Podcast appearances and mentions of andrea higgins

Tune in on Monday, 3/27/23 at 6:30am EST, for a brand new episode of The Doctor Whisperer Show featuring Pelvic Floor Therapist and Director of Operations for The HOPE Doctors, Andrea Higgins. ▪︎ ▪︎ ▪︎ A︎BOUT OUR GUEST: Dr. Andrea attained her undergraduate degree in Kinesiology and Biology at Charleston Southern University. She then went on to the University of St Augustine for health sciences to obtain her Doctorate in Physical therapy. Her interest in physical therapy began after her dad survived a massive stroke. PT assisted in her father's recovery to walk again. She was also always involved in sports; competing in cross-country, basketball, and softball. After PT school, Dr. Andrea worked in outpatient orthopedics where she became interested in treating pelvic floor dysfunction after seeing it as the missing link in a lot of her orthopedic patients (hip and/or low back pain that was never 100% resolved). After learning from the best in the pelvic floor arena and finding out she also had pelvic floor dysfunction, Dr. Andrea decided to specialize in the pelvic floor. IG: @andreayarbrough_pfdoc www.thehopedocs.org #pelvicfloor #pelvicfloortherapy #tampabay #businessofmedicine #healthcarepodcast #businessofmedicinepodcast #podcasthost --- Send in a voice message: https://podcasters.spotify.com/pod/show/thedoctorwhisperer/message

Gov. Roy Cooper on Tuesday signed an executive order meant to reduce violence and firearm misuse. The State Office of Violence Prevention will coordinate efforts across various state agencies and local leaders. "It requires an all-hands-on-deck approach," Cooper said. "That's what this is about today." The office will offer training, technical assistance and conduct public awareness campaigns. READ MORE: https://www.wcnc.com/article/news/local/wake-up-charlotte/guns-firearms-training-awareness/275-c99515b4-5c94-4020-8086-a9b65ea85f23 The family of a 5-year-old Charlotte-Mecklenburg Schools student silently protested during the CMS Board meeting Tuesday night. The family held signs calling out the alleged mistreatment of the 5-year-old student. The family claims the child was sexually assaulted, filed a report with CMS, but ultimately ended up back on the same bus as her alleged attacker.  During public comments, the parent of the 5-year-old targeted the district and CMS board members. "I am here today to specifically and to purposefully ask for the resignation of Dr. Hill and or the termination," Andrea Higgins, the CMS parent, said. "The reasons why her incompetence to safeguard the students within her district." READ MORE: https://www.wcnc.com/article/news/education/family-silently-protests-cms-board-meeting-handling-assault/275-e9293bfa-dc63-4561-b54a-d5a44252c1cf

Gov. Roy Cooper on Tuesday signed an executive order meant to reduce violence and firearm misuse.The State Office of Violence Prevention will coordinate efforts across various state agencies and local leaders."It requires an all-hands-on-deck approach," Cooper said. "That's what this is about today."The office will offer training, technical assistance and conduct public awareness campaigns.READ MORE: https://www.wcnc.com/article/news/local/wake-up-charlotte/guns-firearms-training-awareness/275-c99515b4-5c94-4020-8086-a9b65ea85f23The family of a 5-year-old Charlotte-Mecklenburg Schools student silently protested during the CMS Board meeting Tuesday night.The family held signs calling out the alleged mistreatment of the 5-year-old student. The family claims the child was sexually assaulted, filed a report with CMS, but ultimately ended up back on the same bus as her alleged attacker. During public comments, the parent of the 5-year-old targeted the district and CMS board members."I am here today to specifically and to purposefully ask for the resignation of Dr. Hill and or the termination," Andrea Higgins, the CMS parent, said. "The reasons why her incompetence to safeguard the students within her district."READ MORE: https://www.wcnc.com/article/news/education/family-silently-protests-cms-board-meeting-handling-assault/275-e9293bfa-dc63-4561-b54a-d5a44252c1cf

For the Music of Wynonna Earp episode Anne & Cat knew they needed to talk with musical maven Andrea Higgins, Music Supervisor for Wynonna Earp. Listen as she recalls the stories behind some favorite musical moments of Wynonna Earp as well as her interactions with Earpers. Enjoy the interview in it's entirety as recorded on April 25, 2021. Find Andrea on Twitter & Instagram @andreahiggins www.thisearperlife.com Twitter @thisearperlife Instagram @thisearperlifepodcast Rate. Comment. Subscribe.  

For our Music of Wynonna Earp episode we talk with Andrea Higgins, Music Supervisor for Wynonna Earp as well as artists Jill Andrews, Adaline, Desirée Dawson and Lindsey Ray to hear the stories of how some of the most magical musical moments of Wynonna Earp came to be. Please subscribe, rate and review. www.thisearperlife.com

Music supervisor Andrea Higgins of Arpix Media joins Melissa to chat about her career. The conversation covers her work on popular genre shows like Killjoys and Wynonna Earp, the process of shaping the music on a TV show from initial meetings to the finished product, and the soundtracks that made an impression on her over the years. Subscribe: Apple Podcasts | Google Play | Stitcher | RSS Contact + Follow: Email | Twitter | Facebook | YouTube

    On this podcast Kevin and Bonnie are joined by Andrea Higgins who is the music supervisor for Wynonna Earp. We discuss how she finds music for the show, how she got into the business and much more. Safe to listen to after you have seen season 2 episode 12 “I Hope You Dance”. [...]

    On this podcast Kevin and Bonnie are joined by Andrea Higgins who is the music supervisor for Wynonna Earp. We discuss how she finds music for the show, […]

Threading the past into the present, fabric has permeated through every civilization as a vehicle of creative expression. Stroke by stroke, painter Andrea Higgins applies her brushmarks to emulate the stitch-by-stitch patterns of fabric swatches, creating dynamic abstractions in her compositions. The Spark episode "Threads" zooms into Higgins's current series of oil paintings, "The Presidents' Wives," which explore the relationship between women, fashion and power through visual abstractions based on the wardrobes of America's first ladies. Painter Andrea Higgins explores ultimate power dressing with her series of works based on the wardrobe of American First Ladies.

Spark explores ultimate power dressing with Andrea Higgins's series of works based on the wardrobe of American First Ladies. Original air date: June 2003.

Happy New Year everyone! I hope you all had a wonderful holiday season. We are going to start 2008 with a lesson that I really love. I call it Just Up. I have drawn the movement from a series of Awareness Through Movement® lessons that involve the use of oscillations.I like this lesson for dancers for many reasons. I especially like the way it helps dancers to experience the feeling of being pulled up, without triggering unnecessary tension in the body.I like it for another reason as well—I think it helps to generate a feeling of optimism. I can think of no better way to begin the New Year. Enjoy!IntelliDANCE Podcast 6: Just Up© Andrea Higgins 2008.

Last week’s blog post and Podcast lesson were inspired by a lecture that Moshe Feldenkrais once gave, in which he discussed Nijinsky. We received a wonderful follow-up post from Daniel Gesmer. If you have not yet read Daniel’s comments, please go to the post titled “Jump Thoughts,” (Nov. 2007) and click the "comments link" at the end of the article.Daniel’s post got me thinking about the use of imagination in the Feldenkrais Method®. Specifically, how Awareness Through Movement® (ATM) lessons can help to develop the ability to imagine not only the visual image of movement, but also the kinesthetic sensations associated with it. After experiencing how effective imagining was at bringing about remarkable changes in my own organization and functioning, I began to utilize imagining more and more in my teaching practice, and in life generally. This week’s Podcast lesson will introduce you to the process. Enjoy! IntelliDANCE Podcast 5: Imagining© Andrea Higgins 2007.

I have been working with the ideas and movement explorations in this week’s Podcast lesson for a number of years. I would like to share the background, for it has to do with a story I once heard about Nijinsky.When I was training to become a Feldenkrais® practitioner, the Educational Director of my program, David Zemach-Bersin, showed a video of a lecture given by Moshe Feldenkrais on Nijinsky. I was not able to obtain a transcript of the lecture, as it was under copyright, so I contacted David afterward to see if he might be able to provide further information. He was only able to provide some basic context, the essence of which, is that Moshe was introduced to a family member of Nijinsky, who let Moshe look at Nijinsky’s private journals.In his lecture, I recall Moshe talking about how Nijinsky was able to “fly out the window.” He never clarified this point further; I assume he was referring to a moment in a specific ballet, but as I am not a Nijinsky scholar (and have never studied his journals), I am not sure what he was referring to exactly. The more important part of Moshe’s lecture had to do with how Nijinsky prepared to “fly out the window.”Moshe said that Nijinsky would sit quietly in a chair and gently lift his feet off the ground. He would do this for some time. Then, he would get up and “fly out the window.” What interested me about this story was not the part about flying out the window. It was the part about sitting in a chair and gently lifting his feet. It was the glimpse into Nijinsky’s process. Much of what we do in dance is an extension of what we do in daily life. It is a more exaggerated, dynamic, faster and stylized extension of daily activities. As learners and teachers we forget that underlying the most complicated or virtuosic dance combinations are some very basic movement and body organization patterns.Think about what a jump—out the window or otherwise—really is for a moment. It is an extension of standing up. For a very young child it is often a very joyful extension of standing up. In dance we limit the expression of those basic patterns according to stylistic requirements, but by returning to the basic functional patterns from time to time, we can help to reorganize ourselves in such a way that our dance patterns improve.In this week’s Podcast lesson we will see if we can figure out what Nijinsky seemed to intuitively understand. How, by sitting quietly in a chair and lifting our feet, we can improve our jumps. Enjoy!IntelliDANCE Podcast 4: Jump Thoughts© Andrea Higgins 2007

In dance, we have a constant companion—our reflection. Many of us are taught (both implicitly and explicitly) to evaluate our performance in class by what we see in the mirror. Over time, this visually oriented process instills an outside-in model for evaluating alignment—or placement—as it is more commonly referred to in dance class. In order to be effective, this model relies on informed seeing. Informed seeing requires knowledge of human anatomy and the ability to identify skeletal landmarks on the body, which help to determine if the body is aligned properly.So, what do we mean by “proper” alignment. (This was a word that virtually every one of my dance teachers used when referring to issues of placement.) I found the following definition in my Encarta® World English Dictionary (© Microsoft Corp.):prop·er adj 1. Appropriate or correct. 2. Fulfilling all expectations or criteria. 3. Behaving in a respectable or socially acceptable way. 4. Characteristic of or belonging exclusively to somebody or something. 5. Strictly identified and distinguished from something else.Think of the history of ballet and you come to realize that proper alignment may have had less to do with potentiating movement than it did with social mores back in the court of Louis the XIV. Perhaps a better word to use in the dance classrooms of today when talking about alignment or placement would be optimal.Optimal alignment suggests the most advantageous alignment—that placement in which the body is free to move in any way, in any direction, without first needing a readjustment of some sort. Are the eyes the best and most reliable way to assess this?Our eyes can only offer an objective (outside-in) evaluation of the body’s preparedness to move. It is bodily/kinesthetic sensation that offers a subjective and immediate sense of the moment that occurs between thought and action—the moment from which our movement potential unfolds. By training dancers to be more aware of their bodily/ kinesthetic sensations, we can help them to find the individual nuances necessary for their own body to be optimally prepared for movement in class. This leads to an inside-out understanding of alignment, in which alignment serves movement rather than serving as a purely aesthetic criteria.The Feldenkrais Method® is one means for helping dancers to deepen their bodily kinesthetic awareness. Especially effective is the learning process developed by Moshe Feldenkrais called Awareness Through Movement® (ATM). ATM lessons generally last about 45 minutes, making it neither possible nor practical to include a complete ATM lesson during a typical dance class. But, it can be helpful to have a few simple and quick Feldenkrais-inspired exercises up your sleeve that will bring about positive results within just a few minutes. These can be done as part of a dancer’s pre-class warm-up, or at the beginning of class to facilitate an inside-out experience of alignment—even in very young students.Lesson One: The Spine, Turnout & the Inside-Out PrincipleThe spine has a series of natural front to back (or sagital plane) curves, which are necessary for balancing in an upright stance. The segmented structure of the spinal vertebrae allows for the constant adjustments necessary for balance, while the lumbar, thoracic and cervical curves enable the vertebrae to efficiently bear the weight from above. When dance students—especially those who do not possess 180 degrees of natural turnout ability in the hips—come into a turned out stance, there is often a compensatory increase in the degree of curvature in the lumbar spine. Why does this happen? Because, the spine and the hips have something in common—the pelvis. If a student forces turnout from the hip, or fails to engage the hip rotators while turning out, the pelvis will help to compensate by tipping forward, thus increasing the lumbar curve.In ballet class, it is common practice to take a turned-out stance, and then correct the spinal compensations by pulling in, pulling up and so forth. In the lesson we are going to do today, we will take a Feldenkrais-inspired approach to placement at the barre, by first observing the effect of turnout on the spine, and then working with the pelvis and spine to bring about positive improvement of placement in turnout.A special note to teachers: this lesson runs approximately 23 minutes. I have made this recorded lesson it a little longer than would be practical for use in a typical technique class to allow for explanations that will help you as a teacher. But, keep in mind that once you become familiar with the lesson structure and ATM process, you can shorten the lesson to suit your own purposes. I have shortened it to just three minutes with remarkable results! So, on to the lesson…Click Here for IntelliDANCE Podcast: Lesson 1© Andrea Higgins 2007.