Podcast Summary:

New Books Network – Performing Arts Channel
Episode: Karen Schupp and Sherrie Barr (Eds.), "Stories We Dance / Stories We Tell: Essays on Dance in Higher Education" (McFarland, 2025)
Host: Renee Garris
Date: February 15, 2026

Overview

In this insightful episode of the New Books Network’s Performing Arts Channel, host Renee Garris interviews editors Karen Schupp (Arizona State University) and Sherrie Barr (retired, formerly Fulbright in Portugal), co-editors of the volume "Stories We Dance / Stories We Tell: Essays on Dance in Higher Education." The conversation examines the motivations behind the book, the editorial process, and the evolving landscape of dance education in higher education. Through reflections on vulnerability, inclusivity, and the transformative power of storytelling, the editors share how contemporary dance pedagogy is opening doors for new generations and redefining what dance means in academic and cultural contexts.

Key Discussion Points and Insights

1. Backgrounds and Pathways into Dance Education

[02:44-06:07]

• Sherrie Barr:
  • Began dancing as a child in creative, Isadora Duncan-style classes.
  • Intended to perform professionally, but fell in love with teaching—her research interests organically evolved to support her teaching practice.
  • "It wasn't necessarily two separate tracks. It was how my research supported my teaching and vice versa... until I retired." (Sherrie Barr, [03:43])
• Karen Schupp:
  • Grew up in competitive dance during the 1980s and 90s, teaching since age 13.
  • Realized early that college-level dance teaching was a unique but appealing career.
  • “Following that curiosity has just led to numerous opportunities, including this one that I'm sitting in right now.” (Karen Schupp, [05:54])

2. Genesis and Vision for the Book

[07:03-10:10]

• The editors’ frequent conversations on dance education inspired the book.
• The idea evolved from Karen’s wish to focus on dance (after a broader performing arts project) and Sherrie’s suggestion of an autoethnographic approach to showcase personal stories.
• Authors were invited (rather than an open call) to represent a diversity of backgrounds, experiences, and generational perspectives.
• “Editing a book is a really fantastic way to learn more about a topic. And so, again, I think that curiosity and wanting to learn... drove a lot of our decision making.” (Karen Schupp, [09:13])
• The contrast in personal dance backgrounds (competition vs. Isadora Duncan, generational differences) enriched the editorial process.

3. Themes and Structure of the Book

[10:10-16:22]

• The book is not about a single dance discipline; it addresses accessibility, language, performance space, costuming, and broader issues in dance.

• Originally structured in three sections (pedagogy, leadership, global), the editors and authors realized these themes were inseparable in practice.

• Notable for emphasizing the "love" and complexity in dance—balancing celebration and critical reflection.

  “We began with stories, and so the stories kept feeding one another... Another important aspect... is the decision to invite people rather than having an open call, because that helped us understand what we were going for.”
  —Sherrie Barr, [07:54]

4. Recent Changes in Dance and Dance Education

[11:43-16:05]

• Growing emphasis on honoring individual identity and cultivating inclusive communities in dance education.

• Ongoing tension in higher ed between dance as “lifetime learning” vs. “vocational training,” especially with new forms and styles entering academia.

• Shift from rigid discipline boundaries to a more holistic, humanizing, and global perspective.

  “There’s been a real desire to expand who dances, what dance forms are included in higher ed. …to keep things moving forward in a way that, again, is respectful of the individuals in the room.”
  —Karen Schupp, [12:54]

• Interplay between pedagogy, leadership, and global awareness reflects contemporary challenges and opportunities.

5. Editorial Surprises and Authorial Vulnerability

[16:44-24:30]

• Each essay offered new perspectives:

  • Kristen Horrigan's chapter on Contact Improv prompted new reflections on touch.
  • Sarah Ebert’s journey illuminated devotion to dance in multiple facets.
  • Stories such as “the parking house” lingered with editors, challenging assumptions.
  • Learning from chapters on ballet history, language, and cultural barriers.

• Both editors described personal and professional self-questioning inspired by the essays.

• Honesty and vulnerability from contributors challenged even seasoned educators to reflect on their own biases and contributions to problems within dance culture.

• Autoethnography as a method fostered trust and deep personal reflection.

  “There was also a degree of trust that developed through the project, the trust that authors could reveal themselves... It was a constant learning experience for me in terms of content... and also about research in general.”
  —Sherrie Barr, [23:09]

  “I would say that every chapter made me pause and think, ‘Oh, have I contributed to that roadblock?...’ And usually once I have that question, I find out the answer is yes, and I can do better.”
  —Karen Schupp, [19:19]

6. Impact on Dance Productions and the Wider Field

[25:23-29:32]

• Editors observe a paradigm shift—traditional ballet/modern dominance is fading, replaced by diverse forms and content that reflect current social and cultural realities.

• Audiences and students are increasingly engaged, and more experimental/alternative forms are being presented, even in smaller or regional venues.

• Social media (e.g., TikTok, YouTube) provides students broader access to dance forms previously unavailable to them, though it may reinforce existing interests rather than introduce the unfamiliar.

• Students are more willing to address contemporary issues through dance.

  “I see a lot of student work... and I feel students are courageous... sharing their opinions through dance in a way that I don’t really feel happened for my generation.”
  —Karen Schupp, [26:41]

  “There’s more willingness to break the fourth wall in performances.”
  —Sherrie Barr, [29:31]

7. Title Selection and Collaborative Process

[31:11-32:45]

• The title “Stories We Dance / Stories We Tell” emerged after much back-and-forth between the editors and publisher.
• The word “essays” was added by publisher's request.
• The process reflected the collaborative and dynamic nature of the entire editorial journey.

8. Ongoing Work and Legacy of the Project

[32:45-35:21]

• Editors and contributors participated in joint panels and are collaborating on follow-up projects, including an exploration of “excellence” in dance education via autoethnography.
• Both editors are active with the Journal of Dance Education and continue to mentor, research, and support new work in the field.

9. Advice to Emerging Dancers and Educators

[35:21-38:23]

• Karen Schupp:
  • “Stay curious and stay grounded... just connecting to that love of dancing and learning more about dance... allows you more opportunities to see what you attune with.”
• Sherrie Barr:
  • “Be willing to take risks, to not necessarily follow the expected path... keep asking questions and not let anyone tell you what is failure as opposed to what is success... Let go of rigid aesthetic standards—it’s exciting when I do.”
• Renee Garris (host):
  • “Stay grounded, know who you are, and be confident in your dance... You are enough. And be confident—get that noise out of your head and your dance will flourish.”

Notable Quotes & Memorable Moments

• “Each author is an expert, and I’m grateful for what I was able to learn from each one of them, individually as well as collectively.”
  —Karen Schupp, [19:54]
• “There is a change coming... the crowds here are hungry for those changes.”
  —Renee Garris, [28:46]
• “Autoethnography invites people to be vulnerable.”
  —Sherrie Barr, [22:53]
• “Dance is important and that the world would be a better place if everyone was dancing.”
  —Karen Schupp, [36:38]
• “To echo Karen: for everyone to dance.”
  —Sherrie Barr, [38:19]

Important Timestamps

• [02:44] — Sherrie Barr’s dance and teaching origin story
• [05:54] — Karen Schupp’s journey and academic “aha” moment
• [07:03-10:10] — Genesis and editorial approach for the book
• [12:54, 13:42] — Reflections on inclusivity and the “humanizing perspective”
• [16:44-24:30] — Revelations and challenges from the editorial process
• [26:41, 28:46] — Shifts in student work, performances, and audience demographics
• [29:52-31:11] — The role of social media in broadening access to dance
• [35:51-38:23] — Advice to young dancers and emerging dance educators

Conclusion

This episode is a rich, warm, and intellectually curious discussion about the state and future of dance education in higher ed. Schupp and Barr share their own stories and vulnerabilities as they reflect on compiling a book that is itself a “love letter” to dance, full of hard truths and boundless hope. Their message to listeners: remain curious, champion inclusion, stay grounded in your values, and—above all—never stop dancing.