For the last five decades, Glenna Batson has worked at the intersection of dance, human movement science and somatic (mind-body) education. Glenna has honed a trans-disciplinary approach to movement teaching. She draws from multiple sources as catalysts for teaching, research, advocacy, and artistic and personal growth. Glenna engages routinely with multiple sectors both within the academy and other cultural hubs – organisations which place embodiment within arts for health as a central value to their initiatives. She is an internationally recognized teacher of the Alexander Technique (qualified 1989) and was pivotal in the establishment of the International Association of Dance Medicine and Science in the 1980’s (IADMS.org). A former Fulbright Senior Specialist in dance education (2008-2019), Glenna received the first honorary fellowship award for her contributions to dance science from Trinity Laban Conservatoire of Music and Dance (London, UK). Between 2009 and 2015, she pioneered research on improvisational dance and Parkinson’s disease, and remains an active consultant to arts-for-health initiatives, locally and internationally. Glenna holds a master’s degree (MA) in dance education (1978), and a master’s and doctorate in physical therapy (1983/2006). Professor emeritus of physical therapy (Winston-Salem State University, USA, 2012), she remains an active course leader, mentor, and external examiner within higher education. She is author of Body and Mind in Motion: Dance and Neuroscience in Conversation, and co-editor/contributor to Dance, Somatics and Spiritualities: Contemporary Sacred Narratives, University of Chicago press, 2014). During the last decade, she co-created the Fold as Somatic/Artistic Practice with multimedia artist and dancer Susan Sentler. Together, they successfully transferred to online teaching, reaching a global multidisciplinary audience, and securing a book contract with Intellect Books. Glenna’s community service lies in grassroots advocacy around criminal justice reform aimed at abolishing life without parole. At 73, she remains ‘a woman who dances,’ and fully intends for her last bloom to be the brightest.