MAJOR SPONSOR
M A G A Z I N E
REECE
HOPKINS and his light-speed
footwork
EISTEDDFOD
Syllabus Updates The Dance Shop
JUdGes What are they looking for?
How to Videos Professional Development CONTENT FROM
Photography by Belinda - www.dancephotography.net.au
Welcome Dance as an artform continues to move rapidly, as does the dancers who perform both on and off the stage. In fact, dancers are transient by nature and often move from one school to another or from one country to another in search of new opportunities and experiences to add to their portfolio. In a bid to connect with the dance community, Dancehub have created the world’s first iPad based Dance Magazine.
The Dancehub Magazine has 3 aims:
1
To connect the dance community through our website and app.
2
To educate dancers, parents and dance business owners.
3
To assist the dance community grow beyond their local area.
In future, Dancehub will connect with Android devices too. Don’t have an iPad yet! You can also connect with us via our website, facebook, twitter or e-newsletter.
How to navigate the magazine.
TAP FOR PUBLISHER DETAILS
TAP TO BECOME A CONTRIBUTOR
TAP FOR CONTRIBUTOR INFO
TAP TO SEND US AN EMAIL
DANCER: TIFFANY CHIANG PHOTOGRAPHER: BELINDA STRODDER
DANCE NEWS
REGULAR FEATURES
JUST FOR TEACHERS
DANCE GENRES
AROUND THE TRAPS
HEALTHY OPTIONS
DANCER: Abigail Oliveiro 2010 PHOTOGRAPHER: BELINDA STRODDER
contents
SYLLABUS UPDATES
contents SYLLABUS UPDATES
The grade 1-3 syllabus has now been updated. Get the latest news here.
Comdance are busy with their new syllabus. What’s in store for you? Find out more.
glenn wood tap Australia’s favourite tap syllabus is now extending it’s reach into the digital arena.
contents DANCE NEWS USA
Dancehub welcome Broadway Dance Center to Australia. We also feature a high school making a big difference to their community.
UK
Liverpool teenager moves from ballet to rugby. We take a look at the Wyre Forest Dance Festival.
AUSTRALIA
Discussions continue about the how, why and wherefores on fitting pointe shoes. Why are dancers leaving our shores?
DANCER: MINISTRY OF DANCE 2009 PHOTOGRAPHER: BELINDA STRODDER
contents REGULAR FEATURES LITTLE ACHIEVERS This issue we discovered Anika-Jovi McCarthy.
FEATURE ARTICLE
Have you ever wondered where the tutu came from?
It’s history will amaze you.
ASK COLIN @ BEHIND BALLET
Australian Ballet’s leading dance author Colin Peasley answers your questions.
YOU BE THE JUDGE
What does an eisteddfod judge look for?
Why does your opinon differ from theirs?
THE DANCE SHOP
We find and review the latest dancewear on the international market today.
PRO FOCUS What’s Loredo Malcom doing with ‘Locreado’? Loredo chat’s to us about life as a production manager.
DANCERS: GISELLE AND ZACHARY PHOTOGRAPHER: BELINDA STRODDER
contents JUST FOR TEACHERS IT’S LEASE TIME We hear from a leasing experts and find out how to successfully negotiate a new lease.
PERFORMANCE IN A PRIMARY EDUCATION CONTEXT How to foster, growth, encourage artistic flair and keep students focused.
CAOS FREE COSTUMES It’s all in the planning when it’s time to purchase your costumes.
GROW YOUR STUDIO
KEEPING STAFF
Why do staff stay until a better gig comes along? We’ll tell you why!
IMAGE: ON POINTE PHOTOGRAPHER: DAVID BARNES
We look at three simple tricks you can implement today to grow your dance school.
contents DANCE GENRES
TAP DANCE Reece Hopkins steps you through some techniques to improve your tap dancing.
JAZZ
We cover the basics of Jazz Dance for those of you who do not understand it’s origins.
BALLET
Expressions Dance Company talk about the importance of good partnering.
B-BOY
Watch Arthur Cadre hit the floor with his unique B-Boy Style!
IMAGE: THE MELBOURNE SCHOOL OF CLASSICAL DANCE PHOTOGRAPHER: BELINDA STRODDER
contents AROUND THE TRAPS SHOW REVIEWS
We’ve highlighted some of the major events you should consider attending around the globe.
What’s the difference between a good show and a great show.
AUDITION LISTING
ISVP
This issue we focus on MOD’s full time school.
Find out what the International Student Visa Program is and how it can help you to secure a dance career.
IMAGE: MATALOR - STAGEART PHOTOGRAPHER: BELINDA STRODDER
COMING EVENTS
contents HEALTHY OPTIONS PHYSIO INSIGHT
Injury prevention tips and techniques from Perfect Form Physio.
THE POWER OF PILATES
It’s all the rage find out why pilates is such a huge hit.
DO YOU NEED SUPPLEMENTS
Body builders and athletes have used them for years.
Do dancers need to take supplements?
MEAL PLAN We have drawn up a meal plan to guide you towards a healthy eating regime.
Author: Lucy Evans
Lucy is an ISTD registered Cecchetti ballet, modern and tap teacher and teaches in several dance schools across the North West of the UK. Images courtesy of Pas de Basque Tutus, New Zealand.
Dance as an art form requires extreme ranges and extreme control of the human body. Regardless if the dancer is training at an elite level or as a hobby, we can achieve efficiency in movement through the use of Pilates.
S E T PILA by Lisa Peresan
Specificity is required in training to increase:
spinal hyperextension (arabesque, back bend) ankle plantar flexion (pointed toes), range of movement, strength and foot stability knee extension core stability
shoulder range of movement and scapular stabilization hip flexibility and strength above 90 degrees and endurance in external rotation
Most dance classes work on Neuro-muscular programming, transference of body mass etc, through the learning the intricate steps. In an ideal world, dancers would cross train and take a class that’s sole focus is on developing the flexibility and strength that they require. Most dance schools and especially the elite schools are recognizing this and including Pilates and Stretch classes as part of the compulsory classes for their students. At the very least, we can also make sure to include these elements in our warm up. In this post, I will talk about the “Core”. This group of muscles includes diaphragm (the thin sheet of muscle that sits between your lungs and your guts), transvers abdominus, pelvic floor and multifidis (the small muscles that run along your spine). Find a spot on the floor that is firm, and smooth and lie with your feet hip width apart and your knees bent. Focus on your breath and as you exhale feel your deep abdominal muscles contract. See if you can lift your pelvic floor at the same time as breathing
out. Usually there is a co-contraction of pelvic floor and transvers. The pelvic floor can be activated by using the same imagery as if you have to try to stop urination. You should not tuck your pelvis under or move your spine when doing this, as you are only activating the muscles that lie deep inside. To increase the challenge, use this technique and at the same time bring one knee in towards your chest. This should happen without any movement through the spine or pelvis and it is the activation of the core that will enable you to maintain this stability. Now the challenge is to add that to dance class. See what difference it will make to your turns and balance. Happy Dancing!
Injury Prevention
in Contemporary Dance Lisa Howell Physiotherapist for Dancers a company, loss of a contract altogether, or worse still - the end of a career.
Unfortunately, injuries are often considered a part of life for the contemporary dancer, but this doesn’t necessarily have to be the case. We all know that the cold hard facts of injury for a dancer can range from a short period of time off for recovery, long periods of rehabilitation, demotion within
Dancers from all walks of life suffer from injuries such as inflammation in the hips, ligament ruptures, tendon injuries, foot injuries, hip and back problems. Fortunately many of these injuries can be prevented by a little education about correct technique early in a dancer’s training. As the boundaries of the physical art of contemporary dance are being pushed to the limits, the frontiers of Dance Medicine are also being pushed. An ever expanding knowledge base is being created to allow dancers to help them take care of themselves, prevent injury, recover from injury and accelerate their dancing performance.
Injury Prevention in Contemporary Dance cont’d The best way of doing this is by increasing awareness of anatomy and how it works in a dancer. Anatomical knowledge is the ultimate tool to injury prevention and this can manifest in several ways: • Deeper understanding of movement patterns. • Knowledge of Personal Idiosyncrasies.
FOOT STRENGTHENING FOR BALLET
• Empowerment in body transformation.
we are all created equal, it is important to realize that we are not. Different people have different body types that will require different training to elicit the same response. While some dances struggle to build the strength and coordination needed for dynamic powerful jumps, others find this effortless. Given the same training 4 different dancers will retain their differences, however with tailored programs; they can work on their weaknesses to accelerate their performance.
• Personal Responsibility. • Development of Conditioning Programs. • Full Rehabilitation from injury when it does occur. A basic understanding of human anatomy allows the dancer a different perspective in understanding movement patterns and where they come from. While ultimately in performance the dancer’s focus is on energetic flow, transfer of weight and expression of emotion (depending on the style of performance), understanding the static components (bones), dynamic components (soft tissues) and how these work together (functional patterning, muscular slings, fascial tension lines etc) can allow a much deeper experience of the required movement. This depth of experience is them transferred to the audience in a much more convincing and accurate representation.
Anatomical knowledge also allows the empowerment of an individual to change their natural responses and create a new reality. For example, many dancers complain about pain in their feet and ankles or that they do not have enough range of motion in their feet. The truth is that 90% of all foot and ankle injuries I see are the result of a few basic weaknesses that can all be prevented. Furthermore, blockages in range may not be as permanent as you think they are! Simple exercises and massage techniques that Dancers need to have an in depth knowledge of wake up the small muscles of the foot can alleviate their own body and how it responds to certain types issues in the foot and ankle that may have been of training. While in anatomy books it appears that present for years.
Injury Prevention in Contemporary Dance cont’d
to know these and what specific muscles are involved in order to get back to full function. Complete rehab requires specific reeducation of any individual muscle that is lacking, rebalancing of synergistic muscles and integration in to movement patterns and dance technique. Internet based resources have allowed the spread of a vast quantity of information to all dancers all over the globe. However, due to the ease of delivery of this information, we do need to be very careful of the quality of the information. Always check the credentials of the author of any information that you are exposed to, and accept everything as an idea to test, rather than a truth until you feel this in your own body.
Understanding all of this, and working out the curiosities of her own anatomy also allows a dancer to take personal responsibility for the roles she takes on, and how she builds up her training within any role. Feeling a weakness going into any movement and knowing how to work on this allows her to build the appropriate strength before injury occurs. Injury prevention in the world of dance is an enormous In classical ballet, an open class will usually cover topic, and not one to be taken lightly. There is so much strengthening and limbering exercises for almost all potential for injury in many of the things we do, yet movements that will be required in a performance. In there is also so much beauty, joy and inspiration to be contemporary dance, this is not always the case, and had. Take on the challenge of embracing anatomical phrases will not always follow the movement patterns knowledge and how it applies to a dancer as your personal protection, and become master of your own that covered in basic conditioning training. body, helping preserve it for many years of performance We therefore must be able to analyze movement and exploration. patterns and use our anatomical knowledge to devise an appropriate conditioning program for optimal training Lisa Howell is the owner of Perfect Form and performance. This program must not only train the Physiotherapy – a Physiotherapy practice specializing in the treatment and education of dancers and dance movements that are required for each piece but must teachers. She has produced several books and DVD’s also strive to maintain equal range and strength in the on the education and training of young dancers areas that are not being used in that particular piece. Anatomical knowledge serves us not only in injury prevention but in full recovery from injury as well. Most injuries in contemporary dance occur as the result of a breakdown in a movement pattern, so it is important
as well as a website devoted to providing dancers worldwide with free information to help them excel. She lectures both Nationally and Internationally on safe dance practices and progressive training to make training our young dancers safer. For more information on how to make your dance practice safer visit www.theballetblog.com
Treatment for Plantar Fascia Pain in Dancers The Three Keys to Pain Free!
Many dancers complain of pain in their arches at various times, and continue to have pain despite having treatment. This issue is unfortunately very common in many dancers and often does not respond to regular therapy, especially in the case of high level performers. The plantar fascia is an extraordinary structure that stretches along the full length of the foot and is very important in getting good propulsion in jumps and in walking. However, it is designed to cope with strain in an ‘on and off’ kind of way, rather than be under constant load. When the Plantar Fascia gets overloaded and gets irritated or inflamed it is termed Plantar Fasciitis (Inflammation of the Plantar Fascia) or more correctly Plantar Fasciosis. Unfortunately most people try to treat this condition with stretching and massage. This may provide some temporary relief (occasionally it makes it worse) but this very rarely fixes the problem. The three big things that need to be addressed to fix the issue are: Muscular support of the arches of the foot
TAP A NUMBER TO REVEAL STEPS OR HERE TO GO BACK TO START OF ARTICLE
Fascial mobility throughout the body and lower leg.
Gentle support to reduce load on the fascia while it heals.
Author: Lisa Howell
Treatment for Plantar Fascia Pain in Dancers The Three Keys to Pain Free!
1. Muscular support of the arches of the foot As Leonardo da Vinci said “The human foot is a masterpiece of engineering and a work of art”, when working properly it allows us to run, jump and dance in the most extraordinary ways. However, when it does not work in the way it was designed then we can experience a lot of pain. The foot is designed in such a way that it has 3 dynamic arches. By dynamic, I mean that they are designed to move and flex as we move, rather than be held in one place all the time. These are supported by complex slings of muscles and fascia that work together to power us forward. As mentioned above, the Plantar Fascia is designed to cope with strain in an ‘on and off’ way; therefore if there is a weakness in the muscles that support the position of the foot, constant strain is placed on the Plantar Fascia and it will start to get sore. Muscular support of the arches of the foot
TAP A NUMBER TO REVEAL STEPS OR HERE TO GO BACK TO START OF ARTICLE
Fascial mobility throughout the body and lower leg.
Gentle support to reduce load on the fascia while it heals.
Author: Lisa Howell
Treatment for Plantar Fascia Pain in Dancers The Three Keys to Pain Free!
2. Fascial Mobility
Author: Lisa Howell
The Plantar Fascia of the sole of the foot has direct connections up onto the fascia that runs along the whole back part of your body. Thomas Myers(3) describes this as the “Superficial Back Line�. Tension anywhere in the back line can cause pulling and tension down into the sole of the foot, so it is important that when dealing with any issues with the Plantar Fascia that we also look at the mobility of the fascia throughout the back of the body. Specific exercises and release techniques aimed at mobilizing this fascial line can result in dramatic changes in your overall flexibility and allow you to isolate and release your own tension points.
Muscular support of the arches of the foot
TAP A NUMBER TO REVEAL STEPS OR HERE TO GO BACK TO START OF ARTICLE
Fascial mobility throughout the body and lower leg.
Gentle support to reduce load on the fascia while it heals.
Treatment for Plantar Fascia Pain in Dancers The Three Keys to Pain Free!
3. Supporting the Fascia Providing some support to the fascia is essential in allowing the inflammation to settle while you build up the strength to control the foot yourself. While rigid orthotic devices are often not practical or suitable for active dancers, a combination of a soft heat moldable insert in school/ running shoes and dynamic taping can help support the natural arch of the foot to offload the Plantar Fascia while strength is gained. There is much debate about whether dancers should use orthotic devices at all, and this video discusses the pros and cons of their use. Taping techniques can also support the Plantar Fascia and may be used in class when it is not possible for orthotics to be worn. The best taping is a technique that creates a cross woven web over the sole of the foot that mimics the Plantar Fascia. An Alternative technique involves taping a piece of resistance band to the sole of the foot! Muscular support of the arches of the foot
TAP A NUMBER TO REVEAL STEPS OR HERE TO GO BACK TO START OF ARTICLE
Fascial mobility throughout the body and lower leg.
Gentle support to reduce load on the fascia while it heals.
Author: Lisa Howell
Plan is based on a typical class/rehearsal day: Estimate 2100-2300 calories, 65-69g protein
Meal/Schedule 8:00 am Breakfast 9:30 am class
Food & Beverage 1.5 cups whole grain cereal 1 cup 1% milk with ½ cup berries 1 boiled egg + 8-16 oz water
11:00 am post-class Morning rehearsals
1 sports type bar 1 apple and 8-16 oz water
2:00 lunch Afternoon rehearsals
Cheese (2% milkfat) sandwich With 2 lrg slices whole grain bread Mustard, lettuce, tomato, cucumber. Light olive oil dressing, 1 piece of fresh fruit. Carrots + 8-16 oz water
4:30 snack Rehearsal
6 oz yogurt (or smoothie) ¼ cup almonds and granola mix Water as needed
7:00 dinner
1.5 cup whole grain pasta salad with corn, tomatoes, shredded carrots, black beans, 2% cheese, herbs. Serve on a bed of raw spinach with a canola oil based dressing. 16 oz water throughout evening
9:00 dessert
½ cup ice cream
TOTAL
Reference: USDA database for Standard Reference 2009
SWIPE
TAP
training with reece hopkins WARM UP VIDEO COMBO VIDEO REECE IN FULL FLIGHT
TAP FOR ELISE MAY’S BIO.
Duets &
Partnering
In
Contemporary
Dance -
“The First Step”
It can be an interesting learning curve when dancers who are used to dancing in group situations or as soloists suddenly get thrown in the deep end with partner work. Working with a choreographer to create a duet can be quite daunting at first, but with an understanding of the foundations, partnering can be safe, exciting and rewarding, especially when performing for an audience. Known in classical ballet as a ‘Pas de Deux’ or “step of two” duets involve two dancers. They are most commonly danced by a male and female dancer, but are also frequently performed by two dancers of the same gender. Duets may contain supporting, weight baring, lifting or unison movements, and usually focus on the connections, spaces and relationships between two bodies in space. In the true sense of the word, a duet occurs when each dancer relies on the other to create a union of movement. If one dancer were to remove themself from the partnership, the duet would cease to exist. Here are a few ideas to take with you into the studio when embarking on any new dance partnership:
Trust
It is important that each partnership begins with developing a relationship of trust. In order to feel comfortable and dance safely with a partner, first you need to be able to rely on one another. A simple exercise to encourage trust is for one person to stand with their eyes closed and gently fall away from their centre of gravity. The second dancer needs to be ready to catch their weight and bring them safely back to standing with their weight evenly on two feet. Starting slow, and gradually trying more daring movements is always safer than lurching straight into difficult moves and lifts without first developing a foundation of trust. Make sure your trust is reciprocated. If one dancer has more experience either ‘lifting’ or ‘being lifted,’ make sure you swap, and give each person a chance to develop that trust. In contemporary dance,
Duets & Partnering In Contemporary Dance “The First Step” CONT’D ...
Here is a video excerpt of EDC dancers Elise May & Jack Ziesing rehearsing for EDC’s “Launch Pad 2012“ season, a duet entitled “Crush” choreographed by Lisa Wilson (www.lisawilson.com.au) Music by Paul Charlier. Crush explores the idea of panic and its contrasting manifestations of restraint and immobility. With a mix of images in motion and intimate human connections, these conflicting emotional states will be repeatedly built and dismantled by the performers, reflecting our inner drives, needs and urges.
work towards an even keel partnership. It takes time so remember to be patient.
Personal Space
Duet work can sometimes get ‘up-close-andpersonal!’ Be prepared to share your personal space with another dancer. Don’t be afraid to touch your partner, in fact the more tactile and deliberate you are when you are touching or making physical connections with your partner the better. Your partner will be better able to respond to your weight and grip accordingly.
Dancing is non-verbal, so you will be communicating with your partner using your body. So touch, weight, direction, momentum and even breath are all part of the kinesthetic language that you will use to communicate to one another. Some duets are more intimate than others. It often depends on the choreographer’s intention.
Counter-balance V’s Lifting
When we think about duets or ‘pas de deux’ in classical ballet we often admire the strength
Duets & Partnering In Contemporary Dance “The First Step” CONT’D ... dancof the male dancer, lifting the ballerina around the stage. In a traditional sense, the male dancer was used as choreographic device to make it appear as though the female dancer was floating effortlessly through space. The focus was nearly always on the female, the male dancer only stepping in to lift, support or complement the line of the female dancer. In more contemporary genres the focus is often shared evenly between the two dancers. Often the illusion of ‘lifting’ can be created using principles of counter-balance without the use of any lifting requiring brute force strength. Contemporary dance partner work often utilises movement that is supportive and requires each partner to give equal weight to a particular movement, either leaning towards or away from an imaginary centre-line between the two bodies. This concept is known as counter-balance. Through play and experimentation two dancers can create many different movements that utilise the transference of each other’s weight to create interesting shapes and movement ideas.
Repetition & Commitment
Don’t be surprised if a duet takes a lot longer to create, rehearse and perfect for performance. Movement sequences can be made up of many small detailed movements, handgrips or subtle shifts of weight that require lots of repetition in order to perform with ease when the time arises. An under rehearsed duet is a recipe for an unpredictable and risky performance, or worse – injury. When performing difficult moves, you need to confidently attack and commit to them.
There is nothing worse and more dangerous than pulling out of a movement half way through. The best way to prepare for these situations is to have adequate rehearsal. Once the duet is created, rehearse it many times without stopping so that you understand which areas of the duet need attention. Remember you are responsible for your own safety and the safety of your partner. Only perform movements with which you feel comfortable. And never be too shy or afraid to ask your partner to run through any problem areas, you need to work together to get things right. Some things to remember: • Every duet is unique to the two dancers who perform it. It is the sum of two parts – one can’t exist without the other • Spend time establishing a connection, communication and trust with your partner and be prepared to receive another dancer into your personal space • Make sure your duet is well rehearsed so that you can be confident, calm and consistent in your performance. When two dancers find a connection, rhythm and dynamic energy in performance it can be exciting and magical to watch. The foundations of duet and partner work can be equally as exciting to learn and they can be very challenging and rewarding to perform. Written by Elise May
A suede sole is the best bet.
Jazz it Up
Jazz Dancing Warm Up
Jazz Dancing Basics
Before you shake, rattle, and roll, a dancer needs to warm up properly. Muscles should be warm and limber to prevent injuries. In the studio, barre work is an integral part of the warm up. Loosen up neck, shoulders, hips and legs. Stretch the back and incorporate exercises that stretch the back of the leg muscles. The splits should be executed during warm ups. This move is used often in jazz dancing, and dancers need to be able to leap into a split position or slide into the splits on the floor.
Ballet Technique
Jazz dancing is built on ballet techniques. Jazz dancers need to master basic ballet By: LuAnn Schindler movements, including the arabesque, Jazz dancing incorporates elements of ballet chaine turns, pas de bourree, and and strong, bold movements that followed the pirouette since they are incorporated in music’s beat. If you’re interested in jazz, here most jazz dance routines. are the basics you need to get started.
Equipment
Due to the nature of the dance style, comfortable clothes are a necessity for jazz dancing. Jazz pants and a leotard top work best and allow a dancer to stretch out during a performance. Jazz shoes come in a multitude of styles. Select a pair based on the type of floor you typically perform on. Rubber soles might provide traction on wood or cement, but the soles stick on other surfaces.
Basic Jazz Dancing Moves
Jazz dance includes basic dance movements also. Jazz moves begin either on the eight or one count. Fundamental moves are the jazz square, the isolation, and the chasse. Dances build off basic steps and focus on exaggerated movements. Dances such as the Lindy Hop or Charleston depend on swinging arm and leg movements.
arthur cadre
B-boy Arthur Cadre shows his amazing power and style combined with the unique style of breaking known as abstract. Watch as he lotus from one move to the next in this amazing new video.
Students over 8 years who wish to dedicate themselves to classical ballet, jazz or tap training at the highest standard in pursuit of a career in dance, performing arts or dance teaching are offered a range of classes via The Academy, located in Surrey Downs and Highbury, South Australia. The Junior Academy and The Academy offer expert tuition in the following dance styles and levels: • Beginner, Primary, Preparatory and Level 1, 2, 3 & 4, Senior Jazz • Beginner, Primary, Preparatory, Intermediate and Senior Tap • Contemporary • Hip Hop A & B • Beginner, Primary, Preparatory, Level 1, 2, 3 & 4, Prelude & Transition Classical Ballet Assessments are encouraged and classes are taught by Senior Members of the faculty, including the Principal and the Creative Director. The Academy provides an encouraging and supportive learning environment and the opportunity to develop a high standard of technical and performance dance skills. Our focus is on learning correct technique, developing a real enjoyment from dance, and having a good time whilst concurrently learning the discipline that dance brings, including expecting high standards of attendance, grooming and commitment. The Academy also offers various Scholarship and Performance Team opportunities and entrance (by invitation) into the Student Teacher Training Program for Senior Students committed to a career in dance teaching.
Jane Grech Dance Centre The Academy
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USA
Dance News
4 Amazing Stories from the United States of America
The Dancing With the Stars cast announcement is upon us, so it’s time to see what’s buzzing out there about who might be on the list. Other random names being tossed into the Dancing ring: Pee-wee Herman, Carrot Top, Giuliana Rancic, Tori Spelling, Jackee Harry, Jenny McCarthy and Stevie Wonder. Stevie Wonder?
GAVIN DE GRAW
PEREZ HILTON
VICTOR CRUZ
VINCE YOUNG
PAULA DEEN
KENDALL JENNER
JWOWW
REGIS PHILBIN
Canada’s new arts hub. A Toronto dance company opened its new home 2 weeks ago in Regent Park — the country’s biggest social housing project. The building, called the Citadel, was formerly a Salvation Army kitchen, and now hosts dance and yoga classes and is the new home of critically acclaimed dance troupe Coleman Lemieux & Company. Regent Park is currently undergoing a massive revitalization that will include new condos and townhouses for a mix of low-income and middleclass households.
The Citadel was formerly a Salvation Army kitchen and was redesigned by Diamond Schmitt Architects. Arts and culture is a key thrust of the re-development. Bill Coleman and his wife, Laurence Lemieux.
founders of Coleman Lemieux, chose to stay in the neighbourhood and renovate the former soup kitchen after moving the company to Toronto from Montreal. “For us to be dropped down in a really, really interesting, vibrant community is going to have an infectious effect on the company in terms of creativity,” Coleman said. The neighbourhood is “an intersection of cultures and people. It’s really interesting.” In that tradition, Coleman Lemieux will offer paywhat-you-can yoga classes every day — and free dance lessons for kids on Saturdays. “Movement itself is really healthy. Movement inspires creativity and problem solving,” Coleman said. The company prides itself on having a transparent creative process and both founders feel at home in their neigbourhood. The $1.8-million project has received government money, free work from Diamond Schmitt Architects and help from developer, The Daniels Corporation, as well as dozens of local supporters. Tim Jones, president of Artscape, one of the agencies involved in the Regent Park redevelopment, highlights the importance of community participation in planning the changes in a neighbourhood formerly
considered an eyesore and a hotbed for drugs and crime. “So layers and layers of collaboration here and it feels like everybody is going beyond what they would normally do to create a model for how these communities can be redeveloped,” Jones said. The Citadel is just the beginning of the creative injection. There are plans for: • A permanent outdoor stage. • A new home and performance space for Native Earth theatre company and an African drumming group. • Space to display art. • An office space for creative groups and agencies who will mentor youth. Inside the newly opened Citadel. It is a ‘no-brainer’ to get kids from troubled neighbourhoods into the arts. The Regent Park Arts and Cultural Centre, a threestorey, 60,000-square-foot building to be managed by Artscape, has received $24 million in federal and provincial infrastructure money. “We know there are issues of community safety and gangs and other unhealthy things that are competing for young people’s attention, so to create a floor in the centre that’s devoted to arts-based learning for
children and youth was kind of a no-brainer.” Nearby, the Regent Park School of Music offers private lessons for as little as $2 to children from low-income families. It’s the same school whose choir appeared with Roger Waters two years ago. Director Richard Marsella said the school will more than triple the number of kids it teaches in the new centre. “We’re giving them unforgettable experiences with music and through that you save people, you really do,” Marsella said. “How? You give them a point of focus, you give them something to latch on to, to live for.” It’s hoped the new arts centre will become a creative hub and give people a reason to visit Regent Park instead of avoid it. “One of the big ideas our community advisory committee had at the beginning of this project was to create a place that was rooted in Regent Park, but open to the world,” Jones said. “So maybe today you don’t think about coming down to Regent Park to see a show or connect with a social innovator, but in the future, it’s going to be a destination.”
ople e p e th lf a h n a th “More re a k r a P t n e g e R living in ones J ,” 5 2 f o e g a e th under said.
TAP TO WATCH BDC VIDEO
Broadway Dance Center Invades Australia! MELBOURNE
SYDNEY
BRISBANE
GOLD COAST
READ MORE ABOUT THE CAUSE
High school students at Morgan Park Academy are putting the final touches on an annual dance performance designed to benefit the AIDS Foundation of Chicago and the Dancers’ Fund. The school’s eighth annual charity dance show will introduce the audience to a range of dance styles, all for a good cause. The student-directed, student-produced show will feature original choreography from seniors Cara KrausPerrotta and Sarah Eichinger, residents of Chicago’s Beverly community, and junior Brianna Kramer, a New Lenox resident. This is the third year KrausPerrotta, a senior, is co-directing the show. She and Eichinger are preparing Kramer to take over the reins of the production next year. Each year, the show raises about $2,000 to help fight HIV/AIDS in Chicago. The 90-minute program will feature a wide variety of dance styles, including classical ballet, contemporary, ethnic and hip-hop. The hip-hop routine will be performed by several members of the school’s faculty. “It’s been really fun to work with the teachers. We’ve been having a really great time with it,” said Kraus-Perrotta, who plans to study dance in college and pursue a career in choreography. The show will be held at 7 p.m. March 2 and 3 at Morgan Park Academy, 2153 W. 111th St., Chicago. Tickets are $10, or $5 for students, seniors and faculty, and will be sold at the door. For information, call the school at (773) 881-6700 or visit www.danceforlifechicago.com
UK DANCE NEWS
Valentines Ball Ballet 2 Rugby Wyre Festival Richard Alston
THERE was romance in the air at an early Valentine’s ball in Cheltenham. Around 40 people turned up to St Margaret’s Hall, in Hatherley, to show they still had the moves at an event run by the Dancing School of Gloucestershire. Attendees managed to raise around £500, which will go towards paying for dance shoes and clothes for members of the dance school. From rhumbas and waltzes to quicksteps, tangos and fox-trots, they covered a range of different routines. There was also a demonstration from members of the British Juvenile Champions to get people in the mood. Natassia Overthrow, who organised the event, said: “It went really well. “Everyone who came was a competent dancer so we did all the kinds of styles you would see on Strictly Come Dancing. “There was a very romantic atmosphere in the air and even a bit of smooching on the dance floor too by the end. “It was also great to see the young champions dance. They were really great and showed a very high standard.”
e’ve got the moves: W Asha and Rob Patching at the Valentine’s ball
AV alentin Da e s yD ance
A MERSEYSIDE teenager who was more used to executing a pas de deux than a side step, or a battement than a body swerve, has found success in one of the toughest games in the world. For Knowsley’s Robyn Woodward has switched from the classical world of ballet dancing to the physically demanding sport of rugby union. The Knowsley Park Centre for Learning student took up playing the game last year, when the Rugby Football Union delivered a series of taster sessions at her school. A number of girls showed real interest and were invited to attend more training sessions at Liverpool St Helens Rugby Club. Liverpool St Helens have one of the largest girls rugby sections in the country, and the teenager and
her friends soon found themselves playing for the club’s under-15s team. This season, her play has developed to such an extent that she gained county honours with Lancashire and has recently been selected to play for the North of England in matches against other regions. RFU coach John Foster is not surprised by the 13-year-old’s success. “I am certain that her background in dance has been a huge advantage,” he said. “Robyn has an impressive level of overall fitness, with good core strength and she’s also very fast. “Without a doubt the ballet training compliments her rugby, which has contributed to her success.” The starlet plays on the wing and loves scoring tries.
More than 800 entries entered the 2012 Wyre another spectacular dance festival in 2013.” Forest Dance Festival this year. At last year’s festival, Kidderminster dance Dancers from all disciplines stepped out studio Splinters came away with a brace of including ballet, modern, Greek, national lyrical trophies, including Jordan Coussens who won and many more. the top accolade of senior champion. The festival climaxed with the junior, intermediate Mrs Onslow added: “We were proud to be and senior championships. The adjudicator for selected to hold a qualifying heat for a national 2012 was dance teacher Claire Jennings. competition in theatre and dance called Miss Many of Claire’s past pupils are currently Dance/ Dance Master UK. appearing in the West End, provincial theatres, commercial TV and video. Claire, who has an MA in ballet studies, is currently enjoying presenting workshops, adjudicating and running her own schools.
Conservative councillor Tracey Onslow, Wyre Forest District Council member for community wellbeing, said: “We are looking forward to
VISIT THE WYRE FESTIVAL WEBSITE
Girls and boys aged 16 and above who love to dance are encouraged to enter the festival and winners of heats will go on to the grand final in June in Blackpool.
Richard Alston, a leading figure in contemporary dance for more than 40 years, explains how the latest visit of the company that bears his name includes a new piece using music by Benjamin Britten that was first heard in Norwich. The dance piece, the latest to be choreographed by Richard Alston for the acclaimed company that bears his name, didn’t quite have its premiere in Norwich — the first performances were in Canterbury 2 weeks ago — but they will be almost as fresh as when A Ceremony of Carols, a setting of 10 ancient carol texts for treble voices and harp, was first performed at Norwich Castle in December 1942. “Britten’s piece was premiered in Norwich in 1942. I’m not sure why it was in Norwich, but it was, so that’s a nice little coincidence, we’re bringing it home as it were,” chuckles the choreographer on the line from Canterbury where final rehearsals are underway. “It’s a company piece and in fact we’ve got five extra dancers, performers who are graduating from the school, so it’s a cast of 16 which is a big cast for my company.
Alston’s Master Piece
Australian Dance News
Pointe Shoe Discussion Why are dancers leaving? Choosing a dance school You be the judge ...
Does anyone know of a good website, person, or organisation who is qualified in giving accurate information on pointe shoes?
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Written by Dancehub Australia
Over the past 2 years Dancehub have connected with thousands of Australian dancers and the overwhelming theme that we see every year is the amount of talented Australian dancers leaving our shores for bigger and better things. Why? Well we believe it’s that in their late teens they seek job opportunities, casting calls, auditions and experiences.
Companies like Broadway Dance Center are leading the way with their ISVP (International Student Visa Program), whilst others are winning over Aussies simply becuase of the work placement opportunities and exchange rates.
Is this a good thing?
We think so, because most of our dancers/ choreographers come back well rounded and motivated to give back to their local communities or foundation school.
Stats show that on average they spend 3 months abroad and usually extend their stay if a placement Our advice is simple: You have one life - live it, becomes available in a full-time school or dance experience it, dream it, do it! And if possible give company. more than you receive.
Little Emma just can’t stop twirling around the house, she’s 3; Tom, at 10, is constantly copying his favourite hip hop artist and Jemima, 6, loves her tutu. Does this sound like your child? Many Mums will start thinking about dance lessons for their budding Astaire or Fontayne in the new year, and the hardest decision to make is which school is right for your child? “It’s an important decision,” says Lisa Peresan, director and principal teacher at DJAZZEX, a VET-accredited school that holds classes at Brookvale and Collaroy.
knowledge and an understanding of how to teach different age levels. It is worth asking about the teacher’s academic background and their general views about dance to gauge the type of instruction and approach you will be receiving. Lisa’s key advice would be to look for a good balance between enjoyment and effort.
“And it’s one that can lead to a lifetime love of dance or turn a child completely the other way.” Lisa says the personality of your child is probably a good start. It should match the personality of the school. “Our first priority in the early years is playfulness. We do encourage excellence in dance, but it’s done in an enjoyable way – not at the expense of fun. We also introduce some simple rules early on – such as respect for the teacher and the other students. “To us, it is not about whether a child wants to become a professional dancer later on, it’s about the enjoyment of dance, which is tremendously fulfilling for anyone who likes music and movement. “Most students will not become professional ballerinas or performers, but the experience they have at our school will give them a love of dancing for life – and that is a wonderful gift.” Consider your child’s approach to dance, class sizes, and teacher qualifications. Because dance is relatively unregulated, some schools do not have qualified staff. Dealing with growing bodies and young minds requires teachers to have some anatomical
Choosing the right dance school for your child IMAGE: THE AUSTRALIAN CONSERVATOIRE OF BALLET 2009 PHOTOGRAPHER: BELINDA STRODDER
YOU BE THE
JUDGE She didn’t like me ! You can’t please everyone !
My child did ten turns didn’t she see that ?
The new Grades 1-3 syllabi were launched in Australia on 16 January 2012 in front of an enthusiastic audience of 320 at the Smith Auditorium, SHORE Grammar School, North Sydney. Luke Rittner, RAD Chief Executive, welcomed the delegates and gave an overview of the past year and what 2012 has to bring for the Academy. Guest Speaker David McAllister AM, Artistic Director of The Australian Ballet and RAD vicepresident, inspired the audience to appreciate the need of a continually evolving syllabus and assured teachers of their valuable and integral place in the dance world. A highlight of his address was his rendition of the RAD Grade 1 Boy’s Soldier Dance that he learnt as a young student, which thrilled the audience. Artistic Director Lynn Wallis introduced the main event of the day, the unveiling of the new syllabi in a theatrical setting. A demonstration of a range of exercises from across Grades 1-3 were given by 17 students trained by and appearing courtesy of Alegria Dance Studios (Hilary Kaplan and Archibald McKenzie) and The Ballet Class (Christine Atkinson). Paula Hunt, Chair of the
Board of Examiners, talked the students through the demonstrations, explaining the creativity and musicality underpinning the choreography and key assessment features for each exercise. The programme was brought to a close with a live coaching session led by Darcey Bussell CBE, RAD vice-president, and students Latisha Sparks (taught by Janne Blanch, Victorian College of the Arts), Jessica Brown (taught by Prudence Bowen, Prudence Bowen Atelier) and Sophie Trentin (taught by Elise Frawley, National College of Dance). Darcey coached the three students on The Sleeping Beauty Aurora Variation Act III – an engaging and insightful finale to a much lauded evening! LISTEN TO Jonathan Still, Music Development Manager, talk about the ideas behind the music for the new Grades 1-3
The Progressive Grades Syllabi (now available in Grades 1-3 and 4-6) and DVDs have now arrived at Head Office and are available for purchase. CDs will be available within the next week. Prices are as follows:- Syllabi $33 per book, DVDs are $88 each and the CDs will cost $49.50 each. The Progressive Grades is also available as a package (includes Grades 1-6 2 x Syllabi 2 x DVDs and 2 x CDs) Normally priced at $341 – Discounted price is $297. The price list has been updated and will be uploaded in the next few days. Stock of the Sub Elementary is not far away.
glenn wood tap Glenn Wood Tap the syllabus is all about producing find out how to “fine tune” the technique involved fabulous tap dancing. It’s modern, challenging, with Glenn Wood Tap. They’re also an excellent enjoyable to teach and learn. The 9 levels start at opportunity to network with other teachers. absolute beginners and goes through to senior professional. An added bonus are the supplementary levels which give extension work to the regular PURCHASE levels. For the student seeking a real turpsichorial In conjunction with Slick challenge then there’s always the advanced levels 10, Dancewear, Glenn Wood Tap is promoting Slick Black Oxford 11 and 12. 2012 sees the start of Professional Development tap shoes. Days for tap teachers. They’re held in major centres With increased use of iPads over succeeding Sundays in February and March – and tablets, Glenn Wood Sydney, Melbourne, Christchurch, Perth, Brisbane, Tap syllabus can now be Adelaide and (Wyong) head office. downloaded immediately. These days are a great opportunity for tap teachers to
A new Facebook page in conjunction with the website will soon be in action.
2012 will see new videos featuring a multitude of fabulous tappers as well as Glenn.
Anika-Jovi McCarthy, 11 years old is a Junior Excellence Programme student at Queensland National Ballet (QNB). Anika loves dancing and was recently awarded the 2011 “Most Promising Classical Ballet (junior) Dancer” Trophy at Redlands. Dancing classical ballet, neoclassical, contemporary, jazz and flamenco at the Eisteddfods, Anika has also enjoyed a number of first and second places so far this 2011 at Wynnum, Ipswich, Redcliffe and Redlands. (Brisbane, Gold Coast and Beenleigh Eisteddfods are yet to come in August-September) Last year, Anika won the junior classical championships in Redlands, Beenleigh and Gold Coast. Tracey Myles-Whittington from QN Ballet teaches and choreographs all the solo Eisteddfod dances of Anika. Anika also trains in competitive Irish dancing and Troupe Eisteddfod dances with Kick Dance Studio, Bulimba where Anika started dancing since she was in pre school. Lisa Wyatt, Kick Dance’s principal thought that Anika excelled in athletics representing her school St Peter’s and Paul’s at district level because of Anika’s training in Irish dancing. Anika’s prime dancing support (chauffeur, costume change assistant, stage manager, massage therapist, etc.) is her mother Maria Victoria McCarthy, a counsellor at QUT. Maria is also a trained reflexologist and has a great interest in bodywork, yoga and meditation. According to Maria, Anika is a good kid, loves playing piano/saxophone, school, having friends and eats her vegies. Anika is also fond of sailing her little “sabot” (her dad, John McCarthy is her sailing coach) and likes to beat her 21 year old brother Jonas Trefeu when they play chess. Anika has been accepted to train with the Australian Ballet (interstate training program for gifted children) and excited to meet with fellow young dancers in Melbourne this September.
Colin Peasley is a founding member of The Australian Ballet. He retired as a Principal Artist from the company, a position he had held from 1987, to concentrate on establishing Hi Colin, an Education I am 14 years old and I have been dancing for 11 years. I Programme for The Australian was just wondering if you knew any good ways to strengthen Ballet, which he my legs for jumps, because however hard I try I just can’t seem currently manages to jump any higher and in my solo I just can’t seem to get any while continuing to jumps the height they need to be. perform character Thanks, Chelsea roles with the company as well as maintaining a Dear Chelsea, busy schedule as coach, teacher The height of a dancer’s jump depends not only on training but also the physicality of the dancer. The dancer’s build is key, in particular their alignment, the and adjudicator.
strength and length of their legs and feet (to enable a fast and strong push-off from the floor) and neuro-muscular efficiency, which can be made more efficient by repetition of suitable exercises.
At The Australian Ballet, we believe that strong, well-coordinated feet are the very basis of a dancer’s technique and our dancers do a wide range of exercises to improve their strength, slow parallel rises being the most frequently used. However, the foot should not be isolated from the rest of the body, because its movement is related to the movement of the body – the legs, pelvis and spine – so the company dancers pay maximum attention to the correct alignment of the body. With jumps, it is important to remember that gaining maximal thrust must be attained at the time of push-off from the floor because we cannot improve the height of the jump once we are in the air. You can learn more about this subject on the Dance medicine page of The Australian Ballet website. Best wishes, VIEW WEBSITE
Colin
Step it Up I love musicals But I love dancing even more -
m o c l a M o d e r o L
I started dancing at the age of 9, in a very small country Kingston Jamaica. My dance career allowed me to travel the world, such as the U.S.A, France, London, all the Carribbean Countries, Spain, Italy, Singapore, Hong Kong, Japan, Thailand and many more. I have been dancing and working as a performer singer/dancer/actor from age 9 till present at 27 years old. I have experienced both sides in the dance world, commercially I have done music videos, commercials, back up Dancing for singers such as Kylie Minogue, Shaggy, Sean Paul and Ricki Lee. I have also had the most amazing opportunity to work on Television as a dancer making it to Top 9 on So You Think You Can Dance Australia in 2009. I would be lying if I said that I didn’t enjoy these jobs and experience, it taught me so much and I would always do it again. The thing for me with choosing commercial gigs is that it does not come very often, for example Ricki Lee may hire you for a performance which is great, you get the job done, and then you straight away have to source the next possible job wherever that is as Ricki Lee may not do another performance for a while. These are some of the challenges you can face being a commercial performer maintaining and making sure you have jobs lined up one after the other, consequences of that not happening could lead to you going back to things that you may not want to be doing or doesn’t inspire you, and you have to go back to it only to earn a living.
I started dancing at the age of 9, in a very small country Kingston Jamaica. My dance career allowed me to travel the world, such as the U.S.A, France, London, all the Carribbean Countries, Spain, Italy, Singapore, Hong Kong, Japan, Thailand and many more. I have been dancing and working as a performer singer/dancer/actor from age 9 till present at 27 years old. I have experienced both sides in the dance world, commercially I have done music videos, commercials, back up Dancing for singers such as Kylie Minogue, Shaggy, Sean Paul and Ricki Lee. I have also had the most amazing opportunity to work on Television as a dancer making it to Top 9 on So You Think You Can Dance Australia in 2009. I would be lying if I said that I didn’t enjoy these jobs and experience, it taught me so much and I would always do it again. The thing for me with choosing commercial gigs is that it does not come very often, for example Ricki Lee may hire you for a performance which is great, you get the job done, and then you straight away have to source the next possible job wherever that
is as Ricki Lee may not do another performance for a while. These are some of the challenges you can face being a commercial performer maintaining and making sure you have jobs lined up one after the other, consequences of that not happening could lead to you going back to things that you may not want to be doing or doesn’t inspire you, and you have to go back to it only to earn a living. I personally will always choose musical theatre over being a commercial dancer/performer however I would still love to do it. In saying that musical theatre is in my opinion very secure and extremely fun and that’s why it will always be my first choice. locreado website SET CALENDAR “THE 4 ELEMENTS” BOOK A TICKET “THE 4 ELEMENTS”
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Rachael Jefferson-Buchanan
Senior Lecturer in Dance and Education Studies, Bath Spa University, UK Due to historical influences in the UK, there can be an emphasis on creativity and composition in primary dance education, sometimes at the expense of performance. However, when consciously built in to the creative strands of the lesson, a focus on performance skills can both widen the pupil’s movement vocabulary and increase their expressive capacities, thereby enhancing compositional processes. Here are some suggestions for fostering performance skills in young children through individual/group work and improvised/structured tasks: • Moods, feelings and dynamics: have the children listen to and practise dancing to a wide range of music and other forms of accompaniment to encourage their exploration of moods and feelings. They can learn about dynamics through simple percussion effects, e.g. lightly tiptoeing to the sound of a triangle, stamping heavily to a loud drum. Rhythm, speeds, levels and directions can be layered on top of these qualities as appropriate. • Basic movement skills: ensure the children are taught and also experiment with movements of the whole body and body parts with variations of speed, direction, rhythm, level and body shape. Travelling actions should include a full range of locomotor skills such as running, skipping, crawling, galloping and sliding. Gestures could focus in on the representational and symbolic, with contracted body shapes for sadness, functional everyday movements like cleaning windows, and gestures from mime in ballet. • Develop set dances from a range of historical and cultural contexts to give children opportunities to experience and learn actions with different rhythmic, spatial and dynamic patterning. Try to link these dances with classroom topics to make the dance experiences more relevant, meaningful and educationally sound. • Use a variety of stimuli such as stories, pictures, sculpture, poems, shapes, objects (natural, man-made) to nurture children’s imaginations and expressive abilities. Character portrayal through dance can be used as a tool to foster communication of feelings and emotions.
By Jacqui Gal With the United Dance Merchants of America’s Dance Resource and Costume Show just around the corner--and the dance year already underway-it’s time to think costumes! Naturally, the most basic criterion for a great costume is: Will it look good on stage? But with the myriad of great costume companies, all vying for your dance dollar, deciding which to choose can be tricky. Below are some tips to help you navigate the costume chaos. It’s never too early to start thinking costumes. Costume companies claim to ship in 9-12 weeks, but you only have to ask a few dance studio owners before you start hearing horror stories about fabric shipments delayed in China, broken promises and other unforeseen delays. Clearly, it pays to begin planning early. As soon as the dance year starts, you should already be closing in on a recital theme and looking at your dancers to see what kind of costumes will suit their bodies. According to Michele Theiler, owner of On the Move Performing Arts Center in Butler, NJ, you can expect better customer service from costume companies when you order ahead of their “rush time.” “I try to order
Chaos-fr ee Costumin g costumes by the end of October or beginning of November,” she says, “So that I have my costumes by the time everyone else is getting around to ordering theirs.” Be conservative with your deadlines If you provide costume companies with a recital date, you’d be well-advised to move it forward a little (or maybe alot). When Grace Machanic, of School for Swans in Alexandria, VA, gave her costume company a fake recital date--two weeks earlier than her real one--she thought she was working smart. To her horror, the date for the pretend recital came and went, with no costumes in sight. Frantic, the company promised costumes as soon as possible, but asked her to consider pushing her recital date back. “They kept pushing me to pick
out other costumes from some extras they had on hand,” says Machanic. She stood firm. Eventually, her originally chosen costumes arrived-just a hair before curtain up. Machanic now sets a fake date a full month before her recital.
Get up close and personal
convenient to have the costumes come in just a few shipments, rather than a whole bunch,” she adds. Similarly, it’s worth waiting until you’re 100% positive about numbers. If a couple of students are late to the party and you have to add extra costumes to your order, it could spell trouble. Unless you order all costumes at once, you risk receiving fabric from two different dye batches, and colors can vary wildly.
It’s almost impossible to tell the true quality of a costume from a catalog picture--everything looks Still got a problem? great with proper lighting and the help of photoshop. “It pays to go to the top,” says Machanic. During If you can get to a costume preview like UDMA, her costume no-show nightmare, Machanic quickly you’ll be able to judge the quality and feel of the realized, “I was talking with someone who had no merchandise up close. If you can’t, some companies authority or ability to change a thing. So, I demanded may be willing to send you samples. Ask for several to talk to the president.” size examples too, so that you can judge true sizes, After explaining she’d been a continuous customer and avoid relying on sizing charts. for 32 years, who’d spent thousands of dollars with
Limit your scope
that company, she finally saw some results.
It might be tempting to order a range of costumes “Once the curtain closed,” says Machanic, “I realized from different catalogs, but this is best avoided. For I had taken my first real breath in over two weeks.” one thing, says Theiler, you’ll get a bigger discount visit UDMA website by spending more in one place. “It’s also more
Lease NEGOTIATION
For many dance studio owners, negotiating a good lease or lease renewal against an experienced agent or landlord can be a challenge. Dance studio tenants may go through the leasing process once or twice in their entire lifetime -- yet they have to negotiate against seasoned professionals who negotiate leases every day for a living.
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The Lease Coach has spoken at several dance studio conventions and is frequently hired by savvy dance studio owners. Whether you are negotiating a lease renewal or leasing a new location for your studio, these are some tips for dance studio tenants:
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You’ve heard the story before… Boy meets girl, girl falls in love with boy, boy stays with girl until someone better comes along, and once she does, he’s gone. Well, maybe that’s not how the story is supposed to go, but, in reality, it happens that way more often than not. A similar story happens at dance studios everyday… Dance Studio owner meets Dance Teacher, Dance Teacher gets hired by Dance Studio Owner, Dance Teacher sticks around until the gig that they really want comes along, and once it does, their gone. This is not how the story is supposed to go, but it is what happens quite often. I talk to dance studio owners everyday who are having trouble hiring and retaining great teachers. Sometimes, they just can’t figure out why they’re having such a hard time. They’re paying their teachers well, they treat them well, it’s a great environment to work in, the students and parents love them. But yet, in the midst of the peak dance teaching season (Sept.June), the teacher bolts.
This article reprinted with permission from Suzanne Blake Gerety , the editor of DanceStudioOwner.com. To learn how to start and run a successful dance studio, please visit www.dancestudioowner.com
No warning, no advanced notice, nothing. What happened? Well, in my experience running a dance teacher staffing agency since 2007, I’ve found that there is one reason. For some dancers, teaching dance is a last resort. Not for all. But for many. It’s what some dancers do because they (for whatever reason) can’t do what they really want to do…..Perform. And just like that boy meets girl story, they’re just teaching dance until the next performance or other gig that they really want comes along, and then it’s bye bye to your dance studio. Is this your fault as the dance studio owner? No, of course not. But, what can you do? How do you filter out these people from the dance teachers who actually love teaching dance, and have purposefully chosen it as their career path? Here is my advice to you on how to handle this type of situation:
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3 YOUTUBE TRICKS TO GROW YOUR STUDIO You already know you should be using YouTube in your dance studio marketing mix, right? If not, consider that we’re a visual art form AND YouTube has crazy amounts of traffic…and Google owns them. ie use YouTube! Now, I do see some studios uploading videos to YouTube and that’s great. Here’s 3 tricks to maximize every upload you do:
YOU TUBE TRICKS TO GROW YOUR DANCE STUDIO
TWITTER FEED
You already know you should be using YouTube in your dance studio marketing mix, right? If not, consider that we’re a visual art form and YouTube has crazy amounts of traffic…and Google owns them. (ie use YouTube!) Now, I do see some studios uploading videos to YouTube and that’s great. Here’s 3 tricks to maximize every upload you do.
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A U D I T I O N
Our Full Time Course is setting a standard of excellence in the training of dance & performance. With over 30 contact hours per week in a variety of genres, our students are challenged and developed in an encouraging and supportive environment by Australia’s best tutors, choreographers and mentors. Our Graduate credits include Mary Poppins, Cats, West Side Story, Wicked, The Production Company, Tokyo Disney, MDC Dance Company, “Strategem” & “Climax” by Paul Malek/Collaboration the Project and Top 20 Finalist in So You Think You Can Dance, Australia Season 3. While our current students are entering fields in: ABC3 Presenter & Host, Australia’s Got Talent, Numbats Regional Tour, “Release” by RickStix Production, “I-Overload” by Collaboration the Project, Amway China Spectacular plus so much more!
Troy Phillips, Yvette Lee, Deon Nuku, Cristina D’Agostino, Laura Brougham, Eilidh Dragovic, Phil Haddad, Etienne Khoo, Vince Calingasan, Adrian Dimitrievitch, Adrian Ricks, Arna Singleton, SueEllen Shook, Dana Jolly, Sarah Croser, Paul Malek, Tim Hill, Adrienne Mewett, Paul Davis, Robert Shook, Dan Hamill, Anne-Marie Ludwig plus guest Some of our course subjects include: workshops with Kelley Abbey, Adam Williams, The Jazz, Tap, Ballet, Contemporary, Hip Hop, Squared Division and more! Commercial Jazz, Acrobatics, Drama, Singing, Musical Theatre, Performance, We’re currently accepting applicants for our 2012and Deportment. 2013 Full Time Course. These subjects are taught by Australia’s leading choreographers who include: Jason Coleman, Jackie Sherren Scott,
tap TO WATCH MOD VIDEO tap for audition information
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While BDC’s main demographic is and always has been the walk-in dancer -- New Yorkers and others who come in and simply sign up for whatever classes they want to take that day -- we’re also home to four full-time programs: the International Student Visa Program, the largest and eldest of the programs; the BDC Training Program, its counterpart for American dancers of varying levels; and our two professional elite training programs for US dancers, the Summer Intern Program and the Professional Semester.
community of talented, multi-cultural dancers who take 12 classes weekly, enjoy special master classes, rehearsals, and performances, the benefit of a fulltime staff, including a student advisor, as well as one-on-one faculty mentoring.
They join us for three months, six months, or a year initially, and then can extend their programs for up to three years. It is quite simply a joy to watch these students progress as they study closely with our world-class faculty, many of whom are working choreographers -- often they offer the students The students of the ISVP hail from more than incredible performance opportunities available only 35 countries worldwide, and comprise a vibrant through their participation in the program.
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“Scripsi Scriptum” 23 – 30 March 2012
“This prolific company, under the choreographic direction of Natalie Weir, is producing some of the finest contemporary dance works to come out of Australia in recent years”
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Two Countries. Two companies. Shared themes. Great Dance. Scripsi Scriptum is a program of two dance works where EDC and Cathy Sharp Dance Ensemble from Basel, Switzerland, give their take on the fine art of communication.
Natalie Weir’s “Where The Heart Is” 10 – 18 August 2012
choreography, stunning stage design, emotionally resonant live music and dynamic, physical dance.
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Natalie Weir’s award-winning production returns to QPAC by popular demand! A beautiful story and evocative piece of dance theatre, critically acclaimed for its strong storytelling, exquisite
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