DECEMBERÂ 2018
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CONTENTS 3 Editor's Note 5 Man With The Iron Neck: Sydney Festival By Jessica Poulter 8 73rd Australian Dancesport Championships By Jessica Poulter 10 'To the Pointe' Column: Tis' the season to be busy By Ruth Letch 12 From NYC: Helena Melissa McGill on Aromatherapy for Dancers By Sandra Kluge 17 Health: Safe stretching for dancers By Haydee Ferguson 22 'Break the Barre' column: 3 things dancers should do during the break By Emma Cheeseman 24 Ambassador Chat By our incredible ambassadors Dance Writer Youth Company launches in January 2019!
EDITOR'S NOTE Editor Sub Editor Writers Jessica Poulter Ruth Letch Ruth Letch, Haydee Ferguson, Sandra Kluge and Emma Cheeseman Tis' the season to be reading Dance Writer! As Christmas creeps up on us, it is a great time to reflect on the year we have had. Dance Writer launched a digital subscription magazine for dancers, dance parents and teachers. It is with a sincere gratitude that I thank each reader who has opened and cherished the words on the pages. The big announcement is unfortunately, after January's edition, there will be no more digital magazine. Dance Writer is being at the forefront of the blogging business by turning our magazine into a video Talk Show launching on Youtube. We are excited to see how video translates our news and words into visual action. We are keeping our blog content running of course, so us writers can still indulge in the old-fashion ways of journalism. The next announcement is that applications for our Ambassador Program is now open until December 20, 2018. This program involves 10 lucky dancers Australia wide to be the face of our brand, contribute to being a role model for our next generation of dancers and be in many dance performance opportunities. See our Instagram page for submission details. Lastly, our Youth Company auditions on on January 12, 2019 at Toorak College in Mt Eliza Melbourne. Be sure to sign up if you are a dancer aged between 10-17 years-old who wish to explore their own sense of expression and artistry with multiple performance opportunities. Again, see our Instagram for details. That is it from me - over and out for the second last time! -Dance like no one is watching.
Jessica Poulter Editor-in-chief Dance Writer
Jessica Poulter Dance Writer Founder and Editor
MAN WITH THE IRON NECK IS WEIGHTED IN PERSONAL TRAUMA AND HEALING
MAN WITH THE IRON NECK IS WEIGHTED IN PERSONAL TRAUMA AND HEALING Physical theatre company Legs on the Wall brings to the Sydney Opera House—as part of the Sydney Festival—Man With The Iron Neck, which speaks a tale that shines a bright light on the theme of suicide in Indigenous Australian communities. Written by emerging writer Ursula Yovich and co-directed by Gavin Robins, the story tells the tale of a young man Ash losing his best friend Bear to suicide. He becomes obsessed with early 20thcentury stunt man The Great Peters, famously known as the ‘Man With The Iron Neck’ where his most recognised stunt saw him jump off bridges with a rope tied around his neck —and survived. The aerialist component in this production adds a symbolic tone to the storyline. Dancers fly around the theatre in a contemporary ballet style that is both poetic and graceful. Man With The Iron Neck combines physical theatre, video design and text to help illustrate the tale. Cast dancer and NAISDA graduate Kyle Shilling has a strong and personal connection to Man With The Iron Neck. He believes the production can be healing to those who have negative thoughts about their own wellbeing.
“Having such a high suicide rate in our culture is something that we want to change. I’ve grown up with a mother who suffered from depression her whole life but also my younger brother has attempted to end his life three times,” Kyle admitted. “Man With The Iron Neck has definitely helped my younger brother as it showed him what his life could have been like if his attempts were successful —and now, he has turned his life around for the better.” “There is definitely a positive message in this production — I see nothing negative in showcasing the theme of suicide; it is something that needs to be seen by the world,” he added.
For Kyle too, prior to his journey at NAISDA, saw him in serious trouble with the law. Upon discovering his acceptance into NAISDA, Police offered him a disciplining punishment — dance. He attended NAISDA with an initial dislike for dance, until he connected strongly with contemporary dance in his second year of training and found new avenues to express himself. Four years later, he graduated as one of the leading dancers in his class and entered the professional dance industry with Bangarra Dance Company. Dance not only saved his life, but it gave him something to live for. “NAISDA was really a saviour for me,” Kyle told Dance Writer. Female cast member and another NAISDA graduate Caleena Sansbury is an experienced dancer who is leading the charge in the Indigenous Australian arts communities. She collaborates and performs alongside new dance company ‘Karul Projects’ that aims to revolutionise and expand
MAN WITH THE IRON NECK
the currently limited amount of opportunities available for Indigenous dancers in the Australian industry. “If the opportunity is not there, you have to create it!” Caleena smiles. Her connection to the theme of suicide is also prevalent and she hopes for viewers who come see Man With The Iron Neck act for themselves in a positive way. “It has impacted on my life quite heavily because I know people close to me who have committed suicide. Indigenous people of Australia are the leading suicide rates in the world — that is alarming,” she said. “Come and watch the show, it is such an emotional one but it is a story that needs to be told. I hope our younger generation of Indigenous people come and see this and understand that there are other options out there.”
Man With The Iron Neck is on at Sydney Opera House from January 23-26. Tickets available from https://www.sydneyfestival.org.au /events/man-with-the-iron-neck. Photo credit Brett Boardman
DANCERS FLOCK TO 73RD AUSTRALIAN DANCESPORT WORLD TITLES More than 1,000 dancers are flocking to Melbourne from December 7 to 9 to showcase their fiery dancing talent and battle it out for the Australian titles in Latin American, Ballroom and New Vogue categories. The annual event held at Melbourne Arena sees the world’s highest ranked dancers performing in the Australian Championship titles as well as demonstrate their phenomenal skill in exquisite floorshows. German couple Pavel Zvychaynyy & Oxana Lebedew— currently ranked sixth in the world in the Latin style—are travelling to Melbourne to dazzle audiences with several floorshows. The third and final day of the Championship will host the Professional Latin Australian Title, the Australian Closed Standard Title and the WDSF open Latin Title. The major events will decide Australia’s representatives for all World Championships in 2019. Pavel & Oxana will return to the stage for a final demonstration of Latin styles which will draw the 73rd Australian DanceSport Championship to a close. Adam Blakey, managing director of the Australian Dancing Society says the Australian Dancesport Championship aims to be more inclusive each year with competition categories from beginner to professional.
“DanceSport is a confluence of so many disciplines - the ultimate test of physical strength, agility, coordination, stamina, discipline, teamwork, grace, style and musical interpretations. However as an industry we are welcoming dancers of all abilities as we strive to make DanceSport more inclusive,” said Adam Blakey, Australian Dancing Society. This year’s Championship will host the inaugural Australian Para Dance Competition welcoming four incredible West Australian athletes alongside their teachers, to compete in the Waltz, Carousel and Rumba. Para Dance is extremely elegant, graceful and stylish sport which involves athletes with a physical impairment that affects the lower limbs. World Latin Para Dance Champions and Pilipinas Got Talent runners-up, Julius Obero and Rhea Marqez, will also treat visitors to an astounding floor show on the second and third day of the Championship. December 7-9, 2018 Melbourne Arena Olympic Boulevard, Melbourne Tickets available from 8:30am all day and can be purchased on site.
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TO THE POINTE By Ruth Letch
TIS' THE SEASON TO BE RIDICULOUSLY BUSY ‘I’m so busy’ is the often-heard apologetic catch cry of my fellow mums. The thing is, we are always busy juggling work and family life.
This morning my husband announced it was 20 days until Christmas. Six hundred and sixty-three hours. While the kids cheered and happy-danced in the kitchen, I wanted to throw his jolly-caroling phone at him. Christmas parties, graduations, school carols, awards nights, dance concerts, family catch ups, end of year get-togethers—this time of year can be stupidly hectic. And, incredibly stressful. ‘I’m so busy’ is the often-heard apologetic catch cry of my fellow mums. The thing is, we are always busy juggling work and family life. But the end-of-school/sport/danceyear brings an increase in social commitments, which creates intense pressure to be superorganised. Juggling the extra ‘fun’ the Christmas period brings to our family life can be a logistical nightmare.
And do not forget Christmas shopping! When my babies were young, my Christmas purchases were (somewhat smugly) completed and hidden by October. This year, I did not even notice October until the kids begged to go trick-or treating. The Christmas season is supposed to be a time for joy and happiness. Family bonding and all that jazz. It is no fun being grumpy, tired and stressed out from now until the 25th December. So, how do we make it easier? Just say no It is important to be aware of the impact of the extra events and recognise when it becomes too much. Sometimes, it is just not worth the drama of tired, exhausted kids (and parents). So, do not feel obligated. Politely RSVP as early as possible, and know you are looking out for yourself and your family.
TO THE POINTE By Ruth Letch
TIS' THE SEASON TO BE RIDICULOUSLY BUSY
It is so easy to become run-down, overwhelmed and exhausted. So, take a minute here and there to stop and breathe. Be kind to yourself and your whole family will reap the benefits.
Schedule quiet time Grab your calendar and block out a couple of hours here and there. That way, you are prepared to be ‘otherwise engaged’ when you receive an invitation. Downtime is so important for our mental and physical wellbeing. Take the time to read a book, go for a walk, or snuggle with the kids and watch Shrek for the millionth time. It is good for the soul.
Plan ahead Be as prepared as possible. Meal-prep when you can so there are easy snacks and meals on stand-by. Share the load by carpooling with other parents. Reduce morning stress by reminding the kids to pack their bags the night before. It may sound silly to ‘plan’ sleep but, if you know you are having a late night, then try to create time to rest, or go to bed a little earlier when you can.
Relax and Enjoy Celebrating achievements and spending time together is important; attending school and community events can be good fun for everyone. My kids’ primary school hosts a Christmas Carols evening on the school oval. It is a lovely annual event and, while it is not always easy to fit in around basketball training and dance class, it is worth the effort to don a Santa hat and spend a couple of hours with family and friends, munching on snacks and singing along with brightly dressed kids wrapped in tinsel. The countdown to Christmas can be a highly stressful time. Kids are usually tired, cranky and over-excited, while we are constantly on edge, mentally ticking a million boxes and trying to keep everything running smoothly. It is so easy to become run-down, overwhelmed and exhausted. So, take a minute here and there to stop and breathe. Be kind to yourself and your whole family will reap the benefits. Merry Christmas!
Helena Melissa McGill On Aromatherapy For Dancers By Sandra Kluge
More and more dancers discover the potential of alternative approaches when it comes to mental health, physical health, and injury prevention. One particularly fascinating approach is aromatherapy, which is a form of herbalism, and part of the umbrella term of plant healing. Dance Writer talked to Helena Melissa McGill, certified aromatherapist and founder of the Brooklyn based aromatherapy company Morphologically about how dancers can use aromatherapy to enhance their wellness and their performance. Helena, who has been in business as an aromatherapist for 20 years, is not unfamiliar with the dance world. She started doing modern dance and contact improvisation in Vancouver, and later moved to NYC to pursue modern dance. Dance for her is an expression of joy, and allows her to feel as connected as in her daily meditation practice. “I have always found solace in both vigorous movement and stillness”, she states. Growing up in a tiny town in British Columbia, with parents of Hungarian background who grew their own food, and a mother who swore by the healing properties of plants, Helena witnessed the power of herbalism from a young age.
Helena Melissa McGill On Aromatherapy For Dancers By Sandra Kluge While Helena was in school to become a registered holistic nutritionist, which is unique to Canada, she was fascinated by the fact that “the language of aromatherapy has no boundaries”, and how one plant is known by so many different cultures for its healing properties. Working at an aromatherapy shop while in school rekindled her old joy for plant healing. When she finished school, she was able to work as a holistic nutritionist and aromatherapist, as these are deemed “valid forms of healing” in Canada. This work really made her focus on organic chemistry, “the seen and unseen vibrational frequencies in aromatherapy”. (For further reading about the vibrational frequencies of essential oils, I recommend this booklet from the Sound Healing Center). Shortly after, Helena got officially certified as an aromatherapist. When moving from Vancouver to NYC, Helena learned that opportunities to work as a certified aromatherapist on the East Coast were much more difficult to come around, since the concept of a certified aromatherapist only existed in the UK and Canada. So she worked in fashion for eleven years, and then four years ago started her brand Morphologically. Helena feels that in founding Morphologically, all her educations came together “like puzzle pieces”. That said, she recommends young adults who are internally and externally pressured about their education and career, to “ask for time”. She is the perfect example that life in your twenties can look very different than life in your thirties or forties, and even if you make dramatic career changes, all your experiences inform each other.
Helena Melissa McGill On Aromatherapy For Dancers Aromatherapy can be used in three different ways: Inhalation. If inhaled, the small size of the particles allows them to “enter the bloodstream immediately through the lungs”, Helena describes. “When the particles enter the olfactory system, they hit the limbic portion and the endocrine portion of the brain”. The limbic system is considered the “seat of emotion”, while the endocrine system will respond to the different components of each note, such as esters, ethers, aldehydes, and alcohols, by triggering the release of certain hormones. This causes the sympathetic and parasympathetic nervous systems to act in different ways. Aromatherapy is not just about smelling something nice, we are actually digesting the small particles of the oils in our body. Topical. This means the components are entering the bloodstream through the follicles in the skin, which makes it especially helpful for local application, and useful for treating dancers’ bruises and injuries. Most of the time, it is advised to dilute the oils to prevent burns. Internal. This means digesting the oils in your stomach, however, Helena does not really use it, since it is a controversial topic for her. “Essential oils are hydrophobic, which means nothing about it likes water.” And since humans consist of 60% water, it can be difficult to digest internally.
Helena Melissa McGill On Aromatherapy For Dancers Based on her own dance experience, Helena has compiled a list of go-to oils for dancers: For Performances: Geranium. “Fear and excitement set off the same reaction in the body, it’s just about where you go. It is so motivating, you don’t want to quell it, but you want to get to a point where you’re breathing”, Helena describes, remembering herself in performance situations. “Geranium is an adaptogenic, which means that it works directly on your adrenal system. If you are cycling really high or really low in the fight-or-flight mode, it is going to bring you to a level place and balance you.” Essential oils are released with heat, so one of the best ways is to use geranium is to put a little bit in your hands, rub them together, and put them over your mouth and nose while inhaling deeply, which will stimulate the adrenal and the endocrine system. Eucalyptus. If the stress of performing affects your breathing, Eucalyptus is for you. “If you are holding your breath, your muscles are not going to be as responsive. Eucalyptus is going to open up your airways.” Proper breathing is “necessary for your muscles to function.” For Injuries and Bruises: Frankincense is “naturally anti-inflammatory and extremely good for pain”, Helena describes. It helps to heal bruises quicker and hurt less. “Bruising can go very deep into the muscle. Massaging around the bruise and gently swiping over it with Frankincense” helps get down into the tissue and get the blood flowing again. For everyday use: Chamomile is “extremely calming and anti-inflammatory. You could make yourself an all-in-one blend with Frankincense, Chamomile, and Lavender, [which would] cover inflammation, bruising, and tendon issues.” Aromatherapy helps “without making you drowsy or impeding your performance. It is all organic molecules, and it is in your DNA to respond to things your body recognizes.” Peppermint dilates the blood vessels, which “speeds up the healing process because the blood is flowing quicker.” It is antiinflammatory as well. These two properties help “push through stagnancy”, which is especially beneficial for physical injuries, spasms, muscle pulls and strains. It is particularly potent with the warming properties of Ginger. Inhaling peppermint will provide mental clarity, which makes it “a good focus oil pre-performance. It wakes your body up, much like eucalyptus.” Helena is a truly special soul. Her passion for using aromatherapy to help people remember and reconnect with the parts within themselves that know how to feel happy and be healthy is contagious. The Morphologically products are available in select stores in the U.S., and online.
HEALTH
By Haydee Ferguson
Safe Stretching for Dancers How much is enough flexibility? How much is too much? Is there a way to achieve extraordinary range safely?
Flexibility is something that every dancer is constantly striving to improve. We never seem to be flexible enough and in today’s world of social media and competitions, flexibility is being pushed to its limits—further than it has been in the past. However; how much is enough flexibility? How much is too much? Is there a way to achieve extraordinary range safely? Over the years, the type of stretching we do has changed due to the increase in research and evidence into how our muscles respond to different forces. Below are definitions of different types of stretching:
Ballistic stretch: A brief, bouncing, swinging stretch Advantage – useful for coordination Disadvantage – high risk of injury
Dynamic stretch: Controlled, dance-like movements that prepare the body for activity Advantage – improves coordination without risk of injury Disadvantage – not as effective as static stretch in producing long-term gains in flexibility Static stretch: Held for at least 30 seconds Advantage – useful in maintaining flexibility Disadvantage – needs to be regular to produce long-term gains in flexibility. Weakens muscles and decreases proprioception following stretch for approximately 1 hour thereby increasing chance of injury in this time
HEALTH
By Haydee Ferguson
Safe Stretching for Dancers Increasing range is not just about stretching muscles. There are other anatomical structures that can be restricting your range.
PNF (Proprioceptive Neuromuscular Facilitation) Advantage – effective in producing long-term flexibility over time Disadvantage – needs professional guidance to avoid risk of injury Overstretching: Taking any joint past its natural physiological range Advantage – None – there are safer and more effective ways of achieving extraordinary range Disadvantage – stretches the ligaments and capsule that would normally help support the joint
Increasing range is not just about stretching muscles. There are other anatomical structures that can be restricting your range. Have you ever tried to stretch your hamstrings lying on your back but you only feel the “stretch” in your calf? Do you feel a widespread sensation throughout the back of your leg or do you feel a pinch in the front your hip? In these scenarios, the hamstring is not the limiting structure—something else is stopping you from achieving greater range. What you need to do is analyse what is actually limiting your range and release that structure off. So, what else is there that could be stopping you from increasing your flexibility? Lets look at the different things you might feel when stretching your hamstring and what might be causing it:
HEALTH
By Haydee Ferguson
Safe Stretching for Dancers Increasing range is not just about stretching muscles. There are other anatomical structures that can be restricting your range.
You will likely find that you won’t be able to progress with your flexibility until you have cleared the nerve restriction. Dancers should experiment carefully under the direction of experienced teachers or health care professionals to find the optimal stretching technique for their physique. It is also important to remember that achieving extreme flexibility is not much good to someone who is missing the other crucial pieces of the performance puzzle such as strength, intelligence, artistry, technique and emotion. There are also choreographers and company directors, particularly in classical ballet, that find the oversplit line in leaps, arabesques, etc. inappropriate for the aesthetics of the art form and It is important to listen to what your body dislike seeing these is telling you and to take note of what acrobatic/contortion skills slip into the sensations you are feeling. For example if choreography. While removing you are feeling your hamstring stretch in limitations in range of motion can free your calf you are going to be pulling on the body for expression, it is essential your nerves and not stretching your to show restraint and mindfulness in hamstring muscle. displaying this kind of freedom.
Widespread feeling throughout the back of your leg – Fascia Straight line sensation, could be in a different area to the muscle you are trying to stretch e.g. in your calf – Nerve Sensation deep in the hip joint – Joint capsule Pinching in the front of the hip – ligaments, tendons or capsule being pinched Blocked feeling that you can’t go any further – Joint, bony restriction A pulling feeling in the middle of your hamstring – Muscle
HEALTH
By Haydee Ferguson
Safe Stretching for Dancers Remember: pain is not progress but a signal that you have gone too far. Happy Holidays and look after yourself during your break
Do’s and Do not’s of stretching: 1. do not stretch cold muscles 2. do stretch before and after exercise (active stretching during the warm up, static stretching during the cool down) 3. do stretch all muscle groups 4. do stretch gently and slowly; do not bounce 5. do stretch gently to the point of mild discomfort, never pain 6. do not hold your breath; breathing should be slow and easy 7. do not make stretches competitive 8.do not do partner stretching as your partner cannot judge your pain 9. do stretch muscles and their connective tissue (fascia) 10. do not elongate ligaments and joint capsules
3 should thingsbedancers doing during a break
By Emma Cheeseman
"A break is a chance to regain motivation and clear your head of any negativity or selfdoubt. These 3 things will assist you in maintaining, or even improving upon all the hard work you’ve put in throughout the year."
Dancers are athletes, and all athletes need to be kind to their bodies during time off. This means keeping up a level of fitness that will allow you to pick up where you left off once you return to training, but it also means taking advantage of the time to recuperate. Dancers are also artists, whose minds and emotions are often pushed to extremes. A break is a chance to regain motivation and clear your head of any negativity or self-doubt. These 3 things will assist you in maintaining, or even improving upon all the hard work you’ve put in throughout the year: CONDITIONING It would be worthwhile to book in some private time with a coach who you trust and who knows you well, to work out a conditioning program that would be personalised for your own strengths and weaknesses. However, for myself and for the vast majority of students that I’ve worked with over the years, the most important areas of the body to target during a break would be the feet, calves, glutes and abdominals.
Maintaining strength in and around the feet and ankles is vital to protect the metatarsal bones from injury (especially if you’re training en pointe). Calf strength is essential in achieving elevation and control in allegro and careful articulation in pointe work. Our Glute muscles control our turnout and help to stabilise a neutral pelvis alignment; and our abdominals create a strong centre foundation to basically hold everything in one piece and make our dancing look effortless! LIGHT CARDIO AND GENTLE STRETCHING Stamina is something that I personally struggle with even at my peak performance level. Many ballet dancers feel the same because what we do is so stop-start. This is why during a break it’s important to maintain or increase your lung capacity. Many forms of cardio however, have high impact on joints such as ankles and knees. Swimming, going for a long walk, or using the cross-trainer are some of the safest ways for dancers to improve their stamina without
causing stress to the body. During your time off however, there’s no need to push your body to it’s maximum in a cardio workout. It’s more important to just get the blood flowing and the heart rate up to a comfortable level. A dynamic stretch before your cardio workout, and a gentle static stretch afterwards, will be beneficial to maintaining your flexibility. For older and more advanced dancers, Isometric stretching is one of the most effective ways of increasing flexibility. Isometric stretching involves the muscles resisting first, and then holding a static stretch. For younger dancers, a mix of dynamic and static stretching once the body is warm will be most effective for achieving maximum mobility. REST For dancers who train five or six days per week, the most important thing you can do for your body and mind during a break, is rest. Generally, the end of each term will build up to a performance, or some form of assessment. This means that mentally, extra stress will have been placed on the dancer in order to remember set choreography, and to perform it to the best of their ability in a ‘one-chance’ type of situation. Physically, the dancer will have been encouraged to push to their maximum to achieve the best possible results in their performance or assessment. Teachers will often even encourage students to push through minor injuries to get through, because their bodies will be able to recover in the break that follows. Therefore, if you spend your entire break being physical, you’re not allowing your body the time it needs to recover. Young dancers need to be particularly cautious due to the fact
that their bodies are still growing. Their bones are fragile and their muscles are much weaker than older and more advanced dancers. Right at the beginning of your break, try taking some time to get a massage (or roll out your own muscles with a foam roller or a spiky ball). This way you’re releasing tension that may have built up during the final days of term, and de-stressing your muscles to start the break. Make sure you’re also getting plenty of sleep and taking some ‘you-time’ to do things that are self-indulgent. Looking after your mind is equally as important as looking after your body, so try not to fill your break with things that you see as ‘work’. Focus instead on surrounding yourself with people who bring out the best in you, and partake in activities that will fill you with good energy.
A break from any routine is an opportunity to reflect. For dancers, this could mean reflecting on progress, reflecting on lessons learnt, and reflecting on how much you’ve enjoyed the process of these things. Don’t become too immersed in the ballet world, try to remember that it’s only ballet, and that you come first. Put your physical and mental health above everything else and try to enjoy some time off! Catch up with some friends, sleep in, go to the movies, eat some chocolate. Most importantly, be kind to your mind and body.
AMBASSADOR CHAT Sharnika Chamberlain. This month has been the best month ever with Dance Prescription as I was asked to become an Intern Assistant. I have worked so hard this year to reach my dance goals and it is paying off. I had a great time modelling for the Dance Writer Youth Company with Lucas, Bella & Lani (Ambassadors for the Dance Writer). Thanks to Dance Writer and New Dimension Photography for the opportunity. It has been a very busy month with rehearsals for our end of year concert for DEPAS, including a three-day dance camp. Looking forward to the Dance Writer Youth Company audition for 2019. Georgia Wall. Concert day was very exciting as I played the lead role as Cinderella in Act 2. It’s been fun learning more about acting and story telling (and a tiny bit nerve wrecking too). Otherwise, all has been very quite here in Bundaberg - just lots of concert preparations happening. My family and I head away to Bali next week to rest after what has been a massive 2018. One of my biggest highlights was - of course - coming to Melbourne to perform with the other ambassadors for the “Her” fundraiser. Thank you again to everyone for being so welcoming and lovely, I’ve made some great friends through Dance Writer. Maddison Bowly. This month has been SUPER busy! Most of the month we were getting ready for my dance concert which came so fast! The year has gone so quickly! The concert was so much fun and a big success. Then we had our photo day at dancing which was also a heap of fun, then I was lucky enough to have participated in kidz fashion week! I modelled a beautiful pink lemon dance wear set and had the best time doing it with other dance writer ambassador Lucas and Lani. This month has been very tiring, but heaps of fun. I’m also so excited for christmas and my birthday coming up, I hope everyone has a safe and happy holidays. Merry christmas! Bella Jacobs. Wow, Wow, Wow what an amazing month it has been in Dance. Our showcase was absolutely amazing and our very first one. All the students at The Rage DC are so supportive, kind and helpful and are amazing friends. It was wonderful to see all our family and friends there supporting us, I had the best night ever. I was also lucky enough to be apart of the Dance Writer photoshoot for the launch of their Youth Dance Company. Watch out for auditions in January 2019, it’s going to be epic. Tayla Williams. Recently, I had the opportunity to perform in my hip hop crews end of year showcase. It was a fun night spent with my PDC family, where we were able to show everybody a piece that we had choreographed ourselves. I have also been working hard in all of my dance classes, in preparation for my dance schools end of year showcase. I can’t wait to perform all of my new routines and spend a great night with my UDI family before we have summer break. Milla Watts. November was the most exciting dance month for me as we had The Rage Dance Companies first Showcase. The Rage Dance Company students have been working hard all year for this. I performed 13 different dance routines on the night. I loved the costumes, makeup, glitter in my hair and performing on stage with all my dance friends. I was so lucky that my nan and pop came from Adelaide to watch. I loved all the routines and they challenged me but my favourite routines were hip hop and acro. I was also lucky enough to be awarded the Mini Scholarship which I just couldn’t believe and was so happy to receive.
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