Podcast appearances and mentions of trinity college london

Send us a text2025 MTA CONFERENCE SPECIALIn Episode 120, Patrick visits the 2025 MTA Conference, held at Trinity Academy, Bristol. He meets ABRSM Chief Examiner and Jazz trumpeter Mark Armstrong, to find out more about Mark's CPD session, ‘Jazz in the Classroom' (04:31), and chats to Founder and President of MusicFirst, Dr Jim Frankel, about his Key Note speech, ‘The Impact of AI on Music Making and Learning' (22:12).Plus, Patrick chats to various exhibitors at the Trade Fair, including representatives from Aspire Organs, Sing Up!, Coach House Pianos, Trinity College London, and Viscount Organs.Presented and produced by Patrick Johns.Mark Armstrong: https://www.rcm.ac.uk/research/people/details/?id=02730Dr Jim Frankel: https://www.musictechhelper.com/about-mewww.aspireorgans.co.ukwww.singup.orgwww.coachhousepianos.co.ukwww.trinitycollege.comhttps://viscountorgans.nethttps://www.musicteachers.org/events/mta-conference-2025/ #CanDoMusic #GetPlaying #SaveOurSubjects © Music Teachers' Association www.musicteachers.org

Dan Corder sits down with James George, trombonist and member of the Cape Philharmonic Orchestra, to share the unforgettable experience of performing alongside the legendary Andrea Bocelli.See omnystudio.com/listener for privacy information.

From family finances to shares and retirement savings, money anxiety is hitting many of us right now. Helen gets advice from financial coaches Jay Adrian Tolentino and Carol Glynn. She's also joined by the Family Hub's Hanan Ezzeldin and Ben Fox from Repton Al Barsha to discuss the ongoing discussion around Netflix' Adolescence - and the role schools and educators can play in the discussion. Do you use 'politisms' to say what you DON'T really mean? If so, you're not alone, as Dr Ben Beaumont from Trinity College London discovered from his recent research. And on the property front, what makes an apartment community really sing? Harrison Rackham-Beadle from Haus & Haus has the answers...See omnystudio.com/listener for privacy information.

Capítulo 39 Nahrayanpodcast vuelve con un nuevo episodio! Esta vez tendremos con nosotros a Carlos Leonardo (Human Carnage) uno de los fundadores y director de Metal Academy, y Albert Batlle (Perennial Isolation/Erzsebet) profesor de canto gutural en la academia. Con ellos charlaremos sobre la creación de Metal Academy, el gran elenco de profesores, sus infraestructuras y el hecho de ser centro examinador oficial de Trinity College London, entre otras muchas noticias!! ATENCIÓN! Necesitamos tu ayuda! Nahrayanpodcast nació con la intención de ser gratuito, no obstante, para poder llegar a todo el mundo, se nos hace necesario cubrir los gastos que generamos. Por lo que, si te gusta nuestro formato y quieres colaborar con la continuidad de Nahrayanpodcast, puedes hacer una donación mediante este link: https://ko-fi.com/nahrayanpodcast MUCHAS GRACIAS!! Metal Academy: www.metalacademyofmusic.com https://www.instagram.com/metalacademy_schoolofmusic/ https://www.youtube.com/@MetalAcademySchoolofMusic Human Carnage: https://humancarnage.bandcamp.com/album/ancient-covenant-of-obscenity-2 https://www.instagram.com/humancarnage_bcn/?__d=1%2F%2F Albert Batlle: https://www.instagram.com/thegrowlist Perennial Isolation: https://www.instagram.com/perennialisolation https://perennialisolation.bandcamp.com/album/portraits Erzsébet: https://www.instagram.com/erzsebet_music https://whisperingvoicerecords.bandcamp.com/album/six-hundred-and-fifty NahrayanPodcast: https://linktr.ee/nahrayanpodcast Canciones incluidas en el Podcast: -Nahrayan - The End. -Human Carnage - Ancient Covenant of Obscenity. -Erzsébet - The Cage, The Torch and Corpses. Música de fondo: -Human Carnage - Ancient Covenant of Obscenity (2020). -Erzsébet - Six Hundred and Fifty (2024).

The podcast features Chapman Shum, the nasen Young Advocate of the Year 2024 winner, discussing his journey as a visually impaired musician. Chapman, who was born blind and has learning difficulties, shares how music has been a powerful tool for connection and expression. He emphasises that challenges can be overcome and aims to inspire others facing difficulties. His mentor, Professor Adam, highlights Chapman's exceptional musical abilities, including his talent for improvisation and participation in the National Open Youth Orchestra. The conversation highlights the importance of recognising the musical potential in children with disabilities, challenging stereotypes, and promoting inclusive music-making. They also discuss the Amber Trust, a charity supporting blind and partially sighted children in music, and the Sounds of Intent framework, which focuses on recognising the musical abilities of children with complex needs.   About Chapman Chapman is a young pianist who has overcome significant challenges to achieve success in music. Born blind and with complex disabilities, including autism and hearing loss, he began learning piano at the age of 6. By 13, he had earned the ABRSM ARSM diploma in Piano Performance. A recipient of the Amber Trust Award, Chapman is also a proud member of both the National Open Youth Orchestra London “NOYO” and the London Youth Folk Ensemble “LYFE”, where he continues to explore his passion for music and collaboration. Through his performances, he strives to inspire others and promote inclusivity. In 2024, Chapman was named the nasen Advocate of the Year.   About Adam Adam Ockelford is a Professor of Music at the University of Roehampton in London, celebrated for his transformative contributions to music education and accessibility for individuals with disabilities. He is the founder of The Amber Trust, a charity dedicated to supporting blind and partially sighted children on their musical journeys, ensuring that every child, regardless of their needs, can experience the joy and empowerment of music.   As the creator of the "Sounds of Intent" framework, Adam has developed innovative ways to support musical development for individuals with diverse abilities. His pioneering work in music psychology and education has had a profound impact, particularly on children with autism, blindness, and other disabilities.    In recognition of his dedication to inclusive music-making, Adam was recently awarded an Honorary Fellowship from Trinity College London. This prestigious honour acknowledges his efforts to ensure that everyone, regardless of their circumstances, has their musical abilities recognized and celebrated.   Beyond his research and advocacy, Adam is an accomplished musician and inspiring educator, empowering countless young musicians to achieve extraordinary milestones and demonstrating that music has the power to connect, inspire, and transform lives.   About the nasen awards The nasen awards celebrate outstanding contributions to the education and support of children and young people with SEND. These annual awards recognise individuals, schools, and organisations that demonstrate exceptional commitment to inclusive education and the advancement of SEND practices. nasen is a charitable organisation that supports children and young people with SEND. nasen's goals include Influencing government policy, providing information, training and resources to support practitioners and contributing to the debate and effecting change to improve outcomes for children and young people.   Contact Chapman https://www.facebook.com/musicismytruecalling/ https://www.instagram.com/scmchapman?igsh=MWFjYTkxMWsxaHR1 https://x.com/ChapmanShum musicismytruecalling@gmail.com   Contact Adam https://www.facebook.com/theambertrust https://www.instagram.com/theambertrust?igsh=amNpdm9pcTBvNWZr https://x.com/theambertrust a.ockelford@roehampton.ac.uk   Useful Links nasen website nasen events and CPD nasen live conference  nasen Awards   B Squared Website – www.bsquared.co.uk  Meeting with Dale to find out about B Squared - https://calendly.com/b-squared-team/overview-of-b-squared-sendcast  Email Dale – dale@bsquared.co.uk  Subscribe to the SENDcast - https://www.thesendcast.com/subscribe   The SENDcast is powered by B Squared We have been involved with Special Educational Needs for over 25 years, helping show the small steps of progress pupils with SEND make. B Squared has worked with thousands of schools, we understand the challenges professionals working in SEND face. We wanted a way to support these hardworking professionals - which is why we launched The SENDcast! Click the button below to find out more about how B Squared can help improve assessment for pupils with SEND in your school.

E7 -Guest: Tatiana KottDuration: 36 minutes 38 secondsAbout the Host:Jess White is an entrepreneur, yogi, and CEO. She has three businesses, two children, and two dogs, so life is full! Jess realised early on that life is a gift, and you should never take it for granted. She lives her life to the full with gratitude, never holding back.Jess started her first business in 2008, making cakes, as she wanted to be able to create a business whilst being a full-time Mum. This led her to gain several Great Taste Awards, appearing on TV and pitching to Virgin Atlantic, Waitrose and Asda. When asked to design a range of cakes for a supermarket, she decided to put entrepreneurship on hold to focus on raising her children so she could return to business, but she did not want to miss being there and bringing up her children.As they grew older, in 2015, Jess began a new business, which was her total passion for helping others through what had helped her gain strength and healing through the beautiful practice of yoga and meditation. YogiTribe has taken Jess around the world creating transformational retreats and bringing people together in beautiful places to create growth affecting their lives physically, mentally and spiritually. After wishing she had discovered yoga as a child because of its transformational effects, she also fulfilled a dream of teaching yoga to children, and now training others to do the same.Realising she loves business and bringing people together to create connection and transformation, in 2022, Jess created Spark Business Networking and began hosting networking events with a difference. She gave her clients fantastic events that put them at ease and made the whole experience enjoyable and effective. Spark has grown to a thriving business community of members and is now expanding through the Spark franchise.Guest Bio: Tatiana Kott is a professional pianist, examiner at Trinity College London, and author. She studied piano with renowned musicians in Belarus, Poland, UK and Germany and is a winner of several international piano competitions. For the past 15 years, her main focus has been teaching piano. She has been working in the private education sector and is currently a mentor at the Help Musicians Foundation (whose chairman is King Charles). Over the many years of teaching piano, she developed her own unique system of teaching people from zero to playing simple pieces in only 10 lessons, which she now actively promotes through her website and social media accounts. She also gives direct lessons online and has students all over the world. As an examiner, she travels across the UK and abroad, assessing grades in classical music in all instruments. Tatiana firmly believes in the transformative power of music and music education irrespective of age, and her life purpose is to make a difference in the world by showing an easier way of mastering the instrument through her unique technique. One of her most recent projects is developing a course specifically designed for people with autism.Key Points Discussed:From Divorce to Self-Discovery: My Journey of Growth and LiberationUnlocking the Power of Networking: Gain Insights and Inspiration for EntrepreneursBalancing Business and Passion: Building a Successful Music Education OnlineThe Power of Music Therapy: Enhancing Cognitive Processes and Relieving StressHow to Connect with the Guest:Tatiana Kott is a professional pianist, an examiner at Trinity College London, and an author.Instagram @tati.kott Website: www.tatianakott.comSponsor

In Episode 92, Patrick chats to Francesca Christmas and Toby Davies from Trinity College London about their Awards and Certificates in Musical Development, Digital Theory Exams, AI, and more;David Gray talks about his primary curriculum, his online resources, training for primary music specialists, and makes the case for ukuleles;And Dr Robin Harrison, director of Maestro Online, introduces their masterclasses, practicing resources, and the new Pop Piano grades.Presented and produced by Patrick Johns.https://www.trinitycollege.comhttps://www.youtube.com/musicwithmrgrayhttps://www.the-maestro-online.com© Music Teachers' Association www.musicteachers.org

Introduction:  Agnieszka Wolinska-Skuza is CEO of MasConsulting. She is an experienced strategic consultant with a background in top management consulting in Corporations. Agnieszka from the Warsaw School of Economics & gained her PhD in Economics from the University of Westminster in London, Trinity College London. Agnieszka is the author of the book The ART of Changing Your Mindset. Agnieszka recently moved to Barcelona where she lives with her husband and two children.  Podcast episode Summary:  This podcast discusses the important topic of Quiet Quitting, a phenomenon that is not new but has gained increasing interest and concern post the Pandemic. Agnieszka shares how pervasive Quiet Quitting is and what Leaders need to become to address this pernicious concern and to focus decisively on people. Much has to do with Mindset, the mindset around leadership, growth supporting a robust culture and responsibility.  Points made throughout the Episode:  Agnieszka entered came into this field by observing organisations in the process of change using her background in business consulting. She observed a lot of issues with Productivity, Retention and Mental Health issues post-Pandemic including of course geo-political and social crisis & high inflation together having a profound impact on workforce strategy  Quiet Quitting is a complex topic that Agnieszka has been investigating for a long time. It is not a new phenomenon but before it did not get the attention it is receiving today.  Quiet quitting presents in different ways making it complex to observe and detect. It impacts many elements of the business including a powerful retention strategy.  Quiet Quitting can be defined as a phenomenon where you can observe that people are disengaged at work, where people are losing motivation, losing focus, uneven participation by withholding and detaching psychologically from the job. Employees can refuse more tasks & question why it is important to work hard.  Quiet Quitting can be simply described as a change in Engagement  The critical characteristics of high performing Leaders & their teams and how much mindset influences how they are managed. Mindset is critical for Leaders and in particular having a Growth Mindset.  A Growth Mindset predisposes leaders to create a healthy culture of accountability, that drives business growth. Leaders with a Growth Mindset see opportunities within their teams, they look for possibility, they don't hide believing all efforts have been wasted and they do not blame others.  Leaders who lead with a Growth Mindset make every effort to accelerate their teams growth even in times of crisis.  So leading with a Growth Mindset is critical if you chose to create a team that is pro-active, creative and solution focused.  Exceptional Leaders know & appreciate they have to consciously grow their skills and the skills of their teams. Strong passion, energy and a vision for growth inspires others to be part of business growth and success.  To adopt a Growth Mindset you have to interrogate your beliefs, thoughts and feelings and in order to assume a growth mindset you have to believe in the possibility for growth, to look opportunistically and to be focused energetically. You won't be minded to blame the situation but be oriented to search for solutions.  You can always find a way forward if you look for possibility and solutions. If you have a fixed mindset the likelihood is that you will give up and retreat, you will always blame the situation and people and you will likely lose people.  Given how tired and exhausted Leaders and people are after the pandemic the question becomes one of asking how to try to do more with a more positive energy.  People are valuing their time differently and so if they observe that their leaders are not behaving positively they will put distance between them and what they esteem to be toxic leadership.  Focus and being deliberate or intentional about what work means today, giving people a new sense of belonging are ways to help retain people.  After the Pandemic people have come to value their time differently. They are focused on how they spend their time and the quality of that investment.  So quiet quitting is really about changing in engagement -Engagement is a kind of choice. You can chose to engage or to withdraw.  A culture that engages people could look like improvements in the ways flexibility is offered to work, a re-focus on purpose and an acknowledgement that empathy is required.  Leaders also need to look at time, their relationship to time, engagement and their choice of Leadership  Leaders are feeling the pressure of change, of market forces of their work loads and their own mental health. Important for Leaders to mind their mental health to be able to share their energy & empathy with others.  There is an onus on Leaders to monitor their state of mind. If you lose your energy and it impacts your capacity to be empathetic people will feel this and be equally impacted.  State of mind is everything and it is an everyday occupation. If you want to have a strong mindset you need to feed your mind every day. How does Quiet Quitting show up? No one will tell you as a Leader that quiet quitting has become a phenomenon in your organisation but you can begin to observe behaviours and be curious. Isolation, participating less, valuing time differently are the hidden signs that something in the culture is amiss. This amounts to disengagement at work. Others signs include becoming less available for mandatory meetings or less volunteering for social events or even not answering emails promptly or as before.  Gallup has for years now being reporting on engagement at work. Statistics consistently slight poor levels of engagement at work at around 33%. Quiet Quitting is not knew and so how can Leaders be more bothered about their approaches?  It is important to remember the power dynamic at work and Leaders have a disproportionate amount of power available to them and this power can be used to energise the work force.  Wellbeing, retention strategies, upskilling etc are all tools which if employed can make the job of workers more fulfilling. How do Leaders help their teams see this perspective together. They have to re-think how to engage teams in this work as well.  There needs to a recognition that people are valuing their time differently and they have talent that can be deployed. This requires new thinking, new methods of approach and more proactivity on the part of Leaders and teams.  It could be advantageous to start asking and questioning the employee base for their new thinking, to hear their obstacles and concerns and to find solutions together.  It is one thing to conduct exit interviews and hear the missing factors that precipitated a leave and another to engage earlier to understand how an organisations atmosphere could be improved.  Being explicit about the business, business performance, the standard you are respecting, the values you are honouring and the ethics by which you are operating are all features that could make a difference to employees to hear.  If Leaders chose to take a critical look at their culture and to institute change they need to go back to the fundamentals and examine their values. Open and transparent dialogue is required along with perhaps a modicum of vulnerability by the leader- asking for help for example.  As a Leader if you sense there are issues with your culture with Quiet Quitting don't hide.  Changing Culture requires that the effort be shared,  where joint responsibility for the success is owned collectively. This can happen if the right atmosphere is created and there are no negative consequences for speaking up or sharing ideas.  Quiet Quitting and a lack of psychological safety are probably pretty close cousins which suggests that there is a large gap to address to course correct. It doesn't mean it is impossible to recover especially if the right attitude is employed and Leaders can admit that they missed information.  The Pandemic has more than likely contributed to Quiet Quitting and the opportunity to catch creeping disillusionment when people were working from home and on screens.  To start adopt a Growth Mindset. Find out what are the limiting beliefs and obstacles on teams. Lack of trust for example is a limiting belief, or the idea that if people work remotely they will not be productive. Leaders might resist, by micro managing etc. this instead of looking for alternative solutions.  Accepting the phenomenon of hybrid working, accepting that people have a changed relationship to time could result in some constructive new norms that everyone can agree.  Leaders often underestimate their success in creating conditions of belonging for example believing they are doing a better job than others judge them to be doing.  Deloitte research has found considerable discrepancies or disconnect between how a Leader perceives their effort and how an employee experiences it. Only 56% of employees believe a company's executives  cares about their wellbeing whereas the same executives score themselves 91%  Leaders have to be aware of theses gaps in perception as cited by Deloitte and start with manageable strategies to narrow these gaps.  Agnieszka suggests starting by setting clear expectations for teams, asking questions about working hours, and reasonableness in terms of those same expectations. There is often a large gap between expectations and realism.  Role clarity, growth opportunities and expectations are subjects or topics that are often not clear & require conversation. Are we clear about the many limiting beliefs and obstacles that sit on teams? Does the team feel connected to the Organisations Purpose?  Start with a diagnostic and get a base line understanding of where people are, knowing it might be hard to digest but recognising that this is a process and a start.  Agnieszka's book covers 12 areas in business and in life that are important. Her book is about transformational change in each of this areas. To help she teaches her readers at the start of her book how to adopt a Growth Mindset. Change for the subsequent chapters is made easier by using this particular lens.  Agnieszka also talks about our Comfort Zone and notices how important this is for Quiet Quitting too. She encourages us to move outside of our comfort zone to deal with Quiet Quitting. It might appear as hard work at first but it can also be very rewarding.  If Leaders are willing to put themselves outside of their comfort zone they should not resist Quiet Quitting but instead take actions to minimise it, investigate and ask probing questions to do with the company's purpose, structure, conditions etc.  Leaders need to create the space for employees to be part of the solution. If they hold on to solving the surfaced issues by themselves they are in fact engaging in a fixed mindset and likely disenchant further.  People are happy to share their thoughts, ideas etc if they see it can yield value.  Agnieszka's final request to listeners and Leaders is to focus on people    Resources shared across this conversation www.awolinskaskuza.com The ART of Changing Your Mindset by Agnieszka Wolinska-Skuza Deloitte Insight www.deoitte.com/insights   

Charissa Bloomberg is a radio and television celebrity therapist, TV presenter, famous Integrity Leadership specialist, credentialed Emotional Intelligence facilitator, media activist, and CEO of Hidden Dimensions, my corporate training, and consultancy firm. She is also a Trinity College London-trained Drama and Communications instructor. Today, John and Charissa discuss the "Integrity Code" in this expert insight interview.

Episode Notes Parul Purohitvats – * Kathak Exponent * Choreographer and Guru * Educator * Artistic Director of "PARUL's Kathak Nritya Sansthan " * Rajasthan Sangeet Natak Academy "YUVA PURUSKAAR" awardee * (0:02:07) The highlight of Parul's week (0:02:53) The myth of the struggling artist (0:07:05) Career Planning in performing arts (0:13:12) The meaning of the word professional (0:21:20) The humungous difference between a diploma and degree (0:24:18) Finding bliss through Riyaz (0:29:30) The beauty in stillness (0:31:51) The importance of practicing in the slowest speed (0:41:58) Working with artists as an Organizer (0:44:49) The issue of punctuality (0:48:17) Careers in Kathak if you don't want to be a performer* (0:57:02) Career options at the World University of Design, Sonepat (1:02:27) The importance of giving time to people Bio The divinely conferred talent that she holds of dance leaves a stupendous impression on one & all. A talented Kathak danseuse, choreographer and drama instructor Dr. Ms.Parul Purohit Vats has an impressive record for her age. This is evident by her three laudable accomplishments till date, being awarded the”VEER DURGA DAS MATRI SHAKTI AWARD 2017” for her contribution in field of Kathak in Rajasthan, “YUVA PURUSKAAR - 2002” by Rajasthan Sangeet Natak Academy, and having been conferred with a Ph.D Music degree for her thesis on Dance in 2008 by Jai Narain Vyas University Jodhpur.She was also awarded the Sur Sangam 2019 Excellence award for Performing Arts.   Parul has been in the education field for since 2006.She started as a personality development teacher and choreographer.Slowly and steadily she entered the field of developing curriculam and child centric teaching approach for the institutions she worked for.She has not only studied the pedagogical approach required to be a complete teacher, has also developed in class strategies to felicitate personalized learning keeping the students at the core.   She has worked with many prestigious educational institutions. She was the Cultural coordinator at a Swedish school, Kunskapsskolan Gurgaon where she worked very closely with the teachers in developing children through dance, as a teacher trainer and also imparted training of the KED methodology. She is also an examiner for Prayaag Sangeet Samiti,Allahbad.   Parul is a registered member of International Dance Council, Paris. She was recently invited to present a lecture and perform a self-choreographed dance drama piece at the 51st World Dance Congress on Research, in Athens, Greece.   She was the Principal of Sri Ram Bharatiya Kala KENDRA,an internationally reknowned colloge of music and dance in New Delhi.  Parul cleared her grade 8 in performance arts from Trinity College London, with a distinction. She has been taking dance and drama workshops at the British council, New Delhi since 2011.   Parul was invited by noted filmmaker Mr.Muzaffar Ali,in2016, for a performance on the death anniversary of famous Persian poet “Rumi”. Presently Dr.Parul is the Dean of School of Performing Arts in the World University of Design,Sonepat.Apart from this she is also busy giving lecture-demonstrations,workshops and performances around the globe.

Mary is a Trinity College London accredited English Teacher, currently pursuing a Master in Technology-Mediated Language Teaching and Learning and a Cambridge Delta Mod 2 course at the same time along with running an online teaching business and Youtube channel. She has been working in the International Education industry for many years, having held different roles in Language Schools around the world (England, Australia, Malta, Colombia, Brazil, Ireland, and now Spain). Check her out at: IG: teacher_littlemary FB: @teacher.littlemary Youtube: JustTeach #TEFL #TESOL #ELT

We have a long way to go before we reach TOTAL diversity, equity and inclusion in the ballet industry, but today's guest is hopeful and full of heart.  Jonathan Batista was born in Rio De Janeiro, Brazil, and went on to train at The Royal Ballet School in London, England, before graduating from the English National Ballet School and Trinity College London with a degree in dance. That was the very begging of a long and unusual professional career. As a person of color, he has a voice and advocates change for diversity and inclusion in the ballet world.  In 2021, Jonathan won the Art Culture & Music Award by The TAF AWARD FOUNDATION, and in this episode, we celebrate him for his work, journey, and the future of ballet. Transcript: Intro: This is words that move me, the podcast where movers and shakers, like you get the information and inspiration. You need to navigate your creative career with clarity and confidence. I am your host master mover, Dana Wilson. And if you’re someone that loves to learn, laugh and is looking to rewrite the starving artist story, then sit tight, but don’t stop moving because you’re in the right place. Hello, hello, my friend. Welcome to The Words That. Move Me. I’m Dana. This is my podcast. This is my excited voice because I am so excited to share this conversation that I just had with my new friend, Jonathan Batista. Jonathan was a principal dancer with Oklahoma city ballet for many, many years. He is now a soloist for Pacific Northwest ballet. Shout out to all my listeners up in Seattle. If you get a chance to go see Jonathan perform their Nutcracker season is about to start. So get ya booty to go see Pacific Northwest ballet. Um, Jonathan and I, uh, spoke before this interview a little bit about the life of a principal dancer for a ballet company. Y’all this person is so what is the word I’m looking for? Focused deliberate, um, energized, motivated, disciplined, I mean, wow. All of the good things that all of these virtuous qualities that we reserve for people who are out there doing it, but also a human, a real kind human being that I so enjoyed talking to. Um, so in our preliminary chat, we talked about his morning routine, which starts at 4:30 in the morning, meditation workout, you know, body self-care thought work. Um, and then off to the gym before heading into the studio for full rehearsal day, we didn’t dig into those nuts and bolts. In this episode, um, we kept our conversation focused on something quite different, which much, much deserves much, much attention. Um, we talked about what it means to be a person of color in the ballet industry, a lot to discuss there. Jonathan had some really great insights and, and hopeful words and sentiments. Um, I’m excited to share all that with you, but first let’s do wins. I am so jazzed about my win today because my win today, which is a little bit early, it’s a pre celebration, um, is that next week’s episode will be our 100th episode. Now, technically I think it’s actually like 107 or 106, because I started with episode 0.5. We like to sprinkle in bonus episodes here and there, but like, if we’re sticking to the number next week is 100 and celebrate. I’m going to give $100 cash away to one of you listening, perhaps. Um, this will be an Instagram contest. All you have to do is tag words that move me podcast. All one word, no spaces, no dashes, no nothing fancy, um, tag words that move me podcast and nine people that you think would enjoy listening to the pod. This could be in the form of, you know, your own photo that you post a talking head video of yourself, perhaps leaving, um, a few of your takeaways or sentiments about the podcast. You could also repost any one of our previous posts or episode posts, um, in your story, again,

In this episode, Maggie Morris talks about Safe in Dance International. This is a wonderful organization that works to promote safe and healthy dance practice worldwide. Maggie provides a brief summary of the tools and resources that they have available for dancers and dance teachers. In addition to being the Co-Founder of Safe in Dance International, Maggie is also a dance educator and an arts consultant. Maggie's interest in healthy dance practice stems from her career as a dancer, choreographer, artistic director and dance educator. She began her career in New York where she danced with several companies including the Murray Louis Dance Company, where she was a soloist touring internationally. She also worked with Alwin Nikolais, Placido Domingo and Dave Brubeck and performed in musical theatre, film and television. Maggie has also been a guest artist in residence for dance companies, schools and colleges throughout the world. On her return to England in 1990 Maggie took up the position of Artistic Director at Phoenix Dance Company, and international touring repertory company. With Phoenix she noted the high levels of injury and illness and worked with Jiannis Koutadakis and other health professionals to develop programmes and support systems within her company to improve dancer's fitness levels, reduce injury ease the pressures of performance. This research on the company contributed to the developments in Dance UK's Healthier Dance Programme. After leaving Phoenix Maggie focussed her work more on dance education and training and as well as delivering training in technique, choreographer and repertory she was the Head of Undergraduate Studies at Laban, London from 1998 – 2000. Over the past 18 years Maggie's has balanced her career between dance educator, consultant and healthy dance advocate. As such her work has ranged from working with the UK government to support the improvement of performing arts training in the UK, becoming an HMI in 2001 on a team of performing arts specialists looking at professional performing arts training in the UK, delivering leadership and management training on behalf of the Department of Education to Principles and CEO's of professional training colleges and Conservetoire Schools. As an advisor to Trinity College London, the BBO and the ISTD as well as a range of professional performing arts training schools and colleges she has been involved in the development of international dance qualifications and has given guidance in quality and business improvement. Maggie also lectures on dance teaching. She has been honoured to present key note speeches at the Bonnie Bird Choreography Awards and at the ISTD International teacher's graduation ceremony. Currently her key focus is on developing the work of Safe in Dance International and promoting healthy dance practice world-wide. Maggie has been a member of the Arts Council Dance panel, the Dance UK executive committee, and the Council for Dance Education and Training Accreditation Board. She is a trustee of the English National Ballet School and of Bonnie Bird Choreography Fund where she was Chair until 2016 She has written on the performing arts for publications in both the USA and Europe. Margaret has an MA in International Relations and Diplomacy from the School of Oriental and African Studies, London University. She is a member of IADMS and has presented at IADMS several times. She is also a member of Healthy Dancer Canada, One Dance UK and People Dancing. http://www.safeindance.com

Joshua Lau is a 17-year-old piano prodigy. After obtaining his Licentiate from Trinity College London at age 15 with distinction, he now strikes again, being the first Malaysian to win the 5th Steinway South-East Asia Pacific Regional Finals. He is set to represent South-East Asia Pacific to perform in International Steinway Festival in Hamburg, Germany in 2022. In this episode, SueLyn sat down with Joshua as he shares how it feels to balance his success, academics and the social life of being a teenager. The Recess Podcast brings you short interviews of how inspiring creators in Southeast Asia do it all. New episodes every Wednesday at 6PM. Hosted by Kessyl and SueLyn, content producer and editor at Good Foodie Media. Follow us on Instagram and Facebook for more! Read our articles Business enquiries or collaborations - hellofoodiecanteen@gmail.com

In this Sponge Chat, I had the pleasure to speak with Head of Teacher Education for Trinity College, Ben Beaumont. We got to speak about teacher training, reflection, books and the future of teacher training!

In this episode, Channa Channa Channa talks to Kalana de Silva, the Sri Lankan guitarist, Teacher, Performer, Composer & Arranger.  Channa and Kalana are childhood friends and grew up in the same town. Kalana is currently based in Middle East as a music educator, and he is the only guitarist in Sri Lanka who has managed to achieve FTCL (Fellowship of Trinity College London). He is still occupied in teaching and performing abroad for nearly two decades. Check out Kalana's guitar rendition of Stairway to Heaven (Beat Scherler arrangement) on YouTube: https://youtu.be/SbeHbfqQA5U#channa3x #channa3xvlogs #kalanadesilva Support the show (https://www.paypal.com/paypalme/channachannachanna)

In the following podcast, you’ll hear the edited audio of Saskia’s live Instaview with music prodigy, Ava Klass, discussing her Grade 8 piano achievement with Trinity College London, her many different talents and what's next for her! If you are looking for another podcast to listen to, the Contributors release the Voice Extra Podcast every Saturday, where they talk about the pieces they’ve produced and the culture they’ve been enjoying. If you liked this podcast, please consider helping us make more with a donation of any amount at voicemag.uk/donate. Thanks to Kevin MacLeod for the use of the track Thief in the Night, you can find more of his work on Incomputech.com. Elle Farrell-Kingsley was the producer. Tom Inniss was the executive producer.

What shapes the ways we teach? What influences teachers' views and beliefs about language learning? Trinity College London teacher trainer Karin Xie and I discuss what factors we see influencing teachers' ideas about teaching and talk about how our own experiences have informed our views of language teaching and learning.For more podcasts, videos and blogs, visit our website Support the podcast – buy us a coffee!Develop yourself! Find more about our teacher training courses Watch as well as listen on our YouTube channelRoss Thorburn: Today, we have with us Karin Xie. Hi, Karin.Karin Xie: Hi, everyone.Ross: Karin, do you want to tell us a little bit about what you do? You do teacher training. Tell us who you do teacher training for.Karin: I work with teachers who prepare students for [inaudible 0:13] exams. It's a graded speaking exam that focuses on communication skills.Ross: You were saying also for those teachers, a lot of them end up teaching in a way that they were taught before, right? Which is really quite different to what the exam measures.Karin: Yeah. In my experience with the teachers, I found a lot of them, they would still focus on teaching students the knowledge, like the grammar and the vocabulary, so that students have the knowledge for the exam but not really the skills. I wondered why. I found that relates to how they were taught when they were students. How they learned language and how they were trained.Ross: That got us into this conversation about all the different things that might affect how teachers teach to them, we just mentioned. One is how you were taught as a student backwash, and then how teachers are trained.Today, we're going to try and look at what affects how teachers teach. Let's start off by talking about backwash, you mentioned earlier. What's backwash?Karin: It's the impact an assessment has on classroom teaching. For example, for [inaudible 1:18] exams, it's a one‑to‑one, face‑to‑face conversation the candidate has with an examiner. There's no script, no question banks.To prepare students for that, the teacher has to mimic what's happening in the real exam and give the students a lot of chance to use the language at their own choice and express what they want to say, ask questions, etc.Ross: I guess a good example backwash, and maybe less good would be what? If your test is a multiple choice, pick the right tense of the verb exam, right?Karin: Yeah, exactly.Ross: In that situation, people end up just...Karin: Giving students lots of words to remember and do a lot of written exams that don't really prepare learners for real‑life languages.Ross: It's amazing how much of an effect that they can have on what happens in the classroom. IELTS, for example, the speaking part of that test, this is one of my bugbears is that the students don't have to ask any questions in the IELTS speaking exam.If you think of what effect is that going to have in the classroom? If you're preparing students for IELTS, why would you ever teach them to ask a question? Because you never need to do that.Of course, people usually take the IELTS so they can study abroad or so they can move to another country. I think we all agree that if you do move to another country, one of the main things you have to do is ask questions because a lot of the time you don't know what's going on.Karin: Yeah. Any kind of speaking exchange requires contribution from both people whereas in IELTS, the examiner is not allowed to contribute to the communication by say, giving comments or giving support.Ross: Absolutely.Karin: I think maybe we could add one point here...Ross: Sure, of course.Karin: ...about the materials teachers use, especially with new teachers. Very often you see the teachers fall into the flow, what it says, and just use it as it is.Ross: Materials can almost act as a source of teacher training if they're good materials, because teachers will get into the habit, maybe if they're new teachers, of following whatever structure there is in the coursebook.It's problematic though, isn't it, if the structure in the coursebook may be using ideal or if the coursebook has been written for first year teachers and you never move beyond that.Karin: Or if the book doesn't allow a lot of communicative activities, the teacher may not even think about designing any activities for students to talk to each other and work with each other.I remember you were really excited when you were designing materials. You were like, "If you do a teacher training workshop with the teachers, you are not so sure whether they're going to apply everything. But if you design good teaching materials, you are kind of sure that they're going to use it somehow." I don't know if that's...Ross: [laughs] I guess that must be before I'd seen the reality of how teachers use materials.[laughter]Ross: I guess those are both ways of influencing what teachers do, but all of it passes through some filter that the teachers personally have of this is work, does this is fit in with my views of teaching and learning.I remember in a previous job doing some research where we tried basically introducing different materials in this job. It was all one‑to‑one classes. Because it was online, every class was filmed. You could go back and you could watch and see the effect that the materials had on the teaching.We did a little bit of research and started including some personal questions in the materials because we noticed in general, teachers didn't ask for [inaudible 4:47] . I remember one word that was a tongue twister.It said like, "Can you change one word in the tongue twister and make a new tongue twister?" Pretty simple. Not an amazing activity, but some tiny bit of personalization. Afterwards, we watched 20 videos of teachers doing this. 18 of the 20 teachers didn't even ask the question.Karin: I found if you have that is often at the end of the unit or of the chapter. You find teachers either saying that we don't have time for that anymore or they go through it really quickly, whereas that's the most important part of the lesson. That's when the students really get to use it.Ross: I guess you think that's the most important part of the lesson but maybe the person using the book doesn't see it that way.Karin: That makes me think about why we make those different choices. We both have the same course book, but we use it so differently. That, I think, is the beliefs we have towards teaching.Ross: Absolutely. Another thing that maybe affects how teachers' beliefs are formed obviously is people's own experiences as a student. I can't remember what the numbers are, but it's something like by the time you graduate from university, you've been a student for something like 20,000 hours.If do a CELTA course or something, or an initial teaching course, if you're lucky you do like a 120 hours. You're at 120 hours versus 20,000 hours. One month versus 20 years of education. It's very, very difficult to break the beliefs that are formed and how teachers themselves have been taught as students.Karin: I always think about the teachers that taught me and the good things that they did that I think made me learn better and the things that I didn't really enjoy. I think that shaped my teaching beliefs.Ross: Which is interesting, but it reminds me of the George Bernard Shaw quote, "Don't do unto others as you would have them do unto you." It assumes people's preferences are the same. Obviously, it's worth thinking about what you liked or disliked about your teachers might be different to what the other people in the class liked and disliked about their teachers.Karin: I was thinking about the cultural environment behind our teaching beliefs. The one reason that my teachers used to do the lecture style teacher‑centric way of teaching is because the thousand‑year‑old teaching belief of the role of a teacher is to impart the knowledge to the students.If the teacher doesn't talk enough, you feel like you don't learn enough. Same with a lot of parents today. If they send their students to a class, if the students were doing things rather than the teacher doing all talking, then they have the feeling of they don't get good value for the money. I'm not learning enough.Ross: I like your point there about the it's maybe not the 18 years that your teacher was a student...Karin: Or 2,000 hours.Ross: Yeah, or 2,000 or 20,000 hours. It's actually maybe the last 1,000 years of the culture or something that's affecting how that person teaches. There's also something in there about the culture of the school that you're in, I think as well.There's a great chapter, I think it's at the end of Jack Richards book called "Beyond Training." He has students who did his [inaudible 7:54] course. All these teachers, after doing the [inaudible 7:58] course, are really brought into communicative language teaching, task‑based learning.Then they go into these public schools in Hong Kong. The reality in those schools is very different from the context often surrounding communicative language teaching where in those public schools in Hong Kong, there's 60 students in a class. You're next towards others classes, so you can't be too noisy. Your manager expects you to do X, Y and Z in the class.It's amazing how over the course of a year, you look at these teachers, some of them just go 180 degrees, and go from being like, "Oh, I want my students to communicate. I'm going to speak English in the class. I'm going to make sure students enjoy what they're doing," to being authoritarian, grammar‑based and doing everything in the students' first language.Karin: We need to raise teachers' awareness on their own teaching beliefs because that's how they make the choices in lesson planning and delivery, but we often miss out the step of how they can adapt all those methodologies into their own teaching context.I had a similar experience of training some public school teachers where we talked about communicative language teaching, group work, student feedback and things like that. They were like, "With our learning aims, and the class size and our schedule, it's really hard to do that. We literally don't have the time for that, or if we get the students do that, they won't be able to pass all the exams."Ross: Another point here is teachers' own experiences of learning a language. This is something that I personally find really interesting, because I've learned my second language without going to any classes and without studying.I think I have a very laissez‑faire attitude towards the teaching of grammar, really anything overly formal in the classroom, because I know that's not how I learned. Implicitly, I think that's not important, but I obviously that's not true for everyone.Karin: Personally, I like the language awareness approach because my experience with the language learning is that when I was learning English in high school, I never really enjoyed the grammar lessons where we learned the rules. I liked to engage myself with different sources of the language.In the last two years, suddenly, I just became aware of the rules and I see how it works. I was like, "This is amazing." Now I like to lead my students to be aware of how language or how English works rather than giving them the rules. For example, one day, they were asking me about a brand sly. Like, "How can I say this?"Instead of teaching them the pronunciation, I said, "Well, how do you say fly?" They were able to say that. Then I said, "Now take another look at this. How do you say this?" She was like, "Oh, sly. I know how to do it. Now I'm going to find more examples of that." I think that sense of achievement as a learner, and for me as a teacher, was really important.Ross: Obviously, this end up being very personal. One of the dangers with this is that there's always some learners that will learn regardless of what you do. You could have something which is definitely not the best method of teaching a language.Let's say audio linguicism or grammar translation. There will be still have been some people that learned like that. They can then use that to justify, "Well, it worked for me, so I'm going to use it for everyone else."Karin: Our teachers didn't talk about why they did the things with us. Now, we can get the students to have conversations with us on how we learned the language, how we teach the lessons, and why we did them and how they can discover the ways that work for them the best.Ross: The last one we had here was something that affects how teachers teach is their personalities. I'm sure you've heard this before. I definitely have. Saying teachers are born instead of made, or often there's people saying, "So and so, they're just a natural teacher."That's something that really used to annoy me a lot, because to me, it just seems as devalue all the professional development, qualifications, knowledge, and research. No one would ever say that about a doctor or a scientist. At the same time, I think there are a lot of personality traits...Karin: There are.Ross: Yeah.Karin: Yeah. For example, very often when you ask someone, "What makes a good teacher?" Instead of saying all those skills, people say they need to be patient, they need to care for their learners and things like that. Those were all personality traits.Ross: Absolutely. To me, it also reminds me of the nature/nurture debate in psychology. Are we who we are because of our genes, or are we who we are because of our upbringing? Just like that with teachers. Are teachers who they are because of their personality and who they are as a person, or is it their training and professional knowledge?Obviously, I guess it is both, but it's really interesting to think and reflect on what are your own personality traits that you bring into the classroom, and how do you use them. Overall, it's a wrap‑up. I think it's useful for us to think about who we are and how all these different factors affect how we teach and what our teaching decisions are and what our beliefs are.Karin: For me, I think it's the most important thing now as a teacher that we are constantly aware of why we're making the decisions we make.Ross: Good. Karin, thanks so much for joining us.Karin: Thanks for having me.Ross: Great. See you next time, everyone. Goodbye.Karin: Bye.

Julienne Schembri is a creative from Malta. As a performer she has a varied experience of repertoire dancing on stage, most notably on the West End with WICKED, but also in independent projects in the UK working with artists like ROSEMARY LEE, Amit Lahav, ANTHONY VAN LAAST AND SACHA MILES DAVIS. As an independent dance artist, she has worked in community projects for AKADEMI, DashDotDance and LABAN WITH DANCE ABILITY.   Julienne has recently moved back to Malta after 10 years of engagement in performance and practice. She moved to London to study at Trinity College London on scholarship (Dance and Drama Award) and has recently completed a master's study, which was funded by Endeavour Scholarships Scheme Malta. Her recent MA studies centred around research in the field of somatics. This invited her to question her current practice, to step back from the ‘automatic' and to look for alternate ways in which she can find fulfilment as an inquisitive and conscious dance practitioner who takes action and participates in the social domain.  She believes that embodied knowledge can provide a rich and powerful source for self, and social transformation. To support this transition, she is working towards gaining a diploma in Laban Bartenieff Movement System, through the EMOVE institute based out of CODARTS in Rotterdam, which she is due to finish in 2021. This she hopes will satisfy her appetite for a deeper understanding of somatic education, while allowing her to steer her professional projects towards connecting dance and community, as a means of sharing creativity, bodily awareness and creating spaces for connection. Connect with Julienne on Instagram: @juschembri   &   Facebook: Julienne Schembri Make sure to follow and support her latest project DanceBeyondBorders on Instagram and Facebook @dbb.dancebeyondborders

Bottle-fed babies are ingesting millions of tiny microplastic particles a day. That's according to new research from a team at Trinity College London, which looked at the high-temperature process for sterilising plastic bottles and preparing formula and found it caused the bottles to shed huge numbers of particles. While the effects of ingesting microplastics isn't fully understood, the researchers are keen to find out given that the bottles found to shed the most microplastics are widely used.

Originally shy and introverted, Leanne Manas found a voice and a dream. As one of South Africa's most prominent journalists and news anchors, she certainly found her way. What sets Leanne apart from many others who do what she does is her steadfast belief in what she's there to do. Leanne wholeheartedly maintains that she's not there to teach anyone a lesson or change their mind − she's there to listen and give people a voice. “I'm not a court of law and never will be,” she says. From Leanne's perspective, her role is to inform people and let them decide for themselves. In this week's Top Women podcast, Topco Head of Marketing, Karla Fletcher, sits down with Leanne to discuss a host of topics, from the importance of having a safe space to what keeps her grounded in South Africa. Leanne shares some of the vital lessons she's learned throughout her career and dives into what it really means to make a change. Leanne Manas is a South African TV presenter at the SABC especially known as the anchor of the flagship show, Morning Live. Manas has a BA (Hons) in English and Communications and a diploma in Speech and Drama teaching from Trinity College London. Her interest in finance journalism led her to completing a Postgraduate Diploma in Economics Journalism from Rhodes University. Manas's broadcasting career started in 2001, with the anchoring role at the Essential Business Channel Summit TV. This lasted until 2003. While working in Essential Business Channel Summit TV, she started hosting the SABC 3 programmes, Business Update and Business Focus. In 2004 Manas became the presenter on South Africa's longest-running breakfast programme, SABC 2's Morning Live. Manas has worked for radio stations such as Radio Algoa, Jacaranda FM, SAfm and East Coast Radio. She was appointed a Goodwill Ambassador by UNHCR, the United Nations Refugee Agency in January 2019.

Originally shy and introverted, Leanne Manas found a voice and a dream. As one of South Africa's most prominent journalists and news anchors, she certainly found her way. What sets Leanne apart from many others who do what she does is her steadfast belief in what she's there to do. Leanne wholeheartedly maintains that she's not there to teach anyone a lesson or change their mind − she's there to listen and give people a voice. “I'm not a court of law and never will be,” she says. From Leanne's perspective, her role is to inform people and let them decide for themselves. In this week's Top Women podcast, Topco Head of Marketing, Karla Fletcher, sits down with Leanne to discuss a host of topics, from the importance of having a safe space to what keeps her grounded in South Africa. Leanne shares some of the vital lessons she's learned throughout her career and dives into what it really means to make a change. Leanne Manas is a South African TV presenter at the SABC especially known as the anchor of the flagship show, Morning Live. Manas has a BA (Hons) in English and Communications and a diploma in Speech and Drama teaching from Trinity College London. Her interest in finance journalism led her to completing a Postgraduate Diploma in Economics Journalism from Rhodes University. Manas's broadcasting career started in 2001, with the anchoring role at the Essential Business Channel Summit TV. This lasted until 2003. While working in Essential Business Channel Summit TV, she started hosting the SABC 3 programmes, Business Update and Business Focus. In 2004 Manas became the presenter on South Africa's longest-running breakfast programme, SABC 2's Morning Live. Manas has worked for radio stations such as Radio Algoa, Jacaranda FM, SAfm and East Coast Radio. She was appointed a Goodwill Ambassador by UNHCR, the United Nations Refugee Agency in January 2019.

As Phil Collins once sang, “In teaching you will learn and in learning you will teach.” So, what can language teachers learn about language learning from learning a language? We meet with friends, family and special guests to hear about how language learning experiences affect and inform our views of language learning. In our longest podcast ever, we hear from Patsy Lightbown, Professor at Concordia University Canada about language learning experiences in Africa and North America; from teaching guru Ben Beaumont, from Trinity College London about the trauma of learning French at high school; from Janice Thorburn, former German and French teacher about learning German through grammar translation and what that meant for her teaching later in her career; from our regular podcast guest Matt Courtois, about language immersion in Nepal, Russia, China and Bolivia led to very different outcomes; and from author and teacher trainer Wendy Arnold about how in spite of being a native English speaker in Peru, she failed her English exams at school.For more podcasts, videos and blogs, visit our website Support the podcast – buy us a coffee!Develop yourself! Find more about our teacher training courses Watch as well as listen on our YouTube channel

What Have You Changed Your Mind About? With Carol Lethaby, Dave Weller, Karin Xie, Matt Courtois, Paul Nation Simon Galloway - TranscriptTracy Yu: Hi, everyone.Ross Thorburn: Welcome to the podcast. This, as you probably noticed, is our third‑anniversary episode. To celebrate, we're doing a special long podcast, the longest one we've ever done. We've got six special guests for you, and all of them are going to answer the same question. That question is, "What have you changed your mind about?"Tracy: First, we've got Dave Weller and Simon Galloway. Dave currently works as an online diploma and TESOL tutor and blogs at barefootteflteacher.com. Simon runs his distance learning courses for teachers and managers. Both of them have been on our podcast multiple times before.Ross: The second up is Paul Nation, emeritus professor in the School of Linguistics and Applied Language Studies at Victoria University of Wellington, New Zealand. Paul's one of the most influential writers and researchers in vocabulary acquisition in the world. You'll have heard him before in our second‑anniversary episode about reading last year.Tracy: The third is Matt Courtois, who currently works as an academic director in a young learner language school, and Karin Xie, who works as an academic manager at Trinity College London in China. You might remember Karin from our previous episode about applying learning, and Matt from episodes about observations, minimalism, and also teaching writing.Ross: In the fourth segment, we'll hear from Carol Lethaby, who's a teacher, a teacher trainer, and materials writer based in the US and Mexico. You might remember Carol from our episode about neuroscience. You can learn more from her on her website, www.clethaby.com.Tracy: Finally, Ross and myself will talk about what we have changed our minds about over the years.Ross: Great. Enjoy the podcast, the longest one ever.David Weller & Simon GallowayRoss: Dave Weller, Simon Galloway, you've both been involved in English education for what, 12, 15 years?Dave Weller: It's 15 years for me.Simon Galloway: Same, pretty much.Ross: What have you changed your mind about? There must be one thing, Dave.[laughter]Dave: You're talking about since the beginning of my teaching?Ross: It could be at any point at all.Dave: The biggest thing I've changed my mind about since I began ‑‑ for myself, and for students, trainees, and everything ‑‑ is I used to think in quite a fixed mindset. I used to think, "Well, some teachers are good, some teachers aren't. And some students are smart and some students are not."The more I do this the more I realize what it's really about. Attitude and effort are going to be the things that make the difference. It's a bit of a cliché because I know everyone starts to think that way these days. Is it a bit of a...Ross: I don't know. I think that's still true to an extent, isn't it? I'm not sure. I ultimately do think in those terms that, for trainees for example. You find some at the beginning of the course, and you probably think these guys are the stars, the A‑People, the B‑People, and the C‑People.I almost think that fixed mindset, growth mindset is one of those things that I know as a fact but I'm not sure the extent to which I'd genuinely apply it or really believe in it deep down. Have you seen courses where people who you thought they were the weakest people at the beginning, ended up becoming the strongest at the end?Dave: I don't think the courses long enough for that, but there are definitely teachers that start at about that level and end about that level because they're not really trying to grow. There are other people that actually use the effort.I can see that through my distance learning courses, too. There are some people that start with a pretty bad first assignment and by the end, they're way up here. There are other people that just...Ross: I think of people on diplomas that we run. We, for example, observe them at the beginning before they got on the course. Some people that we thought, "They're not good enough to get on the course." There was a big kerfuffle. Eventually, they got on the course and they did really well.I've also seen the opposite of people that we said, "Yep you'll have no problems on this course," and the people go on to fail.Dave: Yeah, and I wonder if actually what we're saying to them is even affecting that. If we tell them, "You're going to do great," then that actually fosters a fixed mindset in them.Simon: It goes back to what we were saying earlier about praising the effort. If you tell someone, "You'll have no problem in this course" you, in a way, set them up to fail. Maybe they won't put the effort in as much because they think they're intrinsically or naturally intelligent enough or they're already at that skill level ‑‑ they won't need to put as much effort ‑‑ and they struggle.Dave: It certainly happens with some people.Ross: It's almost like there's an unspoken assumption that these people are going to put in X amount of effort. That's the bit that doesn't get said. "You'll be fine. You're going to do really well in this course."Dave: Assuming that you spend 10 hours a week?Ross: Yeah, but a lot of people don't know. Dave, let me guess. You didn't used to believe in learning styles but now you do?[laughter]Dave: No, actually. I think that when I was a new teacher, perhaps one year or two years in, I was always so certain of everything. On my original course, I took everything as gospel. I held my opinions so strongly, and I was so sure about everything. I knew I had a lot to learn, but what I did already know, I was certain that this is just the way things are.Since then, I've changed my mind and been exposed to new ideas, new evidence. I've changed everything so many times over the years. I can't remember who said it, it was something like, "You have strong ideas, held lightly," something like that. The longer I'm in this industry, the more I fully agree with that.I fully believe in what I do and how I do it, but if you show me some evidence or a compelling study, or show me a different way of doing things, I'll willingly change and try something new. That willingness to change, I guess that's [inaudible 06:13] . My willingness to change and to be shown to be wrong, I actually welcome now.Ross: That sounds like a perfect description of the Dunning‑Kruger effect. After your cert course, you believed a hundred percent in everything, like it was the gospel. The more you learned, the less confident you've become in those things.Do you think there's a problem then in how we present information to trainees on cert courses? I always find that maybe it's at diploma level that we maybe encourage people to think critically about the things that are being shown to them. The emphasis on introductory courses is, "Here's what you need to just be OK in the classroom and survive your first year."Maybe we're giving people false confidence. Maybe the more effective learner autonomy, long‑term strategy to teach people is, "I'm going to show you these things, these principles, but you also need to be able to question them."Simon: That goes back to something I've said before. You can take it to the wider education industry as a whole. In the language class, should we even be teaching language? Should we just be teaching skills and applying motivation? If you give someone the motivation to learn and the skills to be able to do so independently, then they're inevitably going to be able to learn a language.It's the same with any course, almost. I think the days of the tutor being gatekeeper to information are long gone with the advent of the Internet. Sure, a curated course is much easier to work through step‑by‑step because you can trust the authority of the source. It's broken down and spoon‑fed to you in a certain way.I do think that, in most courses that we run, there is that lack of teaching meta‑skills at the beginning or teaching to think critically. I think every course assumes that a course before has done that, even going back to initial education from 5 to 18. It's something, I think, missing in that, but that's a much larger issue.Dave: Yeah, we assume that everyone's got a degree or whatever, so they must know this. Then the university course, "They must have learned it before."[laughter]Dave: At secondary school, "They must have learned this at primary school."Simon: They thought, "Oh, parents must have...Dave: "The parents must have taught them that."[laughter]Simon: It might make a flip‑side argument. We're saying this from a position of 10, 15 years in the industry. As a new teacher, I can still vividly remember going, "Just tell me what to do next. I just want to get through my next lesson. I want to survive."I think it is a responsibility for initial teacher training courses to be able to provide that to teachers, so they can go into the class with the confidence that the learners will probably learn something. If you just give them a bunch of meta‑skills to work with, and then throw them into a highly pressured environment, they're going to fall to pieces. They need to have something to fall back on.Ross: Maybe there's an advantage of the Dunning‑Kruger effect. If you know almost nothing and you're really confident in it, that will overcome your lack of skill. If you're a new teacher and you said, "I'm telling you all these things, but maybe they're true. Maybe they're not."You maybe go into the classroom, and you wouldn't have the confidence to make up for your lack of skills. Maybe that Dunning‑Kruger effect, maybe there is some benefit to having that and believing in something even when you don't know much about it ‑‑ as a new teacher.Dave: It is to some extent, but every time, just keep on reminding the trainees that they can make their own...Simon: "This is the best way to do something. Or is it?[laughter]Dave: Just keep on pushing for deeper questions, like, "Was that effective in your lesson today? How do you know that? What real evidence were you going on? I saw the student do this. Why do you think that was? Do you think the same thing would work in another class?"Simon: What's the point of life? Why are you here?[laughter]Simon: Yes. Is anything even worth it?Ross: It's interesting. There must be a point where it would become counter‑productive and you just end up with...[crosstalk]Dave: Yeah, there's in so much doubt.Simon: No, it's true. Again, as a good trainer or a good manager, you should be able to spot when your teachers are ready, if they're not been challenged. When I was at [inaudible 10:14] you could see teachers that are ready to be pushed to the next level. People reach plateaus, and you could see when somebody goes, "Well I know everything now."Ross: That's a good point.Simon: "Actually, you don't. [laughs] Let me introduce you to some new ideas, like differentiation in the classroom or some of the higher‑level teaching skills." They go, "Oh wow! I had no idea you could do this." When their ability to implement what they know reaches what they know, then that's the time to give them more knowledge so they then turn that knowledge into skill.Dave: I like this idea of that plateau. If someone's already on like a slope, you don't want to stick them on a much steeper slope just for the sake of it.[crosstalk]Dave: ...just pick a Sisyphean boulder something. But if you're on a plateau already, you've got to get them on the slope.Ross: If you've had a trainee at the beginning of the course who's really struggling to give instructions, and you're like, "OK, here's a three‑step way of doing it," tell them in simple language, model it, and then ask questions.Dave: Show them, tell them, ask them, give them, Ross.Ross: Right, but then you wouldn't want to do afterward, "Well, when would that not be effective?" Do you know what I mean? You're just trying to get that person to that basic level.Simon: When you're observing them, you wouldn't want to sidle up to them and, "Sorry, um, you know that, according to Vygotsky, that's actually [inaudible 11:27] what you shouldn't have really done that there. This kid's ZPD is way off.[laughter]Ross: That might be too much.Paul Nation Ross: Hi, Paul. Welcome back. You published your first paper on language teaching in about 1970. You've had a very long career as well as a fascinating one. Can you tell us what's one thing that you've changed your mind about during your time from being a teacher all the way up to the present?Paul Nation: First of all, I like to think I always got it right from the beginning, [laughs] but I guess the main change that has occurred to me is the idea of the roles of the teacher and how the role of the teacher as a teacher becomes an important role but not the major role of the teacher.I say there's four or five roles of the teacher, and I always forget one of them. You know the number one role is the planner. The number two role is the organizer of activities and opportunities to learn. The third role's something like the trainer who trains the learners in strategies to learn, vocabulary and strategies to deal with the language learning.The fourth role would be the teacher as the tester who's giving learners feedback about their progress and showing them how much vocab they know and so on. The fifth role is the teacher as the teacher who actually gets up in front of the class or guides them through an intensive reading passage or something like that.I think that those roles are sort of ranked in the order of planner, organizer, trainer, tester, and teacher. That probably would be the major change I've come to during my reading of research, doing research, and so on. On the other hand, I also have to say that just about every PhD student I've had, and I've had a lot, have proved me wrong about the topic that they were working with.That's virtually without exception, sometimes proved me spectacularly wrong. I remember, for example, Teresa Chung doing research on technical vocabulary. I'd said in the first edition of "Learning Vocabulary in Another Language" that technical vocabulary probably made up about 5 percent of the running words in text.When she did her research, she found it made between 20 and 30 percent of the running words in the text, which is quite a bit different, one word out three compared to one word out of twenty. [laughs] That was sort of major changes, once people have done the research, to say, "Wow! I think I'm going to step back and change my ideas about that."I would say that the biggest one is the idea of you need a balanced approach to vocabulary learning and you need to see that teaching is a part of that, but only a part of it. You've got to make sure that the others are there. I would've given a much greater role to teaching very early on in my career.Matt Courtois Ross: Matt, what's something that you have changed your mind about, and why did you change your mind?Matt Courtois: What haven't I changed my mind about?[laughter]Matt: Looking back to my first year in Korea compared to now, I don't think there's a single belief that I still have that I had then. The biggest underlying thing that has changed in me was, at first when I was a teacher, I kind of thought the more knowledge I had about the language I could acquire, the better teacher I would become.I actually don't think that's really necessary. Being able to discuss any grammar point at the drop of the hat to me is not what makes a good teacher anymore. Having some of the skills to draw that from people, to run a good activity, and to facilitate improvement is much more essential to being a teacher than just knowing the subject matter.Ross: Can you remember when you changed your mind about that? Was it a long process?[crosstalk]Matt: It was a really long process. I taught in Korea and Russia, and probably my first year within China, I looked at teaching language in this way. Within my first year of teaching at my last company, there's a job opening for a content developer, content writer, something like that.I remember I took one of my favorite grammar skills lessons ‑‑ I think it was about the passive voice ‑‑ and I submitted it to the manager of this department. He sent me back an email that was three pages full of criticisms. The most positive things he said were basically about some of the animations that I had in my PPT...[laughter]Matt: ...not about the content of this deep analysis of the passive voice. He was just saying, "The method in what you're doing it, it's not about the grammar itself. It's how you present it," and stuff like this. I think I improved so much when that manager sent me such a critical feedback.I started approaching teaching grammar from, "What context am I going to use?" rather than having this giant scope of understanding the passive voice, every tense in English, rather than looking at myself as somebody who analyzes language. That's not my job.So many English teachers talk about how being prescriptive is so bad, but they're teachers. That's what they're doing. They're not writing dictionaries. They're not contributing to the corpus. We're not describing the language here. We're taking what those guys have and then presenting it to students in a way that they can practice it.Once I got over that mindset that, "I'm holding the key to the language, and I'm the person who's defining the language," and said, "No, I'm coming up with situations and facilitating situations in which they can use it," I think I improved a lot as a teacher and a trainer.Karin XieKarin: Teachers used to just think, "Well, my English is good, so I can teach English," or "I'm not confident in teaching English because I'm not confident in my English." Language awareness, like your knowledge in phonology, lexis, and grammar, they are important and are very helpful. It's just the teaching skills, they are very important, and they should be emphasized more.Ross: You need both, don't you?Karin: Yeah.Ross: If you don't know any English and you're the best teacher in the world, you can't teach English. Equally, if you're amazing in English and you can't teach at all, that's not going to work, either. You need a bit of both. At some point, especially for lower levels, the knowledge of English becomes less important than the skill to put it across.Karin: Because I was trained in the CertTESOL, DipTESOL way, I always believed that I need to build the classes around the learners, and I need to train teachers a reflective coaching way. I believed that was more effective than any other ways.Recently, I just come to realize that not necessarily, and use that as good challenge or good chance for me to try out different things, or give people different options and see how things goes. It's not one way better than the others. It's just there are different ways of doing things.Ross: This is one of the dangers of just working in one environment for a very long time. You're often only exposed to one way of doing things. You get transposed to another place, and you automatically just assume, "Well this isn't the right way to do things. This is wrong. This isn't the most effective." But is that true? Is there any evidence?Karin: Exactly. I think all the things that I've tried out shaped how I do training and classes now. They're definitely not the same as when I was in the old environment for such a long time.Carol Lethaby Tracy: Hi CarolRoss: Hi Carol. I think you're very well known for integrating ideas from research into your practice. We'd love to hear from you about what was one of the most important or the most interesting things that you've changed your mind about over the years.Carol Lethaby: I think the example that came to mind here certainly was not using the mother tongue in the classroom. I did my PGCE in the UK in learning to teach French and German. This was mid‑'80s, and the communicative approach in foreign language teaching then had a big hold on the profession.We were explicitly taught not to use English at all when we were teaching French or teaching German. Of course, I carried this on when I started teaching English. I did my Delta and the same thing, it came up all along the way. I remember it seemed to go against my intuition, but as I know now, don't always rely on your intuitions, because they might not be right.I actually did some research into this as a part of my master's degree here in Mexico and found out that, when you ask learners, one of the things I asked them in a piece of research I did, was, "Do you want your teacher to have English as their first language? Do you want your teacher to be a native speaker of English?" a list of pedigrees.The one that came out top at all levels, especially at beginner level, was they don't care if their teacher is a native speaker. They want a teacher who can speak their first language, who knows their first language.It made me think about, "Why then are we telling people you don't need to speak the learners' first language, you don't need to know the learners' first language, and you don't use the learners' first language. It's better not to"? Obviously, I was reading the history of English language teaching, Phillipson's Linguistic Imperialism.You realize how this happened and how this idea was transmitted and perpetuated. Now, knowing more about the brain and how we learn, I really don't believe that. I am convinced that we need to use the learner's first language in order to teach them another language.Ross: How would that look like in the classroom then, Carol? Do you have any examples of what that might look like with a group of students?Carol: I remember trying to teach the difference between first and second conditionals when I was teaching the younger Mexicans in Guadalajara here. There was this explanation that I was trying to work with them with levels of probability. It depended if you were an optimist or a pessimist whether you would use the first conditional or the second conditional.How confusing that was and how unsatisfactory that was for a learner, I'm sure. Now I would just tell those learners, "This is how you say it. The first conditional corresponds to this in Spanish and the second conditional corresponds to this in Spanish."Spending ages trying to define a word or an expression when just a quick translation could really help in that case, using the learners' language for effective reasons.I remember I didn't speak a word of Spanish when I first arrived here. I was given beginner's classes precisely because it was the idea that this would be a genuine communication situation, etc. I couldn't get to know my students.It means I couldn't ask them, "How are things going? How are you getting on in these certain situations?" Or, "What things are worrying you about learning English? Don't worry about this [inaudible 23:43] . It just means this. I can help you with this later."All these kinds of things that really enhanced language learning, I wasn't able to do because the idea was that we couldn't speak each other's language and only think in monolingual situations. It's just ridiculous not to take into account and use the learner's mother tongue.Ross Thorburn & Tracy Yu Ross: We heard there from a bunch of our favorite guests over the last couple of years about things that they have changed their minds about. Tracy, to finish the podcast, what have you changed your mind about?Tracy: There are a lot of things I have changed over the last few years. One thing is how I can connect on education‑related either theories or practice and into what I'm doing, my work in context. In the past, I remember when I started being a trainer, I read a lot of books about teaching, training, and theories in ESL, TESL, exactly related to this industry.Then, I realized maybe I just focused too specific to this industry, to this area. When I listened to podcasts and watch TV, or read other books, magazines, or journals, sometimes I realize that actually something that relates to this industry could really help what I'm doing. I need to give you an example, right?Ross: Give us an example, yeah.Tracy: I read a book about how marriage works. The book is "The Seven Principles for Making Marriage Work." When I started reading this book, I didn't expect any connection to work, but the more I read about it, I realize actually there were a lot of principles [laughs] can apply to work, to manage a team.For example, there's one thing mentioned about criticism versus complaint. You can see the difference between these two. You can say...Ross: What's the difference? Do you want to give us an example of each?Tracy: A complaint, you can say, "Oh, you didn't do this very well," or "You didn't complete this on time," for example, at work. Criticism, it's like, "Oh, you always did this this way. You're not able to do this," something like that.Ross: It sounds like more you're talking about the person rather than the actions that they've taken or not taken.Tracy: Yeah. Of course, people can complain. You can give constructive feedback to the other person. You can talk about the facts, you can talk about the behavior, but you don't jump into conclusion and say, "Oh, this person is not able to," or "This is always like this." You're not giving the person another chance to reflect and then to make things better.When you're working with colleagues or you're managing a team, it's really important to distinguish the difference between a complaint and a criticism. Another thing is super, super useful, when I had a difficult conversation or tried to give feedback to our staff, just try not to have a harsh start‑up when you're having a conversation.Even though before you start a conversation, you knew it's probably towards some kind of a conflict or uncomfortable situation, still try to avoid a harsh start‑up in a conversation. Maybe you want to ask this person how they feel, what's going on, and what happened, and find out more information.Then provide more specific information to the person. Then give the feedback and then action plan, rather than at the beginning is said something very negative. It's difficult for the person to receive your feedback.For you, Ross, you work in different roles for the last 12, 13 years. You were a civil engineer, and then you work in education. Anything that you've changed over the last few years?Ross: Something I'm in the process of changing my mind about is a lot of the things that we talk about here and we do on teacher training courses in materials design and management is we concentrate so much on what goes on in the classroom as that's where the learning and everything takes place. That's fundamentally the most important thing.I used to believe that, but I'm coming to believe more that what happens in the classroom might not be the most important part of their learning process. What might actually be more important is what happens before the class and what happens after the class.I found a nice quote yesterday from someone called Ausubel, hope I'm pronouncing that correctly. He says, "If I were to block out and reduce all of education's psychology to just one principle, I would say this. The most important single factor influencing learning is what the learner already knows. Ascertain this and teach them accordingly."That was really cool. How much time do we ever spend actually finding out what students already know? I would guess, generally, not very much time or not a lot of time. Certainly, on this podcast, we don't talk about that very much.I think the same thing for what happens after class. We tend to assume that things finish once the students walk out the door. We know from memory curves and things, if students don't revise what they've already learned, then they forget the vast majority of things that happen in classroom.That's something I've changed my mind about. I think we need to spend more time focusing on what happens outside the classroom every bit as much, if not more, compared to what happens inside the classroom.Tracy: How can you do that then, to find out more information before the class about the students?Ross: I don't have all the answers to it, but I think it's more important that we think, like ascertaining what students already know before lessons, finding out what problems do they have, and designing our lessons to try and solve specific issues that students have.What normally what happens is students get placed in a certain level. Then they just work through a course book, which roughly approximates what they know and what they don't know.We don't go into enough effort to find out what are the holes and the gaps, or the peaks and the troughs, in students' current ability and knowledge, and try and smooth over the troughs, to make sure what we're doing in class fills those in.Tracy: Have you ever seen any examples or some teachers who were able to focus on what happened before the class or after the class?Ross: Some things, like the whole flipped classroom principle, goes towards that. Some educational technology works towards aiming to find out what students know before the class. It has them answering questions and makes sure that they reach a level of mastery before they move on to the next topic.I don't think that's the norm in most scenarios. It's something that we don't talk about enough, and I think those things are every bit is important probably as what goes on in the classroom and deserve our attention a lot.Everyone, I hope that was interesting. I presume for a lot of people that the reason that you're listening to this podcast in the first place is so that we can change your minds about some issues that are important. Hopefully, it was useful hearing how some of our favorite guests have changed their minds about different things over the years.Tracy: Thanks very much for listening.Ross: For the last three years, thank you. Good‑bye.Tracy: Bye.

We're at episode 8 of the Presentation Boss Podcast, and it's time for another guest. Kate and Thomas are having a conversation with a friend of ours, Katrina Roberts, about her zone of genius being in drama and speech. We have recently heard her talk a few times about presence, confidence and self-awareness and knew we had to share her wisdom with you!This episode features a lot of Katrina sharing her wisdom while Thomas and Kate sit in near silence listening to her explain these nebulous concepts in a simple form all while sharing her tips and stories in the field. We could listen to Katrina for days and so we've got a longer episode than normal; but she's worth it! There is so much information here to help you ensure you maintain an audience focus when presenting.About Our GuestKatrina Roberts has been teaching speech and drama for over eight years, with extensive experience both as a teacher and a performer. She is a registered teacher with a Graduate Diploma from USQ, who is also qualified with a Licentiate Diploma in Drama and Performance (LDPA) from the AMEB, a Graduate Certificate of Voice Studies from the Victorian College of Arts and an Associate Diploma (ATCL Teaching – Speech and Drama) from Trinity College London.She received Barbara Sisley awards for achieving the highest mark in QLD for her AMEB Associate and Licentiate Diploma examinations. Katrina is also a UQ graduate and holds a Bachelor of Journalism and Arts, majoring in Drama and Writing. She has worked for national talent agencies directing acting and modelling courses for new talent, and regularly prepares students for drama school, theatre and film auditions. Katrina is a Committee member of the Communication, Speech and Performance Teachers Inc.What You'll Learn• The way Katrina gets paid to speak• Why the ability to communicate is important even from a young adult age• How Katrina gets even the most terrified speakers to perform again and again• The universal speaking truths that apply to all age and all education levels• What speaking presence is and what it looks like• The international speaking presence expert with ideas worth discussing• How presence, audience focus and energy are intertwined• The three circles of presence and the two types of presenter that are difficult to listen to• The steps to take and mindset to have to bring about presence from the stage• Why feeling comfortable and yourself is most important• How charisma correlates to confidence, presence and authority• Vulnerability and the role in plays in being liked as a speaker• The three elements to speaking well• Why we shouldn't be so focused on 'ticking the boxes'.Mentioned In The Show• Patsy Rodenburg: http://www.patsyrodenburg.comResources and Links• Email Katrina at: Katrina.Roberts@ahs.qld.edu.au• The Presentation Boss Podcast: https://presentationboss.com.au/podcast/• Kate on LinkedIn: https://www.linkedin.com/in/kate-norris/• Thomas on LinkedIn: https://www.linkedin.com/in/thomas-krafft/• Presentation Boss on facebook: https://www.facebook.com/presentationboss/• Presentation Boss on LinkedIn: https://www.linkedin.com/company/presentation-bossQuotes From This Episode• "I like to feel like I've made a difference, even in a small way"• "Communication skills infiltrate every aspect of how they operate in the world"• "Everything we do involves other people and communicating in some aspect with them"• "There are universal truths we need to address"• "Making sure that your body and self are ready to give energy, focus and a message"• "If you have a quality speech and a good mindset coming in to your performance and place the spotlight not on yourself, but on your message and priority on your audience, presence isn't far away, if not already there"• "We disengage from the world a lot, and we're used to disengaging"• "You have to absolutely be in total preparation mode .. to have a chance of affecting other people"• "They think 'No, it's got to be more complicated than this'. The only thing that's complicated about it, is that it is so simple"• "And it feels awesome!"

For our last interview we have Ben, Cherie and Robin from Last Tapes Theatre Company - Benjamin trained at the Mountview Academy of Theatre Arts in London, whilst directing productions for the London fringe and cabaret circuit. Having directed productions in Germany and France, as well as nine consecutive years at the Edinburgh Festival Fringe, Ben moved to Auckland to continue his career.Ben has become known for his adaptations of classics, including Titus and Earnest for Fractious Tash and a musical version of Edith Nesbitt's classic Five Children and It which received critical acclaim at the Edinburgh Festival.His dark, original thriller Not Psycho was performed by Fractious Tash at Q Theatre in August 2015.Ben’s directing credits are many including The Tempest (AUSA), This Is Our Youth (Basement Theatre), The Effect, Not Psycho, Earnest, and Titus (Fractious Tash), Camino Real, Punk Rock, The Turn Of The Screw, Red Speedo (ATC), Twelfth Night (Fortune Theatre), and Valerie (Last Tapes Theatre Company) Cherie is a singer, actor, vocal coach, director, producer, and a company director of Last Tapes TheatreCompany. She is a graduate of The Actors’ Program, has a double degree in Drama and English from the University of Auckland, and has studied singing for the last 20 years.She is the founder and creative director of Ihi Musical Theatre Company –an auditioned youth company launching in June this year. She teaches singing to a private studio of students, for The Actors’ Program, as an itinerant teacher, and for The Auckland Performing Arts Centre. Cherie regularly vocal coaches voice and singing for professional productions in New Zealand.Cherie has been directing since2011. Recent credits include: Hubbub (Basement Theatre), Love and Information (Asst.Director, Basement Theatre), Swimming With Whales In Tonga (Nelson and Hamilton Fringe),99% for the Short & Sweet Festival where she wonBest Director. Cherie has been directing large scale musical theatre productionsfor high schools since 2015, including Seussical, Grease, Threepenny Opera, The Wiz, and The Addams Family. Cherie co-created and performed in Last Tapes’ show ‘Valerie’ in 2016, named cabaret of the year by The Herald, and most original production at the Auckland Theatre Award. Cherie is represented by Auckland Actors, and is a proud member of Actors’ Equity. Robin graduated with a BMus/BSc from the University of Auckland in 2011 majoring in composition, andstudied classical piano for over 15 years with Australian Music Examination Board and Trinity College London.Valerie is Robin’s first original work, receiving critical acclaim and going on to tour New Zealand festivals in 2017 and 2018 (Nelson, Kokomai, NZ Festival, Dunedin, Hawke's Bay)Robin works as an accompanist, repetiteur, musical director, arranger, composer, choir leader, and is company director of Last Tapes. Robin’s credits include Musical Director for The Last Five Years (Last Tapes), Earnest (Fractious Tash & Last Tapes), The Events (Silo, 2015), Guys and Dolls (ATC, 2015), and Night of the Queer (TAPAC, 2015-2016). Other roles include choir leader for Stimmung Choir, and founder of Auckland-based band The Bethell Gang.Robin is currently working on a follow up to 'Valerie' -weaving together science, personal history, and music to create a new show about memory. Recorded and Edited - Matt Eller Theme Music - Ricky Simmonds

Full show notes here Born and Bred in South Shields, where he stills lives with Trish their four kids and Max the Dog. He has only ever lived out of the town for 15 years and never anticipates repeating the mistake.. A circuitous route led to him going from accountancy to degree to sales to lecturing to eventually taking up his current role as Executive Director of The Customs House Trust which he has held since January 2000. During his tenure The Customs House , once described as having neither national or regional significance has established itself as part Arts Council England’s National Portfolio of arts Organisations.(NPO) Successfully delivering national programmes Creative Partnerships, Find Your Talent and Night Less Ordinary. The Customs House is Particularly proud of its work with Children & Young People and was created a centre of Best Practice by Trinity College London for its deliver of Arts Award training, it continues to be the regional lead on Arts Award training teachers and staff of cultural organisations. The Customs House is particularly proud of its work with Looked After Children for which it received a national award. The Customs House remains a centre for Talent Development with many young people making their first steps towards a career in the arts at The Customs House. He also spent 25 summers creating the much loved character Tommy the Trumpeter who’s legendary parties and pantomime appearances entertained generations of children. He currently writes & directs The Customs House pantomime appearing as Dame Bella. He remains a much sort after host and after dinner speaker. A school governor ray recently became patron of Waves – Additional Needs support Group. He is Chair of The Chloe & Liam Together Forever Trust. Ray was awarded MBE for services to northeast theatre in 2010. Hon. Fellowship University Of Sunderland Hotspur Award Northumbria Association Lifetime Achievement Pride of South Tyneside Awards Lifetime Achievement STEP Awards WOW AWARD Johnson Press Show Sponsors:- Far North Sales & Marketing Far North Sales & Marketing Consultancy are all-encompassing Business Development specialists, our aim is growth, your growth. We understand that the overhead of permanent experienced members of a team may be a step too far, maybe you would like to take a product to market, run a fresh pair of eyes over the sales process or just get over a lean period, we can help.

Will Mc Nicol has become Guitarist of the Year (2011) and one of Acoustic Guitar Magazine's 30 Great Guitarists Under 30 from around the world (2014). He holds Associate, Licentiate and Fellowship diplomas with Trinity College London in Classical Guitar Recital and has released four critically acclaimed albums of original material. And he plays just amazing. He speaks with us about his music background, How he combines nylon string guitar and steel string guitar, his last album and much more. If you want to Know more go to my blog and there you will find some videos and links related with this interview. http://www.tanausuluis.com/blog If you want to Know more about Will go to: https://www.willmcnicol.co.uk/ Have a good day :)

A Canadian Screen Award nominee for Best Lead Actress in a Comedy, Grace Lynn Kung has won the Chancellor’s Trophy (OSSD), is a two-time Award for Acting recipient (York) and holds two Certificates of Distinction for Speech and Drama from Trinity College London. This year she has incited violence aboard Star Trek: Discovery, lobbied Washington … Continue reading TV Eh B Cs podcast 78 — The Amazing Grace Lynn Kung →

British music schools run the largest instrumental exams around the world, with well over a million candidates each year taking grades from Trinity College London and the Associated Board of the Royal Schools of Music. Russell Finch follows an examiner to one of the fastest growing markets for music exams -Thailand - where he meets some of the candidates taking British music exams today. He hears their stories and finds out what they want to get out of their music learning, and why the grading system is important. He explores the reasons why British institutions are dominating music education internationally and the effect of this worldwide, homogenised approach to music learning.

Antonia Wilson was born in Nassau, Bahamas and resides in South Florida. She began studying piano and violin at four. She attended Suzuki Violin Summer Camps at Manhattan School of Music in NY, the Associated Board of the Royal School of Music (ABRSM), and Trinity College London. She has a B.A. in Music and a Master’s in Education. After college, she taught music for Miami-Dade Public Schools and worked with faith-based organizations as Music and Arts Director or a piano/organ accompanist. She was a featured composer at Southeastern African American Collegiate Festival Consortium and now works on the staff. Antonia is the artistic director for her group, Legato Vocal Ensemble in South Florida. She has performed and produced concerts in the Bahamas, Mexico, and Spain. Also, she partnered with artists in Russia, Cuba, France, and the USA. In 2015, this arranger and producer released a CD Me and Hymn and four promotional videos, highlighting sacred songs with fusions of classical, gospel, R&B, and jazz. She is producing a collection of contemporary pieces with two music videos from her project The Sower and The Seed with a track Love Joy Peace and Harmony sung by UK soul singer Josh Stone. In August 2016, Antonia participates as a Bahamian composer at the American Cantat 8 Music Festival hosted by the Ministry of Tourism in Nassau, Bahamas. www.antoniawilsonmusic.com www.wijsf.com  

Antonia Wilson is a Bahamian-American residing in South Florida. She began studying piano and violin at four. She attended Suzuki Violin Summer Camps at Manhattan School of Music in NY, the Associated Board of the Royal School of Music (ABRSM), and Trinity College London. She has a B.A. in Music and a Master’s in Education. After college, she taught music for Miami-Dade Public Schools and worked with faith-based organizations as Music and Arts Director or a piano/organ accompanist. She was a featured composer at Southeastern African American Collegiate Festival Consortium and now works on the staff. Antonia is the artistic director for her group, Legato Vocal Ensemble in South Florida. She has performed and produced concerts in the Bahamas, Mexico, and Spain. Also, she partnered with artist in Russia, Cuba, France, and the USA. In 2015, this arranger and producer released a CD Me and Hymn and four promotional videos, highlighting sacred songs with fusions of classical, gospel, R&B, and jazz. She is producing a collection of contemporary pieces with two music videos from her project The Sower and The Seed with a track Love Joy Peace and Harmony sung by UK soul singer Joss Stone. In August 2016, Antonia participates as a Bahamian composer at the American Cantat 8 Music Festival hosted by the Ministry of Tourism in Nassau, Bahamas. www.antoniawilsonmusic.com www.wijsf.org