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BALLET BLACK An interview with Cassa Pancho MBE

SEP–DEC 2019 Issue 487

CHANCE TO DANCE Broadening access to Ballet


JANET CRAM Focus on the 2019 Finals

DANCEINSPO Matthew Bourne’s Romeo and Juliet


Xperience Days Devon Wales Edinburgh Worcester Dublin Belfast Dundee


Some of the reasons to study at Morea Performing Arts are: - Bespoke training and class sizes: Our current class sizes are between 4 and 12 students. This is a promise to potential students who have succeeded in our audition process. - Outstanding faculty: At Morea Performing Arts, the amount of experienced faculty and staff supporting the training process of our students is second to none. The group of professionals working at Morea (Principal, Patrons and Faculty) and our advisers include: former Principals and heads of Department at other top Colleges; current Dance UK and Trinity examiners; ISTD syllabus creators, Senior Examiners, Modern, Tap and Ballet Committee members as well as current choreographers, agents and performers. - Extensive contact hours: We provide a minimum of forty contact hours per week, with weekly individual singing classes. Individual dance coaching is given when needed. - Personal contact with agents and industry professionals and from the first year. - ISTD teaching qualifications: Students study with the ISTD syllabus creators and ISTD Senior examiners to become a fully qualified teacher.

DANCE Welcome to DANCE When asked what piece of advice she would give to a young dancer, Cassa Pancho MBE, founder of Ballet Black, replied: “Take what you’re doing seriously, but not yourself”. Surely this is inspirational advice for all of us, no matter what our age or experience. Read our interview with Cassa on page 8 to find out more. There is further #danceinspo on page 14, where we talk to four young ISTD trained dancers about being selected to perform in Matthew Bourne’s new Romeo and Juliet. Why not write to us with your own stories, photos and inspiration? A year ago we announced that the ISTD had been invited to partner in the Chance to Dance programme, run by the Royal Opera House and The Royal Ballet in partnership with The Royal Ballet School. Turn to page 18 to read interviews with five ISTD teachers involved in delivering the newly designed and highly successful programme. “Every teacher out there is probably doing a lot more to be inclusive than they realise” says Amy Bastin, one of the three ISTD teachers who report on their individual experiences of teaching inclusive dance as part of the ISTD’s Accessing Pathways to Training for Young Disabled Dancers research project, from page 24. This issue is packed with stunning photo-spreads from recent events, Society news and important diary dates and updates from HQ, including profiles of five new members of the leadership team, and a big thank-you to our Faculty Chairs. We wish you happy reading. Tamsin Moore, Editor

Matthew Bourne’s ‘Romeo and Juliet’. Cordelia Braithwaite as ‘Juliet’ and Paris Fitzpatrick as ‘Romeo’

Chance to Dance performance of ‘The Firebird and the Egg’


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Email: Tel: +44 (0)20 7377 1577

Managing Editor James Scanlan Magazine Designer & Editor Tamsin Moore Magazine Design Richard Czapnik Editorial Assistants Katie Andrews & Birgit Diggins

Next copy deadlines: #LoveLearnTeachDance

Cover photograph: Seren Williams and Andrew Monaghan in Matthew Bourne’s Romeo and Juliet Photographer: Johan Persson

Issue 488 (Jan–Apr 2020): Monday 21st October 2019 Issue 489 (May–Aug 2020): Monday 10th February 2020

ISTD Dance Examinations Board Registered address: 22/26 Paul Street, London EC2A 4QE Tel: +44 (0)20 7377 1577

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CONTENTS News & Features


From our CEO A letter to members from Ginny Brown Out and About The ISTD Chair, Sue Passmore, shares her latest news Ballet Black An interview with company founder, Cassa Pancho MBE #DanceInspo Young ISTD dancers involved in Matthew Bourne’s Romeo and Juliet Chance to Dance Reports from ISTD teachers who have taken part in the Royal Opera House’s flagship programme for broadening access to ballet

6 8 14



Pathways to Training 24 Accessing for Young Disabled Dancers Three ISTD teachers report on their individual experiences of teaching inclusive dance ISTD Graduation A date for your diary ISTD Spring Programme Photos and feedback Dance Direct Competition Win a dance class bundle worth over £100 Malaysian Awards 2019 Details of this year’s ISTD event in Malaysia ISTD Bursary Awards & Masterclasses plus Street Dance Masterclasses Dates for your diary Thank You to our Faculty Chairs The ISTD wishes to thank all our Faculty Chairs for their significant contribution to the Society International News News from China and the Far East

30 32 35 36 37








Cecchetti Classical Ballet Reports and photos from recent events and important diary dates Classical Greek Dance Photos from the Classical Greek Dance Festival Finals and other news Classical Indian Dance An interview with BBC Young Dancer 2019 South Asian Dance category winner, Shree Savani Disco, Freestyle, Rock ‘n’ Roll Dance Exchange and other news Imperial Classical Ballet Senior Ballet Awards and other news Latin American, Modern Ballroom and Sequence Tea by the sea and Sequence success

56 60

Modern Theatre 71 Photo spread from the Janet Cram Awards and details of the upcoming West End Workshops National Dance Bulgarian dance and the Helen Wingrave Award Tap Dance Meet the committee and other news





Courses and More ISTD examination dates, courses and contact details Directory Full ISTD listings Events calendar Annual events at a glance

97 100


62 64

83 Obituaries Tributes to Gillian Page and Yvette




Sargent Exam Successes Qualifications recorded at ISTD HQ over the past months Classified Advertising Plus a profile of a new ISTD Cecchetti Faculty examiner






From our CEO

The ISTD’s NEW Leadership Team

A letter to members from Ginny Brown



One of my first priorities as CEO was to create a three-year business plan with the Senior Management Team. The plan is premised on the firm belief that the ISTD could, and indeed should, be a world leader in dance education, with our syllabi recognised as the benchmark of best practice, our teacher training and CPD the automatic choice for those who are serious about a career in dance teaching, and our membership the first port of call for those seeking guidance and support with building a career as a dance educator. To realise these ambitions the trustees have agreed to invest in a new staffing structure, which will ensure that we have the necessary skills and efficient organisational structure to meet the goals of this business plan, which are to:

Keith Stephenson was educated at the universities of Cambridge, Strathclyde and Durham. He started his career in the textile industry, including two years living and working in France, and has held finance director roles in the NHS, higher education and charity sectors. His roles have often incorporated other functions: IT, governance, human resources and facilities. He is a Fellow of the Chartered Institute of Management Accountants. Keith is trustee and treasurer of two small charities connected to the British Library, and is an ordained non-stipendiary minister in the Church of England. He and his wife Judith, although not dancers, greatly enjoy dance. Classical Ballet and Hip-Hop are contrasting favourites. Keith was involved as a mentor with the Dance United programme. On his appointment at the ISTD Keith commented: “I am delighted to be joining the ISTD at this time. Dance can develop people in so many great ways, so I look forward to contributing to the ISTD’s growth in the coming years.”

Encouraged by her parents, who were themselves keen competitive Ballroom dancers, Liz began dancing at the age of three and soon earned her very first ISTD medal. She later became a regular competitor on the amateur Ballroom and Latin scene and throughout her teenage years was a regular finalist in major championship competitions. Finding herself at age 17 without a partner or a clear career path, Liz trained as a teacher at the ISTD’s London College of Dance and Drama and then Dartford College, which resulted in a 29-year teaching career in three secondary schools. This year marks thirty years of Liz’s connection with AQA GCSE Dance, where she held the positions of Principal Moderator, Principal Examiner and Chief Examiner. She is also responsible for having devised and created the current GCSE Dance specification having worked closely with stakeholders to produce a qualification that meets the needs of both the examination board and students. Almost 11 years ago, Liz returned to London to take up the role of Head of Education and Training for CDMT (formerly CDET), where she has been responsible for the industry standard quality assurance programmes for professional training in dance, drama and musical theatre. Liz’s career has now come full circle, back to the ISTD family where her love of dance first began. She is thrilled to be taking up the role of Director of Dance and is looking forward to working with so many passionate and committed people in helping to shape the new and exciting future of the organisation.

• Recruit and train the next generation

of ISTD teachers Extend our membership base by attracting new people to the Society, whilst improving our membership services to ensure that teachers are motivated to stay with us throughout their career Increase the number and efficiency of examinations we deliver, all of which must be supported by the ongoing development of our high quality artistic products.

Following an extensive recruitment process, I am now delighted to introduce you to the ISTD’s new leadership team. I am looking forward to working closely with them all to deliver future success for the Society and will be planning opportunities for you to meet them in person over the coming months. 4 DANCE ISSUE 487

Director of Finance and Operations

Director of Dance





Janne joined the ISTD as the Head of International Examinations in June 2018, following a 15-year career in the education sector that included leadership and senior management roles for international examining boards, such as Pearson and ABE. Janne has substantial experience of regulatory compliance, having previously held the role of the ‘Responsible Officer’, and has built strong working relationships with subject matter experts from a range of academic and vocational qualifications – covering subjects from business management to creative arts (such as drama, theatre studies and performing arts). Throughout his career Janne has focused on the operational delivery of examination services and quality assurance. He is now delighted to apply his expertise in assessment, qualification development, standard setting and compliance to further the unique work of the ISTD.

Louise joined the ISTD in 2017 as Head of Education and Training. Louise trained vocationally at Elmhurst Ballet School and worked professionally for six years within the commercial sector. She then specialised as a teacher, gaining BA Honours at London College of Dance and Drama and PGCE (Dance) at Brighton University. Louise then worked at a Further Education College in Kent where she was awarded outstanding lecturer of the year in 2010. She was promoted to Programme Area Leader for Music and Performing Arts and finally took a post as Curriculum Director for the Creative Industries in 2011. In this role Louise was responsible for all aspects of teaching and learning for 700 students and took a strategic lead on curriculum and financial development, business planning and Faculty self-assessment. Louise welcomed the opportunity to work at the ISTD, having grown up with the syllabus and been taught by so many wonderful teachers and examiners, and is now delighted to be part of the developing change and to have the opportunity to contribute to the ISTD’s future legacy.

Gemma is delighted to be joining the ISTD after nearly seven years as Marketing and Membership Director at the Royal Over-Seas League (ROSL). A not for profit membership organisation, ROSL brings members together from across the world to champion the Commonwealth, the arts for young people and to support education projects for children in disadvantaged and marginalised communities. During her time at ROSL Gemma successfully relaunched the quarterly magazine, developed a new website, tendered for and implemented a new CRM and reviewed the membership model. Gemma’s career in membership bodies started some 20 years ago at the Friends of Covent Garden, Royal Opera House. She found one of the perks of the job was being able to watch dress rehearsals, which resulted in a life-long love of Ballet and Opera productions. Following on from the Friends, she spent several years working for the Royal Institution of Chartered Surveyors (RICS) and the British Medical Association (BMA), before joining ROSL. Gemma is very much looking forward to getting to know the team, the members and to bringing all the skills she has developed through her career to the ISTD to deliver on the strategic aims of this prestigious organisation. She is looking forward to meeting everyone soon.

Director of Examinations

Director of Education

Director of Membership and Communications




Out and About ISTD Chair, Sue Passmore, shares her latest news Recognising trends and embracing change in dance theatre pathways My focus in this issue of DANCE is on the potential for diversity of career opportunities that are emerging in the UK. The need for addressing sustainability in career development is not sufficiently explored or considered by most of us in the dance industry. A graduate student from 2017 who did not choose to seek an agent, like all her peers, but used single-minded initiatives through media and advertisements to start her employment journey, recently impressed me. As a self-confessed opportunist I still grasp opportunities to find new pathways that emerge from diverse sources. Producers are seeking a range of skills, traditional techniques are fused together and the outcomes we see in London theatre and in the provinces are evidence that musical theatre is changing. In the past month I have seen four innovative pieces of theatre that fill me with optimism for our need to embrace change and all its potential.

STOPGAP DANCE are touring with their latest outdoor production, Frock. This uplifting dance riot set to an exclusive art rock soundtrack by Hannah Miller of Moulettes has six striking dancers in collision. It was certainly a quirky dance piece with playful observations of yesteryears that exploded into a punkish celebration of individuality and difference. In the performance at Salisbury Arts Festival there was a special opportunity for a third-year student from Bird College, Annie Grantham, who was doing work experience with the company. Due to a last minute injury sustained by one of the principal artists she was swiftly built into the new piece. This was a rare occurrence and Annie produced an excellent performance and was thrilled by the opportunity.

Annie Grantham (centre) performing in ‘Frock’ in front of Salisbury Cathedral

Metta Theatre in rehearsal

THE HANDLEBARDS are cycling performers who carry all the sets, props and costumes needed to perform energetic and environmentally sustainable Shakespeare plays across the globe. This summer both the all-female and all-male troupes are cycling across the UK bringing Shakespeare’s The Tempest and Much Ado About Nothing to all corners of the country, before touring internationally. KAPOW is a Manchester-based performance company, working in dance, physical theatre and circus. I happened to stumble upon their performance of Grow while visiting RHS Wisley Gardens in Surrey. Grow is a playful and uplifting comment on humanity and a comedic gardening show combined.

Chris Fonseca (Otter) with Victoria Boyce (Mole)


METTA THEATRE is an extraordinary environmentally focused and creatively diverse theatre company, which has just finished a UK tour of In the Willows, a new innovative musical version of Kenneth Graham’s classic story of The Wind in the Willows. Whilst in Cumbria at the Lakeside Theatre in Keswick I chanced upon this new adaptation and it was a revelation.

DANCE Out and About

I met with the Director/Writer Poppy Burton-Morgan and designer William Reynolds, who are a visionary couple, creating and producing powerful imaginative theatre with a striking visual style for mid and large scale touring. They are totally committed to change and taking action through the work they create. This company’s mission is focused on the environment, reducing emissions and targeting systemic changes that are essential for our future – a valuable message for audiences. Morea Performing Arts students were able to see In the Willows at Malvern Theatre in Worcestershire and gave us their observations:

Tiahli Martyn “I was most impressed with the integration of sign language by Chris Fonseca who played Otter. He inspiringly reflected how as dancers we aim first and foremost to communicate.” Olivia Coward “Otter [Chris Fonseca] stood out for me because of how technical and precise his street dancing was and his incredible ability to feel the vibrations in the music.”

Treasure, dance captain for ‘In the



Shannon Dye “Wham! In the Willows hits you with an array of theatrical delights, bringing a raw edge to theatre, zooming its way into the future. How will theatre survive with cultural and social changes? Well In the Willows shows you how it can and will. The power of communication is beautiful. The talented cast use Rap music and Hip Hop to convey themes of isolation, friendship and comedy.”

at Morea

giving a workshop Performing Arts

Zoe Burrows “It was fascinating to watch how the story has been developed but also how a new style of theatre is evolving. The choreography was combined with sign language to engage a new audience.” DANCE ISSUE 487


DANCE News & Features

Ballet Black An interview with company founder Cassa Pancho MBE


DANCE News & Features


Ballet Black is a professional company for international ballet dancers of black and Asian descent, which aims to bring ballet to a more culturally diverse audience. We spoke to the founder about the company and its recent collaboration with Freed of London to create brand new pointe shoe colours for black and Asian dancers.


Born in London and of Trinidadian and British parents, Cassa enjoyed regular ballet classes from an early age and went on to train at the Royal Academy of Dance. “My parents took me to my first ballet class at the age two and a half,” says Cassa “you know, like most people I started just doing one class a week, then two, then three, then four, until I was doing about seven classes a week.” In her late teens, Cassa suffered a back injury that took two years to recover from, but this setback did not deter her from graduating with an honours degree in The Art and Teaching of Classical Ballet from Durham University later in 2001. “I think it’s just a typical dancer thing isn’t it, that you are just very determined and you keep going,” says Cassa.

I think we need more teachers who are of black descent When Ballet Black was founded in 2001, no black women were performing in any of the UK’s Ballet companies, a fact Cassa identified when completing All things Black and Beautiful, the dissertation she wrote for her degree. She came to the conclusion that matters needed to be taken in hand and had a clear idea of how it could be achieved. She explains: “I had the idea to start at least a ballet class where the teacher was black, to change the makeup of the person in charge of the room and to see what effect that has on the people who attend the class.” Cassa was only 21 when she founded the company. She says: “It was just complete ignorance that gave me the confidence to do it because I didn’t know any better. Along the way I learned a lot of really useful things and some random things, from how to set the perfect curtain call and make sure it is rehearsed really well, to setting up a limited company, file accounts and structure a day so that you can rehearse, both contemporary work and ballet based work in the same day without destroying your dancer’s body – loads of things like that, which was a massive learning curve.” In 2004 Ballet Black achieved registered charity status. Cassa takes a very practical approach to her work: “Each time something came up, I just needed to figure out how to do it to make the next thing happen. We needed to get donations from people for

Ballet Black dancers in a recent Freed of London promotional photograph

example but we couldn’t get donations unless we were a charity. So then it was about figuring out how you do that. It enabled us to get donations, and the donations allowed us to put on another show, so it was much more of a situation where you just dealt with each issue or problem as it came up, rather than having a big determination across the board to make everything work. Sometimes I didn’t even know about something till someone told me, like music rights. We did a show and then someone wrote to us saying they were really happy that we loved their music enough to use it in a ballet but we hadn’t asked them if we could use it, and we needed to pay them some money. Luckily they were very nice about it, as were a lot of people in the early days. They were very generous with their time and their advice, so it’s just stuff you learn as you go along.”

Mthuthuzeli November and Sayaka Ichikawa in Pendulum by Martin Lawrance. PHOTO: BILL COOPER



DANCE News & Features


Ballet Black’s CLICK! By Sophie Laplane.

In this issue of DANCE magazine we have interviews with five ISTD teachers who have been associate artists on The Royal Ballet’s Chance to Dance programme this year (page 18), bringing dance to primary schools in Thurrock, Essex. Cassa, who runs a Junior School in Shepherd’s Bush, West London which offers non-syllabus and examination classes for 3 to 18 year olds, comments: “I think we need more teachers who are of black descent because I think that gives families and parents reassurance when they’re sending their child to ballet class. Especially if you’re trying to send a three or four year old into a class, you don’t want them to feel isolated in any way, so you really want to see a good mix of different people in the student body or ideally someone leading the class who looks representative of something other than white. “But you can’t get that until you have dancers finish their professional careers and go through training courses. We need to encourage the younger children, particularly girls, into ballet early so that they can get everything they need to get ready to go into a professional school. At the same time any dancers who have an interest in teaching beyond their dance careers need to

Ballet Black’s Ingoma by Mthuthuzeli November.


be encouraged and supported to take that training. So it’s about setting people up after they have retired as dancers, and not just as teachers, but also as rehearsal directors, choreographers, or artistic directors – whatever takes people’s interest - and also about allowing some support there to let them make those choices and have a new skill after they have been a dancer.” Cassa says the ultimate goal is to see a fundamental change in the number of black and Asian dancers in mainstream Ballet Companies, eventually making the vision of Ballet Black wonderfully unnecessary. When asked how effective Ballet Black has been to date, she says: “I hope that at the very least we’ve provoked conversation about it. In the early days, a lot of people would say they didn’t understand why we need a Ballet Black. What’s the point and what’s the purpose? But, when you asked them how many black women are in UK Ballet Companies they couldn’t come up with an answer. It really made people have to think about it, whereas before they may not have considered it at all. So I hope that at the very least by provoking the discussion, we’ve had an impact.” On receiving her MBE in the 2013 New Years Honours list for services to ballet, Cassa comments: “Receiving an award hadn’t ever crossed my mind in any way, shape or form. When you get there on the day, you meet the other people who are receiving awards for world-changing things like advances in the cure for HIV or cancer. I was the only dance person there and I felt a bit silly that I’m here for ballet, even though all the other people were really generous and thought that I was equally worthy, it made me really wonder. But in the queue to go in to receive the MBE, I got talking to a lady who had tickets for Ballet Black the next day. I had never met her before, and I thought it was really interesting because I would never have expected either to get the award or to meet someone there who knew what Ballet Black was.” Along with Senior Artist Cira Robinson, Cassa has recently collaborated with renowned British ballet shoe manufacturer Freed of London to create two brand new pointe shoe colours to enable black and Asian dancers to buy skin-tone pointe shoes ready-made. Cassa explains: “As

DANCE News & Features

a feeling of acceptance in the wider world of ballet that people didn’t necessarily feel before. We’ve had emails and social media messages from parents saying it’s just amazing to walk in and get their daughter the shoe type and the colour that matches the rest of her body. “My overarching feeling is that at long last we can just go and buy what we need to buy. We’re so used to just doing the normal thing in the ballet world I think. Getting your shoes, pancaking them, getting them ready for a show. So that’s where I feel that Ballet Black has had a visible impact on the dance world. It finally feels like equality to me because it means that dancers are just breaking in their new shoes, like any dancer in any other company would be able to do, which is different from preparing shoes to look right.” Ballet Black commissions choreographers like Richard Alston, Shobana Jeyasingh and Liam Scarlett, giving the company a reputation for bold programming. Ballet Black also has a reputation for attracting a more diverse audience. Cassa explains: “It was just a very simple idea that if your cast is diverse then your audience will be diverse, which is true, because I’ve seen it.”

you know, they can make you a shoe in almost any colour. Cira saw the different colour swatches on the counter but she couldn’t see anything brown, and she asked if they had something in a colour that she could wear. At first they advised us to go and find some satin that would match Cira’s colour but we quickly realised that we really needed Freed to do that part of the work because they’re the experts. So we spoke again and they had, at that point, been in touch with Luke Jennings, who had written an article for the Dancing Times about the lack of brown tights and shoes for dancers available. They had approached him about the article and he advised them to speak with Ballet Black because we also wanted to make brown shoes and it might be an idea to work together. So we went through a lengthy process of finding the right shade of satin and then the right quality to stand up to the rigours of classical ballet like the original pink. Cassa explains that when she looks out and sees these diverse “Once we had found the darker brown we decided to make a medium shade too, which is the Ballet Bronze. There was some back audiences she feels vindicated: “Right at the beginning when I and forth, like when there would still be pink strings on the shoe, started Ballet Black a lot of people said that there’s no point in so we would ask for the whole thing to be brown, ribbons, mesh doing this because black people don’t like ballet or have no interest and string, so that the dancer doesn’t have to do any pancaking in going to the theatre. It just proves that is nonsense. It doesn’t matter what colour you are, you can love ballet, or the theatre.” whatsoever. That led to the shoes we have now. However, it seems the work of Ballet Black is far from done, as “What we had always done was use foundation matching the dancer’s skin colour, painting on two or three coats using a Cassa explains: “We need to allow the current crop of excellent makeup sponge, plus the ribbons, plus everything else, like mesh black dancers in the UK a chance to have their dance careers and or elastic. You’ve got to let it dry, and then you do your next coat, then let that dry. Sometimes there isn’t time to let it dry, so you wear the shoes out on stage and this little brown dot falls over the floor or on your partner’s costume. So the new shoe colours eliminate all of that nonsense, which is brilliant. Having the correct colour shoes saves them wearing down from adding makeup in the first place. Because the last thing you want to do is put anything damp on a shoe, so that means that the life of the shoe is longer for us as well. “Rishan Benjamin, a black ballet artist with Scottish ballet sent me a photograph of their shoe room and she’s got her Ballet Brown pointe shoes in there. She was so happy to get the correct colour shoes. There’s something about being able to go into the store and get shoes in your own colour. There’s a poster of three of our dancers wearing the pink, the bronze and the brown in the window of Freed, and I think there’s José Alves and Cira Robinson in CLICK! By Sophie Laplane.

If your cast is diverse then your audience will be diverse



DANCE News & Features


Sayaka Ichikawa in Ingoma by Mthuthuzeli November

then graduate into something else. That will start to change the overall look of ballet because those people will become the next artistic directors, or choreographers, or gatekeepers in some form. Then seeing the world through their eyes they will change the next wave of ballet.” Ballet Black is a smaller company and so doesn’t perform the big ballet classics. Cassa has no plans to change this: “I don’t want to repeat what other people are doing. We’re in the same city as The Royal Ballet and English National Ballet. There’s absolutely no need for another company to be doing Swan Lake and Giselle. We would like to go a little bit bigger to 10 dancers, but we want to stay quite streamlined so that we can go anywhere, do a festival, at the Barbican, or a tiny theatre, or the opera house, and we can scale up or down. Any bigger than that and I think it would become a bit cumbersome in terms of taking it out on tour and being able









Take what you’re doing seriously, but not yourself to reach smaller places. We’re still quite unique in that sense. “If we had the responsibility of making sure we did 28 Nutcracker shows in December, and each one had to sell out, that would change the whole model of Ballet Black. Whereas now we can really take risks, experiment, commission all sorts of work from all different kinds of people and I think people really enjoy that. They don’t know what they’re going to get when they come to a Ballet Black show.” Ballet Black’s latest tour, a triple bill of performances, received a positive critical reaction, with The Guardian describing the dancers’ personalities as “seeping out at the edges”. Cassa explains that it is very important to her that company members retain their individuality and personalities: “Again, it lends a completely different facet to ballet. You know, we’re used to seeing everyone the same height and size and doing the same movements. What sets us apart is that you can really connect with individual dancers. A lot of people have their favourite and it’s not always the same person, 12 DANCE ISSUE 487

Marie Astrid Mence in Ingoma by Mthuthuzeli November

they’re all so different. You can connect with them all in different ways. I think that’s really important to making exciting work, and being an interesting company. And it’s also interesting for them as artists. They don’t have to conform to one way of doing things.” When asked what advice she would give to a young dancer, Cassa replied: “Take what you’re doing seriously, but not yourself.” Ballet Black will be continuing to tour throughout the autumn and are also going on tour with Birmingham Royal Ballet, performing their piece The Suit. Visit for details of upcoming performances. The Freed of London, Ballet Black inspired Pointe shoes, ballet shoes and tights are available from

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Your stories, photos and inspiration

Matthew Bourne’s

Romeo and Juliet

A UK-wide search has been on for young dancers in training

Cordelia Braithwaite as Juliet and Paris Fitzpatrick as Romeo

Romeo and Juliet is the first new production from New Adventures since The Red Shoes in 2016, and it promises to be bursting with youth and vitality. Shakespeare’s story of teenage love gets a new twist, with the young lovers confined against their will by a society that seeks to divide and where an excess of feeling is frowned upon. “It’s a topical subject, young people’s mental health,” says Matthew Bourne. “So that was something to delve into, young people having trouble dealing with big emotions.” 14 DANCE ISSUE 487


With this production New Adventures is supporting a new generation of talent. Since April 2018 a UK-wide search has been on for young dancers in training aged 16–19. They received over 1,000 applications, from which 400 teenagers auditioned. The final cut of 80 join the company across 13 venues. Many of the young dancers who have been chosen are ISTD trained, so we caught up with four of them to find out more.

DANCE #DanceInspo

Órla Baxendale Performing at: Birmingham Hippodrome Training: Alvin Ailey and Elmhurst Ballet School


he auditions came to my attention through the internet whilst I was searching for different things to take part in. I am always very interested in what is going on with New Adventures so when I saw the new casting for young dancers I put my application in straight away. As I was in my last year of training at Elmhurst Ballet School, I really wanted the opportunity to gain experience and confidence on stage, and Matthew Bourne’s New Adventures is what first inspired me to become a dancer after watching Edward Scissorhands, also it is my favourite dance company so I thought why not give it a shot. It really was the most rewarding experience I’ve had during my career and training so far. It also made me feel like all the effort and time I’ve put into dance classes was really starting to pay off, and it was a chance to make my parents proud of me. It’s such an amazing opportunity, and I am so thankful to be a part of this new production. I know that Matthew Bourne really likes his dancers to be very versatile, and not only dance but also be able to tell a story through their movement. From a young age I’ve always enjoyed acting, which is something I feel I bring well to my dancing. Bourne’s shows tend to come with a twist, like the gender switched Swan Lake, so especially in the creative part of the auditions I tried to do something different from the other dancers, which would really make me stand out, so it must have paid off. I have taken ISTD exams in Classical Ballet up to level 8, Tap to level 6, Street Dance to level 5, Modern Ballroom to level 5 and Cecchetti Classical Ballet at Advanced 1 level. I definitely think that exams can be helpful to dancers especially when you are learning new techniques. The exam process can give each dancer a goal to work towards, such as discipline, as it takes a lot of hard work to reach the technical requirement for each grade. I know for a fact that exams helped increase my own self esteem as it helped provide me with strong technique, artistry and quality of movement in each genre, which I have carried with me throughout my years of training and it really helped me reach my goals of improving. Whilst I was on the CAT (Centre for Advanced Training) programme at Northern Ballet Academy in Leeds, my school director Yoko Ichnio chose me to perform in my first ever Contemporary piece, choreographed by Kenneth Tindall. The process of working with Tindall really inspired and helped me to explore the different ways I could use my body as up until that point I had never really been exposed to the Contemporary Ballet world. More recently I would say the Contemporary teacher I have been taught by at

The Ailey School, Michael Thomas, has really shaped me into an even better dancer. I have personally never participated in any Ballet competitions as I started this technique at quite a late age, however before I started Ballet I took part in many Irish dance competitions, which definitely helped my Ballet posture. I took part in the Irish dance world championships and this helped me decide that dancing was what I wanted to do as a career as I just loved the buzz I got from being on stage and all those people watching me (even though I was being judged). The competitions also helped me gain so much confidence to get myself on stage and to not worry about what people thought of me, as it was where I believed I belonged. This experience of dancing with New Adventures will help me to see the ins and outs of how companies work on a day-to-day basis, as I don’t think people realise actually how much work is put into creating a whole new production. I will learn a lot from watching all the professionals dance and how they work with each other on stage, and hopefully will be able to take away some of their attributes to all other auditions I take part in so I can be like them one day. So far I have had to learn how to pick up choreography quickly, especially because Bourne’s work is very intricate and the whole company has to be in time with each other, so I am looking forward to being pushed to my limits every time I perform in Romeo and Juliet. My main goal in the future is to be part of a dance company. It has been my dream for a very long time and being part of this production brings me one step closer to my goals, so I am extremely grateful for this opportunity. I would also love to explore the acting world in the near future as I feel like that is something else I thrive at.

I know for a fact that exams helped increase my own self esteem

Atlanta Hatch Performing at: Wales Millenium Centre, Cardiff Training: University of Cambridge


heard about the auditions through social media, so I clicked on to the website and had a good look at what it was all about. I had seen that they had something in the works for a few months prior as they had been advertising for a choreographer and design team. I was hoping they would advertise for dancers but probably wasn’t really expecting that. I trained for a year at Trinity Laban in Contemporary dance after I finished school but I realised it wasn’t for me and I really just wanted to study English so I applied to Cambridge, got my place and I’m now there reading English. I’ve just done my first year. I have absolutely loved New Adventures for as long as I can remember. I’ve always gone to see all the different shows. I thought I’d love to be a part of this and it is such a good opportunity to work DANCE ISSUE 487


Taking part in the ISTD Grandison Clark and Janet Cram Awards has helped me with confidence levels Jaimie Tank


Cordelia Braithwaite as Juliet and Paris Fitzpatrick as Romeo

Romeo and Juliet is still being performed at the following venues during September and October this year: • Theatre Royal Norwich on 3rd–7th September • Birmingham Hippodrome on 10th–14th September • The Marlowe Theatre Canterbury on 17th–21st September


• Mayflower Theatre Southampton on 24th–28th September • Theatre Royal Nottingham on 1st–5th October • Theatre Royal Newcastle on 9th–12th October

DANCE #DanceInspo

with these people even if it is just for the audition day. I think I’m at the age now where I just want to give things a go and I’m really glad that I’m confident and brave enough to do that. Once I got there it was a lovely environment and not at all nerve-wracking. It was the best feeling to be chosen. I remember when I got the phone call it was a number that I didn’t recognise and as soon as I heard it was Paul from New Adventures I said to him “I’m nearly in tears, this is the best news ever”. It was amazing as the standard they were looking for was extremely high so to have been picked from all those people was a really great feeling. I was absolutely over the moon. I felt like all my dreams had come true. I’ve done a lot of theatre and drama. At university I am doing a lot of acting and directing so I think possibly that helped. New Adventures is an unusual combination of dance and acting and story telling, which is such a fundamental part of their work. And doing things like theatre studies A-level makes you brave enough to do the acting and facial expressions. I think I was a lot better prepared to respond to those tasks having done a bit of drama and theatre. I have taken ISTD Tap exams up to Intermediate and learnt the Advanced 1 syllabus. I have also taken ISTD Modern Intermediate and Ballet Intermediate examinations. I do think dance exams are helpful. I was at a dance school initially that didn’t really take part in any festivals so exams were a really good opportunity for me to perform and dance. Obviously there is an element of stress but I always really enjoyed the exams. It was a chance to perform the material in a different way from when you are just doing it in class with your teacher. When you begin to take open classes it is really good to have that basis of working really hard on your technique because otherwise it is very easy to forget about that when you are trying to pick up material very quickly. In the ISTD Intermediate Ballet I really enjoyed the free work. Out of all my exams that one had the most set by the examiner on the day and I never really had to do that before. That really prepared me very well for open classes because I know the terminology. I am very lucky to have had a dance teacher at my secondary school from age 11 till 17. She was the most incredible teacher who really pushed me towards dance and drama as well. She was a really inspirational teacher who really wanted me to get the best out of everything. And then I also had a very good Ballet teacher who took me from 16 to 17 and absolutely turned my technique around.

Christian Knight Performing at: The Curve Theatre, Leicester Training: Addict Dance Academy and Dupont Dance Stage School


y mum saw the article about the auditions. Then the day after she’d shown me, I went to see Swan Lake at a local theatre and seeing the dancers there, I felt like I could do it, and

that there would be room for me in a production like that. So that gave me the confidence to audition for Romeo and Juliet. When I got the email to say I’d been chosen it was amazing. It was a dream come true, and a nice surprise. I think I got it because of my training. I’ve taken my ISTD Advanced 2 National and Greek and I am currently taking my Advanced 2 Modern and Tap. Exams are so helpful. Being under pressure in a room in front of an examiner, it’s like a mini audition. The experience of participating in the ISTD Grandison Clark and Janet Cram Awards has been great for working as a team. At Janet Cram there are not only solos but also duets and trios. Working with New Adventures, I’ve learned about how to work as a company and working with Matthew Bourne is really inspiring. It’s great to see how a company works on a day-to-day basis because I’d never seen that before. In the future I’d like to be on the West End and Broadway. And I’d like to set up my own dance school or college.

Jaimie Tank Performing at: Theatre Royal, Nottingham Training: DuPont Dance Stage School


was scouted for Romeo and Juliet by a member of The Curve. I had the confidence to audition because over the years I have been told that I am a good dancer and I just wanted to prove to myself that I am. It felt great to be chosen out of all those dancers and it was a confidence boost. I really felt I’d achieved something. I think I got it because of my rawness and my soul and passion for dance. I’ve taken ISTD Tap Grade 2 to Advanced 1 exams and Modern Grade 3 up to the Advanced 1, which I’m currently taking. I’ve also got Classical Greek Grade 2 to Intermediate and National Grade 1 to Intermediate. Exams are helpful for your development because when you reach the next level in the grades the difficulty increases, so you improve. I’d have to say all of my dance teachers have helped and inspired me, just because they are all so different. Taking part in the ISTD Grandison Clark and Janet Cram Awards has helped me with confidence levels because winning is such a big achievement. Winning the Premier section of the Janet Cram was a big success. It felt amazing to do that because it is such a big section, with incredible dancers. It’s the same with the Grandison Clark Awards. There are so many amazing dancers and big sections, so it’s really rewarding. Dancing with New Adventures will add a level of maturity and make my dancing grow more. I’m open to trying different things as I grow as a dancer. In the future I would love to go into a dance career and then when I’m older become an adjudicator and examiner. Visit for a full listing of all the young dancers taking part in Matthew Bourne’s Romeo and Juliet. DANCE ISSUE 487


C H A N C E TO DA N C E Reports from ISTD teachers who have taken part in the Royal Opera House’s flagship programme for broadening access to Ballet


hance to Dance provides access to Ballet and its transforming benefits to primary school children, particularly those from less privileged backgrounds. After running successfully since 1991 in London boroughs and later in Thurrock, Essex, the Chance to Dance programme has been reviewed and refreshed, resulting in a new delivery model and is now run by the Royal Opera House and The Royal Ballet in partnership with The Royal Ballet School. The collaborative delivery works with private dance schools and state primary schools outside of London. During 2019 the new programme has been delivered in Thurrock and the surrounding areas of Essex. In issue 484 of DANCE we published an article about the project and how the ISTD had been invited to partner with the other organisations as they roll out their newly designed Chance to Dance programme across England. Five ISTD teachers have worked in partnership with them over the past year to deliver Chance to Dance, which included a professional development programme co-designed and co-delivered by Royal Ballet dance artists and practitioners from The Royal Ballet School. It has also included mentoring by Royal Ballet dance artists, with a focus on introducing Ballet to children in local primary schools


and influencing positively on the teachers’ practice in their own private dance schools. We caught up with our five teachers to find out more about what the project has meant to them.

It’s been a successful first year for the new Chance to Dance programme. I am delighted to have worked with such a talented team of dance artists and their openness and generosity to share and explore creative teaching practice has made this year a fascinating and very enjoyable journey. It’s been a joy to see the children responding positively to the programme and so many are keen to continue dancing. I am feeling very positive about the future of Chance to Dance and look forward to working with the ISTD to develop the programme in the next year and beyond.” Ruby Wolk, Ballet Learning and Participation Manager, ROH


Above (L & R): The final performance of The Firebird and the Egg Right: Mark Allison teaching primary school children alongside ROH Lead Artist Bim Malcomson during the Chance to Dance Easter School, held at The Royal Ballet School

The children have really taken to learning Ballet as a new sport

MARK ALLISON, JUNIOR MASTERS | Belmont Castle Academy It was another ISTD teacher, Diana Clifford, who first made me aware of Chance to Dance. I got in touch with Ruby Wolk at the Royal Opera House and she said she’d love me to apply. So far the thing that I’ve realised is that the children have really taken to learning Ballet as a new sport. We’re doing it in such a creative way, exploring movement and where that movement stems from. That is what I really enjoy about the programme. It is lovely to see the children working creatively. We have been allowing them to explore their own movement vocabulary and

create their own movements. It is interesting to see who has got that natural flair for dancing. It is a really inclusive way to dance and the teacher and student have as much collaboration as possible to create good movement material. The project itself is brilliant and next year we will be refining and fine-tuning what we’ve done this year. We’ve got such a strong team that are really behind it. It is very exciting to see the final performance of The Firebird and the Egg and see what everyone else has done and how it all comes together.




YVONNE BROWNE, DANCE2DRAMA | Tudor Court Primary School The CPD training days that the Royal Opera House provided for the Chance to Dance programme were invaluable. Working with the whole team has been brilliant. It has been inspiring going into the school and seeing children who have never had the chance to dance before taking part, especially so many boys who have loved the opportunity and are now inspired to do further dancing . We’ve had very good feedback at the school and they’ve been asking for an after-school club as well. My dance school is quite close to the school so we should be able to organise this. The children have so much excitement about doing the final show. Ever since the Easter School they kept asking when they could perform their dance. The feedback from the teachers has been very good because they have noticed that doing the dancing has really settled the children. The teachers have been amazed at how calm and concentrated they are in the class and how it has helped them. It makes the children feel part of a group as well, and builds their confidence. When they first started the workshop they were doing Swan Lake. So, for example, they’d all pretend to be the evil Von Rothbart or the cygnets and then they would pretend to be in the royal courtyard. So they were learning the whole story and getting into

Below: The final performance of The Firebird and the Egg

character and then they had to give their own interpretation of it as well. After that we were doing creative classes, getting them to do things from the corner – different movements and making a shape. And they also had to work in partners. With the encouragement we’ve been giving the children they can see that dance is something they can do. For them to see that they have created something themselves is a great achievement for them.

The feedback from the teachers has been very good

Right: Yvonne Browne teaching primary school children during the Chance to Dance Easter School, held at The Royal Ballet School




DIANA CLIFFORD, ACS DANCE | Warren Primary School Experienced ISTD teachers with a track record of taking children through to vocational level were visited and interviewed by staff of the Royal Opera House (ROH) who came to see us at our schools. We underwent CPD training on teaching skills and creative community dance, which all took place at the ROH, which was wonderful. Our lead artists took the workshops and became our mentors. Each pairing was assigned a primary school and did workshops over the period of three days within the school. Finally, an assessment panel from the ROH watched us teach the children and selected 20 children to go forward to the weekly school workshops at the primary schools from February to July, including the Easter School and the final performance of The Firebird and the Egg in the Linbury Theatre at the ROH on 29th June. We collaborated during our final CPD weekend to plan our new Firebird story and divide the dance pieces up. We then had workshops with the children over a period of one week at The Royal Ballet School in Covent Garden. The dance content was created by the children themselves and then steered by us, very much working on a creative community, Contemporary dance model. At the end of this process in July, two children from each primary school were selected to receive free tuition to attend each associate artist’s own dance school for the period of a year initially. I got a lot out of the project and it rejuvenated my creativity. We benefitted from 10 days of CPD at the ROH, with inspirational teachers in a beautiful building. It’s nice to get back some inspiration rather than giving it out the whole time. I spend a lot of time giving that to other students and dance teachers when I’m training my students for the DDE. It’s good to re-charge my own batteries. I go out one morning a week and teach a class at Warren Primary School, which is in Thurrock. It’s a creative dance workshop, very much based on the Laban community dance method. That was all very new to me and the other dance artists. It’s a completely

new way of working, and good for children who’ve never had any formal dance training. In order to introduce the children to Ballet they were taken to a theatre, where a few Royal Ballet dancers demonstrated sections of Ballets such as Giselle. Some were in period costumes going right back to Louis XIV, along with some sword fighting from Romeo and Juliet to show the children what Ballet was and try to inspire the boys particularly. We used Swan Lake as our resource for workshops initially to find the children who were going to go forward to do the weekly workshops. They made up little sequences as characters like Baron Von Rothbart, Odette and Odile. We’d shown them video clips and photos and they’d seen the production so they were characterising. At the Easter School we introduced the concept of The Firebird. The lead artists and associate artists discussed how we were going to interpret that story. The children dance with principal dancers from the Opera House, and Dame Monica Mason, former Director of The Royal Ballet, dances the immortal Kostcheï, which is very exciting. Each of the primary schools involved creates their own section, so when we get together it goes in order. We do a very basic run through of what we’ve created at the Easter School, which parents come to watch. Final rehearsals take place over a couple of days prior to the finished performance. There are five groups of roughly 15 to 20 children each. Some of the things we’ve done in the CPD really cross over with my tutoring the DDE. You get some gems of information and the backup of the Opera House is superb. It was great going into the canteen with famous dancers eating their sandwiches. One time I was sitting there and heard a call for Mr Plácido Domingo to please come to the door. I really thought ‘pinch me, I’m here working at the Opera House’, it was very inspiring.

I got a lot out of the project and it rejuvenated my creativity

Diana Clifford teaching primary school children during the Chance to Dance Easter School, held at The Royal Ballet School




The children have totally embraced it

HELEN CRIDLAND, ESSEX DANCE THEATRE | Kenningtons Primary Academy The whole thing has been lovely in terms of the professional development for me personally, working with other dance teachers as well as with our mentors and everyone who is involved in the project. They are all awesome. It’s given me a freshen-up in many respects. This is wonderful and has a knock-on effect on the students that I’m teaching on a day-to-day basis at the dance school where I work. It has been lovely to work with the primary school children because they are new faces, they are young, they are enthusiastic, and they are all really enjoying it. The children have totally embraced it. Some have done ballet classes and lots haven’t. The feedback from them has been how much fun it is. I think for those who perhaps do go to a Ballet class and think they know what Ballet is they still just get on board and get on with it because there are things they recognise and there are also moments that are really creative and free and a bit different from that traditional Ballet class setting, although I think things are changing in general. I have been quite amazed by how receptive to the creative tasks all of the children that I’ve been working with at Kenningtons have been. Even down to those first workshops that were for everyone, before we’d gone through the selection process and selected the children who were going to be doing the weekly classes and the show. They all got stuck in on whatever it was, whether we were creating magic spells, having to use our body to create a spell or being the result of that spell, they just do it, they don’t ever question it, it’s great. They enjoyed the production put on for them by The Royal Ballet. There was a great atmosphere there. Having those professional dancers on stage for the children to see the things they 22 DANCE ISSUE 487

can do was really wonderful and you could feel the excitement. It was interspersed with information from Ruby Wolk and David Pickering about the history of Ballet and taking the children on a journey to switch on their imaginations and enter this fantasy world, which you can then carry through into class. You can then refer back to what they’ve seen in terms of watching those Ballet dancers, and say: “Remember when we saw those dancers and how tall they were and how they held themselves”. It helps them with those ideas of posture and how they need to use their bodies when they are dancing. It is so vivid in their minds when they have seen it in real life. It’s not a video, and it’s not something on the television, it’s someone in front of them in quite a small theatre. So you’ve got that real connection to the dancers and what they are doing. It was lovely. We have a few weeks of still trying to keep it really fun before the show, but also making sure we get the piece looking nice at the same time. You’ve got a mixture of excitement from the children and then those few who are also a little bit apprehensive about what it will be like. Some of them may not have done a performance like that on a stage before. We go through the process of having a weekend of rehearsals first and then rehearsing the piece each week in our classes. It’s an amazing experience for the children. It is a lovely project and very positive and uplifting. It has been well managed and well organised, with a good support team. The programme is developing as it goes along and I am sure it will continue to develop and change. Above: Helen Cridland teaching primary school children during the Chance to Dance Easter School, held at The Royal Ballet School

Above right: Despina Kefalidi teaching primary school children during the Chance to Dance Easter School, held at The Royal Ballet School



as a stimulus. It has also helped me with my syllabus classes and how to approach and tackle some of the more challenging content. Overall, it has been a great experience, which I believe would benefit other teachers and I look forward to taking part next year.

The Chance to Dance performance of The Firebird and the Egg was a wonderful testament to the talent, commitment and creativity of the children and the inspiring team of dance artists who have led them on a journey of discovery to create their own interpretation of The Firebird. It was very special to watch the performance from the wings of the new Linbury Theatre, with 130 children waiting to go on stage, the energy and excitement was incredible and that certainly translated into an electric performance! Ruby Wolk, Ballet Learning and Participation Manager, ROH


I graduated from The Royal Ballet School’s Diploma of Dance Teaching in July 2018. I trained for two years in teaching dance in educational settings, which along with the CPD courses we did this year prepared me very well for the Chance to Dance programme. I have enjoyed the project very much. It is lovely and most rewarding to see the students’ progress. You can see a big difference now from when we started back in February. When we first started, I introduced some concepts from the basic Ballet principles, for example opposition, which I felt were important for the students to understand. We’ve been working on simple Ballet steps, looking at images, playing loads of games and creating stories. The students also give me their own ideas and examples. I have noticed from the feedback forms that a lot of the children were inspired to continue dancing, including those who had never done any dancing before. They are all very excited about their performance at the ROH. I feel like I have gained a lot of knowledge and experience on how to teach non-syllabus classes, using classical Ballet repertoire

The ISTD will continue to partner with The Royal Ballet and The Royal Ballet School as they expand their newly designed Chance to Dance programme across England. Chance to Dance will continue in Essex, working with the same teachers for at least another year, until July 2020. It will launch in the West Midlands from September 2019 and will be delivered in Doncaster from September 2020.

Accessing Pathways to Training for Young Disabled Dancers

Three ISTD teachers report on their individual experiences of teaching inclusive dance Andrew from Orpheus Performance Dance Group



hat is an inclusive school? This is a question I often ask myself and seven years ago, when I began my school, I would probably have struggled to put it into words. I don’t think there is one answer. There are many definitions of inclusion and whilst it has always been something I thought of as being very important, putting it into practice is an ongoing adventure. I have found that it is about a range of inclusive principles that are universally applicable to the things we do every day. I would like to share my experience of working towards building an inclusive school and a little bit about our school’s journey and what has worked for us. By sharing some of the practices that have worked for us and which are now part of our everyday teaching lives, I hope this may inspire and help to give other teachers the confidence to become an inclusive school.


Almost five years ago our school was gifted with something very special. This wasn’t something we necessarily knew at the time. A young disabled boy came into one of my classes and he opened up something really great. The young Primary Tap students welcomed him as they would any other student, saying hello, introducing themselves and seeing a new friend. That special something that happened that day wasn’t just the smile and enjoyment on that little boy’s face, or because he was a disabled child having the opportunity to dance, it was something that every child in that room brought to that lesson. They were being inclusive and they didn’t even know it. It was just another day, another lesson and a new friend. I will never forget his mum’s response to that first lesson: “He had his first class this morning and is very excited practicing all his moves. I’m not sure the dance teacher has any idea what she has


let herself in for!” I certainly didn’t have any idea what I was letting myself in for. But nor did I have any idea what I was letting myself in for when I sat in the empty studio before my first ever lesson, hoping students would turn up, when I took that step to enter my first exam set, or nervously stood in front of a hall of glaring eyes introducing my first show. I had little experience of working with students with additional needs and I knew little about this boy’s needs. But, like every decision and building block we have added to the school, this was just another small step on our journey. The school gradually grew and with it came new teachers and new students. We had never really spoken about the inclusive nature of the school, but we started to realise this was something important to talk about. We now had students across the school with varying needs and we wanted to give every child an equal opportunity to progress. Children are naturally curious and will question difference, but children are also wonderful at answering their own questions and we soon realised everyone was different and special in their own way. Suddenly a ‘dis’-ability became an ability. When the ISTD opened up the opportunity to take part in their research project, Developing Pathways for Disabled Dancers, and someone suggested I should apply, I soon realised this was something that did matter to our school and that I wanted to explore this further. As part of the project my team and I worked with a specialist practitioner Juliet Diener, who really helped us to believe in what we were doing and to understand some basic ideas that we could implement in our practice. Below are some brief descriptions of some of the key areas that have helped us to develop as an inclusive school.

Every teacher out there is probably doing a lot more to be inclusive than they realise Building an accessible space Every student will access the space differently, so we asked ourselves about the following: • Lighting – could it be too bright or over-stimulating? • Is there a safe/quiet space for students if they are overwhelmed? • Sounds/noise level? • How do we build a familiar space? (e.g. by using the same space each week, trying to minimise change or introducing changes gradually) • What else is going on around us? (e.g. each week the Ballet students would come into our studio to collect the portable barre, by explaining to the students what was happening, suddenly this was not so interesting and more of an unsettling distraction).

Lesson planning At first building a lesson plan was daunting and I often felt out of my comfort zone about how to achieve the syllabus steps, as

Amy Bastin (right) with her mentor and specialist practitioner Juliet Diener (left) at the ISTD Springboard 2019

we would expect them to look in a traditional syllabus class. So as a school we implemented the following steps: • Why are we doing the exercise? • What steps do we need to take to get there? • What do we want the end goal to be? These steps are something we naturally do as teachers, but consciously raising these questions suddenly made everything seem more manageable. Giving myself the freedom to play around with an exercise and not be afraid to take it right back to basics.

Including the families We reached a point three years ago where we realised that some of our students with additional needs needed some extra support to be able to progress with their dance. Through discussion with the families we decided that for us as a school the best way to approach this was to introduce a new accessible class, Shining Stars. Whilst an additional half an hour a week may not be possible for all schools, this class for us has given our students the additional boost to assist in their other classes. We have also learnt that parents have a great wealth of knowledge and know their child’s needs better than anyone else. Whilst they respect our knowledge as dance teachers, they have shown me it is OK to be human and not necessarily know all the answers to inclusion.

Additional support Some students do need additional support in order to access the dance space and for many financially, accessing this support may be a barrier. We initially asked for families to join in as a support, but over time as our teachers have gained confidence we no longer needed that support. The other students are often also very willing to help out and get involved.

A whole-school approach We wanted everyone to get involved in the project and weren’t afraid to shout about it. Our team of teachers came on board. With another teacher, Esther Greaves, by my side we led our Shining Stars group and our junior teacher, Chloe Davies, came on board to support and assist. By learning as a team, we have been able to roll out our approaches in all classes across the school. DANCE ISSUE 487



Communication As a school we now all use simple Makaton signs, we introduce our classes with a simple hello and use a simple amendment to our bows. We often add in basic instructions like ‘quick’, ‘slow’, ‘stand up’ or ‘sit down’ and many of our students can now use these simple signs and have picked them up as they would a dance movement. For some of our students who are less verbal, this has opened up a whole new connection with the rest of the school. We have found it a great addition to many of our usual teaching techniques and not just for our less verbal students, it’s great for visual learners.

Building a school ethos For us the journey so far has been about instilling an attitude of welcome, respect and responsiveness, by allowing every child the widest choices possible and allowing them to exercise those choices in a way that works for them. We cannot deny that it has been a journey of both enjoyment and challenges, and one that has taken thought and time. As with any element of building a school, there will always be barriers and different viewpoints on what we should do. What we do as a school to be inclusive may not work for another school, but my journey has taught me it is OK to be brave and challenge people’s perceptions of what can be achieved. Our school still has a long way to go and I as a teacher am still learning every day, but that is all part of the fun. Whilst specialist training can really help and the experience we have had with our specialist practitioner has been amazing, any school can be an inclusive school. The children themselves are the most wonderful teaching tool and every teacher out there is probably doing a lot more to be inclusive than they realise. Whilst it is about opening our doors to disabled dancers, it is so much more too.



ollowing our involvement in the research project we have continued to work on translating the Modern and Tap syllabi for and with our learners, and it’s quite lovely to see how well the process has gone. We’ve experimented with finding new ways to approach it and we’ve been quite open with the students, which has been nice because they’ve had some input into how we approach the different exercises and how we can try new ways of experimenting with the movements. We’ve had quite a lot of input from the learners themselves. Split runs, for example, are obviously challenging for anyone with a physical disability (or anyone without a disability for that matter) so we’ve been looking at other ways we can practice stretching our legs and getting the sweeping statement of a split run. The students help us to look at things afresh and ask questions. It can be surprising how much they can help with the process. It has been really eye opening and positive. Sometimes they think of things we wouldn’t necessarily think of. We teach a range of students with different disabilities, from cerebral palsy and ADHD (attention deficit hyperactivity disorder) to those on the autistic spectrum. We also have a student with haemophilia and he has to be very careful not to do anything that could cause an internal bleed. We also have a couple of deaf students. So we have a variety of different physical and cognitive disabilities to cover.

I’m pleased with how well all the children have inputted into the whole system One of our students with cerebral palsy has recently had some surgery on her leg so she’s rehabilitating. That’s been a real challenge as she’s got a splint on one leg and is still recovering from her surgery as well. She’s been brilliant actually in helping us find different ways of experimenting with movement and coming up with different ideas. I’m pleased with how well all the children have inputted into the whole system. We have noticed a benefit for all learners, both with and without disabilities, when we look at taking movements back to the real basics. It’s actually quite surprising how much it has benefitted the non-disabled dancers just as much as it has benefitted those who do have a disability because they are taking a movement right back to the foundation and re-learning it. When you have students who are quite high achievers and really striving for the top end of the exam criteria, you find that they often want to push through quite quickly and parents are quite keen for them to get the next exam. So I was worried at the start of the process about how it might affect that end of the school, particularly because all students are integrated within mainstream classes. But this has in fact had quite the opposite effect in that it has really benefitted the whole class. It has made them all take a little bit of a step back and really understand what they’re doing rather than just pushing through and doing it because they can quite easily do the movement. It has actually Kimberly Creak, Premier School of Dance


Above and right: Kimberly Creak and students

given them a deeper understanding of what they’re learning and appreciation of what they can do. It is helpful for all students to stop for a moment and really analyse what they have done and what process they have gone through. It has helped them all integrate socially a little bit more as well, which has been really nice to see. They have had a bit more understanding for the students that do need a little bit more help, either because of a disability or due to different levels of attendance. A once-a-week student is always going to struggle more than a student attending lots of classes a week. So it has really integrated all the students in the class, which has been lovely and has had a positive impact throughout the school. Parents have also been supportive because the children have been so positive about the process and that has helped the parents to see that they are getting a lot out of the class. The parents of some of the students with disabilities have been absolutely brilliant. They have loved getting a little bit more involved. We have been trying to get feedback from them, asking them whether their children have said anything about what they have enjoyed, or was there something they found tricky. And we have given them tasks at home to do in order to tie everything together. We’ve had really positive feedback all round from the parents. We have also had some positive experiences of entering disabled students in Modern and Tap exams. One of our little girls, Brooke, is deaf in one ear, and also has ADHD and SPD (sensory processing disorder) so she finds an exam situation more stressful. But she has recently done her exam for Grade 1 Modern and came out

One of the little girls with cerebral palsy is probably one of the most musical children I’ve ever taught in my life with a high merit, so she was really pleased. It has really boosted her confidence in class. One of our little girls with cerebral palsy took her Grade 1 Modern exam. Again we were not quite sure how it would go because she doesn’t meet quite a lot of the technique criteria. But DANCE ISSUE 487



she came out with a mid-merit and really picked up her marks for performance and musicality. She was really pleased. We let the examiner know about their specific conditions on the form beforehand. For Brooke, we let the examiner know she might need a bit more reassurance than normal and more time to process what she has been asked to do. She would also need the music louder because of her deafness in one ear. The examiners have been brilliant. It must be hard because obviously they don’t know the children. The experience we’ve had has been really positive. It might not be possible for every student to enter for exams because every student is different. However, I really do think it’s positive to encourage those that can to go for it. It’s not just the technique that is being examined but also the performance, musicality, response and knowledge that often boosts marks.

It’s not just the technique that is being examined but also the performance, musicality, response and knowledge One of the little girls with cerebral palsy is probably one of the most musical children I’ve ever taught in my life. Her performance quality and musicality is astonishing and lovely to watch. It would be such a shame to tell her she couldn’t do an exam because she can’t stretch her knees properly. A non-disabled dancer may not be as beautiful to watch if they don’t have the same heart or passion to dance. It has been lovely to see the process and how happy the children have been.

Roswitha Wetschka in action, below and above right

The process has been confidence building for me too. You hope that you are doing the right thing for your students, so to have inclusive dance specialist Freya Spencer come into the school as part of the inclusive dance research project has given us a good incentive to really push forward, now knowing that we are doing things the way we should. I’m hoping that as a result it will give other teachers more confidence to carry it through into their schools and encourage more students to get stuck in with the syllabi, and not be scared to make adaptations so that it works.



e all know how to deal with people who claim to have two left feet as they are inquiring about our dance classes. We know what to say and have ideas how to help them in a class to ‘find their right leg’. But how do we respond to enquiries from people with one leg or arm? Or to people who have visual, auditory or motoric impairments, or have learning disabilities? In our vision of our Ballroom and Latin American dance classes and lessons, how much space is there for a variety of abilities? Over the decades of my Ballroom and Latin American teaching experience I’ve encountered different challenges. It started with students with sensual impairments. Twenty years ago I agreed to include the first deaf student (with 100% auditory impairment) into our group class, as it was a friend of mine who had inquired on her behalf I had to promise to partner and help her in the class. I learned to face her when speaking, to use clear pronunciation, additional gestures, the use of body rhythm to represent the beats of the music, and how to approach her. In the following social dance evening, other students started to dance with her, as we had a culture of continuous partner change in the classes and socials. So I got braver in the following class to explain to


the other students how to approach her, and included her in the changes of partners. The first student with visual impairment in our classes taught me before the class that I have to show her around the room first to help her with internal mapping, to tell the other students that she can hardly see and how to approach her. For example to bring her to the next leader when we change partners or to gently take her hand instead of offering it in mid-air. I had to learn to describe verbally in more detail what I do, and that it needs sometimes a mutual hands-on approach to allow tactile/kinaesthetic learning, for example showing a step pattern by taking the hands of a student and move them like feet. Later I could use this strategy when I was teaching a whole group of visually impaired people. So guided by the students I started to learn the benefit of meeting the students before the class (kind of a short assessment of restrictions and abilities) and to learn from the students themselves before the class and continuously in the class by trial, error and feedback, what would help them with learning and joining in the class, for example adapting the verbal and non-verbal communication and teaching methods. And I learnt how much it helps, at least to dare to take on the challenge, to have a helper in the class who would partner and assist to start with. I also learnt the benefit of prior information from another person who knew them well. It helped that I had studied and practiced psychology and used my SEND (Special Educational Needs and Disability), adapted physical education and inclusive dance class resources, nearly all in the Contemporary dance style. Last but not least I learnt that the other students in a class have the best chance to get more comfortable once they get exposed to and used to people with disabilities. For example in my 50+ class, subtitled ‘for all abilities,’ some quite abled people feel braver to join in as they anticipate that expectations are much lower. Every now and then I encountered students with restrictions in movement, co-ordination, balance, and later in intellect and development (including learning disabilities): the student who couldn’t lift her right arm and easily lost her balance, but loved Jive, which as we know relies a lot on the right arm of the follower; the students with mental health problems who always started to cry when I played sad slow waltz songs; the students who developed or came with Parkinson’s Disease and gradually lost control over their movements and for whom it was more important that everybody could join in the rhythm and the music than to do syllabus steps; and the students who had an accident or injury or hip replacement. We were walking, stepping and swinging together with a partner, if on the legs or sitting on the bench or in a wheelchair, some did proper dance steps, some just moved together in a way that felt like this dance. The highlight was when a woman asked very excited for help to get up, out of the wheelchair to dance holding on to the carer. The carer told me afterwards, that she hadn’t stood up for more than a year. In all these cases I had to adapt not only communication, but also set steps and content and the goal of the teaching. Instead of trying to teach precise Ballroom or Latin steps I started with teaching the main essence of Ballroom and Latin movement and then implant steps into this movement where suitable. I experimented with each student with a trial and error and feedback approach to see what is possible and I saw that some of the first

I started to learn the benefit of meeting the students before the class pre-exercises we do with beginners proved very useful. I used ideas from many other teachers on how to teach beginners. The essence of a movement could bring a whole group together, the option of implanting steps made a broader variety of abilities in a group possible. A little story about this from my early years of inclusive dance classes. I was covering a teacher in a class with people aged 50-plus and some students with strong learning disabilities. The latter were used to doing their own moves to the music while the others learnt syllabus steps. I set myself the goal to bring the two groups together. At first I failed as the second group couldn’t cope with the steps I taught and quickly lost interest, and I was quite lost. Only in the warm-up I managed to keep them together. But one day during the warm-up exercises we were all holding hands in a circle, stepping and swinging forwards and backwards and then sidewards to Viennese Waltz music. After this, a part of the two groups mixed spontaneously to dance Viennese Waltz in couples to Strauss’ Blue Danube. This was a mind changing moment for me and for many others in the group.

FURTHER INFORMATION For further information about the project please visit resources/istd-inclusive-dance-practice/






Tuesday 18th February EARLY BIRD BOOKINGS available from Sept. 2019

Join the ISTD at our 2020 Graduation Ceremony, as we celebrate the achievements of those who have gained a full teaching qualification in 2019.

Milton Court Concert Hall, The Barbican, London Contact Mavis Saba at For more information contact Mavis Saba at 30 DANCE ISSUE 485

for more information


H Audition dates for entry H • Saturday 16th November 2019 • Saturday 18th January 2020 • Saturday 8th February 2020 • Thursday 13th February 2020 • Friday 14th February 2020 (boys audition day) • Saturday, 7th March 2020 • Monday 23rd March 2020 (boys audition day) • Tuesday 24th March 2020 • Wednesday 25th March 2020 • Thursday 26th March 2020

• Friday, 27th March 2020 Closing Date: Friday, 24th January 2020

H Open Days H • Thursday 7th November 2019 • Friday 8th November 2019

H Upcoming Events H

Boys Days 5th October 2019 & 20th June 2020

Easter School 6th – 8th April 2020

Summer School 27th – 31st July 2020

H Our Courses H H BA (Hons) Musical Theatre (Dance)

H Musical Theatre Diploma 3 Year Course

H Dance Theatre Diploma H Pre-Vocational 1 Year Course 3 Year Course

H Find Out More H

Call: 01375 672053 Visit: performerscollege


@performers_coll Performers College is accredited by the Council for Dance, Drama and Musical Theatre.




ISTD Spring Programme 2019


his year’s Spring Programme took place at Arts Educational School, from 8th – 17th April, with one course running at Harrow Arts Centre. Over the 10 days we welcomed 339 delegates, 17 lecturers and ran 26 courses, totalling 161 hours of taught CPD. Courses included the new Contemporary Intermediate Foundation, a Swing Tap Masterclass and a number of Essential Learning courses in Modern Theatre, Tap Dance and Cecchetti Classical Ballet.

One of the best courses I’ve attended

OVERALL COURSE FEEDBACK Delegates highlighted how the teaching really clarified their knowledge of detail and movements. There was a 25% increase in the number of courses booked this year, and 95% of people who participated in the feedback rated lecturer knowledge as excellent, and a large number of comments mentioned the expertise of the lecturers. It was also noted that 97% rated their course as excellent or good in regards to increasing their subject knowledge and 99% would recommend the course.

Kept me fully on board all the way through


Ross McKim is a fountain of knowledge



Incredibly knowledgeable lecturer – brilliant manner and delivery

Great class atmosphere

Hugely beneficial for my teaching work DANCE ISSUE 487


ISTD DANCE - Autumn 2019 (Mixed comp)_JULY 2019 18/07/2019 12:04 Page 1 tel 020 7837 7741 @ldnstudiocentre

Bunheads Foot Massage Roller RRP £8.50

Capezio Dress A camisole leotard with shelf bra lining and adjustable straps RRP £37.96

Vibrant leg warmers RRP £3.95

COMPETITION WIN our dance class must-have prize bundle worth over £100

Bloch Latex Exercise Bands RRP £7.45

Simply email by 31st October 2019 with your name, address and ISTD membership number. Also include DanceDirect in the subject line

You can’t put a price on passion, but here at Dance Direct we understand how expensive a lifetime of dance can be. For the last 15 years, we have helped and supported hundreds of thousands of dancers – from children just starting out, to adults in their professional careers. Our passion is in providing high quality, affordable dancewear and accessories to the dance community. Our pride is in enabling dancers to achieve their dreams without worrying about the cost. Visit Plume Limited Edition Floral Long Sleeve Leotard RRP £29.95

Terms and Conditions: The winner will be chosen at random and contacted via email after the closing date. Entry to all competitions is free. Only one entry per person per competition will be eligible. No cash alternatives are available and the prizes are not transferable. Entry in the competition implies acceptance of these rules. We reserve the right to amend these rules at any time. The decision of the ISTD judge is final and no correspondence will be entered into.

Plume Limited Edition v Neck Velvet Detail Leotard RRP £21.95

Malaysian AWARDS 2019 Thursday 21st – Sunday 24th November 2019 Tap Awards Thursday 21st November Imperial Ballet Awards Friday 22nd November Modern Awards Saturday 23rd November



Workshops for Juniors and Seniors in Ballet, Jazz and Musical Theatre Sunday 24th November Book your students on a place at these prestigious awards via: For more info visit: the-malaysian-awards-2019

ALSO AVAILABLE TO BOOK at the same venue: Teacher Training in all 3 genres Monday 25th – Wednesday 27th November 2019 For details contact: For more info visit:

Damansara Performing Arts Centre (DPAC) H-01, DPAC, Empire Damansara, Jalan PJU 8/8, Damansara Perdana, 47820 Petaling Jaya, Selangor, Malaysia

Masterclasses & Burs ry wards



Sunday 16th February 2020

The Place, 16 Flaxman Terrace, London WC1H 9AT Join the ISTD’s Theatre Faculties for a day of student masterclasses and observation/ spectator classes for teachers, all led by dance industry professionals. Followed in the evening by the Bursary Awards.


Watch talented ISTD dancers, of all theatre genres, compete for the coveted Bursary Awards before a panel of industry experts.


Street Dance Masterclasses Saturday 26th October 2019 Mountview, London Join the ISTD’s day of Street Dance student masterclasses and teacher observations. Students aged 11 -17+ will take part in a full day of workshops led by industry professionals from leading companies based in the UK To book visit:




EARLY BIRD £5 discount on below prices if you book your place by 18th September 2019 Student (11-17+) £35 Teacher observations: Member £40 Provisional Member £35 Student Member £35 Non-member £55


Thank You to our Faculty Chairs The ISTD wishes to acknowledge the great work of all our dedicated Faculty Chairs and thank them for their enormous contribution to the Society


ver the past year I have consulted with the Faculty Chairs to review their roles and consider how best to resource the important work of the faculties in the future. The faculties should be at the very heart of the organisation – their work is, after all, the reason we are all part of this Society. Yet the development of this precious work has too often been dependant on the good will and often unpaid support of the Faculty Chairs, which is not sustainable for an organisation of our size and status. I am therefore delighted to announce that we are now able to invest in a number of salaried Head of Faculty Development posts. These new positions will take on the operational functions of the faculties, supported by the current voluntary faculty committees. I am confident that this will ensure that the Society has sufficient resources in place to drive through plans for future development and will ensure that, in future, our artistic work will be at the heart


Imperial Dance & Theatre Faculties Board Chair since 2015 and Classical Greek Dance Faculty Chair since 2002 Kay trained at the London College of Dance and Drama, where she first discovered her love of Classical Greek Dance under inspiring teachers Rona Hart and Joan Darwall. She has sat on the Classical Greek Dance Association Faculty Committee of the ISTD since February 1988 and took over as Chair of the Faculty in September 2002. Originally one of the Classical Greek Dance Association Faculty’s representatives on the ISTD Theatre Faculties Board she was appointed Vice-Chair of the Theatre Faculties Board in 2007 and on Paddy Hurlings’ retirement in 2015 was voted Chair of that Board. Kay became a Classical Greek Dance examiner in 1990, a Modern Theatre Dance examiner in 2004 and a Tap Examiner in 2018 . She was appointed to the Council of ISTD Board of Trustees in 2008. In September 2014 she became Chair of the ISTD Teachers Benevolent Fund.


Classical Indian Dance Faculty Chair since 2010 Sujata is a leading Kathak exponent and a most versatile South Asian artist and educator. She has been teaching for over four decades and has been successful in training and


of every decision that we make. Following a carefully planned transition period, these Heads of Faculty Development will replace the current Faculty Chairs and will form a Dance Department led by the new Director of Dance. The voluntary faculty committees will continue to function as they have always done, but with better support for delivering their work. I would like to take this opportunity to personally thank the outgoing Faculty Chairs and their numerous Vice Chairs for their generosity and support during this period of change. It has been a genuine pleasure to work with such talented colleagues, all of whom will continue to play important roles in the future development of the Society as assessors, committee members, examiners, panellists, teaching team members or special advisors. Ginny Brown, CEO

choreographing for professional dancers. Sujata mentors many teachers around the world and organises events to develop dance and dancers. She has her own school in North London and is the Artistic Director of the Sujata Banerjee Dance Company, which creates innovative performance works and conducts summer schools and workshops for all age and ability groups. Sujata is a trained sports scientist and has the most unique approach to training. She has worked extensively in schools and other educational institutions to develop dance in the curriculum. Sujata believes that the arts should be an important part of every person’s life and everyone should have the chance to experience it. She has been involved with the faculty from its inception and is a senior examiner of Classical Indian Dance.


Sequence Faculty Chair from 2005–2019 Jill was eight years old when she attended her first Ballroom and Latin American class. From there her interest grew and grew and at the age of 16, she became a full-time professional. For 45 years, she has run a successful school and taught a wide range of pupils – both amateur and professional. Jill gained Fellowship qualifications in Modern Ballroom, Latin American, Sequence and DFR as soon as she was eligible and was delighted to be appointed an examiner in all four styles in the early 1990s. Jill was elected to the ISTD’s Sequence Faculty Committee and served for a total of 31 years as a dedicated member and an equally dedicated Chair for 13 years. Her involvement and


experience within the world of Sequence is comprehensive. She was a successful Inventive Dance arranger and has promoted many Sequence competitive events on behalf of the Society. Jill has frequently adjudicated and lectured both at home and abroad. She has introduced Sequence dancing to numerous ISTD teachers overseas – particularly in Asia. The Imperial Award was presented to Jill in 2013 for her committed services to the Society.

JACQUELINE FERGUSON National Dance Faculty Chair since 2001

Jacqueline has always held a great interest in National Dance and has been an examiner and member of the National Dance Committee for over 50 years. She was co Vice Chair for many years prior to being elected Chair in 2001. Jacky was trained at the London College of Dance and Drama and graduated with the College Diploma in 1959. Her first teaching job was at the Nancy Robinson School of Dancing where she taught every dance genre offered by the Society at that time. Following this, she returned to London College to join the staff, where she stayed for the next 18 years. She was latterly appointed Senior Tutor and Co-ordinator of the Foundation and Diploma courses, before becoming Vice Principal. After leaving London College, Jacky was invited to join the staff of the Royal Academy of Dance where she remained for 23 years. During that time she held several different positions, including that of Chair of the Panel of Examiners and travelled extensively both in the UK and internationally to teach and examine. Jacky now works in a freelance capacity for both the ISTD and RAD. As well as examining for the RAD, she is an assessor for the ISTD Diploma in Dance Education (DDE) and an inspector of colleges applying for Approved Dance Centre status in order to offer a DDE programme. She is also a member of the ISTD Level 6 Diploma in Dance Pedagogy Programme Panel and a trustee of the Imperial Benevolent Fund. She was the recipient of the Imperial Award in 2016. Jacky considers it to be a great honour and privilege to have had the opportunity to serve the National Dance Faculty for so many years.


Tap Faculty Chair since 2019 Nick is Head of Musical Theatre and Tap Dance at Bird College in Sidcup and has been responsible for the choreography of musicals such as 42nd Street, Crazy for You, West Side Story, Curtains, Cabaret, Hot Mikado and Sweet Charity in addition to directing/ choreographing Thoroughly Modern Millie, Barnum, Promises Promises, White Christmas, Dames at Sea, Legally Blonde and Catch Me If You Can.

He hails from Portsmouth and his early training was at the Southsea School of Dancing and the Victoria School of Dancing. He then trained at Laine Theatre Arts and went on to work in West End musicals. During his training Nick worked abroad and appeared in several pantomimes throughout the UK. He has also appeared in films as well as television specials. Nick is an examiner for both the Tap and Modern Theatre faculties, examining and lecturing throughout the UK and internationally. He is part of the creative team responsible for the new Tap grades and has also been on the adjudicating panel for the Star Tap Awards, the Janet Cram Awards and the Grandison Clark Awards. He also holds the Cert. Ed Degree in Post Compulsory Education.


Imperial Dance & Dancesport Faculties Board Acting Chair since January 2019 (previously Vice Chair) and Modern Ballroom Faculty Chair since 2015 Christopher started Ballroom dancing aged nine, at Leonard Morgan’s School of Dancing, but soon shifted to study for his elementary medals with Vernon Kemp at the world-renowned Gwenethe Walshe School of Dancing, where he fell in love with Ballroom and was directed towards competitive dance. He formed his first competitive partnership aged 11, and was a finalist in the International Championships, then held for Juveniles at the Royal Albert Hall. He narrowly missed out on a top three placing. To this day, he still feels that missing out on winning one of those coveted trophies was the secret behind his motivation never to be denied an important trophy again. Christopher was fortunate as a young dancer to live in central London and developed his Ballroom skills under the tutelage of the greatest champions of the time. He also used the Pineapple dance studios, where he expanded his field of study to include Ballet, Tap, Jazz, Street Dance, and body conditioning. It was not only his participation but also the opportunity to witness the training of some of the finest dancers of The Royal Ballet and West End shows that shaped his perception of dance and his aspiration to be a dancer with well developed and rounded skills. Christopher went on to win all of the major world Ballroom championships as both an amateur and a professional, and he represented his country with pride. His crowning glory was achieving the title of World Professional Ballroom Champion three consecutive times. He now acts as an adjudicator and teacher of competitive dancing around the world. He has been invited to judge at all other major championships and is respected for his integrity in this role. He and his wife, Joanne, are also responsible for training the finest competitive couples that the Ballroom dancing world has to offer. Christopher has served as Chair of the World Competitors’ Dancesport Corporation, which subsequently developed into the World Dance Council Competitors’ Commission under his management. He also proudly represents the ISTD on many of the committees at the British Dance Council. DANCE ISSUE 487



CATHERINE HUTCHON Cecchetti Society Classical Ballet Faculty Chair since 2014

Catherine began her Cecchetti training with Rita Emmerson and Laura Wilson, and continued at London College, studying with Jocelyn Mather. She then gained a B.Ed. Honours Degree from the University of Sussex. Appointed to Leicestershire Local Authority Arts Service as Advisory Teacher for Dance, she led a team of specialist teachers in Ballet, Contemporary and Indian Dance, working in schools and developing CPD training for 29 years. As Deputy Service Manager and Head of Performance Catherine directed the Youth Dance and Ballet programme, including Dance Activate and the Leicestershire Schools Ballet Scheme – both innovative programmes to introduce primary school children, especially boys, to ballet with many going on to vocational training. She also directed a nationally recognised youth arts training and performance programme for Leicestershire schools and young people. Catherine is a freelance dance teacher and Performing Arts Consultant. She is a Fellow and Examiner and has served on the Cecchetti Faculty committee since 2005, as Vice Chair since 2010 and was elected Chair in 2014. Since 2014 she has also served as an ex officio Trustee of the The Cecchetti Society Trust and as an ISTD Cecchetti delegate representative for CICB (Cecchetti International Classical Ballet).


Imperial Classical Ballet Faculty Chair since 2010 Since graduating from The Royal Ballet School Teachers’ Training Course, Vivienne has run her own school and has worked at the Bush Davies Schools, The Royal Ballet School, Stella Mann College and Bird College. She has an MA in Ballet studies from the University of Surrey, Roehampton and has taught and lectured worldwide. Vivienne is currently Head of Teacher Training at the Momentum Performing Arts Academy (formerly Margaret Howard Theatre College) and the ISTD Co-ordinator at Bird College. She is involved in the development of the teacher training qualifications at the ISTD and is on the panel that devised the Level 6 Diploma in Dance Pedagogy (DDP). Vivienne is a Fellow and Examiner for the Imperial Classical Ballet and National Dance Faculties. She has been on the Imperial Classical Ballet Committee since 2007 and was elected Chair in 2010. She also served as Vice Chair of the Theatre Faculties Board and was a member of the ISTD Council from 2016–2019.



DFR Faculty Chair from 2017–2019 Paul was elected Chair of the DFR Faculty having been the Vice Chair for some 12 years. He is a Fellow of the ISTD, a DFR examiner, an area organiser, organiser of the Imperial Open Freestyle & Rock ’n’ Roll Championships and organiser of the National Grand Finals. He is also involved in producing the Set Dance DVD. Paul is an experienced national and international choreographer, championship adjudicator and promoter of events. He also offers a complete programme of training for the amateur medallist, competitor and professional teacher. Paul has had the privilege of examining both overseas and throughout the UK. He has choreographed works for the Royal Albert Hall and Cadogan Hall and has presented workshops and lectures for various teaching organisations and the Cecchetti Summer School held at Tring Park School of Performing Arts. Among his many achievements in dance, Paul received the Carl Alan Teacher’s Award in 2002, the Imperial Dancesport Award in 2013, the Carl Alan Award for Outstanding Services in 2014 and the Carl Alan Choreographer/Competitive Coach Award in 2017. He is the Principal of a large dance school in Surrey. Having trained many pupils for positions in theatre and dance colleges, his dancers have also appeared on television and stages at theatres in London and the South of England.


Modern Theatre Dance Faculty Chair since 2017 Tereza began her training with Joy Spriggs in North London, achieving Fellowship status with Distinction in both Modern and Tap. In America she studied at the Alvin Ailey School and further explored the rich diversity of Jazz and Tap at various studios in New York. As a co-founder and choreographer of her own company, called Overtures, Tereza created and performed in numerous productions. She has also worked with the British Theatre for the Deaf, culminating in a workshop presentation of My Fair Lady at the Edinburgh Festival. Her previous college teaching experiences include Head of Modern Dance at London College Bedford and teaching Modern and Jazz at Laine Theatre Arts. She is currently teaching at the Deborah Capon College and has recently returned to Bird College. She is also a freelance tutor for status exams up to Fellowship level and frequently examines and teaches abroad. Tereza is a member of the creative teams that have developed the Jazz Awards, Grades 4, 5 and 6 Modern and the Bronze, Silver and Gold Tap Awards, and the creation of the Advanced 2 Modern Syllabus. She is a senior examiner for the Modern Theatre and Tap Faculties and a member of the International Development Committee.



Imperial Dance & Dancesport Faculties Board Chair from 2015–2018 and Latin American Dance Faculty Chair from 2014–2018 Born in Ipswich, Julie was first introduced to dancing aged five, attending the local dance school, whose principal was ISTD examiner Olga Wilmot. It was at this dance school that Julie developed her passion for dance, enjoying a successful juvenile and junior career in both the Modern Ballroom and Latin American styles. On leaving school at 16, Julie chose to make dancing her career, becoming a full-time dance teacher and qualifying with ISTD at the age of 17. She was then awarded the Phyllis Haylor Scholarship in 1980. Julie won the 10-Dance Trophy and the Pierre Trophy on several occasions. Julie is proud to have been awarded the coveted Carl Alan award in 2016 and was the 2018 recipient of the ISTD Imperial Award. As a professional competitor, Julie was a finalist in the Closed British, UK Latin American and 10-Dance Championships and is proud to have represented her country internationally. In a varied career, Julie has enjoyed performing on board cruise ships (including QE2), and at numerous high profile social events. Julie is a former director of the British Dance Council, trustee of the

ISTD and sat on the board of the Sport and Recreation Alliance, Dance and Movement Division. In the mid-1990s Julie became the youngest ever person to be appointed as an ISTD examiner in Ballroom, Latin American and Freestyle dancing, and continues to enjoy examining both at home and overseas. In the late 1990s Julie was elected to sit on the Latin American Faculty Committee. She was later voted in as Chair. In 2015 Julie was elected Chair of the ISTD Dancesport Faculties Board. She has also served on the Governance and Human Resources Committee. Teaching and training students of all ages and abilities, whether competitively, socially or technically in Ballroom, Latin or Freestyle, has to be the most rewarding part of her life and Julie is proud to have been part of many successful competitive partnerships and champions. She is often invited overseas to teach and lecture and as an international championship adjudicator.

Outstanding Dance Teacher Training ____

Full and part time courses ISTD - Diploma in Dance Education

Imperial Classical Ballet - Modern Theatre - Tap Dance • Level 4: Regulated by Ofqual. • Graduates are entitled to apply for full ISTD membership, enabling them to enter candidates for examinations. • Graduates may progress on to DDP or the ISTD Licentiate qualification.

ISTD - Diploma in Dance Pedagogy • Level 6: Regulated by Ofqual. • UK DDP graduates are eligible to apply for Qualified Teacher Status (QTLS), • Graduates can progress on to an MA in Professional Practice at Middlesex University or the ISTD Fell Fellowship qualification. • Graduates will be eligible to teach DDE at an ISTD Approved Dance Centre.

For further details please contact: The Centre - Performing Arts College, The Studios, 75 Campbell Road, Maidstone, ME15 6PY t: +44 (0)1622 753806, e:, w:



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THE CONSERVATORY OF INTERNATIONAL STYLE AND CULTURAL ARTS (CISCA) 6 NUMBER OF MEMBERS Interview with Flora Cheong-Leen and Johan Stjernholm 241 There are several historical factors that NUMBER OF EXAMS TAKEN IN 2017 contributed to the opening of CISCA in Shanghai and Beijing. The founder of CISCA, Flora Cheong-Leen, was the first Chinese national to be accepted to The Royal Ballet School in White Lodge, London. She was then chosen to enter into The Royal Ballet Company in Covent Garden, London. Instead of continuing to pursue her career in the UK, Flora decided to return to her family home in Hong Kong. There, she danced, choreographed, and made costumes with the Hong Kong Ballet, as well as working as a television producer and fashion designer. While producing shows for television and the fashion world, she noticed that the Chinese dancers involved would benefit from a more international, entertaining, and informed approach to dance technique. Realising that she could provide something of great value to China in terms of

Public performance of The Sleeping Beauty by CISCA students, China


dance, Flora decided to start a dance school in Shanghai, where she was already professionally active. The first CISCA centre was opened in Shanghai in 2007. However, given that her mother was from Beijing, Flora also wanted to reconnect to her ancestral roots, which is why she opened a CISCA centre in Beijing shortly afterwards, in 2009. They each teach Modern Theatre, Tap, and Cecchetti Ballet. All students are encouraged to take dance qualifications. CISCA believes it benefits the children both from the perspective of motivating them to improve their dance, taking personal responsibility, and learning a foreign language, as well as giving them better potential for other kinds of study. A few years ago, the main emphasis in China was on Ballet and traditional Chinese dance. In recent years, there has been a shift towards an increasing interest in various kinds of Modern and Contemporary dance, as well as Ballroom and competitive dancing. The inclusion of acrobatics and gymnastics as part of the dance scene has also been increasing rapidly. The school encourages young dancers to enjoy their dancing, be open to new ideas, and to creatively engage in dance at an international level. The Chinese dance tradition is very theatrical, but does not emphasise personal expression and originality. Instead, traditional Chinese dance emphasises adherence to traditional form. However, dance is not only about practicing technique, but also an embodied mode of education that can benefit all aspects of life, including mind, spirit and body. At CISCA, the advice to students is to learn about modes of knowledge and practice that are contextual to dance, such as costume design, stage production, set design, make-up, choreography, and anatomy. The school’s future hopes are linked to the fact that they have two strands of training in the school. One strand is the training of dance for enjoyment, as a hobby, which is what most students do. They hope that strand will broaden the approach to dance within CISCA, engaging in a wider variety of popular dance styles, as well as giving more performance opportunities. For instance, they recently started a junior dance company, called CISCA Les Enfants, which they want to continue to grow.

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The other strand at CISCA is vocational training for students aiming to dance as professionals. For this vocational strand, they want to give the students more training in Cecchetti Ballet, Vaganova Ballet, Contemporary dance, choreography, and the ability to participate in dance competitions. The school also works to strengthen their ties with the professional dance world, giving dancers better chances for employment. One of their strategies to help with this is to run a professional dance company, Ballet Octahedron / Wu Tian Yuan, which was founded by Flora Cheong-Leen and Johan Stjernholm back in 2013. They hope that an increasing number of CISCA students will demonstrate the talent and dedication it takes to become dancers in that company, preparing them for further professional work. Flora has been working actively for two decades to enable access for underprivileged children to dance and arts education. A great number of children who have been receiving support from Flora’s extensive charity work under the umbrella of the Tian Art Charity Foundation have discovered the benefits and joy of dance.

Cedric Chan and Jennifer Tin, UK and international professional Latin finalists, trained by Hong-Kong based Lawrence Chan, ISTD Fellow and Examiner (Ballroom and Latin). Lawrence trained them to take ISTD exams and taught them when they were still dancing Amateur and Under-21 in Blackpool. They turned professional two years ago.

Tian Art Charity dance class, China

The Tian Art Charity Foundation was started by Flora 19 years ago for the purpose of helping underprivileged children, orphans, autistic, blind, and otherwise disabled people to dance. Due to its significant impact on the cultural scene in China, the Tian Art Charity Foundation has won a number of highly prestigious awards. Currently, the Tian Art Charity is actively supporting over 100 children, providing scholarships that enable them to receive weekly dance training, performance opportunities, and examinations in Ballet and Modern Theatre.


COME DANCING STUDIO ACADEMY Interview with Lawrence Chan 61 I opened my dance school in Hong Kong, NUMBER OF MEMBERS in December 1992, in order to satisfy my 1073 passion for dance and to make it my career. I NUMBER OF EXAMS TAKEN IN 2017 teach ISTD Ballroom and Latin, and advise my students to take their dance qualifications. Many dance teachers are now coming to Hong Kong from overseas and the dance population is growing non-stop. Most schools develop children’s Latin dance classes and medal tests and competitions are growing rapidly. My advice to aspiring young dancers in Hong Kong is to set your own goal and achieve your higher dance qualifications. In the future I plan to carry on organising qualifying competitions, examinations, and training. SOUTHERN SCHOOL OF DANCE Interview with Marion Knight I opened the Southern School of Dance in Hong Kong in 1996 when my daughter returned from studying at the RAD in London. She, together with one other teacher, taught the classes and I ran the school. Alongside RAD Ballet we also taught ISTD Tap and Modern Theatre. Entries were made for examination through the British Council in those days and then eventually entered for exams through ISTD Headquarters in London.

The students who attend the classes are all very keen and are lucky to be taught by Verity Barnes who is a lovely teacher and very experienced at teaching the ISTD syllabi. Verity has taught for me since 2001 when my daughter left Hong Kong and I was left to carry on the school. We have had some great years together and some wonderful students who have gained success right up to the Advanced 2 level. Not many of our students go on to dance school, which is a shame as some of them have been very accomplished dancers. Those who have gone on to follow a career in dance have left Hong Kong and gone to study in Australia, the UK or the USA. All our students participate in an annual dance show. The latest Tap and Modern show was Annie, which was a great success, and since 1997 the students have also been entered annually One of the students who danced in a recent for ISTD exams. Southern School of Dance production of Annie, Hong Kong


LISA MARIA BRITISH BALLET ARTS Interview with Lisa Johannsen-Sawamura 25 I moved permanently to Japan in 2005 NUMBER OF MEMBERS when I married my Japanese husband. After 243 teaching English and non-syllabus classes in NUMBER OF EXAMS TAKEN IN 2017 Pilates, Ballet, Modern, Jazz, Spanish and Tap in 20 different venues every week across two counties for four years, I decided it would be nice to be settled in one place and be the owner of my own school. I opened my school on 1st November 2009. We are celebrating our 10th Anniversary this year. I am currently teaching the Imperial Classical Ballet, Modern Theatre, including Jazz Awards, National and Tap genres. All my students have to do exams in Imperial Ballet and most do all four genres. I encourage them to study many styles of dance, as today’s dancer needs to be versatile above all else. It is beneficial for students



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Students of British Ballet Arts dancing in a recent school show, Japan

to study for exams in order to monitor their own improvement, and especially vocational exams, which will help them apply to dance colleges overseas if they are considering a career in teaching. The dance world in Japan is in many ways blossoming and going from strength to strength. The competition world has been thriving for many years and, because Japan is quite far from other major centres for dance in Australia, Europe and the USA, dancers are often more reliant on winning scholarships to worldwide schools and companies. There are now many excellent ballet dancers winning places with major international companies and performing all over the world. I would say that Ballet is still the major dance form here, although other genres such as Tap and Contemporary are certainly on the rise. We are a small school in a very rural area and this can be quite isolating. Therefore, I would advise any local dancers to see as much dance as possible in all its forms, now so readily available on DVD and YouTube, to study English hard as this is the main universal language, to think big, be willing to travel and interact with other cultures as much as possible. To this end, I encourage my students, where possible, to participate in the ISTD awards both in the UK and Malaysia, and also regularly take them to summer schools in the UK or Europe, as this is often their first experience of travel and other cultures. My hopes for the future are that my students will continue their training with me and that those who are serious about a career in dance will go abroad to continue their studies at a vocational college, and go on to become the future generation of dancers and dance educators. For my own school, I am hoping to increase numbers sufficiently to expand on studios and teachers. I would also, in the future, like to be instrumental in providing a full-time vocational course or college domestically, so that more dancers can study to a higher level within Japan if they do not have the means or opportunity to go abroad. THE BALLET GARDEN Interview with Miho Tsurutani When I studied at The Royal Ballet School in London, I was amazed by my mentors’ teaching skill and knowledge. They made me realise that ballet teachers need to learn more formative skills to teach, and I felt that ballet education in Japan is not as advanced as the UK. This experience at The Royal Ballet School led me to study further as a teacher after retirement from the stage, and motivated me to establish my school to pass on what I learnt in the UK. I opened my school in January 2011, teaching mainly the ISTD Cecchetti Classical Ballet. I do advise my students to take dance


qualifications. Having a goal motivates them, and it is good to work on various skills towards broader qualifications, instead of practising a specific classical solo, which quite often is the case in Japan. There are many ballet competitions in Japan, and lots of our young children have a mindset that only participating in competitions will further their training and lead them to be able to study abroad or become professional dancers. Therefore many young Japanese ballet students stand on pointe from a very young age. However, as a result of having more guest teachers and information from outside our country recently, Japanese people have started realising the importance of anatomical knowledge, safety, and the merits of learning ballet methods such as the Cecchetti Method. In Japan, I feel that we tend to focus too much on the technical aspects when learning ballet. I would like to tell my students that, as well as studying techniques, they must not forget to focus on artistry and musicality. I often recommend that my students go see a ballet performance, so that they can understand and appreciate what they are working for. I am studying towards my Fellowship qualification at the moment. In the future, I wish to establish a formal teachers course, and a professional course for students. I would also like to develop more relations between our school and British and foreign schools, companies and organisations.

The Ballet Garden in Japan

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Imperial Ballet students of Aurora Dance & Performing Arts Centre, Malaysia


AURORA DANCE & PERFORMING ARTS CENTRE 68 Interview with Suraya Ahmad Kamil NUMBER OF MEMBERS I opened my dance school in Malaysia in 1989 1289 because I wanted to do a few things my way NUMBER OF EXAMS TAKEN IN 2017 and not to follow the norm. I wanted my students to be multi-genre, yet also make it convenient for students and parents. I currently teach ISTD Imperial Ballet and Modern Theatre. I do encourage student to take exams. The level of commitment and standard of dance has definitely improved in Malaysia. There are more dance events, where schools can contribute works, providing their students with the opportunity to perform. I’d advise aspiring young dancers in my region to be consistent with training and be prepared to work very hard. I hope to offer serious students from a young age an after-school programme where they can learn and be skilled in Classical Ballet, Modern, Contemporary, Tap and Ballroom. DANCESTEPS STUDIO Interview with Shirena Hamzah I started dancing when I was eight, studying Ballet, Tap and Modern. At that age, I also started performing in numerous stage and local television productions, and by the time I was in high school, I was involved in several theatre productions and performance companies. The dance scene in Malaysia back then was still quite unpredictable, and so I decided to pursue a different degree, a Bachelor of Arts majoring in Communications with a Minor in Sociology and Anthropology in the USA, during which I also furthered my dance education in numerous independent and private studios, taking Tap, Jazz, Musical Theatre and Ballet. My Tap teacher there, Claudia Heu, was one of the most inspirational teachers I have ever had, and she really sealed my passion for dance, teaching, and choreography.

Students of Dancesteps, Malaysia

Inspired, when I returned home to Malaysia, I decided that I wanted to keep dance in my life, and opened my studio in 1999. At that time, it was located in a small shoplot, which was partitioned to have two studios and a small reception. Within a few years I expanded and took on another floor, and in 2007 I bought a bigger unit with three floors, which now has six studios. In 2017 I expanded again and now have a second branch, which is home to an in-house performance space. We teach ISTD Tap and Modern Theatre and in 2020 I am hoping to start offering ISTD Ballet. The dance scene in Malaysia is certainly more competitive and has improved tremendously since I opened in 1999. There are more platforms for dancers to get work, there are more schools for teachers to get jobs, and most importantly, there are more students coming in to pursue dance seriously and taking steps to train in order to get into dance programmes internationally. I think it is important for aspiring young dancers to do more than just one genre. My advice is to encourage them to take classes in different types of dance to be a more versatile performer in the future. I would also advise my students to take dance qualifications. I feel that there is a huge market in Malaysia, especially for Tap and Modern Theatre. There are a lot of qualified Ballet instructors, but just not enough Tap and Modern Theatre teachers in the country. Right now my studio offers classes up to Advanced 2, and also teaching qualifications. In the future, I hope to have a performance company for my students as a platform to stage dance productions showcasing our Ballet, Tap and Modern Theatre work. JOHN’S DANCE ACADEMY Interview with John Chong Sabah (formerly known as North Borneo) and Sarawak are 2 of the 13 states of Malaysia, situated on Borneo Island. It is about a two and a half hour flight from Kuala Lumpur, the capital of Malaysia. I started to take an interest in Ballroom dancing in 1985, and by 1997, my interest had evolved into a passion for the dance, which led me to qualify as a dance teacher under the ISTD. There were teachers who came from interstate to promote their business in teaching dancing, from whom I had learned to dance. However, as time progressed and my appetite for learning increased, I experienced a lot of limitations. In those days, when my interest was first ignited, there was a lack of knowledge or teachers in ballroom dancing in Sabah, and so I started attending training courses in dancesport overseas. To be able to promote and share my knowledge of dancesport with other dancers, a dance studio/school was necessary, thus I opened John’s Dance Academy in Kota Kinabalu, Sabah, Malaysia in 1998. In 1999, I started enrolling students for ISTD Dancesport examinations. I achieved my Fellowship for Modern Ballroom in 2003 and for Latin American in 2016. I teach both Modern Ballroom and Latin American dances. Normally, I would advise and encourage my students to take the medal tests first as this would give them some basics and techniques in dancesport. For those who are serious and want to have deeper knowledge of dancesport, I would encourage them, as much as possible, to take the professional examinations as these professional qualifications are important in the development of dancesport in Sabah and Malaysia as a whole.



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I have been enrolling my students from the states of Sabah, Sarawak and Kuala Lumpur for ISTD examinations for many years now. I also encouraged my students who were qualified as dance teachers to apply to be members of the ISTD so they can enrol their students with the Society direct for various examinations so that dancesport can expand. When I started dancing way back in 1985, there was only a small group of dance enthusiasts in Sabah. We would go dancing in small clubs once or twice a week. We formed the Kota Kinabalu Ballroom Dancing Association to promote our interest in the dance and as a basis for staying together and sharing our knowledge. By 2015, this had evolved, changing its name to Sabah Dancesport Association, registered now under the Sports Commissioners Office of the Ministry of Youth and Sports, Malaysia. We are affiliated with the Malaysian Dancesport Federation. I am now also training and coaching athletes for dancesport competitions on national and international levels. Since 1985, obviously, the dance scene has changed in Malaysia especially in the states of Sabah and Sarawak. Nowadays, many young children and adults are learning dancesport and participating in national and international competitions. I would advise aspiring young dancers to participate in and train for competitions, as dancesport is now recognised by the International Olympic Committee (IOC) and supported by governments. Dancesport is also good to take up in order to keep healthy, enhance self-confidence and learn social graces. The students that come through my dance studio door are of all ages, shapes and sizes, and have many different expectations. As a dance school, we hope more people, especially the young, can see the benefits of being a dancer and take up dancesport as their sport of choice. I was deeply honoured and privileged to be selected by the Dancesport Faculties Board to receive this year’s prestigious ISTD Dancesport International Imperial Award, which I received during the ISTD Dancesport Tea Party in Blackpool on 29th May 2019 (see page 70).

Dancesport students, Malaysia


GAYLIN MUSIC & DANCE CENTRE PTE LTD Interview with Agnes Ang 9 Dancing has always been my interest and NUMBER OF MEMBERS passion since I was a child. While I was at 89 High School, I took up Cultural Dance, Folk NUMBER OF EXAMS TAKEN IN 2017 Dancing, Modern Jazz and Ballet. While working as a dental technician and audit assistant, I had the opportunity to develop an interest in Ballroom, Latin American, Classical Sequence Dance, Disco Freestyle and more. In the 1980s, I started as an assistant at a dance school. The school organised numerous dance competitions and championships. Over the years, I was very privileged to have learnt from world famous dance


Agnes Ang with Anne Lingard at the World Congress in Blackpool

legends and professionals, namely: Michael Barr and his wife, Donnie Burns MBE, Sonny Binick, Gaynor Fairweather MBE, Janet Gleave, Richard Gleave OBE, Stephen Hiller, Bill Irvine MBE, Steve Powell and his wife, Peggy Spencer, David Sycamore, Lindsey Tate, Denise Weavers, and Kenny Welsh and his wife, to mention just a few. The knowledge that I had gained from them is invaluable, which I am still sharing with my fellow colleagues and pupils. In 1986 I left my day job and became a full time dance teacher. In the same year, I got to know the structured ISTD examination system from Marion Brown who was then just passing through Singapore. I began to introduce and organise the ISTD examinations in Singapore, and later, to my dance counterparts in other neighbouring countries. Over the last three decades, the visiting examiners have been very generous in sharing their knowledge and experiences with me. In the 1990s, I went to the UK to study the various dance genres techniques with Anne Lingard. Under her dedicated coaching, I acquired my dance qualifications up to Fellowships level. Later on I was appointed an ISTD examiner. I studied under Joy Weller to become a BCBD (now known as BDC) qualified scrutineer. I would like to thank everyone mentioned above for their guidance in shaping my career. In 1990 the owners of the school retired, so I then decided to take over and operate the school. What could be more wonderful than to have a career that was also my love and passion? I teach Ballroom, Latin American, Classical Sequence, Disco Freestyle, Rock ‘n’ Roll, and Western Line Dance, including the Australian New Vogue. I would advise my students to take dance qualifications. Like all the other sports, basic fundamentals are essential and extremely important at all levels of dance, especially if one wants to become a dance teacher. In the 1980s, Ballroom dancing was still fairly new in Singapore, and there was a lack of qualified teachers. Hence the standard of dancing was not very high. Nowadays, dancers and dance teachers have more exposure and learning opportunities, both locally and abroad. Moreover these days, dance schools are introducing and conducting various examinations, clinics and workshops, and organising dance competitions and championships. Thus the standard of dancing has improved tremendously. My advice to all young aspiring dancers is to expose themselves to different types of dance forms and body structure and movementrelated sports and activities, eg Yoga, Pilates, body stretching exercise, and Taiji. Balance your technique and physical dance, work hard, and ‘practice makes perfect’. My hope for the future is to continue to share my knowledge and experience with my fellow dancers and students. With the proper and correct technique, social and serious dancers can enjoy dancing more, and professional dancers can progress to the next level. Let’s enjoy, have fun and immerse ourselves in the beautiful world of dance.

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ASIA MUSIC AND PERFORMING ARTS EDUCATION (AMPA EDUCATION) AND SOUL 3 MUSIC AND PERFORMING ARTS ACADEMY NUMBER OF MEMBERS (SMPAA) 37 Interview with Teresa Hall NUMBER OF EXAMS TAKEN IN 2017 Here at Asia Music and Performing Arts Education (AMPA Education) the teacher training programme is now in its third year. We have had three exam sessions for theatre faculties and four for the dancesport faculty with Commercial Street dance. We currently have seven Associate teachers for Street Dance, one Associate Diploma and one Associate for Ballet and three Associates for Modern Theatre, with another eleven teachers entering this year. They are a diverse group of teachers from very different backgrounds, all with the same goal, to gain an internationally recognised teaching diploma to acquire more knowledge and experience as a teacher.

Students of Soul Music and Performing Arts Academy, Vietnam

I was lucky enough to have been offered the position of Master Trainer here, after working on and off for a year. I am now also Director of Dance at Soul Music and Performing Arts Academy (SMPAA) and ready to continue our mission, which is: “To give every child in Asia access to an international standard of creative education through music and the performing arts in order to develop holistic citizens with global mindsets and local values.”

with proper standards, and bring further awareness about how the performing arts can be beneficial to the well-rounded development of a child. We implemented ISTD in 2014 as an approach to supporting our mission and raising the standards of dance education. Soul Music and Performing Arts Academy is the first Vietnam-based arts institution that utilised ISTD and we began our first exams in 2015 from Commercial Hip Hop/Street Dance to Modern Theatre (Ballet and Jazz). We always encourage our parents and students to apply what they are taught through the ISTD curriculums to partake in the international ISTD dance examinations that we organise every year. The dance industry in Vietnam has been evolving for several years now. Since our birth, dance education and the understanding of creativity through the performing arts has improved. What has notably changed is the understanding of how the performing arts, specifically dance, can support a child’s growth and development, not only physically, but also cognitively, mentally, emotionally and socially. My advice to aspiring young dancers here would be to allow your passion to grow and expand. Allow dance to be a platform for you to venture into this art form so that it can allow you to understand yourself more, enhance your personal development and tap into your internal self so that you can explore and highlight your potential to the fullest. We hope to further our programme development by implementing and growing other genres of ISTD for our academy. As mentioned, we want to develop the Modern Ballroom programme including Latin American and Ballroom genres. Recently, with the Contemporary development from ISTD, we hope to implement this programme here within our academy to offer more genres as well as have a programme that is well rounded and creates opportunities for students to develop their personality, aspirations and self-motivation through genres that they can choose from. We will continue to organise examinations every year for Modern Theatre and Dancesport and we look forward to continued collaboration with ISTD specialists, choreographers, and dancers as part of projects to not only promote the ISTD but also to have both international and local artists inspire each other and have this cultural exchange to learn from one another through this art form called dance. This is my mission for our students: “Dance embodies creativity, which allows our mind, body and soul to unite for great possibilities.” This is a quote from my doctoral research entitled, The Impact of Dance on Vietnamese Youth: Their Story Told Through Adaptive Photovoice, where I explored dance and its influence on Vietnamese youth. Our vision for dance in Vietnam, along with collaboration and support from the ISTD, brought us something very memorable for our students, parents and academy when our junior dance team Young LYRICIST, was the very first Vietnamese dance group to perform at Dance Proms 2017 at the Royal Albert Hall. This was a big moment for us and we were thrilled and honoured to represent Vietnam on that internationally renowned stage.

Interview with Dr Alexander Tú Soul Music and Performing Arts Academy (SMPAA) opened in 2012 with the music department first. Then in 2014, we opened the dance programme. We teach ISTD Ballet, Jazz and Hip Hop, and in the future we plan to offer Modern Ballroom and Contemporary. We opened our academy with the vision of bringing the performing arts closer to people here in Vietnam. Our hopes were to uphold the arts

Students of Soul Music and Performing Arts Academy, Vietnam



DANCE Cecchetti


Cecchetti Choreographic Competition 2019 A review by student choreographers Martha Richardson and Hebe Salmon



he competition, which took place on 10th March, was a remarkable presentation of young choreographers’ work and gave them the opportunity to explore their imaginations and express themselves through dance, as well as developing problem-solving and creative thinking skills that can be used later in life.

The morning was filled with happiness as nerves turned into excitement


In the Junior section children were dressed as chefs, bumble bees, mermaids and pirates to aid their storytelling and communicate their joy of dancing. The morning was filled with happiness as nerves turned into excitement when dancing in front of the adjudicators Kasper Cornish (Choreography) and Andy Higgs (Musicality). Having experienced this ourselves, it is wonderful to see the bravery and confidence of all the participants, as well as how kind and supportive they were to each other throughout the day. In the afternoon, the students in the Middle and Senior sections explored more mature starting points and had a combination of both abstract and narrative subject matters. Some choreographers managed to capture the hearts of the judges and audience, including humour in their dances. The chickens in Down on the Farm instantly evoked an atmosphere of the light-hearted nature of the dance.

Senior Solo Winner: Hebe Salmon - Liminal Spaces

Richard Glasstone Award for best trio/group: Maisy Dornan - Down on the Farm


For us it was good to see how ideas we have previously approached as choreographers can be developed in new and entirely different ways, with utter originality and an awareness of current and personal stimuli. The duet Perfect stemming from issues such as homelessness, the solo Deaf, which is clearly a significant topic to the choreographer, and the duet Escaping the Screen in which the dancers confronted the audience with the side effects of the growing addiction to mobile phones. All showed the sensitivity with which these young people approach their choreography. The day showed a wonderful array of energy and lust for life, and all participants should feel immense pride in the quality of their creations, with the support of family and friends. It is evident that everyone had worked extremely hard and it makes us hopeful for the continued success of the Choreographic Competition, as it has provided so much happiness for us in the past years. Martha Richardson and Hebe Salmon

DANCE Cecchetti

Cecchetti Southern Area Awards 2019 An adjudicator’s perspective


t Patrick’s Day dawned bright and sunny and so it was a very pleasant drive down to the South Coast where I was to adjudicate the Cecchetti Southern Area Awards. The little Barn Theatre in Southwick is an ideal intimate space for this competition, which is structured particularly for the once-a-week child, as it is friendly and uncomplicated. I have not been to the competition for a few years and, although entry numbers were lower this year, I thought the standard has improved considerably. The choreography of the work was appropriately levelled, and gave the dancers the opportunity to remember their technique yet, on the whole, show their enjoyment and enthusiasm. Every dancer did their very best and presented me with a difficult task. They are all to be congratulated and their certificates were well deserved. There were a couple of memory issues from one or two dancers but I applaud them for coming back onstage and performing with more confidence the second time. This was a smoothly run and happy event and the organisers Penny Walker and Mechele Lefkaridi and the splendid team of on-stage presenters and backstage helpers are to be congratulated. I extend my sincere thanks to them for my invitation and for their kind hospitality to my husband and me. I enjoyed the day immensely. Also, on their behalf, I thank the teachers and parents for presenting the dancers so immaculately, and to Liz Hewson for her accompaniment throughout the day. Elisabeth Swan


Junior Winner Celia Jones

Senior Winner Emily Gardiner

COMPETITION WINNERS WERE AS FOLLOWS: Junior winner: Celia Jones (Teacher: Amy Heather) Wendy Gandolfi Cup: Makita Walter (Teacher: Glynis Hall) Lower Middle winner: Georgia Hinton (Teacher: Hayley Cheneler) Vacani Award: Tamsin Tullett (Teacher: Hayley Cheneler) Upper Middle winner: Poppy Tidey (Teacher: Mechele Lefkaridi & Amy Heather) Molly Caulder Shield: Bella Scriven (Teacher: Mechele Lefkaridi & Amy Heather) Senior winner: Emily Gardiner (Teacher: Hayley Cheneler) DANCE ISSUE 487 49

DANCE Cecchetti

Cecchetti Day 2019 Held on Sunday 7th April at The Royal Ballet School, Covent Garden


t was a great pleasure to welcome Ginny Brown, CEO of the ISTD, to talk to teacher members and trustees of the Cecchetti Trust about plans for the future development of the ISTD and the Cecchetti Faculty. The plans include the transition from elected Chairs to appointed Head of Faculty posts and members had the opportunity to ask questions of Ginny and the Faculty Committee about these developments. Guests then joined members for a convivial lunch where glasses were raised to toast to Eve Pettinger on the happy occasion of her 90th Birthday. Eve was not able to be present, but a card and flowers were sent to mark this special occasion. The afternoon programme began with Dr Ross McKim, assisted by Siân Hopkins and Michelle Cornelius, with a demonDr Ross McKim introducing the stration by the Cecchetti Scholars Contemporary demonstration to present some of the new ISTD Contemporary syllabus. This was followed by performances from Competition Award winners and Scholars performances. Class 1 Scholars performed Divertimento Piedi choreographed by Rosy Nevard and Class 2 performed Symphonie Classique choreographed by Elisabeth Swan. For the final demonstration, Kate Simmons, Faculty Vice Chair, welcomed Christopher Hampson, Chief Executive and Artistic Director of Scottish Ballet. Christopher rehearsed company Soloists Marge Hendrick and Evan Loudon in excerpts from his Ballet Cinderella, accompanied by Brian Prentice – a really inspiring conclusion to Cecchetti Day. Catherine Hutchon, Chair of the Cecchetti Class 1 & Class 2 Scholars Society Classical Ballet Faculty

Scottish Ballet Soloists Marge Hendrick and Evan Loudon


DIARY DATES 2019/2020 CECCHETTI CENTRE SUNDAYS, AUTUMN AND SPRING TERMS Sunday 22nd September and Sunday 27th October 2019 Sunday 5th January and Sunday 2nd February 2020 Westminster Kingsway College, London CECCHETTI CHILDREN’S AWARDS AND LET’S MAKE A COMPETITION Sunday 3rd November 2019 Westminster Kingsway College, London


CECCHETTI CLASSICAL BALLET AWARDS WEEKEND Saturday 16th November and Sunday 17th November 2019 Lilian Baylis Studio, Sadler’s Wells, London Saturday: Senior Mabel Ryan & Vocational Awards Sunday: Lower Junior, Junior & Middle Mabel Ryan Awards MALTA AWARDS 2019 Sunday 24th November 2019 Johane Casabene Dance Conservatoire, Qormi Malta

WALES AND WEST AWARDS Sunday 9th February 2020 Congress Theatre, Cwmbran, Wales CICB SELECTION Sunday 23rd February 2020 tbc Elmhurst Ballet School CECCHETTI CHOREOGRAPHIC COMPETITION Sunday 8th March 2020 Cecil Sharp House, London NW1 7AY. Open to students aged 7–18 years, solos, duets, trios and groups

CECCHETTI SOUTHERN AREA AWARDS Sunday 22nd March 2020 Barn Theatre, Southwick, Sussex CECCHETTI DAY 2020 Sunday 19th April 2020 The Royal Ballet School, Covent Garden, London For further details of any of the events listed please contact Sharon Orme. Email: Telephone: 07551 159471 or go to

DANCE Cecchetti



After a great many years of generous dedicated service, Elizabeth James has stepped down as Chair of the Cecchetti Group and from the Central Associates Committee. It was a great pleasure to mark this occasion with presentations to Liz on Cecchetti Day from Juliet Locks on behalf of the Associates, Belinda Payne on behalf of the Cecchetti Group and myself on behalf of the Faculty Committee and members. The warmth of applause from colleagues on Cecchetti Day expressed how indebted we are to Liz for her work and we wish her well in her retirement to enjoy time with Elizabeth James’ retirement presentation from her family and Catherine Hutchon at Cecchetti Day grandchildren. A number of other longstanding members of the Group, Angelina Spurrier, Sarah Bradshaw and Mechele Lefkaridi also stepped down from the Group and again Cecchetti Day was an opportunity to extend grateful thanks for their service. Group members elected Belinda Payne as the new Chair, Yolande Parkin as Vice Chair, with Claire Hern as Secretary. The Group have also had the opportunity to re-focus on their role, which currently is the vital support for three key London competition events – the Children’s Awards, the Cecchetti Classical Ballet Awards and the Choreographic Competition. Volunteer helpers are always needed on these days to help with supervising and chaperoning and for backstage support – if you are interested in supporting please contact Belinda Tel: 01992 813572 or email:

Please note that this year there is a format change of days to our annual Cecchetti Classical Ballet Awards 2019 at the Lillian Baylis Studio, Sadler’s Wells. Many teachers involved in the Mabel Ryan Awards for younger children have expressed their difficulty attending on Saturday due to their regular teaching commitments. We have also needed a very early start on Sundays for the Senior Mabel Ryan Award, which has proved difficult for those travelling long distances. On Saturday 16th November the programme will be the Senior Mabel Ryan Award in the morning and the Vocational Awards in the afternoon. On Sunday 17th November the Mabel Ryan Awards will continue with the Lower Junior in the morning and the Junior and Middle Awards in the afternoon. We very much hope that this change will enable even more teachers to support this event. Teachers' work packs are available from Lisa Hunter Tel: 01832 272981 email:

MALTA CECCHETTI AWARDS 2019 The Malta Cecchetti Awards will be held on Sunday 24 November 2019. We are delighted to announce that further to the Tanya Bayona Award, which was launched in Malta last October, a new category will be set up this year. This new Senior Award will focus on students between 13 years and under 15 years on the 1st September 2019. They must have passed Cecchetti Grade 6 with a minimum of 70 marks. The competitors will participate in an adjudicated class with set and unset work and perform a set dance at Intermediate level. Simple pointe work will be included for the girls. The Tanya Bayona Award is open to students who are over the age of 15 and under 20 years who hold their Intermediate th

ADVANCED 2 SYLLABUS REVISIONS The Revisions to the Advanced 2 Syllabus allowing students and their teachers to opt to study either Option A or Option B exercises, will be examined from September 2020. It will still be possible to enter the existing Advanced 2 syllabus until the end of April 2020 for those concluding courses of study. N.B. Please note with the new revisions it is not possible to show a combination of option A and B exercises in the exam and if entering more than one candidate in the same exam, both must show the same Option or be entered individually. Cynthia Pease has advised that when teachers are entering candidates on QUEST they should indicate clearly in the Notes Box whether the candidates will be showing the existing Advanced 2 syllabus OR the new Option A OR Option B – so the Examiner and pianist are informed prior to the examination day. The revised syllabus notes, the new music manuscript with additional music for Option A and B exercises and the CD will be available from the ISTD shop by September 2020. If you have any concerns regarding this matter please contact Catherine Hutchon, Cecchetti Faculty Chair – email:

Cecchetti examination or above. The format is a ballet class made up of both free and set work. Following this the competitors will perform a short classical solo of their own choice. The winner and runner up receive a monetary award from the Cecchetti Society Trust to further their Cecchetti studies. All competitors for both Awards must be residents of Malta and/or Maltese nationals. An international adjudicator will be invited to judge the competition. More details will be available in September, but for further information, please contact the administrator Theresa Lungaro-Mifsud on


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Cecchetti Classical Ballet Awards

Lilian Baylis Studio, Sadler's Wells Theatre, London EC1R 4TN

16th & 17th November 2019

The UK Cecchetti Classical Ballet Awards 2019 brings together in one high profile event the Cecchetti Mabel Ryan Awards and, for students, the Vocational Awards.

Saturday 16th November

Senior Mabel Ryan Award (Morning) Vocational Awards including the Fewster Cecchetti and Barbara Geoghegan Awards Classes and Solos (Afternoon)

Sunday 17th November Mabel Ryan Awards Lower Junior (Morning) Junior & Middle Awards (Afternoon)

Further information about each of these awards, entry details, application forms can be found at Tel: +44 (0)1832 272981 Tickets on sale from Friday 18th October from Sadler’s Wells Ticket Office Tel: 020 7863 8000 N.B. Transaction fee applies: £3 for telephone and online bookings. No charges in person at Ticket Office

Closing Dates for entries: Mabel Ryan Awards: 12th October 2019 | Vocational Awards: 19th October 2019

DANCE Cecchetti

The Enrico Cecchetti Diploma The making of the film by Diane van Schoor


s Artistic Director of the Cecchetti Legacy Project, I worked with a wonderful team of professionals: Ross MacGibbon, film-maker and producer par excellence; his team and Roland Thompson, accompanist. Kevin O’Hare CBE, Director of the Royal Ballet gifted the use of Diane van Schoor the studios to the project and Philip Mosley, Artistic Scheduling Manager, co-ordinated studio space – the beautiful Ashton and MacMillan studios at the Royal Opera House. I wanted to use dancers from the three English companies, but on comparing schedules, it was unachievable. The dancers from The Royal Ballet were: James Hay, Chisato Katsura and Romany Pajdak and from Birmingham Royal Ballet: Ruth Brill, Laura Day, Brandon Lawrence and Lachlan Monaghan. Their level of commitment just cannot be adequately expressed and our gratitude is impossible to articulate. Ross persuaded me that it could not be a legacy, heritage project without including what he referred to as ‘gems’ – the background information in Cecchetti’s work. The style of the film was therefore determined to embrace discussion, teaching, coaching and performing. It was a very long journey. However, Romany Pajdak’s quote says it all: “I urge every professional dancer to seek and study the Cecchetti Diploma as a vital means to forward expand and prolong their careers.” There was still something missing – an introduction which Dame Darcey Bussell graciously provided; an ending with both company directors ‘in discussion’ and the dancers speaking of their experiences studying this work. The accompanying booklet contains historical information and references to where some of the work may be found in the classical repertoire and remembering that not all viewers will be versed in the knowledge of the Method, there is a short history of Cecchetti and the Diploma. An additional navigational guide allows navigation either via the syllabus or via the Days of the Week exercises. After negotiation with Opus Arte (now part of the Naxos group), they agreed to produce the film. The film has been translated into Italian and due to interest from Opus Arte’s distributors, also into Japanese. Grateful thanks go to the directors of The Royal Ballet and Birmingham Royal Ballet, the Legacy Group, The Cecchetti Society Trust Chair and Trustees and the generous supporters and donors who fuelled this project from beginning to end. The Cecchetti Society Trust and the Legacy Fundraising Group are proud to announce the release of The Enrico Cecchetti Diploma. Perhaps the greatest coup for Cecchetti is the fact that the product is being sold at the Royal Opera House. It is now available priced £99.95 plus postage at: the-enrico-cecchetti-diploma-dvd-bluray.

It is my hope that the film will be a valuable teaching tool and resource for dancers, qualifying candidates and teachers and that in the words of Dame Darcey Bussell: “I hope it will inspire a future generation of dancers and teachers.” Diane van Schoor FISTD[CB] FRSA

James Hay, First Soloist of The Royal Ballet


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Cecchetti Classical Ballet

Children’s Awards London

Sunday 3rd November 2019 Westminster Kingsway College Theatre

Kings Cross Centre, 211 Gray’s Inn Road, London WC1X 8RA The Cecchetti Children’s Awards will offer in one exciting performance event, opportunities for young dancers through Let’s Make a Competition and the Cecchetti Children’s Award. Further information about each of these awards, entry details, application forms and tickets are available from: Sharon Orme, Faculty Coordinator Email: or Tel: 07551 159471 Closing Date for applications: Saturday 12th October 2019

Recreational Vocational Professional

Contemporary Examinations Intermediate Foundation Contemporary Exams are available to book from September 2019 For enquiries, please contact

apply now

ISTD Level 4 Diploma in Dance Education (DDE)

Urdang now offers all units of the Level 4 DDE Qualification in Modern and Tap Genres. The course, delivered on a part-time basis, is aimed at graduates from vocational college and professional performers who wish to gain an accredited dance teaching qualification or learn about Safe Dance Practice in teaching dance at all levels. The programmes runs one day a week with training from ISTD Examiners and committee members. For all enquiries, please email Urdang is accredited by the Council for Dance, Drama and Musical Theatre The Old Finsbury Town Hall Rosebery Avenue, London EC1R 4RP +44 (0)20 7713 7710 •

DANCE Classical Greek Dance


Classical Greek Dance Festival Finals 2019 Penny Childs reports on a magical and uplifting day The finals took place once again at the Gordon Craig Theatre, Stevenage on Sunday 12th May. Tanya Allen (Adjudicator of the main awards) and I (Adjudicator of the special awards) were lucky to have the best seats in the house. It was also wonderful to have both the ISTD Chair, Sue Passmore and the CEO, Ginny Brown with us for this special day, which is a flagship event for our Faculty. From the youngest through to the senior level competitors a high technical standard was evident. Energy and love for the genre filled the stage with musical and expressive performances throughout the day. Decisions at times were extremely difficult and close.


Credit must also go to teachers who, having inspired their pupils with their choreography, were not disappointed with the high standard of performance as they watched their creativity unfold. Themes and music chosen were both varied and innovative, clearly showing how diverse and versatile our work is. Costumes played an important part as well with many cleverly becoming an integral part of the dance. Thanks must go to the organiser, Amanda Wilkins, and the Faculty Chair, Kay Ball, as well as to the team of helpers without whom the day would not have run so smoothly. Congratulations to all those who performed so well. It was a truly magical and uplifting day. Penny Childs The results are posted online: classical-greek-dance-festival-finals-2019

DANCE Classical Greek Dance


DANCE Classical Greek Dance



cal Greek


Update on New Syllabus Book, CD and DVDs



ISTD: 803

ISTD: 803

e are delighted that the New Grades Syllabus Book (Grades 1-5 incorporating Primary Class Examination and Grade 6) is now available through the shop or online. As well as the set exercises and sequences the book contains the vocabulary for each grade and the examination format. The New CDs to accompany these Grades and fabulous new work will be out in September with the DVDs following soon after.


31/07/2019 09:55

Primary and Grades 1–6 (Ruby Ginner Method) Syllabus Book ISTD Code: 803 58 DANCE ISSUE 487

Contact the ISTD shop or buy online at

New Grades Please note that the new grades are compulsory from September 2019

DANCE Classical Greek Dance

ate d e th e v Sa

Ruby Ginner

Awards 10th November 2019 At The Venue, Milton Keynes Entry forms and information from Faculty Co-ordinator Penny Childs:


N 9 01



Available from A DANCERS WORLD

ISTD Greek Tunic 01604 634068 • Order online from

For more information contact Faculty Co-ordinator, Penny Childs: DANCE ISSUE 487 59

DANCE Classical Indian Dance


BBC Young Dancer 2019 We catch up with South Asian Dance category winner Shree Savani


I truly have rediscovered why I dance, why I love to dance and the impact it can have on an audience

Shree Savani (left) and Shreya Vadnerkar (right)


his year BBC Young Dancer returned for a third series showcasing young dance talent in the UK. The competition was open to 16–21 year olds across four categories: South Asian, Contemporary, Ballet and Street Dance. Presented by Anita Rani and Ore Oduba, the South Asian Final held at The Lowry featured two of the most popular Classical Indian dance styles – Kathak and Bharatanatyam. The finalists were judged by a panel of experts: Bharatanatyam dancer, choreographer and film-maker Seeta Patel, leading Kathak artist Gauri Sharma Tripathi, and adjudicator across all the categories, dancer, spoken word artist and director Jonzi D. The category was won by 20 year-old Shree Savani from Nupur Arts, who went on to dance a new piece commissioned by the BBC and created especially for her by leading choreographer Mayuri Boonham on stage at The Birmingham Hippodrome in the BBC Young Dancer grand final, which was won by 20 year-old Max Revell for his Street Dance piece.


We caught up with Shree to find out more about what the experience was like for her.

What it was like competing in BBC Young Dancer Looking back on the experience, I can wholeheartedly say it has been the steepest learning curve and most life-changing experience in so many ways. I learnt so much about myself and how I cope in situations, about my family and friends being such pillars of support, and also dance. I truly have rediscovered why I dance, why I love to dance and the impact it can have on an audience. By no means has it been stress-free or easy, quite the opposite. It definitely has been more of an emotional rollercoaster than I ever expected, with the highest highs and the lowest lows, but I would without a doubt do it all again – each high was amplified and I don’t think any other experience could have or will recreate those feelings or the things I’ve learnt.

DANCE Classical Indian Dance

How it felt to win the South Asian Category Final

Special teachers

It was honestly the biggest shock. I think I’d just completely shut out and forgotten the fact that it was a competition, which I think is why I just went out on stage and danced my heart out and genuinely enjoyed every minute. The fact I was able to share the stage and experience with such talented young dancers, who share the same passion as I do, was so incredible. Sharing pieces that I’d worked so hard on really meant a lot to me and to an audience who were so warm fills any performer with so much love, so to win was just a massive bonus and obviously a huge honour. I also think it’s a massive confidence boost to know that my pieces are connecting and achieving their purpose to not only the audience, but also artists on the judging panel, whom I’ve looked up to and been inspired by for many years. The thought of then going on to the Grand Final and representing not only South Asian dance, but the first person to take Bharatanatyam to the Grand Final, filled me with so much excitement and gratitude.

I have learnt from various award-winning experts like Aakash Odedra, Seeta Patel, Arunima Kumar, Pushkala Gopal and many more. I can honestly say that each artist I’ve had the pleasure of learning from has inspired me in their own way, and I can take away so many nuggets of knowledge and advice from each of them. Smita Vadnerkar at Nupur Arts Dance Academy has always been the biggest support and seeing how she spreads her passion for dance to so many people is truly incredible. Bhagya Lakshmi, my Bharatanatyam Guru is also such an inspiration to me in so many ways and definitely pushes me to always reach for the stars and beyond. Dimple Chauhan and Urvashi Patel Bhatt have nurtured and fuelled my love for dance for many years and believed in me, especially at times when I didn’t. I can see now looking back at my dance journey how much each dancer or artist has influenced my style, technique and passion for dance, most of them without even realising the impact they have had.

How ISTD training at Nupur Arts has helped

Future hopes and ambitions

I have trained with Nupur Arts since the age of six in various dance styles. I took ISTD Bharatanatyam exams up to Grade 5 and at some point, would really like to finish all of the exams in Bharatanatyam. Preparing for an exam can definitely feel tedious (I’ve been there many times). However, I do feel that dance exams are so helpful, not only for learning and developing as a dancer in physical form, but also the whole process of preparing pieces, theory, creative exercises and other background knowledge. The process of preparing and delivering the exam almost reflects how a dancer works towards a performance and delivers it to an audience, just an exam being much more intimate. Following a specific national standard syllabus that is designed to develop a dancer’s understanding and skills of the form is really helpful.

I want to fill my life with as much dance as I can. Through taking part in BBC Young Dancer, I’ve been pushed and challenged as a dancer. I really want to carry on pushing myself out of my comfort zone, as I think that’s how you can truly figure out what kind of artist you are or want to become. Working with established artists is always so inspiring and I gain so much, so I would love to continue to learn and be inspired by more accomplished dancers. I’m studying Physiotherapy at the University of Birmingham, so I’m excited to carry on learning about the body, how it moves and being able to link this to my passion of dance. The experience of going through the whole creative process myself; coming up with a concept and story, choosing music, costumes and lighting, then choreographing dance for my duet piece, Maa, was so meaningful, exciting and eye-opening. I would love to carry on performing and develop ideas and concepts into pieces of work that will trigger reactions or spark thoughts and emotions from an audience.


(L–R) South Asian Dance finalists Shree Savani, Mahika Gautam, Sundaresan Ramesh, Tulani Kayani-Skeef and Aishani Ghosh






ISTD Members: £37 • Non-ISTD Professionals: £47 Contact • • • •

Members can provide their own lunch or use the on-site café There will be no official DVD. Members will be permitted to record lectures themselves Parking on-site, with extra close by Nearest train station is Chesham, just a short walk away


Warm up, Dexi Rowland

13.30 Business lecture, HQ


Rock ‘n’ Roll – fun with the syllabus, Claire Blome

14.00 Low level Disco routines, Isla Selley

10.00 Pairs units, Joanna Bevan

14.30 Guest lecture, Gary Lloyd

10.30 Street style routines, Scott Wright

15.15 Slow beginnings to perfect end, Georgia Hussey

11.15 Polish up with Paul, Paul Streatfield

15.45 Cool down, Dexi Rowland

11.45 Silver / Gold Freestyle, Gail Henry

16.00 Set Dance DVD 2020 presentation, Paul Streatfield

12.15 Professional teacher training, Suzanne Hammond 12.45 Lunch


16.30 Finish – collect CPD and DVD






New UK-Based Examiners Wanted DA TE



Sunday 6th October 2019 Guildford Spectrum, The Parkway, Guildford GU1 1UP National Grand Finals for Set Dance and Rock ‘n’ Roll Supporting Events this year are: Street Dance Pairs and Freestyle Solo

The ISTD is seeking to appoint new UK-based examiners for the DFR Faculty. Applicants must be based in the UK or Europe and must hold the Fellowship qualification in both Disco Freestyle and Rock ‘n’ Roll. App

licatio Deadlin n e 31 st Dec . 2019




The Imperial Open



Freestyle &



1 st M

Rock ‘n’ Roll

DA TE ch




Championships Spelthorne Leisure Centre

Staines Upon Thames, Middlesex TW18 1AJ

Teachers are you an ISTD Licentiate or Fellow? The DFR Faculty Committee needs you! The ISTD is inviting teachers to choreograph a Set Dance routine for consideration for the 2021 selection 1. 2. 3. 4. 5. 6.

Submit a routine of your choosing Specify age range and level Demonstrate routine to music Then repeat broken down facing and again backing the camera Any complicated arm actions should be broken down further Submit routine on DVD and check compatibility on a standard DVD player 7. Send clearly labelled DVD in boarded envelope to Penny Childs, DFR Faculty Co-ordinator by 31st January 2020. Address: 14 Whitmore Close, Bridgnorth WV16 4LR If successful, written notes will be required. The DFR Faculty reserves the right to decide suitability.

2020 SET DANCE DVD NOW AVAILABLE Contact Penny Childs:



DANCE Imperial Classical Ballet


Senior Ballet Awards The audience and competitors enjoyed the busy weekend of 2nd and 3rd March 2019


e were delighted to welcome Helen Crawford, Martin Howland, Vanessa Palmer, Sue Passmore, Richard Slaughter and Sarah Wildor to adjudicate the Finals of the Senior Ballet Awards this year. Drew McOnie and Sian Prime joined the Panel on the Sunday to adjudicate The Pat Prime ‘Joy of Dance’ Award, which was presented for the first time. The results were published online immediately after the event: istd-news/imperial-classical-ballet-senior-awards-2019-results

their musicality. I very much enjoyed watching all the students from the UK and overseas. I took students from Grades 3, 4, 5 and Intermediate. When one of my Intermediate students made the final we were all so excited. The final was incredible with such amazing talent, you could hear a pin drop. Obviously, I was very proud of all my students who attended, but actually seeing them on the stage dancing with other Imperial Ballet students of such a high standard was quite moving. I think any experience like this is invaluable and it has been a great confidence boost for all the girls. Everyone who attended from my school agreed that it was well worth the long trip down. We will be back.

Report by Mark Allison

Sarah Wildor, Vanessa Palmer and Sian Prime with the winner of the first Pat Prime ‘Joy of Dance’ Award

Report by Emma Coombs I enjoyed a wonderful weekend in Crawley for the 2019 Senior Ballet Awards. My dance school is based in West Yorkshire and we have only recently started attending events such as this. I would encourage any teacher considering this event to do it as we found it to be such a positive experience. The event was excellent from start to finish. It was well organised and a lovely venue. I thought that all of the class teachers were excellent in both directing and teaching the students on stage – very calm and encouraging. The free exercises were lovely to watch and were performed with such wonderful stage presence by all the candidates. As it is in a theatre setting, it really encourages the students to use their artistry and the live piano enhances


Backstage at the Senior Ballet Awards was a hive of activity, seamlessly run like clockwork by a fantastic team of examiners, teachers and students. Hand on heart and perhaps to my own shame, I have to admit that prior to helping at the Awards I wasn’t particularly well practised in the art of ribbon sewing, tights repair or buns. This however, is most certainly not the case anymore. Throughout my time helping backstage I went from assisting warm-ups and ensuring all the candidates were well prepared for their classes to helping at the side of the stage, sewing ribbons and spraying down wispy bits. It was definitely an education and an embellishment to my practice. In all this however, I did have a great time helping the competitors and ensuring they were well equipped to dance their very best, and most importantly, making sure they were enjoying the process as they went. It was lovely to see all the young competitors full of joy and excitement to dance on the stage. I look forward to helping at the Junior Awards later this year, perhaps now slightly better rehearsed I think.

Report by Nia, age 11 When Ms Collins told us we were going to take part in the Ballet Awards this year we were over the moon. We were happy and honoured to be selected for the Grade 4 class. On Saturday we left our ballet school shortly after 1pm, and had to travel two and a half hours to get there. It was a long journey but we found ways to keep ourselves occupied. When we arrived at our hotel we put our things together in the room and got ready to go to the theatre, where our friends were already competing. We wanted to see the venue. Also we were desperate to support them so we watched the Grade 5 final. It was

DANCE Imperial Classical Ballet

The best word to describe the whole experience is magical Nia, age 11

Advanced 1 competitors

I really enjoyed the challenge Lucy, age 11

Advanced 1 competitors

The young competitors were full of joy and excitement Mark Allison

Grade 3 finalist

As it is in a theatre setting, it really encourages the students to use their artistry Emma Coombs



DANCE Imperial Classical Ballet

amazing and we felt very proud of our friends. Our principal Ms Collins and Ms Sadie, a teacher from our school, were there too. After we left to go to the hotel, we went for a lovely meal. While waiting for the food we laughed a lot and it was great to spend time together. Because we wanted to go to bed early to be fresh and ready for the next day when it was our competition, we left shortly after 8:15pm. The best word to describe the whole experience is magical. We would like to thank all our dance teachers, especially Ms Collins for their hard work and time they put in to teach us. We are a very happy dance family.

Report by Lucy, age 11 I competed in the awards last year, but due to the snow they had not taken place in the Hawth Theatre. I was excited to see the stage where I was going to be dancing the following day so as soon as we arrived we went down to the theatre in time to watch the Grade 5 final, which luckily some of my friends were in. The stage was huge. Back at the hotel, my two friends and I had a massive dinner. Although we tried to go to bed early, I found it hard to sleep as I was excited, nervous and full of food. I also had to resist the urge to get up in the middle of the night to practise the variation. Sunday was the big day. As I was in Grade 4 class C I had a lie-in compared to the other two classes. Once I arrived at the theatre, I signed in, got my number and headed off to the dressing room. I felt a bit shy as I didn’t know anyone in my class but as soon as I found someone who was as eager to talk as I was I quickly felt more at home. We were called to a studio for the warm-up and then, suddenly, it was time to go on stage. Being number 57 (the last of the Grade 4s), I started right at the back in the purple line but as the class went on the lines cycled round. I felt quite calm although I couldn’t feel my feet. I wasn’t sure whether this was due to nerves or the fact that I had done my ballet shoes too tight! We had to learn about four new exercises and I really enjoyed the challenge. We danced each exercise one line at a time while trying to smile and remember the steps – a tricky combination. The class finished with the variation, which we performed in threes but as I was the last dancer I danced in a pair. Just a few minutes later, all the Grade 4 classes lined up on stage to find out the finalists. I didn’t get to the final this time but I really enjoyed the whole experience and I hope I will have the opportunity to take part next year.

Celia Johnson (right) presenting the Jean Campbell Award to Vivienne Saxton (left)

Report by Isabella, age 11 When I arrived at the theatre I was extremely excited and just couldn’t wait to get started. After putting on my dainty, pink ballet shoes I started to get butterflies in my tummy, but it made me want to try even harder than ever before. Soon after, a chaperone came and took us to the changing room to drop off our things and to pin our numbers on. We then spent quite a lot of time warming up doing barre and centre work in preparation for later. Then we were taken backstage where we lined up in four rows in number order, waiting anxiously for the curtains to go up. The light suddenly beamed down on us, ready for us to start. This is what we had been preparing for and now it was time to put it into practise. I was determined to do as well as I could, although this was a completely new experience for me. First the teacher took us through an adage exercise, which we practised a couple of times and then performed with the pianist. Then we went through several other exercises and presented them to the adjudicators. This was very tricky as it was tough to remember all the steps and make it look beautiful too. Lastly, we performed the variation, which we felt more confident with as we had already learnt this before and could dance it to the best of our ability. Although I didn’t get through to the final my friend Nia did and I am so proud of what I have achieved and I hope next time to pick up the choreography faster and be able to concentrate more on my performance.

Drew McOnie, explaining what the ‘Joy of Dance’ means to him


DANCE Imperial Classical Ballet

Grade 4 finalists

Newsletter for Teachers

Committee Elections

Diary Dates

The Faculty Newsletter now includes information and events for both the Imperial Ballet and National Dance Faculties. This publication can be sent on request to any teacher via email in March and August each year and there is now no charge for this service.

Committee nominations for the Imperial Classical Ballet Faculty did not exceed the number required to make up each committee. Details of the newly elected Committee Members, commencing from the 1st September 2019, can be found in the Directory on page 97.

ANNUAL EXAMINER CPD MEETING 4th, 5th, 6th October 2019 (please do not try to book examinations for this weekend)

Imperial Ballet London Teachers Group The Imperial Ballet Committee has decided to close the London Teachers’ Group, which has been run for many years to support the work of the Faculty. The ISTD Education & Training Department are now able to provide many more CPD courses regionally and in London for both syllabus

and non-syllabus subjects. We would like to thank Gillian Farr and Elizabeth Harrison who originally arranged these meetings, Vivien Batcheldor and Pamela Sheen who continued to organise the group and all faculty members who were involved in delivering lectures.

IMPERIAL BALLET DAY INCLUDING SCHOLARS’ CLASSES 17th November 2019 Bird College, Sidcup BOYS DANCE DAY 2nd February 2020 Laine Theatre Arts, Epsom IMPERIAL BALLET SENIOR AWARDS 7th–8th March 2020 Hawth Theatre, Crawley




Sunday 27th October 2019 THE VENUE, WALTON HIGH Fyfield Barrow, Milton Keynes MK7 7WH FOR PUPILS: Grade 1/Class Examination 1 Grade 2/Class Examination 2

Candidate Entries Teachers are permitted to enter up to 6 candidates in each Grade/Class Exam

Age Limits Grade 1/CE 1 candidates must be 9 years or under on 1st September 2019 Grade 2/CE 2 candidates must be 10 years or under on 1st September 2019

Closing date for entries: Monday 16th September 2019 Please contact Julia Beattie:



DANCE Imperial Classical Ballet


Imperial Classical Ballet Day Sunday 17th November 2019 GUEST TEACHERS

Davide Camorani – Contemporary Clare Freeman-Sergeant – Repertoire and Pointe Andrew Wilson – Classical

Inspire and refresh your ideas with Imperial Ballet Scholars’ Masterclasses at Junior and Senior levels with guest teachers, teachers’ Closing date observation and Q&A sessions for applications from Teachers





For bookings and further information contact: Julia Beattie, 8 School Close, Braunston, Daventry, Northants NN11 7JD Tel: 01788 899127 Email:

28th October 2019 I £


Bird College, Sidcup, Kent DA14 4ED


DANCE Ballroom, Latin & Sequence




Sequence Success Diana Wykes reports on this year’s Medallist Festival



he Sequence Medallist Festival was a very successful day of solo and couple dancing on 9th June at Long Eaton in Derbyshire. There was a new school from Bournemouth making a welcome boost to the events but the highlight of the day was the Pro/Am Event – with a twist. The standard of both the Juvenile and particularly the Junior and Under-35 events made the judges’ task a difficult one (Martin Bird, Clare Rushby and Diana Wykes). All dancers presented good quality dancing and the Under-8s were the best at getting on and off the floor speedily and with enthusiasm. It was also an opportunity to become qualified for the Blackpool Grand Finals, as there were separate competitions for those not yet qualified as well as for the qualified. We were fortunate to have photographer Robert Whetton capture the day on camera. The serious business over the Pro/Am event boasted seven couples with a mix of partners from a Juvenile to Over-50 veterans. After an initial round, they all got through to the final, but danced with a different partner from the one originally entered. It was very exciting and the same-sex couples proved the best on the floor, bagging an All-Ladies’ first place, beating an All-Male team into second place. It was a smooth flow from start to finish with compère Jill Bush. Thanks also go to Karen Byron for providing the music, Louise

An Under-8 Sequence dancer enjoying the Medallist Festival on 9th June 2019

Sampson and to the helpers from Robert and Louise Aldred’s school. Robert and Louise always organise an efficient and well-run day, thank you. Join us next year if you want to have an enjoyable day of competition.

The Under-8s were the best at getting on and off the floor speedily and with enthusiasm DANCE ISSUE 487


DANCE Ballroom, Latin & Sequence

Tea by the Sea

Above: Guests from around the world at the annual Blackpool Tea Party at the Grand Hotel in Blackpool on 27th May

Right: John Chong, winner of the 2019 International Imperial Dancesport Award

Simon Cruwys reports on the annual Blackpool Tea Party


he Imperial Society of Teachers of Dancing held its annual Tea Party at the Grand Hotel, Blackpool on 27th of May, hosted by Society Chair, Sue Passmore and Dancesport Chair, Christopher Hawkins. Guests came from around the world, making this a truly international event. Committee members, examiners and heads of faculties were there to give a warm and united welcome. This was a chance for dance champions, teachers and current competitors alike to gather and discuss their love of dance and it was fitting that this year’s International Imperial Dancesport Award was presented to John Chong, who flew in from Malaysia to accept this coveted award for services to the Society over several decades, promoting its technique and upholding its integrity, as well as training many dancers who are now running schools and entering our examinations. (Turn to page 45 to read an interview with John Chong.)


New UK-Based Examiners Wanted

The ISTD is seeking to appoint new UK-based examiners for the Latin American, Modern Ballroom and Sequence faculties. Members applying for a Sequence examiner’s position should have the intention to continue to gain the same status in the Ballroom and Latin faculties if they haven’t already. Please note that examiners cannot be finally appointed until they have a Fellowship qualification in both Ballroom and Latin American. Applica tio Deadlin n e Application forms from Gemma Ward: 31 st De c. 2019 THOSE WITH FELLOWSHIP STATUS ONLY MAY APPLY.


This was also a great opportunity to give thanks to the members for their support and for continuing to promote the ISTD far and wide. Speeches given by Sue and Christopher were well received, which talked of our ambitious projects for the future as well as on-going collaborations, all vital for continued growth in our artistic, educational and mind-and-body-benefitting business. With tea and sandwiches aplenty the mood around the room was one of high spirits. Catching up with friends and making new acquaintances all added to this clear sense of direction and a positive vision for the future. Congratulations must go to all involved for the organisation of such a successful event.

The mood around the room was one of high spirits

Inventive Sequence Dance Competition I was invited to be one of the judges at the Sequence Inventive Dance Competition on Sunday 17th March 2019 at West Park Leisure Centre, Long Eaton, Derbyshire. The day started with the 3-Dance Event: Juvenile, Junior, U/35, O/35 and O/50. Fellow judges Louise Sampson and Kevin Page joined me and there was an excellent standard in all grades. The audience was appreciative and supported the competitors. By mid-morning the hall was packed for the first round of the Latin Sequence Inventive Competition. We were joined by Murial Adren and Julie Earnshaw to judge the inventive sections. There were 11 entries in the Latin section and

the winners were Stuart Perry and Beverley Howard with their Hylton Jive, a very danceable routine with some interesting amalgamations. In the Modern section the winners were Barry Earnshaw and Beverley Murch Fowkes with Sierra Foxtrot, which was stylish and elegant. The two winners were popular with the audience. Anne Lingard presented the trophies. Both Stuart and Barry, aided by their partners, taught their dances clearly and professionally. Compere for the day was Jill Bush who kept the proceedings flowing efficiently. I would like to thank the Sequence committee for inviting me to judge. Lee Williams

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Janet Cram AWARDS FINALS 2019

The Modern Theatre Faculty would like to say well done to all competitors who took part in this year’s Finals on Sunday 2nd June 2019 at The Greenwood Theatre. The results are published online: modern-theatre-janet-cram-awards-2019-results/


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For over 60 years the Janet Cram has been the highlight of the Modern Theatre Faculty calendar



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The Fund offers support to deserving members and their dependents worldwide, whatever their age, who need help at certain times in their lives. If you need our help, or know of anyone who does, please get in touch.

To make a donation or leave a bequest in your will, please visit: 76 DANCE ISSUE 487

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National Dance of Bulgaria Music The main instruments used are: the gaida, a kind of bagpipe, the kaval – a type of flute and the dvoyanka – a double flute. The gadoulka or rebec, which is a stringed instrument and the tamboura – a type of mandoline. Drums too are very important, and it is interesting that a light sound is made with the left stick and a heavy one with the right. The high standard found in the numerous dance groups is probably due to this degree of musicianship both in the performers and instrumentalists. It is interesting to learn that in the training colleges the dance instructors and choreographers have to learn to play a musical instrument. This valuable asset enables them to read a score and observe the correct interpretation of the music instead of ‘bending’ it to suit the dance technique, which unfortunately is far too common in some other countries. Many composers base their themes on folk melodies such as Dvorak or Janacek in the Czech Republic, Kodaly in Hungary, Grieg in Norway, Holst and Grainger in England. In Bulgaria the most famous are Krasimir Kyurkchiyski, Lyubomir Pipkov, Georgi Kostov, Pancho Vladigherov, Vassil Kazandjiev, Mrin Goleminov, and others. Bartok although a Hungarian was so fascinated by the Bulgarian rhythms he wrote a famous suite based on their traditional melodies.

Steps and Style The technique of the steps is not difficult but the speed in which they are executed and the complicated rhythmic structure can make them appear quite spectacular. The steps are usually small and with the feet kept near to the ground. The men’s steps are very different and may be lifted. Flat leather sandal type shoes are

most commonly worn; but a stronger heeled shoe can be found among agricultural workers. Each district varies a little in style: the quick shaking dances are found mostly in the Shopski area, and in the west. Dances with beats and stamps are popular around Varna and the eastern part of the country. The dances from Thrace are slower and more solemn but those found in the western region of this area tend to be similar in style to those of Shopski. In the Pirin (Macedonia) region the dances have much in common with those of their neighbours in former Yugoslavia. These dances begin slowly and increase in speed. In the north the dances are usually quick and energetic and reflect the Romanian character and that of Serbia. The dances from Dobrudjan are performed at a more moderate tempo but incorporate arm and shoulder movements. Most Balkan countries use characteristic shaking movements: but they vary in style. In former Yugoslavia they are very relaxed and used chiefly to show off their jewellery and coins on their costumes. In Romania they are small and sharp. In Bulgaria they are strong and emphatic with a downward action. This movement is believed to show the strength and resistance of the Bulgarian people to the domination of the Turk. It can also be interpreted as representing the flight of birds, especially that of the eagle. The traditional dances described here are in their basic form as danced in the villages. When presenting these dances to an audience the basic step sequences should be maintained but interesting and intricate floor patterns may be devised. This article is reproduced from the original book, Dances, Music and Costumes of Bulgaria by Helen Wingrave and Robert Harrold. Costumes drawn by Phyllida Legg. With kind permission of The Estate of Robert Harrold.

The arts are well represented in Bulgaria Right: These costumes are from the Sofia district. The woman wears a sleeveless sukman over a smock. The sukman can be black or blue with white embroidery. The smock is white, embroidered in red on the sleeves, hem and neck line. The flowered headdress has a red chin strap. The stockings are black, white or patterned in black and white. The leather belt has a silver buckle. The man on the left wears a black or blue short sleeved jacket decorated with white braid. The long sleeved white shirt is embroidered in red on

the sleeves and neck. A wide, black and white waistband is worn over white trousers which are decorated with black braid. The man on the right wears a long white sleeveless coat over white trousers. The coat is decorated with black braid and the white shirt is embroidered in black. The waistband is black and a leather belt is worn over this and used in dancing. All are wearing leather sandals. The sheepskin hats are black.



DANCE National Dance

Below: Headscarves can be tied in various ways and can be white, yellow, blue and decorated with roses or flowers that are in season. The headdress on the left is for spring festivals and features various coloured roses and coins.

tie on skirt or bruchnik/vulnenik is finely pleated and has blue, green and white designs on a red background. This example is from the area of Vidin in the N.W. Bottom: Various examples of embroidery designs.

Below centre: A basic white smock or shirt. The design and embroidery varies from region to region. The

STEPS (The 6th position is with the feet together, and toes facing forward). R. = right. L. = left. Side and close A small step to the side keeping the feet parallel. Close the other foot to it in 6th position. During this movement a slight charleston action is made. Step hop Step on one foot and hop with the free foot lifted forward or against the ankle. The movement has a downward emphasis. Jigging step If travelling with the R. shoulder leading — hop on L. bringing R. foot up against L. ankle. Small step to the side with R. close L. to R. in 6th (usually counted 1 & 2; but any rhythm can be used). Scissor step A springing movement usually taken on the spot. Drop on to one foot at the same time swinging the


Above: The woman on the left wears a costume from Thrace. The woollen pleated sukman has bands of coloured rectangles appliqued on to the lower part of the skirt. The sukman can be black with red, blue, yellow or various coloured bands. Alternatively, the sukman can be red with a broad band of black velvet round the hem and embroidered with flowers. If the red costume is worn the apron will be black, which is embroidered with flowers and plant designs. The apron shown can be blue, black or red with a floral design. The sleeveless short jacket or mente is black and embroidered in various colours. The white smock is decorated with red embroidery. A leather belt has a silver clasp. The red hat is decorated with flowers and coins. A white silk scarf hangs down the back. A coloured scarf can also be worn as an alternative. The stockings are white and the shoes black.

The man in the centre is also from Thrace. He wears a white cotton shirt embroidered in red. The woollen trousers or poturi are brown with black braid. The sleeveless waistcoat is in a red check and ornamented with appliqued black velvet or braid. The waistband is made of red wool. White stockings are worn with black shoes.

free leg forward just off the ground and with a stretched knee and ankle. Repeat dropping on to the other foot, the straight legs passing in the air. (Like spring points in 4th, but with front foot lifted).

Weave If travelling sideways to R. cross L. over in front of R. (1) Side R. (&). Cross L. behind R. (2) SideR. (&). The rhythm can be changed according to the music used.

Twisting bounces Bounces in the 6th position twisting feet to R. & L. and keeping heels down and knees relaxed.

Arm positions and movements

6. Forward and back belt hold. In line one behind the other holding belt of dancer in front with R. and the belt of dancer behind with L. This is usually taken with a walking movement — a strong opposition twist with R. shoulder when stepping forward on L.

Dotting step A sideways movement. If travelling to R. cross L. over and in front of R. (1) small step sideways to R. with R. foot (&). Then repeat as many times as required. Inverted developpé Step forward R. at same time swinging L. leg forward and with straight knee, bend knee bringing foot in towards R. knee. Then lower it to 6th position. This can take any number of beats according to the music. It is thought that this movement might be associated with the action of the potter at work.

1. The W. hold. Arms at shoulder level and elbows slightly bent — hands joined. 2. The low V hold. Dancers join hands with arm lowered at sides. Belts used by the dancers are of leather and narrow, buckled loosely round the waist and are quite separate from the wide decorated belts and important part of the costume. 3. The side belt hold. Dancers hold neighbours belt at side of waist: L. arm over neighbours R. 4. The front belt hold. As above but dancers much closer together and holding in front of waist of the next dancer. 5. The back belt hold. Dancers again close together and holding belt behind neighbours back.

The woman on the right wears a summer costume from the north. The cotton smock is embroidered in various colours; red, green and blue. The finely pleated red woollen skirt or bruchnik is open down the front. The apron is red and embroidered in several colours. The headscarf can be white, yellow, blue or red. The stockings are red and the shoes are of leather.

Arm movements 1. A jigging action with a strong downward emphasis with either a hand or belt hold. 2. Circular forward movements with a hand grasp, as if kneading dough. 3. With arms low and not joined — wrist circling inwards then a downward push with wrists. 4. Arms low and circling round each other (as if picking corn or winding wool.) 5. Arms held forward at shoulder level, wrists bent back so that palms face forward — then passing arms alternating up and down. 6. Finger snapping.

DANCE National Dance

Teachers’ Newsletter

Helen Wingrave Award 2019


am extremely privileged to be the recipient of the Helen Wingrave Award from the National Dance Faculty this year and to have been able to attend the ISTD Summer School in Chichester. As a child I worked my way up through the ISTD grades in National, Tap, Modern and Ballet then progressed to a three-year teacher training course under my mentor, Cathi Conroy-Jones, at the North Liverpool Dance Academy. My love of National Dance grew throughout my college course, where I completed my Advanced 2 examination and continued on to gain my Associate qualification. I have now completed my Licentiate and currently train DDE and vocational level National Dance students at North Liverpool Dance Academy. I am working towards my Fellowship qualification and am excited to participate in the Summer School to expand my knowledge and develop my National Dance teaching skills. I also have a strong interest in work within the community and after completing a BA Honours Degree in Dance with Drama and Theatre Studies, I utilised my experience of National Dance to work with people delivering English Country Dance workshops. I found this to be extremely rewarding and going forward would like to continue with this line of work as it is something that I am passionate about. I would like to thank the National Dance Faculty for this opportunity. Jenna Rushton

The Faculty Newsletter now includes information and events for both the Imperial Ballet and National Dance Faculties. This publication can be sent on request to any teacher via email in March and August each year and there is now no charge for this service.

Committee News Committee nominations for the National Dance Faculty did not exceed the number required to make up a committee. Details of the newly elected Committee Members, commencing from the 1st September 2019, can be found in the Directory on page 98.

ROBERT HARROLD Memorial Day of Dance Sunday 24th November 2019 Preston College Preston, Lancs PR2 8UR

The day will consist of a 1½ hour non-syllabus class in the morning focusing on the steps and style of one particular country. It will also include learning a short solo and will be observed by two Faculty members. In the afternoon the students will perform in pairs the solo that they have learnt in the morning, in front of an audience and guest adjudicator. Medals will be awarded for both the performance in the class work and for solos.

£25.00il p

per pu

Closing date for applications: 1st November

Children will be divided into three age groups: Juniors 6 – 9years Inters 10 – 13 years Seniors 14 years & over

For application forms please contact the National Dance Faculty Co-ordinator Julia Beattie:



DANCE Tap Dance


Meet the Committee Who are the Tap Faculty committee members? Carol Ball Carol spent two very happy years early in her career at the National Theatre in Schwyk in the Second World War, as Mimi in Guys and Dolls, Mrs Coaxer in The Beggars Opera and U/S and played Young Jean in Jean Seberg – whilst there she also staged three plays. She was Anytime Annie in the original London run of 42nd Street – a role she played for five years at Theatre Royal Drury Lane. In the West End she was also in the original productions of Chicago and Hello Dolly and more recently Guys and Dolls, The Goodbye Girl and Thoroughly Modern Millie – you could say the West End is Carol’s spiritual home. However, Carol’s regional theatre work is also top level and highlights have included playing the original Mrs Cunningham in the world premiere of Happy Days the Musical (she met the real Fonz) and principal roles in Sondheim musicals Company and Follies. On television Carol has shown her natural acting ability and presence in The Bill, The Trip, Sherlock Holmes’ Smarter Brother (dir: Gene Wilder) and in Ken Russell movies The Boyfriend and Valentino. In 2013 she filmed the role of a tap-dancing tea lady in Muppets Most Wanted Disney movie. She played various characters in Ladies of the Music Hall with Barbara Windsor (BBC radio 2) and has appeared in numerous television specials, commercials, corporate training videos and Royal Command Performances.

Alison Forrester Alison, a former student of Paddy and Susan Hurlings in Portsmouth, graduated from London College of Dance with a first class diploma. She danced professionally for 16 years on world cruises and in such places as Athens, London and Las Vegas. During this time she continued to teach the ISTD work abroad, and further her teaching qualifications.

Whilst living in America, she studied with Tap companies such as Jazz Tap Ensemble and American Tap Dance Orchestra, and has been taught by many respected American Tap teachers including: Savion Glover, Gregory Hines, Brenda Bufalino, and Sam Weber. She was part of the creative team that developed the Grade 6 Tap syllabus.

Nick French, Chair Please turn to page 38 to read Nick’s profile, which is part of our thank you to all our faculty chairs.

Heather Rees, Vice-Chair Heather Rees is the author of the book Tap Dancing, Rhythm in Their Feet and is a Tap enthusiast with a love of rhythm and movement. Her background in Tap covers more years than she cares to admit, having commenced at the tender age of three with a teacher who taught ‘American Tap’ and Classical Ballet. Her inspiration in the early years was Fred Astaire and his films but she now works and studies with many American masters of Tap whom she admires and emulates. After a short period in theatre, she ran her own school and then moved on to teach at many of the full time theatre and teacher training colleges (inter alia, Laine Theatre Arts, Doreen Bird College, London College and Stella Mann College as well as at New Hall in Chelmsford). For six years, she taught at Bush Davies School, East Grinstead after which she spent four years at Hammond School, two of which were as Head of Dance. At present she arranges workshops and coaching in the UK and overseas. She is a Fellow and Examiner of the ISTD for Modern Theatre, Tap Dance and National Dance and holds Licentiate for Imperial Ballet. In 1975, she joined the Committee of the National Dance Branch and is also a one-time member of the Boys’ Modern Theatre Sub-Committee. Last issue we featured profiles of committee members Helen Green, Jackie Hutt and Dr Nathan James.


Bursary Selection Event, Sunday 13th October 2019 Lanterns Studio Theatre, 3 Millharbour, London E14 9XP Canary Wharf – Jubilee line or South Quay – DLR Juniors 11–14 years: AM | Seniors 15–18 years: PM Teachers should contact Caroline Lavelle for entry forms and details: Please note that places will be allocated chronologically


Closing date: 13 th Se pt. 2019

DANCE Tap Dance

Tap at ISTD Spring Programme Feedback from this year’s CPD training


he three days of the DDE Tutor Training Course for Tap held during April this year at the Arts Educational School in London was a joy to attend. Helen Green provided a detailed refresher course from Primary to Grade 6. This class was taken in a relaxed and friendly manner with plenty of opportunities for the attendees to raise questions and take notes. This was followed by Heather Rees on day two covering Tap technique incorporating parts of the new Intermediate Tap syllabus. We were also honoured to have Ruth Armstrong briefly in attendance to demonstrate her Musical Theatre Amalgamation from the new Intermediate syllabus. On day three we were extremely fortunate to have choreographer John O’Brien teach a Swing Tap masterclass. His choreography was exceptionally creative and inspiring. Mr O’Brien’s humorous approach to teaching ensured the class were attentive and amused throughout. This Spring Programme was definitely worth attending and I would thoroughly recommend these types of courses to all DDE trainee teachers up to Fellowship members. Regardless of the level you have achieved you never stop learning. Vanessa Atkins-Clarivette


ne of our number had made an impressive non-stop trip from Australia via France purely to attend the day. That’s dedication! It was most satisfying and rewarding to be taught by a member of the choreographic team, whose first-hand knowledge of how all exercises should be performed proved to be an invaluable experience. Beth Cowan


his was my fourth time attending the Spring Programme and again I was not disappointed. Going through the graded syllabi gave a wonderful opportunity to check on details and offered us the chance to discuss different elements and raise any queries we had. The second day working on Intermediate and other elements of Tap was just as exciting. The challenge of working on different versions of time steps and combinations really made our brains work (and our feet ache) but the energy and the enthusiasm lasted until the end of the day. My final day was spent joining in the Swing Tap masterclass taken by John O’Brien. I enjoyed this immensely as it’s not very often as a teacher that you get the chance to take a tap class yourself. Finishing the day with improvisation in a different format was enlightening and has also given me more ideas to try in my classes. My whole time at this year’s Spring Programme was certainly educational and fun, meeting people from all over the world and learning from such talented, tireless teachers. Abigail Waite

Regardless of the level you have achieved you never stop learning

I’m feeling very inspired for my new term Turn to page 32 for a full photo report from this year’s ISTD Spring Programme.


did go straight home and buy the DVD to help me remember. This is such a good teaching tool. Thank you to all those involved for the hours of work and recording that it must have taken to produce this. My student, who danced for me made the following comment: “Alison Forrester was so very inspiring, incredibly clear and easy to understand what she wants from the syllabus, it was also so excellent to learn the amalgamation from Ruth Armstrong, to get her original concept and style with the movements. I thoroughly enjoyed both days.” I’m feeling very inspired for my new term. thank you for generously giving your ideas and knowledge to all of us who attended the course. Sarah Wells The full length reports are published on Tap Dance Faculty Intermediate DVD and syllabus Log into My ISTD to benefit from member pricing



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START YOUR JOURNEY Applications to our full-time Dancers’ Courses as well as Mid, Senior and Advanced Associates open online late September 2019. REGISTERED CHARITY NO: 214364 82 DANCE ISSUE 487

©2019 The Royal Ballet School. Photographed by

VIOLA PANTUSO Upper School student

©2019 The Royal Ballet School. Photographed by

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Yvette Sargent 1926–2019 TRIBUTE BY GUY NIBLETT


n 16th April 2019 Yvette Sargent passed away peacefully at her care home in Buckinghamshire, she was 93. Yvette, the oldest daughter of Douglas and Florrie (Lewis) Sargent came from a dancing family. Yvette, her mother, Florrie, and twin sisters Daphne and Wendy all danced. In 1911 Florrie (aged 11) performed at His Majesty’s theatre as a member of Sir Herbert Beerbohm Tree’s theatre company’s Gala performance in celebration of the coronation of King George V. Yvette and her sisters started their own dance training with Biddy Pinchard and then moved to the Robinson School of Dancing in Streatham until war was declared in 1939. Douglas, a pharmacist and manager of the Brixton branch of Boots transferred to Chesham and the family escaped London to live in the Buckinghamshire countryside. Nancy Robinson suggested Yvette return to Streatham to begin her teacher training so, the unaccompanied teenage Yvette commuted by train across London, dodging German bombing raids.

Yvette was a natural teacher who captivated and inspired all her pupils As the war came to a close the Sargent School of Dancing sprung into life at the reading rooms in Chartridge with ballroom lessons for the troops and ballet classes for the local children. In 1946 Yvette married Claude Simmons an aeronautical engineer she’d met on the train during her commute across London and in December 1947 their son Roger was born. The Sargent School of Dancing moved from Chartridge to Darvells hall on Chesham high street providing additional classes in Modern, Tap, National, and Natural Movement. Yvette’s sister Daphne also taught classes and Florrie took the register and collected the money. Yvette was a natural teacher who captivated and inspired all her pupils, she was instinctively musical with a gift for choreography but she also had exacting standards and could be firm when

required, something I learned to my cost! She was also kind and her pupils were always eager to return to class. Consequently the Sargent School of Dancing soon became one of the most popular dance schools in the area, opening additional studios in Wendover, Little Chalfont and Hemel Hempstead. The ever-expanding classes meant more teaching help was needed and after an extensive interview process (involving the whole family) Yvette engaged Margaret Ward, a graduate of London College. In 1972 Yvette and Roger’s world was turned upside down when, following a heart attack Yvette’s husband Claude died. Yvette, now a Senior Examiner of the Imperial Ballet, National and Modern Theatre faculties was busy with her examining commitments and teaching the National dance syllabus at the RAD College. No longer able to personally give all the time to the school that it needed, Yvette invited her friend Mavis Butler (a renowned teacher of Tap dancing) to become a partner in the school, which was, renamed the Sargent and Butler School of Dancing. As a Committee member of the Imperial Ballet Faculty, Yvette was tasked with choreographing the Pre-Primary syllabus for the new Imperial Ballet class examinations. Yvette took her inspiration for this delightfully expressive class from the nursery classes taught by Nancy Robinson in Streatham in the 1930s and now it is being performed and enjoyed by young children all over the world.

Yvette was a remarkable ambassador for the Society Yvette was a member of the Modern Theatre Faculty, the International Development Committee and a member of Grand Council. But it is her international work for the Society with which she is most closely associated. Yvette (with June Rycroft and Patricia Crail) dedicated herself to developing the work of the ISTD overseas. She travelled the world for months at a time, examining and teaching the various syllabi, often working unofficially and unpaid late into the night inspiring teachers with her love for dance and her seemingly inexhaustible knowledge, all delivered with the utmost DANCE ISSUE 487


DANCE People

charm and grace. Yvette was a remarkable ambassador for the Society and in 1991 in recognition for her exceptional service she was awarded the Society’s highest honour, the Imperial Award. Sadly, Yvette was the last to survive of those marvellous, globetrotting, pioneering ladies and in the midst of my grief for losing my precious aunt I must confess to also feeling enormous pride in being the nephew of such a talented and dedicated teacher. Yvette (my dearest Auntie Yvette) lives on through her work and the work of all the teachers she inspired and she will be remembered by us all with the greatest respect, gratitude, and affection.



n September 1958 I joined the Sargent School of Dancing in Buckinghamshire as a newly qualified teacher. Miss Yvette, as she was known in the school, welcomed me into the family business. I was the first non-family member to work for her so, looking back, we were both on a learning curve. I was embraced into the family, making lifelong friendships.

She was very musical and produced lovely dances and groups for festivals Yvette was very strict on etiquette and I soon learnt how to differentiate between the professional and personal side of this boss of mine. As a teacher she had high standards and a strong work ethic, giving her all in everything she did and expecting the same in return from those around her. She taught with an imaginative approach, always drawing out the natural talent of her pupils. She was very musical and produced lovely dances and groups for festivals and helped me to develop my own choreographic skills. There were three branches of the school, Chesham, Little Chalfont and Wendover. In the early days we travelled by train to Chesham and Little Chalfont and many was the time that I was sent on ahead, usually running, to get the tickets and hold the train. That couldn’t happen today. Whilst with Yvette, she encouraged me to continue my training and development to attain higher qualifications, as I know she did with many teachers she helped over the years. Her love of dance and desire to raise the standard of teaching drove her on to become a much-respected ISTD examiner and committee member. On the personal side, Yvette became a friend. She was a wonderful cook and loved her garden and had a great sense of humour. We laughed a lot and I will always be grateful for the six very happy years I spent working for her.




first met Miss Yvette, as she was known to so many, when I was 11 years old and arrived at her studio in Chesham one Saturday morning for my ballet class, after the school I attended had closed down. She was a teacher with so much warmth and knowledge, who – little did I know at the time – was going to steer the next 15 years of my life and beyond. My training was in all forms of dance with her, including Natural Movement, a style new to me, although I had studied Greek dance. Mavis Butler joined the school in the coming years and so my training in Ballet, Modern, Tap and National continued through to all my advanced exams and then Associate, Licentiate and Fellowship exams. Miss Yvette had a huge wealth of knowledge and there was no limit to the hours she gave to help me and many other teachers through their teaching qualifications. She made you think outside the box

Yvette aged 9 “butterfly” display 1935

Yvette Sargent presenting a cup to her pupil Lesley Friston c. 1957

DANCE People

Gillian Page 1935–2018


Daphne (left), Florrie (centre) and Yvette (right) receiving bouquets from students of the Sargent School of Dancing

and explore every opportunity available. Between 18 and 25 she steered me through how to deal with parents, leave pupils happy, and introduced me to so many examiners and her friends within the Society. She had high standards and a strong work ethic, which she also expected from her pupils. She was always immaculately dressed, with her hair neat and she always expected correct speech. You did not argue with her, but why would you when she knew so much and was there to help at all times. When I was 18 I started my teacher training with her and at 21 became an assistant in the school. A few years later when I was 26, she took a step back to be a consultant to the school. Miss Yvette then spent more time with the Society and I was left to run the school, which she then moved away from completely. The name of the school was held in respect and became the Sargent and Plester School, still thriving today.

She had the faith in all her pupils to succeed Miss Yvette was a truly remarkable woman who attended my 21st, my wedding and on her trips abroad brought back Christmas and birthday presents for my daughter. She loved her family and her home and taught me the importance of the separation of this part of your life from your job, although I do not feel the dance world was her job, it was her love and vocation. She was one of the great ladies of the Society who gave so much in this country and overseas. Without Yvette Sargent I would not be where I am today for which I am extremely grateful. She had the faith in all her pupils to succeed.

nyone who knew Mrs P, as she was always affectionately called, will remember her as a vibrant, tireless and determined lady who was passionate about dance and passed on this love to all her students. We, her students, were always encouraged to strive to achieve our goals and follow our dreams in all areas. Dance lessons with Mrs P were always so much more than that, frequently incorporating mini-lectures or practical classes on themes pertaining to the history of dance, and anatomy and physiology of the body. Mrs P was extremely knowledgeable on this subject, being a qualified nurse and stomatherapist in her ‘day job’. This amazing lady ran her successful school, the Page-Mason School of Dance in Broadstairs, for over 50 years, and was especially proud of achieving her goal of having a full-time student course alongside the day school. She never stopped working, also attaining her MA degree when over 70 years of age, and advocating change where required, often despite her severe health issues. She inspired me and countless others to always persevere, even in the face of adversity. Mrs P’s great love was ballet, and while she studied and taught the ISTD Imperial Ballet and Cecchetti, and Royal Academy methods, it was the Vaganova method and Russian ballet and folk dance in general that inspired her the most. I was lucky to be part of the first of several delegations to tour Russia with her, teaching and performing for two months, and gaining an eye-opening insight into the Russian people, their lives and dance styles, which are deeply intertwined. I hope that in my own school, I can continue Mrs P’s legacy and nurture intelligent, ‘thinking’ dancers, widely experienced in their craft and able to apply their talents in a diverse way, and able to improvise and choreograph their own dances, as we were always encouraged to do. I also aspire to follow her example of creating that unique ‘second home’ feeling that was, and continues to be, her school, lovingly run by several of her capable ex-students. Mrs Page opened her school and her heart to all her students, never turning away a student from lack of financial means, and always herself personally caring in her own home for students from broken homes. This is the remarkable person she was and it has been my very great privilege to have studied and shared a personal bond with her. It is a great loss that she has been taken from us too soon. Lisa Maria Sawamura

She inspired me and countless others to always persevere, even in the face of adversity DANCE ISSUE 487


DANCE People




DANCE People

EXAM SUCCESSES We congratulate the following members of the Society who have achieved success in their qualifications as recorded by ISTD Headquarters.

Katia Laura Rossi

Micha Alexandrina Quayle

Vo Hoang Dinh

National Dance

Daisy Annabelle Scott

Tina Louise Stimson

Courtney Hendricks

Gillian Connie Stuart

Bailey Whent

Ngoc Phuong Nhi Huynh

Lisa-Jayne Norris

Megan Jones

Tap Dance

Wendy Louise Taylor

Imperical Classical Ballet

Margo Liebenberg

Kalli-Ann Cheatle

Naomi Thornhill

Courtney Piccoli

Erin-Lea Murphy

Louise Claire Davis

Liam Swattridge


Erika-Jayne Todd

Manh Tuan Nguyen

Laura Dudman

Chloe Elizabeth Williams

LA Salsa

Thi Ngoc Hanh Nguyen

Zoe Lynne Harrisis

Cecchetti Classical Ballet

Laura Ann Williams

Glyne Dunnah

Victoria O’Brien

Rosie Perry

Ben Anthony Hazell

Tiffany Theresa Ramphul

Liam Swattridge

Elisa Giovannini Silvia Ranciaro

National Dance

Lucy Webster

Terrie Lee Ewan

Latin American

Alex Rodkin

Kerry Marie Grimes

Sum Yu Naomi Chan

Lina Tran

Imperical Classical Ballet

Dominique Frances Hanlon

Hiu Tung Cheng

Thi Ngoc Giao Tran

Imperial Classical Ballet

Beth Cox

Lynne-Marie Holloway

Martin Gould

Kerryn Van Der Merwe

Robyn Leigh Baker

Sarah Dickinson

Danielle Kane

Michelle Hernandez

Terrie Lee Ewan

Chloe Elizabeth Williams

Wai Yi Pang

Tap Dance

Despina Kassartou

Lucia Giuffrida

Laura Ann Williams

Po Ping Pat

Shané Crafford

Judith Koppenleitner

Yasmin Priestnall

Abigail Niemand

Joanne Tokaryk

Ainsley Willcox

Kerry Marie Grimes

Darren Mark Rockman

Dominique Frances Hanlon

Tap Dance

Yun Hong Qiu

Julia Jones

Beth Cox

Ka Shun Siu

Flora Kondili

Kerri Doolan

Matija Smolec

Eliana Lagattolla

Kelly Eccleshare

Ying Qi Sun

Charlotte Lee

Terrie Lee Ewan

Katie McLoughlin

Emma Felton

Chantelle Swatridge Smith


Tomoko Furuya Hristov

Latin American

Associate Diploma

Paul Daniel Fennell

Kerry Than

Modern Theatre

Modern Ballroom

Ting Wang

Lauren Sydne Matthews

Paul Daniel Fennell

Jenna Freel

David Whyte

Michaela Rossi

Nicholas Jury

Wendy Louise Taylor

Kerry Marie Grimes

Diane Whyte

Chloe Elizabeth Williams

Lorraine Guppy-Clifford

Hong Xiao

Laura Ann Williams

Susan Haldane

Wing To Yung


Modern Ballroom Viennese Waltz

Bethany Maria Rachel Wood

Julia Jones

Cecchetti Classical Ballet

Charlotte Lee

Modern Ballroom

Faye Harmsworth

Modern Theatre

Heather Yvonne Liddell

Jemma Davies

Demetra Moore

Victoria Clare Barclay

Leanne Dawn Mackenzie

Justyna Gazda

Iliana Bazioti

Amy Louise Norcombe

Emma Gough

Imperial Classical Ballet

Kaitlin Cassidy

Stephanie Ann Paton

Lun Ip

Vanessa Kathryn Jowett

Hayley Chilvers

Philip Quigley

Ramnarine Lalchan-Vine

Elisa Picco

Beth Cox

Sarah Royle

Sin Ping Salina Kum Lam

Tandi Elizabeth Dodman

Daisy Annabelle Scott

Dawn Smith

Latin American

Kerri Doolan

Liam Swattridge

Ying Qi Sun

Iaroslava Perederii

Kelly Eccleshare

Wendy Louise Taylor

Shun Yuen Tang

Tomasz Wezykowski

Terrie Lee Ewan

Naomi Thornhill

Hang Ping Henry Tse

Emma Felton

Leanne Warren

Amy Louise Findlay

Chloe Elizabeth Williams

Modern Theatre

Stephen Arnold

Jenna Freel

Laura Ann Williams

Vanessa Ancheta

Argo Obikas

Emma Alice Claire Buck

Iaroslava Perederii


Fernanda De Alzúa

Mathilde Thiebault

Diana Gomez

Tomasz Wezykowski

Antonia Kristina Hall

Classical Sequence

Paloma Gomez

Dominique Frances Hanlon

Becky Simpson

Allison McNeill

Kerry Marie Grimes Lorraine Guppy-Clifford Susan Haldane

Julia Jones

Cuban Salsa

Elli Katsanta

Ben Anthony Hazell

Flora Kondili

Lilian Schiffler

Diamanto Kyprianou Eliana Lagattolla

Disco Freestyle

Charlotte Lee

Carla Nicole Banks

Lauren Stephanie Lewis

Katherine Clarke

Heather Yvonne Liddell

Harry Dutton

Denise Lucchinetti

Charlotte May Forsyth

Leanne Dawn Mackenzie

Gemma Harris

Katie McLoughlin

Kayleigh Paige Harris

Eilidh McRae

Sacha Lauren Jones

Alexandra Mertika

Georgia Pye

Modern Theatre Katerina Gogou Rachel Macaree Laura Meeson Elizabeth Newton Abigail Claire Waite

Modern Ballroom

Ane Kvisvik Megaard

Alison Kay Henderson

Shu Shing Poon

Modern Ballroom Viennese Waltz

Rebeca Ramirez de Aguilar RodrÌguez

Wai Han Laura Lee

Citlalli Abigail Romero

Wai Ling Li

Kristine Skram Skoglund

Iaroslava Perederii

Nadine Van Niekerk

Chi Kong Tsang

Aunjelica Wray

Tomasz Wezykowski

Suk Yee Christina Leung

Hiu Yan Yau NY Salsa Jaleh Fallah

Modern Theatre Kelly Louise Bennett

Street Dance

Carla Moore

Liam Alexander

Haley Thorbinson

Eimear Cox



DANCE Classifieds

CLASSIFIEDS DANCE TEACHERS/ CHOREOGRAPHERS REQUIRED – SUFFOLK ISTD Tap & Modern / RAD Ballet teacher required for various posts from September. We are looking for inspiring and committed teachers to teach syllabus classes at our well-respected school in Bury St. Edmunds. Must have a good knowledge of all grades and genres and hold a current DBS / first aid certificate. Teachers with choreographic skills also required for festival work on Sundays and during school holidays. Please contact Hazel Jackman (Principal) for more information.

ISTD BALLET, MODERN AND TAP TEACHER – TUNBRIDGE WELLS, TONBRIDGE AND OTFORD Being a dance teacher must be one of the best jobs in the world! Just Dance is a successful, established dance school based in Tunbridge Wells, Tonbridge and Otford, offering ISTD Ballet, Modern and Tap, along with Street Dance and Musical Theatre. There is also a wonderful opportunity to teach classes in prestigious independent schools in the area. We are looking for enthusiastic, confident, qualified teachers. There is daytime and evening work available and we can be flexible with days and times. We

also enter local festivals, take exams and produce school shows. We are looking for a hardworking, reliable and fun member to join our team! Competitive rate of pay with petrol contributions. Available work from September. Please contact The Principal by e-mail with an attached CV

ISTD MODERN AND TAP TEACHERS REQUIRED – CHINA ISTD Modern and Tap Teachers required in Beijing, Qingdao and Shenzhen at a rapidly expanding RAD and ISTD School. 2 year contract, starting in August 2019, with flights, accommodation, medical insurance and visas provided. Salary US $2,800 – 3,400. Classes taught in English. International team of 8 teachers. Please apply with a CV, cover letter and some video clips of you teaching to

FOR SALE: ESTABLISHED DANCE SCHOOL & IMPRESSIVE FREEHOLD PROPERTY, TORQUAY £595,000 Two dance studios’ on ground floor with 7 bedroom accommodation, with super-size living accommodation. Set between two parks, close to shops, amenities and beach, circa 300 pupils . Contact / 03300434351

BALLET SCHOOL FOR SALE – THAMES VALLEY UK Long established school is for sale due to the owner retiring. Classes include Preschool ballet, Grades and Adult ballet with about 100 pupils. There is a lovely rented studio with Barres and mirrors, and potential for teaching other styles of dance. A large amount of costumes are included in the sale. This is an excellent opportunity for a young, enthusiastic qualified teacher. The price is negotiable for the right person. To apply please email with your CV – subject line must read BOX NUMBER 80.

ISTD MODERN TEACHER REQUIRED (HERTS/ ESSEX BORDERS) Reliable, committed & enthusiastic qualified teacher with highest standards needed to join our teaching team on Wednesdays (initially) at this highly successful dance school. Car driver required; ISTD Tap / RAD Ballet qualification an advantage. Please email your CV, including driver status and if Enhanced Disclosure DBS is held, to Aileen Graham (Principal) to

NEW EXAMINER Tracey Moss FISTD Cecchetti Faculty Examiner Tracey Moss is Deputy Principal of Junior Programme at KS Dance in Warrington where she is currently in her 31st year of employment. During this time she has completed all Cecchetti teaching qualifications and is also proud to hold the Enrico Cecchetti Diploma all gained under the personal guidance of Kate Simmons. She also holds Fellowship Tap and was thrilled to achieve IDB (Spanish Dance Society) tutored by Gillian Hurst. Tracey teaches Ballet and Tap to students from the age of three years through to vocational level. She also delivers teaching qualification lectures in ballet and tap to the students at KS Dance. Tracey is looking forward to this new chapter in her career and is thrilled to be examining for the Cecchetti Faculty.


CLASSIFIED ADVERTISING RATES We offer text-only advertising on three different platforms: DANCE magazine ISTD website ISTD social media pages (Facebook and Twitter) For placement in one of the above – £24.95 For placement in two of the above – £44.95 For placement in all three of the above – £54.95 Max word count – 150 words PRIVATE BOX NUMBER SERVICE If you do not wish to publish your contact details you can request a private box number. This means that applicants will contact the ISTD marketing department first, then we will forward any enquiries to you. This is available on request free of charge. Email if you are responding to an advert with a box number. Please clearly state in the subject line which box number it is intended for. We will then forward it on to the advertiser for you who will respond to you directly. Please note that a response from the advertiser is not guaranteed. IMPORTANT NOTES • If you choose to place job vacancy in DANCE magazine, please consider your application deadline and print dates to avoid disappointment. • If you choose to place a job vacancy online please be aware we cannot produce live links. • If you choose to place a job vacancy on social media, please include the Facebook and Twitter handles (for example @ISTDdance) of your company should you wish to be mentioned/tagged. • All classified adverts must be provided in writing via email. We cannot accept any bookings over the phone. • Payment is required by card or BACs transfer before any advertising can be published. Applicants for advertised positions should be aware that the ISTD takes no responsibility for the terms of any employment contract issued by a school or business, including any overseas, for which they should take legal advice as necessary. The ISTD cannot mediate in any employment dispute. for a booking form, please email:



ISTD Exam Dates, Courses and Events | Sep–Dec 2019 UK Examinations News


DDE Assessments


London Centre Examinations


Level 6 Diploma in Dance Pedagogy


UK Examinations Centre Organisers


Open Days


Syllabus Training


International Courses


DDE Tutor Training


Regional Representatives






UK Examinations News Peak Periods for UK Examinations: Autumn: 16th November – 23rd December 2019 Examination Fees An examination can be arranged at a teacher’s studio provided there are guaranteed entry fees totalling a minimum of £658 per day for 2019. Half days must be consecutive to a full day of the same genre and the minimum fee for a half day is £558. For example: 1.5 days is £1,216. The 2019 fees are available on the ISTD website. A rebate of 10% will be allowed on examinations outside of peak periods on entries totalling over £815 per day, providing the timetable and fees are submitted through Quest a minimum of 4 weeks prior to your exam date. For exams of two or more days, the rebate can only be taken on the days which total over £815. For example, if your first day totals £840 and your second day totals £675 you will only be eligible for the discount on the first day. Please note that we are unable to accept requests for triple exam sessions during our peak periods. Triple sessions are those that would require a multi genre examiner. For example: Ballet and Modern, Ballet and Tap or National and Tap.

Payment The quickest and easiest way to pay is by credit or debit card. For private sessions card payments can be made directly through the Quest system for each exam session. If you would like to pay by debit or credit card for centre sessions please call +44 (0)20 7377 1577. One of our team members will take your exam details and transfer you through to an automated system where you will enter your card details using the keypad on your phone. The system is highly secure and will email you a receipt for the payment. There will be no additional charges for this service.

Spring: 2nd March – 13th April 2020

You may also make payment via bank transfer. However, please ensure that you use your exam session number as reference so that we can process this efficiently. For private sessions you will need to notify us of your transaction through Quest once you have made this payment. Please note the ISTD is no longer accepting cheques.

Timetables When timetabling your exam days please be aware of the following: • A full day is six and a half hours of examining time • Please remember to contact your examiner to agree suitable start and finish times. Contact details are provided in the confirmation email that is sent to you when an examiner is appointed • If your timetable is scheduled to run slightly longer, please speak to your examiner. If your examiner is agreeable, we can permit timetables with up to seven hours of examining time • For timetables exceeding seven hours of examining time please contact the office as an extra exam day may need to be arranged. We cannot guarantee that your examiner will be available close to the scheduled date but we will try to accommodate your request • All timetables and payment must be submitted no later than four weeks before your exam date

Music Note Please note that pianists are required for Imperial Classical Ballet and Cecchetti Classical Ballet vocational exams. CDs may be used for all graded and class examinations.

ISTD Open Day in Scotland Dancebase

Edinburgh Students age 14+ Parents Dance Schools FE Colleges Sixth Forms



Sunday 15th September 2019


Students £10 This Open Day will provide students, parents and teachers with valuable information about our initial ISTD Contemporary class – free seminar with advice and guidance teaching qualifications. Through discussion and for progression presentations by specialists, you can discover how Teachers FREE the ISTD and Approved Dance Centres can support Observe ISTD Contemporary class you in your training towards a career in dance. – free seminar and networking opportunities

We will also be introducing our new Contemporary Dance syllabus – with talks and a practical technique class with one of the Contemporary teaching team.

Parents FREE Opportunity to book into one-toone sessions with ISTD Approved Dance Centres






Grades and Class Examinations

3rd, 10th, 17th, 24th November 2019

15th September 2019

Vocational Grades

21st October – 1st November 2019 (weekdays only)

8th September 2019

DDE (Unit 4)* and Licentiate/Fellowship

21st October – 1st November 2019 (weekdays only)

8th September 2019

Cecchetti Classical Ballet (All Levels)

1st December 2019

15th September 2019

Classical Indian Dance (All Levels)

1st December 2019

15th September 2019




Grades and Class Examinations

1st, 8th, 15th, 22nd, 29th March 2020

19th January 2020

Vocational Grades

24th February – 6th March 2020 (weekdays only)

12th January 2020

DDE (Unit 4)* and Licentiate/Fellowship

24th February – 6th March 2020 (weekdays only)

12th January 2020

Cecchetti Classical Ballet (All Levels)

5th April 2020

19th January 2020

Classical Indian Dance (All Levels)

5th April 2020

19th January 2020

Please contact the UK Examinations department for National and Classical Greek dates. To apply for a London Centre examination please download and complete the Theatre Applications form: centre-exams--application-form-fees-and-timetable-sheet-for and email to the London Centre Organiser at For all London Centre enquiries, contact Sadie Serridge on 020 7377 1577 ext 874 or by email to



17th November 2019

6th October 2019

29th March 2020

1st March 2020

To apply for a London Centre examination please download and complete the following Dancesport forms: documents/dancesport-faculties-examination-timetable and and send to:

APPLICATION NOTES FOR LONDON CENTRE EXAMINATIONS The London Centre is for teachers entering grade and class examinations who have a total entry of under 3.5 hours only. Entries exceeding this time allowance cannot be accepted. Candidates taking exams at the London Centre must be accompanied by one adult only. Teachers may stipulate any impossible dates on their application form, however, we cannot guarantee that we can accommodate these. For Fellowship and Licentiate examinations, it is hoped that applicants are available for all advertised dates. *DDE (Unit 4) applications may only be considered with a covering note specifying why they cannot be entered at the Approved Dance Centre (ADC) with which they are registered. All vocational and professional level candidates (Intermediate Foundation and above) aged 16 years must bring an official form of photographic identification to the Centre to be shown to the Invigilator at the registration desk. Information regarding the

identification check can be found at id-info-for-candidates-over-16-new-procedure. Please note that applications received after the closing date will only be accepted if there is space available or if a cancellation occurs. Telephone applications cannot be accepted.

Music Notes Imperial Classical Ballet and Cecchetti Classical Ballet: CDs may be used for all graded and class examinations. Tap and Modern Theatre: Teachers must provide their own music for Tap Grades 4 and 5, New Intermediate, Popular Tap Tests, Tap Medals and Advanced 1 and 2 Modern and Jazz Awards. Free Music: Music must be either on an iPod/MP3 player or the original CD (copied CDs can be unreliable and are not acceptable). Please ensure you bring the correct connector/adapter.




UK Exam Centre Organisers REGION





Contact organiser

Christine Axon, 5 Oakwood Drive, Bolton, Lancashire BL1 5EE

01204 841389


Contact organiser

Maureen Headford, 4 William Road, Queens Park, Bournemouth, Dorset BH7 7BA

01202 393032


Contact organiser

Kathy Plaster, 344 Dance Centre, Alexandra Park, Fishponds, Bristol BS16 2BG

0117 9655660


Contact organiser

Samantha Watkins, Chichester College, Westgate Field, Chichester PO19 1SB

01243 786321 / 01243 782297


Contact organiser

Eve Leveaux, The Old Mill Studio, Lynton Street, Derby DE22 3RW

01332 371016

Devon /

Contact organiser

Deborah Bond, King Street Studios, King Street, Newton Abbot, Devon TQ12 2LG

01626 367010

East Dorset

Dancesport – 17th May 2020

Louise Sampson

07884 315687

Guernsey /

Contact organiser

Karen Thompson

07781 113542


13th and 20th October 2019 Modern and Tap – Grades to Advanced 2

Gaynor Owen, Unit 10, Bemrose House, Long Lane, Fazakerley, Liverpool L9 7BG. Please contact Miss Owen if teachers have any Imperial ballet entries.

01515 214188


See page 87

Sadie Serridge, Centre Examinations Officer, ISTD, Imperial House, 22/26 Paul Street, London EC2A 4QE

020 7377 1577 Extension 874


Contact ISTD HQ UK Examinations Department

We are currently seeking a new Exam Centre Organiser for Manchester. In the meantime, please contact Sadie Serridge, ISTD Centre Examinations Officer, 22/26 Paul Street, London EC2A 4QE

020 7377 1577 Extension 874

North Wales

Contact organiser

Helen Barton, Mount Norris, Gors Avenue, Holyhead, Wales LL65 1PB

01407 769 818


Contact organiser

Maureen Christie, The Studio, 19 Westbourne Gardens, Glasgow G12 9UL

0141 3399637

Autumn Term 2019: 3rd November – 15th November 2019 Spring Term 2020: 1st March – 15th March 2020

Applications need to be made through Quest. The closing date for Autumn Term is 25th August 2019 and the closing date for Spring Term is 15th December 2019. Please provide any impossible dates and at least 3 alternative exam dates. All fees and timetables must be submitted no later than 4 weeks prior to the exam date. Please contact for any queries.

020 7377 1577 Extension 874

Autumn Term 2019: 3rd December – 15th December 2019 Spring Term 2020: 16th March – 31st March 2020

Applications need to be made through Quest. The closing date for Autumn Term is 2nd September and the closing date for Spring Term is 5th January 2020. Please provide any impossible dates and at least 3 alternative exam dates. All fees and timetables must be submitted no later than 4 weeks prior to the exam date. Please contact for any queries.

020 7377 1577 Extension 874


Contact organiser See separate boxes below

Sally Upton

07900 574718

West Midlands

Contact organiser

Joanna Brangwin, 3 Wiltell Estate, Upper St John St, Lichfield, Staffordshire WS14 9ET

01543 415354 / 07582 920427


Contact Organiser

Samantha Bell, ElliTe Studios, The Dancer, 8 Peterson Road, Wakefield WF1 4EB

0845 6525361 / 07908 808696



Cecchetti Scotland Central Region

Scotland Northern











Imperial Classical Ballet


10th, 17th, 24th November 2019

15th September 2019

Imperial Classical Ballet


15th, 22nd, 29th March 2020

19th January 2020

Imperial Classical Ballet


10th November 2019

15th September 2019

Imperial Classical Ballet


15th March 2020

19th January 2020

Modern Theatre and Tap Dance

Vocational and Grades

10th ,17th ,24th November 2019

15th September 2019

Modern Theatre and Tap Dance

Vocational and Grades

15th, 22nd, 29th March 2020

19th January 2020




Syllabus and Non-Syllabus Training, UK Syllabus Training The ISTD will be offering a range of teacher training courses throughout the UK, co-ordinated in Greater London by ISTD headquarters and elsewhere by our team of voluntary regional representatives. To book any of the below courses or to ask a question, contact Education & Training on +44(0)20 7377 1577 or email Alternatively, download a booking form from the ISTD website at To request a course and to be kept informed of local training developments, contact your nearest Representative via the details listed on page 96.

Regional Courses: Members – £65 / Provisional Members and Student Teachers – £40 / Non Members – £80 London Courses: Members – £70 / Provisional Members and Student Teachers – £45 / Non Members – £85 Contemporary Intermediate Foundation Courses: £195 (2-Day Course Including DVD & Syllabus Notes) / £140 (2-Day Course Only) SYLLABUS TRAINING UK GENRE






31st August & 1st September 2019

Intermediate Foundation Day 1&2

Dance Station, Alexandra Park, Fishponds, Bristol BS16 2BG

10:00 – 17:00


7th & 8th September 2019

Intermediate Foundation Day 1&2

Margaret Howard Studios Bushey WD23 3DH

10:00 – 17:00


8th September 2019

New Intermediate Day 2

Bexhill College Dance Studio, Penland Road, Bexhill on sea, East Sussex TN40 2JG

10:00 – 17:00


8th & 9th September 2019

Intermediate Foundation Day 1&2

Ellite Studios, The Dancer, 8 Peterson Road, Wakefield WF1 4EB

09:30 – 16:00


15th September 2019

Advanced 1

The Depot, 9 Holyhead Road, Telford, Shropshire TF2 6DW

10:00 – 17:00


15th September 2019

Grades 4&5 Refresher

The Company Performing Arts, 105 Oxford Road, Clacton on Sea, Essex CO15 3TH

10:00 – 17:00


21st & 22nd September 2019

Intermediate Foundation Day 1&2

Sculthorpe Village Hall, Moor Lane, Fakenham, Norfolk NR21 9PY

10:00 – 17:00

Modern Theatre

6th October 2019

Girls Amalgamations Grades 1–6

Coombeshead Academy, Coombeshead Road, Newton Abbot, Devon TQ12 1PT

10:00 – 17:00


6th October 2019

New Intermediate Refresher

Dance Station, Alexandra Park, Fishponds, Bristol BS16 2BG

10:00 – 17:00


20th October 2019

Training Ballet Technique

Bursledon Community Centre, Portsmouth Road, Lowford, Southampton SO31 8ES

10:00 – 17:00


21st & 22nd October 2019

Intermediate Foundation Day 1&2

Sadler’s Wells, Rosebery Avenue, London EC1R 4TN

10:00 – 17:00


23rd October 2019

Intermediate Foundation Refresher

Sadler’s Wells, Rosebery Avenue, London EC1R 4TN

10:00 – 17:00


28th & 29th October 2019

Intermediate Foundation Day 1&2

Déda, 19 Chapel Street, Derby DE1 3GU

10:00 – 17:00

Modern Theatre

3rd November 2019

Girls Amalgamations Grades 1–6

Lutterworth Performing Arts Centre, Hall Park, Hall Lane, Lutterworth, Leicestershire LE17 4LN

10:00 – 17:00








24th October 2019

Emergency First Aid at Work

Sadler’s Wells, Rosebery Avenue, London EC1R 4TN

10:00 – 17:00


25th October 2019

Akram Khan’s Giselle Student Masterclass & Teacher Observation

Sadler’s Wells, Rosebery Avenue, London EC1R 4TN

10:00 – 16:00

DDE Tutor Training Following on from the success of our e-learning Tutor Training we are currently reviewing the provision in order to update the work and make improvements for accessibility and design. New e-learning modules for mandatory training will be available soon.

Please look out for further training opportunities on our website whether it be for mandatory Tutor Training or for modules to support your CPD needs. For general inquiries regarding Tutor Training please email




DDE Assessments The Diploma in Dance Education (DDE) assessments, units 1 and 5, are accessible and uploaded onto Totara, the learner management system. When a student is ready to submit to the final area within Totara the Approved Dance Centre (ADC) will need to complete an intent to enter form and email this directly to You are able to contact us prior to this date, however the date published is the last day you are able submit. If you miss this date you will need to submit in the next batch. The

ADC will also follow this with payment to the ISTD for the individual units/s. Once payment and intent to enter have been received, the Professional Qualifications team will make arrangements for the final assessment areas to become available for the student. The administrative process can take up to 10 days. Therefore, please take note of the intent to enter dates when considering your planning for the DDE.

UNITS 1 & 5




2nd September 2019

23rd September 2019

11th November 2019

2nd December 2019

30th March 2020

20th April 2020

15th June 2020

6th July 2020

31st August 2020

21st September 2020


Although the ISTD will make every effort to adhere to these dates, they are always subject to review and potential alteration.

Level 6 Diploma in Dance Pedagogy Our next cohort for the Level 6 Diploma in Dance Pedagogy will commence in September 2020. We will therefore be accepting new applications from October 2019. The closing date for applications for a September start is 28th February 2020. Interviews will take place in April/May. We are, however, accepting applications from those who might be interested in taking individual units in order to develop their CPD. The deadline for applications is 30th August 2019.

The specialised unit holds 20 credits towards the Level 6 Diploma in Dance Pedagogy and 30 guided learning hours. Units are offered on an individual basis to allow our teachers to access regulated professional development opportunities and gain credits that can later contribute to advanced study. For an application pack or to ask a question, please contact Education & Training on +44(0)20 7377 1577 or email Alternatively, download a prospectus from the ISTD website at






Unit 5B – Social, Emotional and Cognitive Behaviour

October 2019


Accreditation of Prior Experiential Learning (APEL) The APEL scheme is designed to allow members and new entrants to access ISTD qualifications at an appropriate level for their professional status. This APEL scheme takes account of professional experience and unregulated qualifications, in order to enable applicants to be granted exemption from usual entry requirements for the ISTD Level 6 Diploma in Dance Pedagogy, Licentiate and Fellowship qualifications.

For more information email:


APEL closing date 31st October 2019



Open Days Join the ISTD for open days aimed to introduce students and teachers to our initial and higher qualifications. The ISTD will be delivering an Open Day in Edinburgh on Sunday 15th September. Students, parents and teachers will have the opportunity to listen to Approved Dance Centres and Education & Training staff regarding teacher training and progression opportunities in Scotland. Students can take part in a practical Contemporary

class featuring our new Intermediate foundation, and teachers may observe. For any guidance regarding our teaching qualifications or for any questions regarding open days or individual progression please contact Education & Training on +44(0)20 7377 1577 or email






15th September 2019 9:30–17:00 ISTD Scottish Open Day See page 90

Dancebase, Edinburgh

For students aged 14+ For parents For teachers

Introductions to teaching qualifications and potential routes. Introduction to ISTD Intermediate Foundation Contemporary class – teacher observations. Opportunities to network and discuss teaching pathways. Practical demonstration of ISTD higher level work

£10 for students to take part in class and attend the full open day Teachers and parents – Free to attend

19th and 20th October 2019 Can you Dance? Super Convention

M&S Bank Arena, Liverpool

All ages

ISTD will be in attendance to discuss career routes and pathways as well as promoting our new ISTD Contemporary syllabus. Classes, demonstrations, exhibitions are available to dancers and teachers

Please visit: super-convention

Sunday 17th November 2019 CDMT Dance, Drama and Musical Theatre Careers Conference

Peckham, London – Mountview

For students aged 14+ For parents For teachers

ISTD will be in attendance to discuss career routes and pathways. Classes and seminar sessions for parent and student delegates led by staff from accredited schools


International Courses For further information on ISTD international courses, fees and booking forms please refer to

To register your interest in attending a course below, please email or call +44 (0)20 7377 1577.



New Intermediate

19th & 20th October 2019




Intermediate Foundation

25th – 27th October 2019

Academy of Dance



Intermediate Foundation

26th & 27th October 2019

Ballettschule Schimmer


Modern Theatre

Advanced 1

25th November 2019



Essential Learning

25th November 2019

Imperial Classical Ballet

Advanced 1 Revisions

26th November 2019

Damansara Performing Arts Centre


Advanced 2 Revisions

10:00–17:00 10:00–13:00 13:30–17:00


Essential Learning

26th November 2019



Intermediate Refresher

27th November 2019


Moden Theatre

Jazz Awards

27th November 2019





Regional Representatives Regional Representatives are an important link between ISTD HQ and our dance teachers throughout the UK. Representatives provide advice, support and information on upcoming ISTD teachers’ courses in your local area. They are always happy to hear from nearby teachers, so please get in touch. You can email or call your representative using the details provided below. For further information, visit

The ISTD is seeking... Regional Representatives for Manchester and Northern Scotland to help organise CPD courses for our members and students. If you would like to be more involved with the ISTD and are interested in promoting training and CPD, please contact the Education & Training Department for more details: or 020 7377 1577.






Kathy Plaster

Dance Academy South West, Dance Station, 344 Dance Centre, Alexandra Park, Fishponds, Bristol BS16 2BG

E: T: 01179 655 660

Central Scotland

Elizabeth Henderson

6 Strathmore Court, 20 Abbey Drive, Glasgow G14 9JX

E: T: 0141 954 8732 / 07817 566462

Derbyshire/ Leicestershire/ Northamptonshire

Jayne Wing

3 Cotton Close, Broughton, Astley, Leicester LE9 6NJ

E: T: 07850 084 797


Deborah Laws

7 The Mews, Moorhaven Village Nr Ivy Bridge, Devon

E: T: 07525 177 788

East Sussex

Jackie Hutt

200 Harold Road, Hastings, East Sussex TN35 5NG

E: T: 01424 444 803


Jessica Morgan-Beale

The Company Performing Arts, 105 Oxford Road, Clacton-on-Sea, Essex CO15 3TH

E: T: 07905 757 624

Gloucestershire/ Wiltshire

Judith Hockaday

The Judith Hockaday School of Dance and Drama, Bali-Hai, Prospect Place, Swindon, Wiltshire SN1 3LQ

E: T: 01793 527 275


Karen Thompson

Pernera, Maladerie Road, St Sampsons, Guernsey, Channel Islands GY2 4RQ

E: T: 01481 242 568 / 07781 113 542


Siobhan Chown

10 Belsize Close, St Albans, Hertfordshire AL4 9YD

E: T: 01727 847 442


Charlotte Hudson

75 Campbell Road, Maidstone, Kent ME15 6PY

E: T: 01622 753 806


This post is vacant. For more details see above and contact: or 020 7377 1577


Gaynor Owen

E: T: 0151 521 4188

Unit 10 Bemrose Industrial Park, Hanson Road, Liverpool L9 7BG


Laura Meeson Northern Scotland

This post is vacant. For more details see above and contact: or 020 7377 1577


Amy Jarrett

School House, School Road, Colkirk, Fakeham NR21 7NW

E: T: 07880 558 031


Andrew Hindley

Dance Academy, Preston College, Fulwood, Preston PR2 8UR

E: T: 01772 225 614


Nicola CarmichaelPhillips

9 Holyhead Road, Oakengates, Telford, Shropshire TF2 6DW

E: T: 01952 610 491 / 01952 619 155

South Coast

Victoria Caine

10 Crabwood Road, Maybush, Southampton, Hampshire, SO16 9EZ

E: T: 02380 170 828


Fleur Stevenson

Pasture House, 1 Cottage Field, Bishop Burton, East Yorkshire HU17 8YE

E: T: 01964 550 996

For the most up-to-date staff, council, committee and organiser listings please visit the ISTD website. 96 DANCE ISSUE 487


Dame Beryl Grey DBE Life President



Chair Sue Passmore Vice Chair Erin Sanchez Members Annabelle Mannix Elisabeth Swan Jeremy Kean Karen King Keith-Derrick Randolph Sho Shibata Simon Adkins

22/26 Paul Street London EC2A 4QE Tel: +44 (0)20 7377 1577


Sue Passmore Chair

Ginny Brown Chief Executive Officer

Life President Dame Beryl Grey DBE, DMus, DLitt, DEd, FRSA Members Angela Rippon OBE Anne Lingard (invited committee member) Anthony Crickmay Anthony Hurley Anthony Van Laast CBE Barbara Fewster OBE Barbara Grover Betty Laine OBE Dame Merle Park Delia Sainsbury Doreen Wells, Marchioness of Londonderry Dr Stanley Ho Gr of OIH, Chev Leg Kenneth Challinor Lesley Garratt CBE Linda Pilkington Lorna Lee Mary-Jane Duckworth Michael Rose Michael Stylianos Olive Newson Paddy Hurlings Peter Eggleton Peter Kyle Professor N F Morris MD FRCOG Robert Cohan CBE Robert Grover Sir Anthony Dowell CBE Sir Peter Wright CBE, DMus (Lond), FBSM, DLitt (B’ham) Stephen Rimington Tudor Davies Yvette Sargent Yvonne Taylor-Hill FINANCE, GENERAL PURPOSES AND AUDIT COMMITTEE Chair Jeremy Kean Committee Karen King Sue Passmore Elisabeth Swan NOMINATION AND REMUNERATION COMMITTEE Chair Elisabeth Swan Committee Simon Adkins Karen King Sue Passmore Erin Sanchez

EXECUTIVE OFFICE Chief Executive Officer Ginny Brown (ext. 809) Director of Dance Liz Dale (ext. 895) Director of Finance and Operations Keith Stephenson (ext. 805) Director of Examinations Janne Karkkainen (ext. 860) Director of Education Louise Molton (ext. 844) Director of Membership and Communications Gemma Matthews (ext. 807) Artistic Projects Manager Michaela Ellis (ext. 807) Executive Assistant Gloria Taplin (ext. 806) HR Manager Roza Kobel (ext. 816) FINANCE & ADMINISTRATION Head of Finance Saumi Dharmasena (ext. 851) Interim Financial Controller Saba Khan-Ahmed Finance Business Partner TBC Accounts Payable/Receivable Officer Joseph Alfonso (ext. 856) Accounts Payable/Receivable Officer Dalha Mohamed (ext. 855) BUSINESS DEVELOPMENT & MEMBERSHIP SERVICES Membership Services & Business Development Manager Chelsea Franklin (ext. 804) Membership CRM Analyst Nigel Joseph (ext. 891) Membership Assistant TBC MARKETING & COMMUNICATIONS Head of Marketing & Communications James Scanlan (ext. 820) Design & Publications Manager (Mon, Tue & Wed, working out of office) Tamsin Moore Senior Graphic Designer Richard Czapnik (ext. 821)


Marketing & Communications Officer Katie Andrews (ext. 822) Online Marketing Officer (Tue & Wed) Birgit Diggins Shop Manager David Wood (ext. 810) Shop Assistant Simon Hidson (ext. 811) Librarian (Mon & Thurs) Sarah Jardine-Willoughby (ext. 813) PROJECTS, OPERATIONS & FACILITIES Receptionist (Mon-Wed) Laura Henderson (ext. 800) Receptionist (Thu-Fri) Katie Barrett (ext. 800) Facilities Manager Emelda Nwankiti (ext. 812) UK EXAMINATIONS Head of UK Examinations Melanie Curtis (ext. 871) UK Examinations Manager Danielle Wojtylo (ext. 878) Senior UK Examinations Officer
 Amanda Adams (ext. 876) UK Dancesport Examinations Officer 
 Sarah Brown (ext. 880) UK Centres Officer Sadie Serridge (ext. 874) UK Examinations Officer Georgina Winterborne (ext. 875) Dancesport Medals Administrator Brian Sanders (ext. 890) UK Examinations Administrator TBC INTERNATIONAL EXAMINATIONS Head of International Examinations TBC International Examinations Manager Eve Drakouli (ext. 862) International Examinations Officer Alex Batts (ext. 867) Europe – Ireland; Asia – China (mainland, Hong Kong, Macau), India, Indonesia, Japan, Malaysia, Singapore, Taiwan, Thailand, Vietnam; Middle East – Bahrain, Kuwait, Qatar, United Arab Emirates; Caribbean – Barbados, Saint Lucia, Trinidad; Africa – Seychelles International Examinations Officer Yannis Malavakis (ext. 866) Europe – Cyprus, Greece




International Examinations Officer Stephanie Russo (ext. 864) Europe – Spain, Gibraltar; North America – Canada, Mexico, USA; Oceania – Australia, New Zealand International Examinations Officer Negin Vaziri (ext. 865) Europe – Belgium, Italy, Luxemburg, Netherlands, Switzerland International Examinations Officer Chelsea Fox (ext. 863) Europe – Denmark, Germany, Malta, Norway, Portugal; Africa – Kenya, South Africa International Examinations Officer (Dancesport) Julie Harries (ext. 882) International Examinations Administration Officer TBC EDUCATION & TRAINING Head of Teacher Training TBC Professional Development and Events Manager Mavis Saba (ext. 832) Professional Development Co-ordinator Joely Stevens (ext. 833) Professional Development Assistant Alice Redshaw (ext 835) International Professional Development Co-ordinator Valentina Grecchi (ext. 836) Learning Experience Designer Levinna James (ext. 837) Initial Qualifications Co-ordinator Gemma Bridge (ext. 834) Higher Qualifications Co-ordinator Shamir Ahmed (ext. 834) CUSTOMER SERVICES & QUALITY ASSURANCE Head of Customer Services & Quality Assurance
 Cynthia Pease (ext. 840) Quality Assurance Manager Gemma Ward (ext. 841) Customer Service Officer Amy Fraser (ext. 848) Complaints & Result Enquiries Quality Assurance Officer (Dancesport, International Examinations and Special Needs) Tolu Alabi (ext. 846) Applications for Reasonable Adjustments (ARA) Quality Assurance Assistant (Dancesport and International Examinations) Ria Bose (ext. 826)

98 DANCE ISSUE 487 Quality Assurance Officer (UK Theatre Examinations) Sabena Sengupta (ext. 847) Quality Assurance Assistant (UK Theatre Examinations) 
 Megan Fraser (ext. 843) Professional Qualifications Manager Selvet Tufan (ext. 845) Professional Qualifications Officer Briar Luff (ext. 842) Professional Qualifications Assistant Morgan Taylor (ext. 850) Quest Applications Analyst Matt Kudzio (ext. 849) IMPERIAL DANCE & DANCESPORT FACULTIES BOARD Acting Chair Christopher Hawkins The Dancesport Faculties’ Board consists of two representatives from each of the Modern Ballroom, Latin American, Sequence, Disco/Freestyle/ Rock ‘n’ Roll committees, and the Emerging Dance sub-committee. DISCO/FREESTYLE/ROCK ‘N’ ROLL FACULTY Vice Chairs Maria Howse Nigel Kirk Committee Michelle Arnell Jonathan Reed Paul Streatfield Julia Westlake Faculty Co-ordinator Penny Childs LATIN AMERICAN FACULTY Committee Bruce Lait Charles Richman Crystal Main John Partington Michelle Postlethwaite Richard Still Simon Cruwys Faculty Co-ordinator Megan Garner MODERN BALLROOM FACULTY Chair Christopher Hawkins Vice Chair Warren Boyce Committee Paula Goodyear Malcolm Hill Teresa Jay Vernon Kemp Anne Lingard (invited committee member) Richard Miles Claire Thompson Co-ordinator Megan Garner

SEQUENCE FACULTY Vice Chair Robert Aldred Committee Louise Aldred Louise Sampson Diana Wykes Faculty Co-ordinator Megan Garner IMPERIAL DANCE & THEATRE FACULTIES BOARD Chair Kay Ball Vice Chair Vivienne Saxton Cecchetti Ballet Catherine Hutchon Cara Drower Classical Greek Carol Vasko Fiona Sheehan Classical Indian Dance Sujata Banerjee MBE Nina Rajarani MBE Imperial Ballet Judith Hockaday Modern Theatre Tereza Theodoulou Lyn Richardson National Dance Jacqueline Ferguson Barbara Simons Tap Dance Nick French CECCHETTI CLASSICAL BALLET FACULTY Chair Catherine Hutchon Vice Chair Kate Simmons Committee Cara Drower Linda Isaacs Theresa Lungaro-Mifsud Sandra Powell Sarah Wells Faculty Co-ordinator Sharon Orme CLASSICAL GREEK DANCE FACULTY Chair Kay Ball Vice Chair TBC Committee Lucy Pohl Alison Seddon Fiona Sheehan Amanda Wilkins Co-ordinator Penny Childs

CLASSICAL INDIAN DANCE FACULTY Chair Sujata Banerjee MBE Vice Chair Nina Rajarani MBE Committee Chitraleka Bolar Pushkala Gopal Kiran Ratna Dr Swati Raut Urja Desai Thakore Co-ordinator Shivaangee Agrawal IMPERIAL CLASSICAL BALLET FACULTY Committee Ben Tribe Tracey Warner Ruth Davies Lorraine Swain Irela Strachan Helen Steggles Fleur Jones Faculty Co-ordinator Julia Beattie MODERN THEATRE DANCE FACULTY Chair Tereza Theodoulou Vice Chair Lyn Richardson Committee Ruth Armstrong Jackie Barnes Penny Meekings Katie Morea Sarah Wilson Co-ordinator Toni Ketterer NATIONAL DANCE FACULTY Committee Anuschka Roes Barbara Simons Cathi Conroy-Jones Heather Burns Jayne Wing Co-ordinator Julia Beattie TAP DANCE FACULTY Chair Nick French Vice Chair Heather Rees Committee Carol Ball Alison Forrester Helen Green Jackie Hutt Nathan James Faculty Co-ordinator Caroline Lavelle DANCE RESEARCH COMMITTEE Chair Dr Susan Danby Committee Diana Scrivener Fiona Sheehan Co-ordinator and Committee Member Nicola Gaines


NATURAL MOVEMENT GROUP Chair and Co-ordinator Jean Kelly Committee Jacqueline Ferguson

Classical Greek Dance Faculty Penny Childs 14 Whitmore Close Bridgnorth WV16 4LR Tel: 07786 508727 Email:

FACULTY CO-ORDINATORS Disco/Freestyle/Rock ‘n’ Roll (DFR) Faculty Penny Childs 14 Whitmore Close Bridgnorth WV16 4LR Tel: 07786 508727 Email: Latin American Faculty Modern Ballroom Faculty Sequence Faculty Megan Garner 22/26 Paul Street, London EC2A 4QE Tel: 020 7377 1577 Email: Cecchetti Classical Ballet Faculty Sharon Orme 9 Sheppard Drive, Chelmsford, Essex CM2 6QE Tel: 07551 159471 Email:

Classical Indian Dance Faculty Shivaangee Agrawal Email: Imperial Classical Ballet Faculty Julia Beattie 8 School Close, Braunston, Daventry Northants NN11 7JD Tel: 01788 899127 Email: Modern Theatre Dance Faculty Toni Ketterer 29 Greenway, Frinton on Sea Essex CO13 9AL Tel: 01255 852299 Email: National Dance Faculty Julia Beattie 8 School Close, Braunston, Daventry Northants NN11 7JD Tel: 01788 899127 Email:

Tap Dance Faculty Caroline Lavelle Email: Dance Research Committee Nicola Gaines Ludwell House, Charing Kent TN27 0LS Tel: 01233 712469 Fax: 01233 712768 Email: ISTD INTERNATIONAL REPRESENTATIVES Europe Carole Watton Cell: +39 (0) 335 833 1437 Email: Africa and the Middle East Delia Sainsbury 7 Perrault Road, Hout Bay Cape Town 7806 South Africa Tel: +27 (0) 21 4184600 Cell: +27 (0) 83 556 7849 Email:


ISTD LOCAL ORGANISER Malta Theresa Lungaro-Mifsud 10 Santa Cruz Triq L-Irmigg Msida MSD 03 Malta Tel/Fax: + (356) 21242465 Email: thedanceworkshop@ Mexico Gail Clifford Via Villa Florence 2-F Col.Jesus Del Monte Huixquilucan, Edo de Mexico CP 52763 Mexico Tel: +52 55 52473409 Cell: +52 (1) 55 25607289 Email: HISTORICAL AFFILIATION South Africa The Cecchetti Society of Southern Africa, National and International Secretary, Eileen Philips Tel: +27 (0) 11 782 0677 Email:


Chanc e to Dan ce Primar yS Ballet chool Projec t page 1


EVENTS CALENDAR September 2019

November 2019

15th September Dance Exchange The Elgiva Theatre, Bucks Disco, Freestyle, Rock ‘n’ Roll

2nd November Blackpool Grand Finals The Winter Gardens, Blackpool

October 2019 6th October Misrana 2019 Classical Indian Dance performance platform The Beck Theatre, Hayes 6th October National Grand Finals Guildford Spectrum Disco, Freestyle, Rock ‘n’ Roll 27th October Junior Awards The Venue, Milton Keynes Imperial Classical Ballet

10th November West End Workshops Performers College, Essex Modern Theatre 10th November Ruby Ginner Awards The Venue, Milton Keynes Classical Greek 16th and 17th November Cecchetti Classical Ballet Awards Weekend Lilian Baylis Studio, Sadler’s Wells, London 17th November Imperial Classical Ballet Day including Scholars’ Classes at Bird College, Sidcup

21st–24th November Malaysian Awards 2019 Damansara Performing Arts Centre (DPAC), Selangor, Malaysia 24th November Robert Harrold Memorial Day of Dance Preston College, Lancs National Dance

18th February ISTD Graduation Ceremony Milton Court Concert Hall The Barbican, London

March 2020

February 2020

1st March Imperial Open Freestyle & Rock ‘n’ Roll Championships Spelthorne Leisure Centre Disco, Freestyle, Rock ‘n’ Roll

2nd February Boys Dance Day at Laine Theatre Arts, Epsom Imperial Classical Ballet

7th–8th March Imperial Classical Ballet Senior Awards at the Hawth Theatre, Crawley

9th February Wales and West Awards Congress Theatre, Cwmbran, Wales Cecchetti Classical Ballet

8th March Cecchetti Classical Ballet Choreographic Competition Cecil Sharp House, London

16th February ISTD Bursary Awards & Masterclasses The Place, London

22nd March Cecchetti Classical Ballet Southern Area Awards Barn Theatre, Southwick, Sussex PHOTO: RACHEL CHERRY

The final performance of The Firebird and the Egg. Chance to Dance, page 18

This calendar is designed for you to see some of the major events at a glance. See the DANCE Extra section in this magazine for a full listing of courses. For more information, please check the faculty pages, or contact the relevant Faculty Co-ordinator. Further information is also available on We believe this information to be correct at the time of going to print. Please note that all events can be subject to change.


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