M A G A Z I N E
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Getting into a fling ... What is Calisthenics? Expanding into India
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Highland Dancing, which requires the endurance and strength of an athlete and the artistry of a dancer, is the traditional solo dancing of Scotland, and should not be confused with Scottish country dancing—the social dance of the country. The latter shares elements with ballroom and formation dance (i.e. dance, in which an important element is the pattern of movement across the dance floor, such as in square dancing). Unfortunately, the origins of Highland Dancing are shrouded in antiquity, legend--and even the mists of the mountains. Little academic research has been undertaken into this beautiful and important art form—in part, because very little was recorded, as Highland culture was largely an oral culture, with song and traditions passed down by word of mouth, and part because dance masters passed their steps down to young protégées. Consequently, steps and dances took on the regional character of the diverse and magnificent regions. As a result, numerous stories abound regarding the source of the dances, and many are in conflict with each other. I will therefore give both the ‘history’, which is commonly accepted among teachers and judges, as well as some of the legends and stories with which I grew up—in order that more information is not lost. Many of the legends are beautiful and inspiring to young dancers, and should be recorded for the future. It is therefore my hope that dancers and teachers will contribute to the history in order that we develop a more complete database of the rich past.
In previous centuries, Scottish regiments used Highland Dancing as exercise to keep the troops in shape, and ready for battle. The dances are indeed excellent exercise; for example, in a typical six-step Highland Fling, a dancer will jump vertically 192 times, while performing complicated and intricate footwork, and using the muscles from head to toe. Highland dancing is therefore akin to sprinting, with dancers using fast-twitch muscle, which is also required by soldiers. Today, Highland Dancing is one of the premiere events at Highland Games throughout the world; for example, in Canada, Japan, Scotland, South Africa, and the United States of America. Until the early 1900’s, only men entered Highland Dancing competitions. However, the tradition changed during the World Wars, as women wanted to preserve their rich culture and history, while the men were defending their homeland.
Competitive female dancers now outnumber male dancers by about one hundred to one, although the dancing community is always eager to welcome more men, for their strength is very much celebrated. This year at the 2006 World of Highland Dancing Conference in Las Vegas, a special luncheon was held to honour the ‘Men of Highland Dancing’. In order to be a successful competitive dancer, students require many hours of practice and training over a period of numerous years, as Highland dancing has much in common with ballet in terms of its technique. Students also require mastery of the four basic Highland dances, namely, the Highland Fling, the Sword Dance, Seann Truibhas (pronounced ‘shawn trewes’), and the reel—all of which are performed in the traditional kilt.
The word calisthenics comes from the Greek words ‘kallos’ for beauty and ‘thenos’ for strength. Indeed, the components of the sport aim at achieving those physical attributes, but the sport also influences the emotional and social development of girls and boys through friendship and teamwork. Calisthenics, as we know it today, involves a team of pupils learning routines choreographed to music – each of about three to four minutes duration – and presenting those routines at competitions. Pupils learn approximately six routines concurrently throughout a year and this is where the diversity of the sport is seen. There are different levels of Calisthenics; some clubs have non-competitive classes, performing only at their annual concert. Other teams compete during the year at a number of competitions, performing on stage in costumes. Queensland also has a State Representative Team that competes at the Australian National Championships.
Sport or Art? Calisthenics as both.
can be categorised As a sport it encourages physical development, coordination, selfdiscipline and team spirit. As an Art it develops an appreciation of music and rhythm, the beauty of line and the excitement of presenting on stage.
Calisthenic Items Calisthenics participants perform a number of different items at each competition. Depending on the age group, participants may rehearse and perform:
Figure March
While marching teams execute many intricate floor patterns, deportment and uniformity. Teamwork and rhythm is very important in this item as the team moves around the stage in complex patterns and formations.
Clubs
Teams are required to swing clubs in unison with perfect rhythm and uniformity in a circular action. The test has become more challenging over time with pupils often being required to move through team formations and execute leg movements, as well as perform intricate club swings.
Free Exercises
A team of pupils perform a series of strong movements – often with gymnastic elements – involving high levels of flexibility, control and uniformity of rhythm. Routines test pupil’s stamina, flexibility and timing.
Rods
A team of pupils perform similar movements to free exercises, with the added complication of an apparatus in their hands – that a long rod which is manipulated constantly throughout the routine. Pupils must demonstrate rhythm, timing and correct rod technique.
What is calisthenics?
Folk Dance
National Dances from all over the world are performed and interpreted theatrically. Pupils are expected to display correct steps in unison, while also conveying national character, agility and vitality.
Aesthetics
A team performs graceful movements with roots in ballet. Their task is to interpret music with feeling and softness, as reflected throughout their body and facial expressions.
Rhythmic
Similar to aesthetics, rhythmic has roots in ballet and contemporary dance. Pupils must demonstrate correct dance technique, grace, and interpretation of a theme. Unlike aesthetics, balletic jumps are permitted (and hence are often a feature) of rhythmic performances.
Action Song
Team members join together to present a musical item comprising singing, acting and choreographed movement. This item is performed by the younger age groups, whereas the older age groups participate in Song & Dance.
Song & Dance
A team of pupils present a routine that combines singing with modern dance jazz steps. Adjudicators place heavy emphasis on the quality of singing, presentation, style, facial expression and the correctness of dance steps.
Calisthenic Revue
These routines can combine dancing, singing, gymnastics, balletic movements, acting, comedy and more. Revue allows coaches great freedom in choreographic creativity, often resulting in items that are like miniature theatre productions.
Autistic girl
memorizes ballet & dances her way into our hearts Half of the traffic has flooded in since Tuesday when the video was posted on the NBC “Today” show website. Lisa Anderson, Clara’s mother, said it’s amazing how popular her dancing daughter has become. “She’s quite social now and she really likes to have an audience. This is like a big audience to her,” she said. “She loves performing.”
TORONTO — A YouTube video of an autistic 10-year-old Toronto girl dancing along to a memorized 19th-century ballet has spun her into the spotlight online. The video, posted two weeks ago, shows Clara Bergs dancing step-by-step to the Coppelia comic ballet in her family’s living room, circling around a small footrest and positioning her body using a nearby cabinet. A small window inside the video shows a professional ballerina performing the dance, as Clara moves back and forth simultaneously with the grown-up dancer, whose moves she learned to copy. Since it went up Clara’s four-minute recording has gone viral with more than 430,000 views and attracted media attention around the world.
Anderson said the attention has helped boost online donations for Clara’s therapy to the point where her $4,000-treatment bill for this month is covered.
Oz Fest
Brings Australian Culture to India
There was a point last year when India’s general attitude toward Australia seemed to shift. No longer was there a sense of antagonism about sledging cricketers or perceptions of racism. Rather, everyone wanted to talk about “Masterchef Australia.” As a piece of diplomacy, the Australian government could not have scripted it better. The cooking show airing on Star World serves as an almost perfect showcase of the kinds of Australian values that its leaders are anxious to display: multiculturalism, egalitarianism, passion and camaraderie, packaged neatly alongside food and picturesque locations. The Australian government is now exploiting the potential of cultural diplomacy. Tuesday is the launch of Oz Fest, a wide-ranging cultural festival that will, over four months, take Australian culture on a traveling roadshow through 18 Indian towns and cities.
CHUNKY MOVE
And yes, Masterchef Australia’s George Calombaris and Garry Mehigan are part of the lineup.
Oz Fest
Brings Australian Culture to India
“We find that here, the preconceptions of Australia are quite dated, people frankly don’t know much about us,” says Lachlan Strahan, Australia’s Deputy High Commissioner to India. “Oz Fest is designed to plug some of those gaps by saying to audiences across the country, here are some things that you didn’t know, that you didn’t expect,” he says. Australia’s Prime Minister Julia Gillard, arriving in India on Monday for a threeday official visit, will launch Oz Fest at a concert at New Delhi’s Purana Qila, an ancient fort. The bill includes Aboriginal singer Gurrumul Yunupingu, top Australian didgeridoo player Mark Atkins and sitar virtuoso Anoushka Shankar. There will also be a sound and light show by AGB Events, the organizers of Sydney’s annual Vivid Light Festival, on the Sher Mandal Observatory at Purana Qila.
Other events over the next four months include young Australian musical acts such as Karnivool, The Aston Shuffle and Big Scary taking the stage during the Bacardi NH7 Weekender music festival in Pune and other cities, and a group of Australian and Indian writers holding readings as they travel around the country by train. Australian movies – including the critically acclaimed “The Sapphires” – will be screened, while a puppet theater will hold a workshop in the Mumbai slum Dharavi.
Ella makes her pointe with the Australian Ballet Courtesy: Herlad Sun
Ella Havelka will join the company next month Artistic director David McAllister said he was after four years with Australia’s top indigenous thrilled to have Havelka on board. dance troupe Bangarra. He said she had already performed with the comThe prestigious ballet posting brings the Dubbo- pany in its collaborations with Bangarra, includborn dancer full circle. She graduated from the ing in New York this year. Australian Ballet School in 2007 and performed “We’ve been watching Ella for many years and with the company’s regional touring arm. have witnessed her grow and develop into a beau-
Havelka said she hoped to inspire others within tiful artist,’’ he said. the indigenous community to “pursue their own Havelka will perform her final shows with Bandreams and passions’’. garra in Brisbane this week and start rehearsals “I feel very humbled and excited to be given this with the ballet in Sydney in November. Her first opportunity ... and I’m honoured to be working Melbourne performance will likely be in Don with such amazing artists,’’ she said. “Although Quixote in March. I’m sad to be leaving Bangarra, I will carry their spirit with me.’’
Indigenous dancer Ella Havelka is joining the Australian Ballet. Picture: Darren England Herald Sun
Angelina gets young girls dancing
Noella Head-O’Reilly makes her way to the head of the line at the Angelina Ballerina Dance Academy in White Rock. Photograph by: Tim Fitzgerald , Surrey NOW
For parents of little girls, there’s cute, then there’s sweet and finally there’s oh-my-God-that’sso-adorable. Every Saturday morning at WhitE Rock School of Music & Dance, the last description is played out in two half-hour classes.
The students at Saturday’s class are part of an official Angelina Ballerina Dance Academy. Originally created by author Katharine Holabird in 1983 as a series of books, the wildly popular dancing mouse even has a musical in New York. Now, the “little star with big dreams” is sharing her love of dance with children in the South Fraser region. White Rock School of Music & Dance joins the more than 120 studios throughout Canada and the U.S. that offer weekly classes based on the adorable dancing mouse.
As dance instructor Karolynn Fisher hits the play button on the CD player, a small group of girls dressed head to toe in pink, complete with mouse ears, can’t help but smile excitedly. A familiar voice echoes instructions as Fisher leads the class through a The school offers a 34-week series of simple ballet moves. program inspired by the animatKodak may have gone the way ed series Angelina Ballerina: The of the eight-track, but moments Next Steps. The classes at White like these last a parent’s lifetime. Rock focus on one storybook per month.
Fisher, who has been dancing for more than 10 years and teaching for the past five, said incorporating the popular kids books and TV show into a dance academy seems like a natural fit. “From what I’ve seen, it really strikes a chord with the kids. They can relate to the character and kind of put the two things together. They love the classes,” said Fisher. She said the theme of the show, where Angelina struggles and sometimes fails, is a great teaching tool. She said it’s not about perfection at this young age, but rather the process of learning and sharing.
Golden opportunity for ballet dancer YOUNG Melbourne dancer Nicholas Shoesmith has been invited to join the Scottish Ballet. Shoesmith, 19, was born in England but has lived in Melbourne since he was four years old. “Moving to the UK is like going home, but my whole family lives here and I’ve never even been to Scotland,” Shoesmith says.
The decision to make ballet his career happened early in life. He started jazz and tap dancing when he was six and auditioned for the Australian Ballet School when he was 10. He was also a keen footballer, but after a year or so at the school, ballet won him over.
Still, he didn’t hesitate when this year, Scottish Ballet’s artistic director Christopher Hampson invited him to join the company. Hampson had observed Shoesmith in class and contacted his teacher requesting a video of him dancing. Soon after, he extended the offer to the Australian Ballet School graduate. “It’s an incredible company to be part of and also gives me a foot in the door to England and Europe,” Shoesmith said. “I’ve been pushing for eight years to get into a UK company. “I’m very keen to travel and love the idea of going to another country to start fresh.” Ballet dancer Nicholas Shoesmith
Why the world stage is so important today for Australian dance? Carin Mistry, Director of the Dance Board of the Australia Council for the Arts
Until the 1970’s, many successful Australian dancers just packed up and left for Europe. For most, this was a permanent move – there was little zipping back and forth between the hemispheres – for most, a choice had to be made. Europe offered them an established dance infrastructure, a dance culture of practice and appreciation, with career opportunities not then available in Australia. Today, the Australian dance industry is much larger but, perhaps more than other artists, dancers and dance companies still feel the need to test and to develop themselves internationally. This still isolated dance industry is gathering now in Melbourne for Dance Massive, a fortnight of workshops, performances and discussions involving more than
200 Australian dance artists and a host of international and national presenters. It is timely to ask why international connections remain so important and how this relates to our need to sustain excellent dance at home.
company this is more than just a market development exercise; Be Yourself is a co-production with three European theatres which means these partners are investing in both the creation and the presentation of a new work. At much the same time, Bangarra Dance Theatre will be performing their newest work, Spirit, in 17 theatres across Italy, Switzerland and Germany. Melbourne’s Chunky Move also have been building their international connections over the years but that overseas exposure has grown significantly with the interest generated by works such as Glow and Mortal Engine. Over the last four years Chunky Move have toured to 16 countries in Asia, Europe and the Americas.
The reasons for maintaining an international context are complex and interconnected. It can be about income generation, creating a longer life for great works, the purpose of soft diplomacy, prestige, career development, creative development or finding partners to invest in the making of new works. Adelaide based Australian Dance Theatre is currently in the middle of a three month tour of Garry Stewart’s new work, Be Yourself. They will tour to 17 cities in nine European countries. For the So, international connections
can be about growing markets and about extending the life of great work, but for the majority of companies and dancers it is also about something more – it is lure of new influences, new ideas and new perspectives and the effect this can have on their creativity and the quality of their work. This is where, in 2011, the link between international exposure and growing the excellence of our dance work seems to be strongest. Of course, only the best of Australian dance survives in a competitive international arena. However, once in this larger arena, Australian dance artists seem to not only to survive, they most often thrive – they eat up the new influences, perspectives and ideas. They get to benchmark their work, to compare and contrast, to push and stretch their practice in highly critical environments – to make their work better. The Australia Council recognises this and makes significant investments in this overseas market. We are bringing international presenters to Dance Massive this month in Melbourne, investing in Australian and
overseas performing arts markets and supporting international tours through the Going Global fund. The Dance Board also currently runs a three month residency at the Cite Internationale des Arts in Paris available for dance artists and hopes to offer more such residencies, as is the practice by other artform boards. An increasing number of our dance artists are based overseas and running careers, unlike their predecessors, with a focus back home on Australia’s dance culture. Grayson Millwood and Gavin Webber are Australian artists who also call Germany home and create work that spans two continents. Their most recent work, Food Chain, has German and Australian producers and so has been created and will be performed in both countries. Younger dancer/ choreographers such as Antony Hamilton and Gabrielle Nankivell are following the trend of working
in two hemispheres. Although larger than in the 1970’s, the contemporary dance scene in Australia is still relatively small and mostly concentrated in Melbourne and Sydney. In many cases, artists and companies work in relative isolation. But dance is fundamentally a collaborative medium and artists inspire and push each other on. Connecting with other artists across the country and across the world can help to avoid the danger that Australian dance practice becomes insular and complacent and declines in quality. If Australian dance is to truly thrive, it must expose itself to audiences and to the industry nationally – and internationally. Events such
as Dance Massive, the Sydney Opera House’s annual Spring Dance program and the National Dance Forum provide important opportunities to enable this to happen, and to happen regularly. Important issues for dance were discussed this weekend at the National Dance Forum, staged by the Australia Council and Ausdance National as part of Dance Massive. The forum provided a rare opportunity for the dance sector to consider the state of dance practice in Australia and chart a course for the future. We saw lively discussion and debate around how we articulate a dance practice, career development, dramaturgy in dance, how we use new media and the digital technologies, hybrid and interdisciplinary practices, dance on film and dance in local communities. Technology in dance is commonplace now, as is the crossover with other artforms. But while it adds a new dimension to the experience of watching dance, the balance between performance, storytelling, technology and audience connection is a fragile one. I look forward to these discussions continuing long after the forum. But all these questions can’t be answered by reference just to the Australian dance experience. As we resolve them and chart our own dance practice, I suspect all our leading dance innovators will also be talking about their experiences and aspirations to continue to work in Australia and on a world stage.
Dear Colin, What are some of the ways that dancers put emotion and expression into their dancing? Rachel Dear Rachel, Our founding Artistic Director Peggy van Praagh once said “The moments of the performance that are most emotionally moving are those in which the dancer is feeling, not thinking.” Colin Peasley is a founding member of The Australian Ballet. He retired as a Principal Artist from the company to concentrate on establishing an Education Program for The Australian Ballet, which he managed until 2010. He continues to perform character roles with the company as well as maintaining a busy schedule as coach, teacher and adjudicator.
DANCING WITH EMOTION
Audiences rarely realise that in performance the dancer’s concentration in not on steps, on technique, or on all those corrections from rehearsal. Steps do contribute to the dancing, but technique is not performance. As Baryshnikov said; “dancing is what happens between the steps.” What the dancer strives for is quality. Unfortunately, technique is easier to analyse than the qualities that pushes a performance beyond good into great. Quality has to do with security, ease, confidence, and bravura, elements that allow the dancer to present dancing as seemingly effortless and performing as fun. The problem is to retain this artistry during the years of training which of necessity have to focus on physical technicalities. But it is this aesthetic quality in dancing that distinguishes the artist from the technical acrobat. Indeed, to call a performer a ‘technical dancer’ is not flattery, since the essence of any art is to conceal technique. The essential quality is grace; that is phrasing, fluidity, harmony, the making of a series of movements into an expressive, poetic whole. All of which is bound up with the dancer’s reaction to music. Not merely a purely rhythmic reaction, it is the dancers’ ability to hear subtle qualities and structure within the music and then communicate them to the audience through their dancing. It is by this coordination of movement with music that the dancer is able to reveal the feelings and emotions inherent in the dance. Best wishes, Colin
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“Choreography is not just something I do, it defines who I am. When I am developing a work in the studio, my connection with the dancers is the most important thing – I feel choreography is simply revealing what is already within a person, waiting to be found. My respect for dancers is enormous and when the relationship works, magic can be created.”
the American Ballet Theatre in New York performed Jabula , which was very well received by both critics and audiences. Natalie created a solo for the American Ballet Theatre star, Ethan Steiffel.
Natalie Weir is an established and acclaimed choreographer, known internationally for her highly physical partner work, her organic movement style and her touching insight into human nature. On her journey with EDC, Natalie continues to create work that balances artistic risk with accessibility and that speaks of humanity.
Natalie is the current Artistic Director of Expressions Dance Company.
Natalie Weir has created over 150 professional works in her 20+ year career. She was a founding member of Expressions Dance Company (EDC) and was offered her first choreographic commission by Maggi Sietsma at 18. Natalie has worked extensively throughout Australia, creating many works for most of the country’s major classical and contemporary dance companies including the Australian Ballet, West Australian Ballet, Queensland Ballet, Expressions Dance Company, Australian Dance Theatre, Dance North and Tasdance. Natalie was appointed Choreographer in Residence for the Queensland Ballet in 1994 (creating seven works) and the Australian Ballet in 2000 (creating three works). Natalie choreographed two works for the American Ballet Theatre’s Studio Company after which
Natalie’s 2010 piece where the heart is won Best Performance by a Company at the 2011 Australian Dance Awards and Best Choreography and Best Ballet or Dance Work at the 2011 Helpmann Awards.
PRO FOCUS natalie weir
To perform at our best, all dancers, whether at a professional or student level, need to develop a good combination of principles to fuel our minds & bodies. This means knowing, exploring & perfecting a “personally tailored” combination of food portion sizes, meal timings, and nutritional values. You need to remember that you train as an athlete does, so you must eat & continually hydrate for energy, strength & stamina. By making a conscious effort to choose better “nutrient dense” foods, you will enable your body & mind to have the fuel it requires for energy with less hunger, and allow you to make it through your demanding schedule.
the brain and nervous system satisfied, as they need a constant supply of energy, which can only come from food (in conjunction with adequate hydration). Constant snacking before, during and after dancing will help to maintain concentration. The body also restores its glycogen during the two hours following exercise, so it is important to consume, even if it’s only something small, as soon as possible (aim for within 40 minutes), after strenuous exercise. I by Teagan Lowe would also suggest looking at a ratio of your snack being carbohydrate and protein, 4-1.
FUEL FOR BALLET
Eating periodically, will help to keep carbohydrates in your system, to act as fuel for the multiple classes and performances you have each day. A banana would make a good snack before or during (if you have time to stop & digest) a show, since bananas are rich in potassium, which
Speaking from personal experience over my years, both as a student & professional, I have found that I have to frequently graze throughout my days as to avoid lulls and spikes in my blood sugar & energy levels. Eating every a l s o 2-4 hours on average keeps helps to prevent cramping.
FUEL FOR BALLET by Teagan Lowe
Foods such as white bread, white rice, and sugary junk foods break down very quickly in your system. Eating these items is almost like eating plain sugar, with the immediate sugar rush & later crash. In approximately fifteen minutes, you will most definitely be hungry yet again, and will be reaching for the same quick fixes. Better sources of sustained carbohydrate energy are brown rice, whole grain breads, dark leafy greens (spinach, kale, broccoli), orange vegetables (carrots, sweet potatoes or squash), beans, including lentils, garbanzo beans, black beans, pinto beans, etc, as all these foods will stay in the system for a few hours, continuously feeding energy to your mind & body. Intake of protein is also essential for all dancers who are training. Protein is even required by those dancers who are not looking to building muscle, as it is there to repair the breakdown of muscle fibers that have been stressed by your performance or rehearsal. Protein is used as an auxiliary fuel, and it is important for synthesizing the many enzymes necessary for your metabolism. For non-vegetarians, fish, meat, chicken or turkey without the skin are excellent protein sources. For vegetarians, spinach, tofu, seitan (wheat gluten), raw nuts, eggs, peanut butter, and mixtures
of beans / lentils are good protein choices. I was surprised to discover recently that protein powders are not necessary, even for male dancers, if they are following the recommendations above. If a protein supplement is warranted, the best choice is milk powder. The high tech and expensive protein supplements on the market are not any better than simple dry milk. As a professional dancer, I know several colleagues who have suffered stress fractures, which lead them to missing important times in their careers. No dancer ever wants to take time off for an injury, which is why we need to know how to correctly fuel and maintain our bodies, they are, after all our tools for our craft! Low bone mass and a low calcium intake are the major associations connected to the risk of fractures. Dancers, particularly females, are in a high-risk group for low bone mineral density, stress fractures, and stress reactions. Calcium is integral in bone formation. During the first 2-3 decades of life, bone mass is developed and thereafter, bone formation ceases. It is essential to consume adequate calcium during the bone growth years, especially if we think about girls first starting out on Pointe. Budding Pointe dancers bones need to develop & strengthen correctly & we need to ensure that all precautions have been taken, so no future problems or injuries arise. By including enough calcium in your diet via the richest sources, being dairy products & our dark leafy greens, we give the dancers body the best start to her Pointe career.
FUEL FOR BALLET by Teagan Lowe
Being keenly aware as dancers (& any other types of athlete) of the detrimental affects of dehydration and its ability to severely impair our capacity to learn & execute our performances is imperative. Without fluids, your muscles become unresponsive and more prone to injury, but as we hydrate and refuel them with water (or in some instances electrolyte / mineral enhanced drinks) the muscles become more pliable and therefore are then able to be moved with a greater ease. On a professional performance schedule, or full student day, we should consume up to 2 litres of fluids to replace those lost through motion, sweat & fatigue. If your teacher permits, you should bring a water bottle or sport drink into your practices and rehearsals, for frequent drinks. Following class and rehearsal, dancers should continue to increase fluid consumption for the next few hours. Avoid carbonated drinks and large quantities of fruit juice. A simple, yet not so graceful, way to monitor hydration is to check urine color: clear to light yellow is hydrated; yellow to dark yellow means dehydrated. It is good also to make sure that in between your meals that you continue to have some form of liquid, as this also aides digestion. A handy tip is to sometimes combine both by having soups packed with loads of vegetables or lentils. I would like to note too that a low intake of food or drink will not only compromise energy availability. it can also lead to a lack of many micronutrients that could affect not only your performance, but also your overall growth development and health. In a nutshell, micronutirents are nutrients that are required by our bodies in small amounts, i.e. vitamins and minerals. Macronutrients, on the other hand, are nutrients that our bodies require in larger amounts, these include, carbohydrates, fats and proteins. If you feel that consuming all those nutrient dense foods will be too much to swallow, try juicing them! You are able to consume much more in the way of macronutrients & micronutrients by simply juicing all your favourite fruit & vegetable combos.
FUEL FOR BALLET by Teagan Lowe
Dancers, in particular, should be cautious about taking vitamin and mineral tablets to supplement what they think they are lacking. These supplements contain only selected micronutrients & could actually do more harm than good. Excessive amounts of one can interfere with the absorption of another, and mega doses of some vitamins and minerals could actually be toxic to your system. I would instead suggest adjusting your diet so that it’s rich in micronutrients to obtain the recommended levels of each nutrient. Furthermore, there are numerous phytochemicals in food that impart important health benefits, of which a supplement cannot. If we make a conscious effort to choose better foods, frequently graze (thereby maintaining constant energy / concentration levels) & sustain hydration, we will enable ourselves as dancers to have the strength needed to make it through a busy performance & class schedule. Below are just a few simple swaps & tips for day to day thought: • Drink as much water as possible before reaching for those “energy” drinks etc. • Eat at least 4 cups of cooked vegetables – include dark, leafy greens • Eat 2-3 servings of fruit daily (fruit juice does not count) • Fish – 3 times a week, if you eat seafood (especially salmon and small fish) • Good fats – olive, safflower, nuts & seeds, avocado • Go natural – minimize salt, sugar, additives, preservatives • Nibble & graze throughout your day • Stay away from foods that don’t rot or sprout • Eat nutrient dense foods • Choose high fibre foods • Eat enough protein (100 grams if you weigh 150 lbs) • Stay away from hard to digest foods • Avoid processed & “white” foods • Variety & colour are your keys!
DANCER: TEAGAN LO WE PHOTOGRAPHER: MI CHEL
LE GRACE HUNDER
SUBMIT MEDIA
Wanted
Awesome dance image s and video for this iPad Dan ce Mag.
Without a doubt Gene Kelly is a major influence in my dance life. Not only could this man tap, he could sing, act and perform with such ease! Then there was the thing that people call the ‘X-factor’ – He had it. The main reason for his influence in my dance career is beyond his amazing dance and performing ability, it was the way he pushed the limits, did things different, changed the face of tap dancing. He had fun doing what he did, and he drew people in to the screen making them want to be part of what he did. His love for dance made others love it. His creativity made it interesting. His character pushed boundaries, created room for new ideas, gave people confidence and courage to do the same… I could never imagine being as influential as he has been to me, but I sure do try to pass on a passion and love for dance, specifically tap, to whoever I meet, perform before or teach.
So why is tap dying? Gene Kelly started because of the girls… Good on him I say! But why did he stay? Why did he continue and create and become such an amazing icon for dance? Often people say tap is ‘the dying art,’ a form of dance beyond the reach of most, too difficult for some, outdated and in serious need of a re-vamp to catch up with
BY REECE HOPKINS TAP CHOREOGRAPHER
“I got started dancing because I knew that was one way to meet girls” Gene Kelly
the progression of other styles of dance in to the modern era. While I would love to say that I disagree, I believe at least within Australia, it is true. Even in a trip to New York City recently to perform a show called ‘Untapped’ at the New Victory Theatre, I spoke to many who were so happy to see a tap show on Broadway again. These are people living in a city that is arguably the most accessible to the arts, in stage form, in the world! They were telling me that tap isn’t as predominant in their city (On Broadway!) either and it’s been lost to a degree, at the very least from a theatre performance point of view. This astonished me to say the very least, being in New York City and hearing that. So why cant tap dance be fun, creative, fresh, energetic and for all no matter what ability? How can I change this? I’m not going to be able to do a huge amount right now that will change anything tomorrow, but as Gene Kelly opened my eyes and got me thinking new things were possible, I might be able to do the same for whoever crosses my path in my career. This article is just one of many ways I see as an opportunity to share the experience, practicalities and inspiration that has only come from and through others. If you are reading this, then I hope you can go back to your group, your studio, your bedroom and start to be bold, be crazy, take risks and try something new.
Tap is dying because we are afraid, unsure and unaware… Afraid of looking stupid, afraid of not knowing enough or admitting that we don’t know enough, afraid to fail, afraid to try and fail, afraid to go back to the drawing board and try again, afraid to do what hip hop music did to the culture of dance and break free. Unsure what to do and how to go about it, and unaware about how to change that!
Tap is not Ballet. It has got specific technique, which aids in the teaching so a dancers capacity can be reached and their ability can match their potential. But it didn’t start in a book or in a manual, it started on the street and was never just about perfectly placed arms, and beautiful flowing costumes, precise lines and formations. Its wonderful to watch when tap is performed like this, but its just one of many ways to create and perform tap!
Here’s the challenge: • Most tap teachers aren’t thinking or teaching this way because they have been taught one way. • Tap students aren’t being taught to think this way due to this, and therefore the next generation of teachers is the same. Year after year, tap seems to go nowhere and there seems like a decreasing level of interest in tap from the classroom to the stage. You only have to look at any dance show on television and you will see a Bollywood dance more often than a tap dance in a lot of cases. Nothing against this wonderful energetic form of dance, but tap is meant to be one of the big 3 – Tap, jazz and ballet! Here are 4 quick things I think that will change the face of tap and bring life back to this ‘dying art.’ It won’t happen tomorrow, but if we start now, in 10, 20 30 years time, tap will be back!
1. TAKE RISKS Try new things! I have tried many things in tap and they haven’t all worked, but I’ve filmed them and put them up online and asked for feedback. Its tough to open myself up to be criticized, but I have only improved and pushed myself further because of it. I’ve included a couple in this article for you to view!
2. Bring people to you! Find those who are pushing the limits in tap, who have travelled overseas, experienced what’ possible, hunt them down and get them to your studio. Get them to take a workshop at whatever level you require. Relaunch tap again and get yourself and/or your tap teachers to ask questions, query them about issues around your teaching, and obstacles you face. Don’t be afraid to be honest and be humble.
3. Go to the people! Get yourself to whatever dance festivals, workshops and seminars you can. Find a tap syllabus, if this is not as easy for you based on your studio size or location. Learn it like you would want your students to. There’s no reason to be concerned about not knowing how, because most these days come with DVD tutorials and you can learn as if you too are being taught! There are some now that are beginning to push the limits of the tap style beyond where it has been for some time.
4. Look the people up! Get on YouTube and type in ‘tap dance.’ It doesn’t matter if the video is 2 days old or 75 years old. Watch it enjoy it, be inspired and create. You don’t have to know names of people; you will get to know them as you search. Here’s a few to get you started: • • • • •
Gene Kelly (of course) Savion Glover (pictured) Sammy Davis Jr. Fred Astaire Bill ‘Bojangles’ Robinson
• • • •
Gregory Hines Chloe Arnold Eleanor Powell Reece Hopkins (just for fun!)
Make-Up secrets with Joanna Blair
This article is the follow on from my first article, whereby I will be discussing one of the important elements of makeup to get right, and that is FOUNDATION.
PRODUCT
There are two main types of foundation that I recommend that will give you great coverage and hold up well under performance conditions. The first and most popular one I reach for is TV Paint Stick by Kryolan. This is a grease based makeup (grease adheres to skin extremely well and will repel sweat); it is also very high in pigment – which means you don’t need to use a lot of this foundation to achieve a flawless coverage. This product translates onto the face leaving a finish whereby skin still looks like skin, without the appearance of being cakey, thick or unnatural.
Make-Up secrets The other product I favour is Studio Fix by MAC cosmetics. This comes in a pressed powder format; it has a foundation base in it, meaning it gives you far more coverage than straight powder alone. This is a particularly great choice for guys who don’t need a full makeup but still require their skin tone to be evened out and matte. Simply use the powder puff in the compact to apply it, working from the centre of the face outwards.
APPLICATION
To get the best results when applying a grease based makeup you can either use a latex wedge sponge or a foundation brush. If you’re using the wedge sponge, be diligent with your blending; because the sponge has straight edges on it, you can have ‘lines’ on your face from inadequate blending. My favourite tool to use is the foundation brush. This is generally made of synthetic fibres where the bristles taper off to a rounded head. The fibres, combined with the rounded shape of the brush transfer the makeup beautifully onto the skin and make blending effortless. Whether you’re using either sponge or brush, always start from the centre of the face and work outwards, going over your jawline, down your neck and up to your hairline on your forehead. Always start with minimal product; you can always add more if you need to, rather than trying to deal with too much product at once and ending up with a too heavy result.
COLOR
In terms of the color you should choose, as a general rule, match as closely as you can to your natural skin tone. If you’re going to be under intense lighting, go for a warmer shade (1 -2 shades warmer than your natural tone). This is because intense lighting has a tendency to blow out your skin color and give you a paler appearance.
Make-Up secrets LONGEVITY
In order for your makeup to stay put and look great throughout your performance, you will need to set it with powder. If you’re using a powder based foundation (such as MAC Studio Fix) then you can skip this step. Powder is vital; it not only sets the foundation but gives skin a smooth and flawless finish. Foundation will last nowhere near as long if you don’t set it with powder. To get the best result using powder, look for one that is finely milled and has a silky feel to it. I recommend Kryolan Loose Translucent Powder. If you’re not sure what color powder to choose, go for TL1 – this is a white powder that will suit any skin tone as it is not adding color; otherwise go for a warm, yellow based tone, avoid anything with a pink base. To apply powder use a velvet powder puff, sprinkle the powder onto the puff and rub it into the puff with your fingers. Next “press” the puff firmly onto your skin, don’t rub (as you don’t want to disturb your foundation), ap-
plying the powder to everywhere that you have applied foundation.
DEALING WITH SWEAT
If you find that you are sweating, even quite heavily, after you’ve applied your foundation (eg: you may be in between performances) the best way to deal with this is: use a tissue and “press” over any areas where you have moisture. The number one rule here is don’t rub; if you rub you will pull your makeup off and ruin it. Once you’ve removed the moisture with the tissue, simply powder down with your powder puff again to restore your makeup to its original condition. So to quickly re-cap – use a grease based foundation as it adheres to skin and repels sweat, but leaves skin still looking like skin. Apply it from the centre of your face outwards, being sure to go down your jawline and onto your neck and also up to your hairline. Be sure to blend very well, leaving no lines or streaks. Less is more, don’t cake this product on, it’s high in pigment so this is not necessary. For men, Studio Fix Pressed Powder is a great option. Always apply powder to foundation as this sets it and gives it longevity to withstand your performance. And finally, use a tissue to “press” off sweat and powder back down again so you’re ready to go again. Happy dancing everyone! Joanna Blair Makeup Artist and School of Makeup
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The truth about Carbs…
by Justine Urbahn
Many of today’s ‘fad diets’ talk about avoiding carbohydrates to help maintain a lean body. Undoubtedly low carb diets result in quick weight loss. What people don’t understand is that low carb diets result in a loss of muscle mass. This is hardly the desired effect for a dancer. Carbohydrates fuel our body – imagine running a car without fuel and trying to run it on oil? You wouldn’t get far! Carbohydrates are our body’s main source of energy. They are naturally occurring in plant foods such as fruits, vegetables, grains, legumes and milk. Carbohydrates in the form of sugars or starches are also added to processed foods.
Will carbs make you gain weight?
No food eaten as part of a balanced diet will make you gain weight. About 55% of our calorie requirements should be coming from carbohydrate. This means that we need some carbohydrate at each of our meals. What is fair to say is that there are some sources of carbohydrates that are healthier than others.
Sugar Friend or Foe?
Sugar in its pure form provides empty calories. Basically sugar lacks nutrients but provides you with energy. If you are starving and you eat a handful of jelly beans you will feel an initial burst of
TAP TO READ BIOGRAPHY
energy followed an hour or so later by a drop in your energy levels. When you have your burst of energy your blood sugar levels are high. At the point your energy levels drop, your blood sugar level is low and this is when you feel like more sugar to bring them back up again. This constant up and down effect on your sugar levels leads to sugar cravings, fatigue and in some cases weight gain. For this reason it is suggested that sugary foods be eaten as part of a meal. Sugar levels won’t rise and drop significantly when the sugary food is eaten with foods containing fat and protein.
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The truth about Carbs… The Glycemic Index
Whether a carbohydrate raises blood sugar levels a lot, moderately or a little depends on its Glycemic Index (GI). Carbohydrate rich foods are given a ranking out of 100 – a food that has a high GI is given a ranking over 70, a food that has a moderate GI has a ranking between 55 – 70 and a food with a low GI has a ranking of 55 or less. Foods with a low GI are absorbed and digested slowly giving you sustained energy. There is a fantastic website www.glycemicindex.com that gives you plenty of information about Glycemic Index. You can also look up the GI of many foods.
be helpful. But make sure you follow this with a low GI food to prevent your sugar levels dropping.
Which foods are helpful?
Some foods with a low GI will be marked with the Low GI Symbol.
Breads and Cereals
Any bread or crackers with visible grains and seeds usually have a low to moderate GI. Whole grains and multigrain breads are good choices. Breads with dried fruits added to them are low GI as are fruit based muffins or cakes such as banana bread or carrot cake. Rolled oats and natural muesli are low GI breakfast cereals. Basmati rice, noodles and pasta are low GI.
So what does this mean to a dancer? Fruits and Vegetables Do you often feel tired mid afternoon and consume chocolate, coffee or sweets to give you an energy boost? If you can relate to this then you might not be eating low GI carbohydrates.
Dancers often require energy for long periods of time during hectic rehearsal schedules and classes. Low GI carbohydrates consumed at each meal and snack will help prevent fatigue. If you require a quick burst of energy, sugary foods with a High GI may
Fresh fruits except melons are low GI, whilst dried fruit is low to moderate. Vegetables such as celery, cucumber and mushrooms do not have a GI as their carbohydrate content is extremely low. Sweet corn and sweet potato have a low GI, whilst regular white potato is high.
Dairy Foods Dairy foods like milk and yoghurt all have a low GI. Remember to choose low fat varieties where possible.
The truth about Carbs… Meats and Alternatives
Meat, eggs and fish are proteins and therefore don’t contain carbohydrate so the GI can’t be measured. Alternatives like baked beans, legumes and nuts have a low GI and are great to include as part of a meal. Proteins included as part of a meal can help lower the overall GI.
Fats and Oils
Fats and Oils in their pure state do not contain Carbohydrates so the GI cannot be measured. Generally fatty foods have a low GI because the fat slows down the digestion of the food. Chocolates are generally low GI because of their high fat content. This doesn’t mean however chocolate can be included as part of a daily intake. There is a fantastic website ww.glycemicindex.com that gives you plenty of information about Glycemic Index. You can also look up the GI of many different foods.
High GI Foods
White breads, biscuits, confectionary, melons, potato, sweet or puffed breakfast cereals, white crackers all tend to be High GI. These foods are best eaten with a food that is low GI.
Some General Tips for maintaining plenty of energy • Try to have a low GI food at each meal and snack • Include a little lean protein at each of your meals • For a quick burst of energy eat a high GI food but remember to follow this with a Low GI food to prevent a sudden drop in your energy levels • Have a low GI meal a couple of hours before a performance of rehearsal.
Low GI Meals and Snacks • • • •
Banana and Berry Smoothie made with low fat milk/yoghurt Peanut butter on grainy crackers Cup of pasta with small tin of tuna Banana and a handful of nuts
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PILATES Equipment classes for dancers Lisa Peresan is an Advanced Diploma Graduate of Pilates International, and is available for private sessions, group workouts and workshops at your workplace or studio. She is also a Member of Pilates Alliance Australasia.
Classes are individually tailored and will focus on developing strength and flexibility for dance, incorporating exercises that improve leg line and height, improve turn-out, improve foot and ankle range and strength, and flexibility of the spine. Classes are also excellent for dancers who require assistance with rehabilitation from an injury. The work is based on the work of Karen Clippinger M.S.P.E. Professor and author of Dance Anatomy and Kinesiology with whom Lisa was certified in Dance Specialization. Lisa regularly attends ongoing professional development with body conditioning experts from the top dance companies in the world. Classes include the use of pilates equipment like the reformer, wunda chair, wall tower and various small apparatus.
About Pilates
Pilates develops core stability and corrects postural alignment through strength training. By aligning body and mind, through breath and focus, we work through a total body workout that can alleviate minor back issues, balance muscle imbalances, stabilize joints, stimulate endocrine systems and help you achieve better health and fitness. A private initial consultation must be booked in advance prior to joining a group class. Special rate for Initial private for January $40. Casual equipment classes $30, matwork $17.
Discounts for multiple classes available. More info at
www.djazzexdanceandpilates.com
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An independent film by Lanze Spears that follows 3 female dancers trying to make it in the competitive dance world in NYC,
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