 2005. In 2016, she was awarded a CBE for services to dance. Listen to RAD's Why Dance Matters podcast now, available on all major listening platforms. Hosted on Acast. See acast.com/privacy for more information.

Maddie Jamieson is one of the UK’s leading experts in dance team. As a former competitive dancer, and now a choreographer, coach and judge, she’s the perfect guide to a discipline which sits between sport and art (the International Cheer Union was recently recognised by the IOC, possibly paving the way for inclusion in a future Olympic Games). What is the difference between dance team and cheerleading? Why is ballet training good for dance team? And what is the best way to use a pom-pom? Maddie Jamieson is an internationally-renowned dance team choreographer, coach and adjudicator. Following a dance career which saw her place 7th in the world and work for the BBC, IKEA, and Disney, she went on to coach the national dance team of Scotland to a bronze medal at the ICU World Championships in 2022, and had three teams placing in the top 10 at the Dance Worlds 2024. She has also judged across three continents including at the ICU European Championships in 2023. 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.

Lewis Walker is a former world champion gymnast and now a dancer. We often talk about dance as a short career, one which embeds a very binary approach, and in which partnering is a question of intense trust – well, all this is even more true of gymnastics. Lewis discovered the sport at six, reached its peak – but also realised there was more to explore, more to express. Their side-shimmy into dance has led to collaborations in music, fashion and choreography. Their new work, Bornsick was co-commissioned by the Serpentine Gallery and travels to the Edinburgh Art Festival this summer.Lewis Walker is a London-born queer, non-binary movement artist. A former Great Britain gymnast and Acrobatic Gymnastics World Champion, they trained from age 6 to 21 before earning a degree in Contemporary Dance. Their work spans theatre, film, fashion, music, and the commercial sector. Walker continues to choreograph gymnastics competition routines for the Great Britain, Italian and French national teams. Their creative vision and dynamic movement style have led to collaborations with Tim Walker, Yorgos Lanthimos, ANOHNI, Tirzah, BULLYACHE, Burberry, UNTITLAB, and the Institute of Contemporary Arts (ICA).Beyond performance, Walker is dedicated to teaching movement as a tool for accessing deeper states of consciousness and developing a deeper understanding of consensual touch. Their Connecting to Improv workshop explores dance improvisation as a ritual of shared energy and expression, while MOVE HYPNO, a collaboration with hypnotherapist Michele Occelli, blends movement and hypnotherapy for personal transformation.Walker is currently a Studio Wayne McGregor RESIDENT 6 artist-in-residence.Lewis Walker’s website https://www.lewiswalker.uk/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.

It’s the 90th anniversary of the RAD in Australia, so we are speaking to Shelley Yacopetti, the RAD’s National Director in Australia. Not all the national directors come from a dance background – but Shelley emphatically does: as a performer, teacher, leader. She has been involved with the RAD in Australia for over a decade, taking several roles before becoming National Director. Shelley is also helping shape the conversation around the direction of travel in dance teaching – thinking hard about safeguarding, and how dance can be more accessible and reflect the wider world. Shelley Yacopetti has over 30 years’ experience in the dance industry in multiple roles, including performing artist, academic lecturer, dance educator, arts manager and executive. She trained at the Western Australian Academy of Performing Arts (WAAPA), completing a Diploma of Performing Arts and later a Bachelor of Arts. Shelley performed with Tasdance, Fieldworks Performance Group and ID339, and taught at WAAPA and on RAD Faculty of Education Postgraduate teacher training programmes. Shelley joined the RAD in 2013, and is currently the National Director, Australia. 90 Stories Across 90 Years https://www.royalacademyofdance.org/en-au/news-and-facts/celebrating-90-years-of-the-rad-in-australia-2/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.

Alina Cojocaru is one of the great ballerinas of her generation – her Giselle, Odette-Odile and Manon bring those complex, anguished characters to life. This deep dive of a conversation offers a rare chance to hear a dancer at the peak of their profession discuss the ways in which art works on both artist and audience. Now a freelance dancer, Alina can shape her own artistic path. She founded her own production company, ACWorkroom, and is currently guesting with London City Ballet – and tells us about creating character, mining emotion and sharing it with an audience.Alina Cojocaru CBE is a former Principal of the Royal Ballet and English National Ballet. After studying at the Royal Ballet School she joined the Kiev Ballet in Ukraine as a principal dancer and then the Royal Ballet, being promoted to Principal aged 19, in 2001. In 2013 she joined English National Ballet, where lead roles included Akram Khan’s acclaimed reimagining of Giselle. Her numerous awards include Best Female Dancer at the 2002 Critic’s Circle Awards and the 2004 and 2012 Benois de la Danse awards. A permanent Guest Artist with John Neumeier’s Hamburg Ballet, Alina dances as a guest artist with the world’s foremost ballet companies.Alina’s company ACWorkroom https://www.alinacojocaru.com/London City Ballet (Alina performs in Oxford, Bath, Birmingham and at Sadler's Wells in London) https://londoncityballet.com/production/momentum/#tour-datesWhy 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.

Amir Nizar Zuabi is artistic director of The Herds – an astonishing work of cardboard and imagination, which is sweeping northwards from Africa. The lifesize puppets of The Herds are given dazzling life by teams of puppeteers, drawing attention to climate emergency as the animals look for home in a changing world. Amir previously directed The Walk, where a 12-foot puppet girl sought refuge, greeted by dance and music wherever she went – these projects inspire art as well as empathy. Amir’s own journey is also remarkable – a Palestinian-Israeli director now working on an almost unimaginable scale.   Amir Nizar Zuabi is an award-winning playwright and director. He was the founding Artistic Director of ShiberHur Theater Company, an Associate Director of the Young Vic Theatre, a member of the United Theaters Europe for artistic achievement, and an alumni of the Sundance Institute Theatre Program. Following his work on The Walk, in 2022 he took up the role of Artistic Director of The Walk Productions Limited. Alongside many writing credits, he has directed productions at Flanders Opera, Edinburgh International Festival, Bouffes du Nord and Royal Shakespeare Company.   The Herds https://www.theherds.org/ The Herds on Instagram https://www.instagram.com/the__herds/ 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.