DANCE 488

DANCE

DANCE JAN–APR 2020

THE INTERNATIONAL MAGAZINE OF THE IMPERIAL SOCIETY OF TEACHERS OF DANCING

U.DANCE Interviews with ISTD teachers who took part

ISSUE 488

SUMMER SCHOOLS Reports from International and UK courses

Dancesport Congress An inspirational weekend

JAN–APR 2020 Issue 488

RUBY GINNER AWARDS A celebration of Classical Greek dance

THE INTERNATIONAL MAGAZINE OF THE IMPERIAL SOCIETY OF TEACHERS OF DANCING

-Student-faculty ratio of 6:1 -Minimum of 40 contact hours per week contact with Agents from Year 1

MOREA

COME, DO WHAT YOU LOVE AND CONNECT WITH YOUR TALENT

Auditioning Now Proud to be training an international community with students from England, Greece, New Zealand, Northern Ireland, Republic of Ireland and Scotland.

MAESTRO OREA

DANCE Welcome to DANCE Student performing at Misrana 2019

The year ahead promises to be an exciting time for the Imperial Society of Teachers of Dancing, not least because of the launch of the Society’s new visual identity. We hope that you, our teaching members, will be proud to use the new logo to promote your businesses and the quality of the ISTD syllabi that you teach. Please read more in the letter to members from Ginny Brown on page 5 and further information on pages 26–27.

This issue is full of dates for your 2020 diary, from courses and training to events and competitions. We start the year with the ISTD Bursary Awards and Masterclasses on 16th February, and our Graduation Ceremony on 18th February. Then we have our Spring Programme during April, and Residential Summer School in August. There are a whole host of other helpful training opportunities and events happening for each faculty throughout the year so do turn to the faculty pages and the DANCE Extra section at the back of the magazine to find out more.

The Society is extremely proud of its alumni, and we love to hear all about how young people who took our exams and competed in our awards go on to become stars of stage and screen, inspirational teachers and more. This issue we have an interview with James Butcher, who has danced in The Royal Ballet Company and in West End shows. We were also inspired by the experiences of six dedicated ISTD teachers whose students took part in U.Dance 2019. Turn to page 12 to read their accounts of what it was like.

We hope you enjoy catching up with the latest news from the Society in this issue. We would very much like to hear your feedback on the magazine, so please do visit the members area of istd.org and take our survey, and don’t forget to email us with your own #danceinspo.

Tamsin Moore, Editor

Classical Greek Ruby Ginner Awards 2019

DANCE Magazine Designer & Editor Tamsin Moore Magazine Design Richard Czapnik Editorial Assistants Katie Andrews & Birgit Diggins istd.org dance-teachers.org #LoveLearnTeachDance

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Email: marketing@istd.org Tel: +44 (0)20 7377 1577

Next copy deadlines: Issue 489 (May–Aug 2020): Monday 10th February 2020 Issue 490 (Sep–Dec 2020): Monday 1st June 2020 Cover photograph: Mayhew School of Dance at U.Dance 2019 Photographer: Brian Slater ISTD Dance Examinations Board Registered address: 22/26 Paul Street, London EC2A 4QE Tel: +44 (0)20 7377 1577

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DANCE ISSUE 488

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CONTENTS News & Features

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From our CEO A letter to members from Ginny Brown Out and About The ISTD Chair, Sue Passmore, shares her latest news #danceinspo An interview with star of stage and screen, James Butcher Graduation Ceremony A date for your diary U.Dance 2019 Interviews with the six ISTD teachers whose students took part Summer School Memories from a great 2019 Residential Summer School Why Do We Dance?

Juliet Diener reflects on inclusive dance practice, as shared at ISTD Teachers Residential Summer School International Summer School Reports and photos from Italy A Step Change for the ISTD Brand How we are bringing our new brand to life

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11 12 18 20

22 26

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Syllabus 28 Contemporary Intermediate Foundation and Intermediate levels now available Renew Your Membership for 2020 Today We encourage you to renew by 1st January 2020 Masterclasses A date for your diary Bursary Awards Make a date!

International News News from Canada, USA, Mexico and the Caribbean Can You Dance? Super Convention News from a weekend of dance in Liverpool Library News Reviews of the latest additions to the Library Spring Programme 2020 CPD for April Residential Summer School 2020 Save the date Competition Win Capezio goodies worth over ÂŁ150 ISTD Open Day in Scotland Report from Edinburgh

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30 31 32 39

40 43 44 45 46

PAGE 72

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Faculties

DANCE Extra

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58

111 112

Cecchetti Classical Ballet Reports from summer schools, recent awards and competitions Classical Greek Dance Photo spread from the Ruby Ginner Awards 2019 Classical Indian Dance Reports and photos from the Faculty Bursary and Misrana Disco, Freestyle, Rock’n’Roll Reports from Dance Exchange and National Grand Finals 2019 Imperial Classical Ballet Photos from the Junior Awards and other news Latin American, Modern Ballroom and Sequence Reports from Dancesport Congress 2019 and teaching dancesport in primary schools Modern Theatre Janet Cram Awards 2020 and other news National Dance Grandison Clark Awards 2020 Tap Dance Bursary Selection, Tap Challenge 2020 and other news

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97 97

Courses and More ISTD examination dates, courses and contact details Directory Staff contact details Events Calendar Annual events at a glance

66 72

80 86 91 92

People New Trustees 94 Profiles of our new trustees Exam Successes 95 Qualifications recorded at ISTD HQ

over the past months

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JUNIOR ASSOCIATE AUDITIONS 2020 Our Junior Associates are young dancers aged 8 to 10 who train with The Royal Ballet School alongside their regular ballet class.

Every child who applies is offered an audition.

APPLICATIONS ARE NOW OPEN royalballetschool.org.uk/apply REGISTERED CHARITY NO: 214364

Photo: ©2019 The Royal Ballet School. Photographed by Rachel Cherry

START YOUR JOURNEY

DANCE News & Features

From Our CEO A letter to members from Ginny Brown

I

n the last magazine I introduced the Imperial Society of Teachers of Dancing’s new business plan, one of the aims of which is to 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.

It is essential that you, our teaching members, have the tools to effectively promote your business Members often tell me that what attracts them to the Society is the quality of our dance training methodology and syllabi.

Dance is a largely visual art form, so it is vital that the way we present ourselves reflects that quality and also our aspiration to be a modern, diverse and inclusive society of dance teachers. It is also essential that you, our teaching members, have the tools to effectively promote your business and to advocate for the value of the syllabi that your students learn.

With this in mind we have been working on a new visual identity for the Society, which both acknowledges our proud history and presents a fresh, modern look for the 21st century.

This new look will be accompanied by a completely new website,

which we hope will act as a ‘shop window’ for anyone who wants to learn more about our work. As well as being a resource for students, parents and the broader public, the website will include a number of features to support our members with their business needs. These include a new members’ portal and a dance teachers’ search facility, which will provide an excellent opportunity for you to promote your services free of charge.

The new brand identity and website will be launched at a special industry event in London on the evening of Tuesday 18th February.

This will be a wonderful chance to celebrate all that the Imperial Society of Teachers of Dancing has achieved to date and to herald the next phase of our development. We very much want our members to be part of this celebration and will soon be circulating information about how you can enter a members’ ballot for a free ticket to this special event.

When you renew your membership for 2020 you will be issued with a new-look, high quality and permanent membership card featuring the Society’s new logo. This will be sent to you after the official launch in February. All members will be also be provided with free marketing collateral and guidelines for using our new logo on your publicity. Turn to page 26 to find out more.

In the meantime, I wish you all a very happy festive season and every success for the year ahead.

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DANCE News

Out and About ISTD Chair Sue Passmore shares how she was recently wowed by how dance company Casson & Friends has embraced digital technology to engage new audiences with dance NEW IDEAS Our teachers are constantly being introduced to emerging technology that adds another layer of potentially unwelcome regulation to their busy lives. The younger generation readily embraces it and is creating new ways to make it serve our world of dance, and this is an on-going challenge for all of us.

On the horizon there is a wealth of innovative ideas and new projects emerging in our current workplace and, in seeking out and attending events that are dance based, I have seen exciting

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and remarkable new methods in dance practice that can and will enhance the workplace we all share.

We cannot stand still and within the historically established diversity of the ISTD we have the skills and tools to explore the potential value of new or additional pathways that will aid and inspire our digitally focused future generations.

Many of our esteemed dance teachers are aware of the pressures that their students face in the transition to secondary education and loosing their enthusiasm to continue with learning new syllabi and the examination commitment.

DANCE News

INTERACTIVE AND ACCESSIBLE I met up with a dance creator called Tim Casson, who has a passion for bringing dance to people in new and unusual contexts. Following his initial training at the BRIT School he attended Bird College, where it became clear that he was an innovative, creatively focused dancer. After graduating, he went on to the London School of Contemporary Dance where he achieved his MA in Contemporary Dance. He worked extensively for the prestigious Jasmin Vardimon Company (JVC), founding their Postgraduate Certificate in Physical Theatre for Dancers and Actors at Royal Holloway University and created the JVC Certificate.

As an independent dance artist, Tim has delivered education work on behalf of many organisations in the UK and internationally for the past 15 years. Under his direction Casson & Friends is a UK based dance company that works with a diverse range of collaborators, from filmmakers and musicians to computer programmers and psychologists.

Their performance spaces are frequently site specific and the public is frequently invited to engage with dance in a new, exciting and accessible way.

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Using mobile technology, they give the audience control over three highly skilled dance performers in real-time

CHOREOCRACY This is a new dance and technology collaboration that puts the audience in control more than ever before. BAFTA award winning digital artists Seb Lee-Delisle and Tim Casson collaborated in this innovative and interactive dance show that puts the audience in control of the performance with amazing outcomes.

Seb demystifies programming and explores its artistic possibilities, encouraging programmers from all backgrounds to be more creative and imaginative. As an artist he likes to make things from code that encourage playfulness from the public.

The performance has been developing over the past two years and the use of mobile technology is the pivotal focus of the exciting outcomes of Choreocracy, which I attended in Brighton last month. Seb and Tim introduce and guide the show and, using mobile technology, they give the audience control over three highly skilled dance performers in real-time.

The repertoire is based on research that asks the public in the street: What makes a good dance show? What do they want to see? What words or music will be exciting? The dancers interpret the information and ultimately explore whether a dance performance can be truly democratic.

The family audience engaged with the concept from the outset, whether they had a background in dance or not, and their conclusions on the four pieces of choreography were immediately identified on the cyclorama. The conclusions were analysed and discussed at the end of the show.

In the second half the power of the laser was introduced and again single members of the audience were given the power to create light patterns that were partnered with the dancers.

It was beautiful to watch and exciting for the participants.

There was a genuine sense of surprise and approval for the whole concept of Choreocracy in Brighton at the The Old Market theatre last month, in this live dance performance that an audience controlled on their mobile phones.

Our fast-changing world has talented people like Tim and Seb whose ingenuity in interactive technology is of immense value to all of us‌ bring it on.

ALL PHOTOS: ALISA BOANTA

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# danceinspo DANCE #DanceInspo

Inspirational Alumni

James Butcher in costume as Prince Siegfried

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The progression through the ISTD grades prepares you properly for the work in the vocational exams

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Star of stage and screen James Butcher reveals how his ISTD training has prepared him for developing his performing and teaching career

J

ames was a student at Italia Conti Arts School in Guilford from a very young age taking Ballet, Tap and Modern ISTD exams, before moving to the main school in the Barbican where he continued to take ISTD exams before moving to The Royal Ballet Upper School. He now enjoys a very successful stage and screen career as well as being an ISTD teacher.

DANCE #DanceInspo

MY #DANCEINSPO My ballet tutor was Donald Vleugels during my early training.

He took me through my ISTD ballet exams and really instilled a love of ballet in me. He trained me up to a level acceptable to audition for professional ballet schools. He entered me into the ISTD Imperial Ballet Awards, where I won the musicality prize. He is now an examiner with the ISTD. Thedi Joannu taught me ISTD tap and entered me into most of my tap exams including ISTD Advanced 2, for which she had to apply for special permission as I was only 15.

Her teaching style was always very organised and clear and she was great at coaching me through steps I found more difficult to execute. I always remember how musical she was, which especially helped me achieve a high mark in my Advanced 2, where musicality and timing is very important, as this exam is tough.

I remember a class in particular – Thedi was coaching us all on how to do a correct ‘stamp’ – such a simple step but hard to make it sound correct. She always told us to put our heel down ever so slightly before the toe. This has stuck with me throughout the tap shows I’ve done, Billy Elliot the Musical and An American in Paris, where tap skills have been important and I pass this onto the students I teach.

MY TRAINING I trained at The Royal Ballet School (upper school) with a place in The Royal Ballet Company. I danced in the Company for two years at which point I won the role of ‘Older Billy’ so I left the company to dance in the West End. Dancing in The Royal Ballet at the Royal Opera House every night and on tours to Tokyo was incredible. I was exposed to so much to learn from and I think it has really helped shape me as a much better rounded performer.

ISTD ballet training was very similar to the training at The Royal Ballet School and in the Company. I found the structure of the syllabus to be the most organised and the progression through the grades prepares you properly for the work in the vocational exams. Having reached Advanced 1 in Classical Ballet with the ISTD, this prepared me to audition successfully for Central School of Ballet, where I trained on the degree course for two years and finally gained a place in The Royal Ballet School Graduate Third Year.

MY CAREER HIGHLIGHTS

James Butcher in costume rehearsing Swan Lake

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I have been very fortunate in my career. I’ve danced in The Royal Ballet Company and in three West End shows

DANCE ISSUE 488

BOTH PHOTOS: ASH

I am currently the assistant dance captain in The Phantom of the Opera in the West End. This is a role where I get to dance on stage every night as well as have a responsibility in the daily running and management of the show.

I have been very fortunate in my career. I’ve danced in The Royal Ballet Company and in three West End shows. I’ve also appeared as a dancer in Disney’s The Nutcracker and the Four Realms (2018 film directed by Lasse Hallström and Joe Johnston) and Cinderella (2015 film directed by Sir Kenneth Branagh). I feel lucky to have had a very varied and exciting career.

A stand out highlight for me was getting into Christopher Wheeldon’s An American in Paris at the Dominion theatre. This was where all of my loves for ballet, tap and classical music all came together in one beautiful show. Another highlight was

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DANCE #DanceInspo PHOTO: DARREN BELL

opening Macmillan’s Romeo and Juliet at the 02 Arena with The Royal Ballet. This is one of my favourite ballets and performing it to such a vast audience is something I will never forget.

MY PLANS TO TEACH I’d like to continue to be able to pass on my industry knowledge to my students. The ISTD Licentiate makes sense to do as I am very familiar with the ISTD syllabus and this qualification is a great foundation for future plans. I’d love to one day be able to apply for artistic director positions. This qualification opens up doors to be able to pursue this in the future. I’m still in the application process but I’m hoping to start my studying in September 2020 alongside my performing commitments.

I currently teach ISTD ballet, tap and modern. I also teach free syllabus ballet and jazz technique. I teach free ballet at Sylvia Young Theatre School and I’m a guest ISTD teacher at Starmakerz Theatre School in Oxted, where we hold ISTD lessons in ballet, tap and modern along with regular exam sessions. I have also recently taught at the ISTD Imperial Ballet Boys Day, which took place at Laine Theatre Arts.

Share your inspirational career stories and photos with us by contacting: tmoore@istd.org Below: James Butcher as Older Billy (right) in Billy Elliot the Musical Right: James Butcher PHOTO: JOHAN PERSSON

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Imperial Society of Teachers of Dancing

GRADUATION Ceremony 2020

TUESDAY 18TH FEBRUARY 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 EC2Y 9BH For more information contact graduation@istd.org

BOOKINGS CLOSE 19TH JANUARY 2020

For more information contact Mavis Saba at graduation@istd.org EARLY BIRD BOOKINGS AVAILABLE

DANCE News

U.DANCE 2019

The ISTD partnered One Dance UK for a weekend of performances, workshops and networking events for young dancers The event showcased some of the very best youth dance from across the UK, with access to exciting workshops with industry professionals, careers advice, opportunities to meet and work with other young dancers from far and wide, and a glimpse of the new ISTD Contemporary Dance syllabus.

Twenty youth dance groups were selected to take part from hundreds of entrants nationwide to inspire one another with their love of dance and further their understanding of the dance sector as a whole.

The festival and two performances took place over the weekend of 20th–21st July at London’s Southbank Centre.

We caught up with six ISTD dance teachers whose groups were selected to take part.

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Being involved through our affiliation with the ISTD was fantastic

MAGDALENE WOOLF | Highgate Ballet School Choreographers Collective WHY U.DANCE? I work at Highgate Ballet School and I’ve recently started a choreography collective, which is for our more senior dancers who are really interested in making choreography. I had been aware of U.Dance for some time and then I saw the ISTD call out for schools to apply. As we do ISTD exams through the Cecchetti syllabus it seemed like perfect timing for this group of young dancers.

We were looking for performance opportunities for the students and the fact that it was coming through the ISTD was really rewarding because these are young people who’ve done their ballet exams with the ISTD for 10 years and so it was something that they could latch onto and really opened up an amazing opportunity for us.

We had to send in a video and fill out an application form.

The application form was about the group and who we were, what the piece was about and what kind of impact it would have for the young dancers to participate in an event like that, which for me was a really key question. I come from a performance background and I know how important it is to have professional experiences as students.

We had been creating this piece already and I wanted to make sure they were going to get the opportunity to perform it because it is so different when you know that you are working towards something, so an event as high profile as U.Dance was really important.

Above: Highgate Ballet School Choreographers Collective

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DANCE News

DANIELLE SMITH | Live Love Dance

THE DANCERS We’ve got quite a big school and we have a performance group called the Highgate Ballet School Youth Dance Company, which has been going for a number of years and includes students from eight years old and up. I had realised that I wanted to be able to give such dancers more of a challenge and something they were really interested in exploring. The Director of the school, Julie Cronshaw and I decided to develop the Company for those dancers who were really progressing well. Within the group are some more senior dancers who are really interested in exploring their own creative voices.

BENEFITS OF TAKING PART The students performed on the Saturday, which was spent in the theatre rehearsing and they also got to watch the other groups performing, which was fantastic.

On the second day they took part in three different workshops: Swing Dance, Stronger Fitter Dancer and Street Dance. It was fantastic for them because they primarily study Ballet, but the piece they were doing was more Contemporary.

It was an amazing opportunity to do these workshops, which were outside their comfort zone but in a really positive way.

They had a blast doing that, and had already got to know a lot of the other dancers from the previous day. It was a lovely weekend.

It was incredibly rewarding to see these young girls, who I’ve taught since they were three, be so inspired. It was also uplifting to see the other groups and to see everyone really embrace the professionalism. Of course, they are still students and still in training, but getting to do this in a professional environment meant that they really stepped up in a lovely way, and for me that was incredibly exciting to see.

Being involved through our affiliation with the ISTD was fantastic because it was like bringing two things together. I have been teaching Cecchetti through the Society for so many years and all the exams the students have been doing over the years really led to this opportunity.

I think it was also a great chance to meet dancers from all over the country. Some dancers had travelled large distances and everybody was so enthusiastic and supportive of the other groups. It was an incredibly positive and inspiring environment and obviously it was fantastic for me to see that the dancers were gaining so much from it.

It was rewarding in the sense that they had worked so hard and were really challenging themselves. This particular group is at the point of exploding creatively. Having this recognised in such a prestigious venue and with so many other talented groups has improved their confidence, but also made them want to push themselves more. That is something they have taken away from it, and the way they are working now is already elevated from how they were working before participating in U.Dance. As a facilitator, practitioner and teacher that is gold dust.

U.Dance is a wonderful opportunity and I would recommend it to other ISTD teachers if they are looking for that thing that will really elevate their students’ sense of the profession and their place in it.

WHY U.DANCE? We try to get as much from our repertoire and as many performance opportunities for our students as possible so we have got a few videos of routines that we can send off. We sent one of our most recent ones to enter for U.Dance and we were very proud of the choreography and the whole project.

THE DANCERS Choosing the dancers was made easier for us because they had to be within a certain age bracket. We have an elite Contemporary team and a competition team so we were able to select from those for this event.

Our students really enjoyed the Saturday workshops, a Contemporary workshop with Rambert and a Matilda workshop with fantastic West End repertoire. They also had a careers talk on the Saturday, which was helpful because they got to speak to various professionals within the industry and learn about the diversity of dance and that you don’t have to be actually dancing, there are other avenues for careers within dance. It was very inspiring for our students. On the Sunday they performed their piece.

BENEFITS OF TAKING PART I loved the whole weekend. The way it was all put together was very professional. It was great to see how diverse the different styles were. It was a really positive, uplifting weekend.

My students came away from it having loved every single part because it wasn’t like anything they’d done before. It inspired them and developed their dance technique, particularly thanks to the workshops delivered by professionals. It was very nice to be around diverse dance schools and they were all helping and supporting each other. It was great to have been selected to take part .

It was a fantastic weekend and very inclusive. There were disability groups and multiple dance styles. It was a big celebration of everyone coming together and the fact that all the students were wanting to help, support and guide each other was very rewarding for them. As soon as I got there I knew it was going to be a weekend that my students would remember.

Right: Live Love Dance ALL PHOTOS: BRIAN SLATER DANCE ISSUE 488

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DANCE News

Mayhew School of Dance ALL PHOTOS: BRIAN SLATER

FIONA SHEEHAN | Mayhew School of Dance WHY U.DANCE? The school had previously participated in Dance Proms and I had taken part in the Southbank dance festival as a student in the 1990s. The pupils had loved Dance Proms so much, so it seemed to make sense to do this in a similar way, through the ISTD. We sent a video submission, which was something we’d already filmed, so the students didn’t actually know anything about it until they found out we’d been selected.

THE DANCERS The video we submitted was an existing piece and therefore the selection of dancers was not made specifically for U.Dance. Our group performed on the Saturday, which meant they had technical rehearsals all day and then a dress rehearsal and performance in the evening. They also had a careers talk, which was very valuable.

On the Sunday the students had a day of workshops and choices included African dance, Swing Dance, a creative CAT workshop, and another entitled Stronger Fitter Dancer. It was a massive range for them to choose from, which was brilliant. They loved the workshop day.

BENEFITS OF TAKING PART As a teacher it was really eye opening to see their reactions. Private dance sector students can have quite a narrow viewpoint of dance, particularly community based dance, and it was very revealing for me to watch the students have their eyes opened as to how many other types of groups there are out there and how dance is accessible for all. It was a really valuable experience.

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I would hope that they gained a wider understanding of dance and dance practice. In the careers talk one of the students said: “I never realised there were so many career opportunities that involve dance.” It broadened their dance education.

They loved the performance and the interaction with the other students in the workshops and the participation in those workshops because they were unusual and the variety of dance on offer was really quite something. It was of great benefit mixing with other dance groups, seeing inclusive dance and how that impacted upon both those watching and the participants themselves.

I think we can get complacent in our own dance studios and U.Dance makes us look outside at the rest of the dance sector. It is nice to see that community dance is thriving. It is very affirming looking at groups that work in a different way from you, and you can learn a lot from them.

To get a weekend like that with all those workshops and all that careers advice essentially for free was well worth it. All my students grew from it and they all learnt something. I would definitely take students back again.

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It was of great benefit mixing with other dance groups and seeing inclusive dance

DANCE News

NINA RAJARANI MBE | Srishti (Yuva Culture) WHY U.DANCE? I was interested in U.Dance because I have been running a youth group since 2006, which is made up of some members of my dance school. They are people who are interested in dance but not necessarily as a professional vocation. My aim was to set up a group where they could work on interesting choreography, new work, have guest choreographers and increase their performance experience. At my school we do two shows a year, which is quite a lot. It can get a bit repetitive always performing at the same venue so with my youth group I try to widen their experience of different venues such as U.Dance at Southbank.

THE DANCERS My youth group is only a small group of eight or nine. Owing to the holiday period those that took part were those from the group who were available at that time.

BENEFITS OF TAKING PART It was great fun to see all the other groups and the calibre of the dancers, and it was lovely for me to be able to see my dancers performing. With Indian dance there are very limited training opportunities and you don’t find any full time vocational courses that people can do. Because of that there can be an impact on the standard achieved because dancers are not spending as much time in training as some of the other groups might have spent. I explained to my group how good all the other groups were going to be and they had to realise that there is so much more training needed, we couldn’t just practice once a week. When it came to the performance they did really well. They had worked very hard and I wouldn’t say they looked different from other dancers who may have more training experience.

It was also a great opportunity for them to see the other dance genres and that there are so many people from all over the country who had travelled so far to take part in U.Dance.

The experience of performing in a high profile venue was a great benefit for my students. It was special to be at Southbank and it had a big wow factor for them. It is something that they can put on their CVs and share on social media.

The lighting for the students’ performance was phenomenal and every request that we had was met. So for them to see their piece lit the way it was, was a very professional experience and probably the first time that they’ve had that special addition to their piece. That was great for them and for me too.

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It was special to be at Southbank and it had a big wow factor for them

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DANCE News

JANE DEL TORO | Del Toro School of Dance WHY U.DANCE? We took part thanks to the advert that was in the ISTD magazine.

I’m always trying to find different experiences and different ways to give the children opportunities, so I thought we’d give it a go.

We filmed a piece to be entered and then we had to wait and see.

THE DANCERS We chose the dancers who would take part based on the children we thought would be free at the time. We thought that it was a lovely piece to work with and that U.Dance would be a great platform to give them another opportunity to perform it.

BENEFITS OF TAKING PART We performed on the Saturday. We had workshops on the Sunday and my students just loved everything that they did. It seemed like a really buzzing, fun, enjoyable weekend. There were lots of people on site, and it ran really smoothly.

The students thoroughly enjoyed the workshops. Their favourite was the African one because it gave them a chance to do something that they had never done before. Also, having another chance to

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perform their piece in a different setting was such an amazing opportunity.

For the students it was nice to see different age groups and different schools dancing and also the positive image that U.Dance was creating about dance. They had a careers workshop, which was fantastic and gave them an insight into not just performing but other routes for being involved in the dance world.

I would definitely recommend U.Dance. I think sometimes we can feel quite insular and get bogged down with the general day-to-day running of schools or teaching and this had such a positive vibe. You came away buzzing. The children had a ball and there was a really friendly atmosphere. It was a great weekend.

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The children had a ball and there was a really friendly atmosphere – it was a great weekend

DANCE News

ANURADHA CHATURVEDI SETH Drishti Dance

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It was a tremendous boost to our morale and confidence as a group WHY U.DANCE? I was first interested in U.Dance because it is one of the biggest platforms for youth dancers to showcase their work and immerse themselves in ‘everything dance’ for those two days. That was a huge motivation. I’m always looking for opportunities for the young dancers and we had been selected to represent the South East in 2018, when my group had their first experience of U.Dance. The girls had been so excited by everything that they saw and really enjoyed it, so it was a great motivation to apply again and we felt lucky to be selected.

THE DANCERS We already had a group ready to take part that had been performing on various platforms.

BENEFITS OF TAKING PART It was fantastic to watch so much brilliant dance happening and such talented young people performing at a high level. The quality and commitment on show were the best part of it for me. To see the sheer focus level of these young people was just amazing to watch. I think it encouraged them to look at dance seriously as a sector where they can make a career.

Drishti Dance

Once you have been selected it validates all the hard work that you have done and all the effort you have put in because there is this sense of recognition of your work, not only for the dancers but also for me as a choreographer and dance teacher working with young people. It was a tremendous boost to our morale and confidence, as a group. It felt like confirmation that we are going in the right direction and helping the students focus on something they enjoy.

The students formed great bonds and friendships through all the activities that they did. The bonds that come out of going through platforms like this are one of the best things to come out of it.

I would always say absolutely yes to taking part again and I would recommend U.Dance to any teacher who is working with young people, particularly because it is such a great experience and platform, not only to share your own skills but also to watch the sheer amount of dance that is happening in the country and the quality of it.

ALL PHOTOS: BRIAN SLATER

REGISTER YOUR OWN U.DANCE EVENT Registering your dance performance as a U.Dance event is a great way to join a national network of dance platforms for children and young people. Registration is free and has great benefits, including participation certificates for each of your dancers. Criteria for registration includes involving young people from more than one school or dance group from within the UK, and it must be accessible to children and young people regardless of their gender, ethnicity, social background or disability. To find out more visit: onedanceuk.org/programme/u-dance/udance-registration, or email: u.dance@ onedanceuk.org.

Left: Del Toro School of Dance Right: Mayhew School of Dance

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DANCE News

Feedback from members who took part in Summer School from 5th–13th August at the University of Chichester Across the 10 days we welcomed 824 delegates (compromising of 302 individual teachers), 28 lecturers and 59 CPD courses, totalling 5150 hours of taught continuous professional development. CPD was offered by the Classical Indian, Imperial Classical Ballet, Modern Theatre, National, Contemporary and Tap Dance faculties, as well as non-syllabus training courses including Inclusive Practice and DDE tutor training.

The feedback from Residential Summer School was overwhelmingly positive, with delegates reiterating their delight at being back at Chichester and bookings saw a 10% increase.

The feedback about the lectures and lecturers was incredibly positive, with delegates rating the breadth of lecturer knowledge and expertise, organisation and preparation, teaching style and appropriateness of the content consistently high. 95% of attendees rated lecturer knowledge as excellent, whilst 92% of delegates rated the lecturer’s teaching style as excellent.

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Time well spent.

Thank you

A real treat to have a live accompanist in class

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Amazing course.

Couldn’t have asked for better.

The perfect amount of practical versus theory

ALL PHOTOS: GRAHAM KEETLEY

ISTD Residential Summer School 2019

DANCE News

ALL PHOTOS: GRAHAM KEETLEY

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I am about to apply for Affiliate Membership. It was brilliant. Thank you

So inspired, couldn’t have been better

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A thoroughly insightful session

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Changes to syllabus were made really clear DANCE ISSUE 488

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DANCE News

Why Do We Dance?

Juliet Diener reflects on inclusive dance practice, as shared at the ISTD Teachers Residential Summer School at the University of Chichester, 5th–13th August 2019

W

hy do we dance? This was the opening question, which Louise Molton, ISTD Director of Education, and I put to the group of ISTD teachers. It was the start of our evening discussion on inclusive dance practice at the ISTD Summer School.

The responses were emotional, heartfelt and often embedded in childhood memories, with the overriding expression being that dance brings joy and allows dancers to be themselves. Continuing to reflect on who dance is for and what makes a dancer, participants shared a unanimous view that dance is most definitely for all but how do we practically make this possible?

Teachers shared personal experiences of their challenges of catering for those with disabilities, especially when feeling illequipped with the right level of skills, uninformed of each dancer’s needs due to the family’s lack of disclosure and limited by access to resources and ongoing support. Many teachers continued to work inclusively though wondered how they could go beyond the offer of participation only, to extending this to one of attainment for a dancer with needs. Teachers are facing these questions each day in their schools and are eager to know the steps that the ISTD is taking. Many teachers are keen to be inclusive in their practice but need support to maintain quality engagement.

Louise introduced the new online ISTD website resources that offers teachers a platform to cater for those with disabilities.

I shared experiences from my own professional journey, starting with my training as a Cecchetti ballet teacher, special needs teacher and eventually dance movement psychotherapist, in developing a specific approach to working with dancers with disabilities. My learning journey offered an example of how our early approaches to dance can be remoulded and that there are possibilities and opportunities to shape change.

The evening discussion was followed by a training day – A Teacher’s Guide to Inclusive Practice. We reflected on the perceptions of dancer and disability and the ‘bridges’ needed to overcome unhelpful perceptions. We focused on: understanding the dancer and their needs; understanding the dancer and their world; creating an accessible dance space; being reflective and open to change and being creative in our response to disability.

Teachers felt heard and supported as they shared their fears, hopes and successes as practical questions were addressed and case studies presented, including current status on research and resources led by the ISTD. Before we can begin to create a syllabus, an examination system or an approach we need to revisit our attitudes towards difference and support the development of reflective practitioners who openly respond to change. As the ISTD, their specialist collaborators and teachers reimagine dance and welcome difference, solutions will be found, and dance will be possible for all.

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We reflected on the perceptions of dancer and disability and the ‘bridges’ needed to overcome unhelpful perceptions Juliet Diener is the Founder and CEO of icandance, a charity that caters for dancers with disabilities. She is currently working in partnership with the ISTD on researching inclusive dance practice and translating syllabi for disabled dancers.

Juliet Diener at ISTD Springboard 2019

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DANCE News

ISTD teacher Roswitha Wetschka with Andrew from Orpheus Dance Group

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Many teachers are keen to be inclusive in their practice Stopgap artist Freya Spencer with ISTD students

RESOURCES The ISTD has a growing number of resources for teachers that have been specially created to support those looking for information and guidance on inclusive dance practice. Please visit: istd.org/courses-and-training/resources/istd-inclusive-dance-practice.

The page includes links to further information outlined below: • • • • • • • •

An introduction by our CEO, Ginny Brown Inclusive dance practice – definition and drivers Legal background, requirements and safeguarding Creating an accessible dance space Communication needs in inclusive dance practice Assessment procedures for disabled children and young people Funding and volunteer recruitment in inclusive dance practice Directory of inclusive dance organisations, providers and publications

This section of the website also includes information on our Equal Opportunities Policy, Application for Reasonable Adjustments (ARA) and the ISTD Certificate of Participation.

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DANCE News

International Student and Teacher

SUMMER SCHOOL 2019 Reports from the successful week long multi-genre residential summer school held at Sportilia, in Spinello, Italy from 13th–19th July Report della settimana della scuola estiva per insegnanti e allievi tenutasi a Sportilia a Spinello dal 13–19 luglio REPORT: CHIARA FUMANTI La prima volta che ho frequentato l’International Summer School di Sportilia, come allieva, era il 1997. Dal 2011 sono tornata come insegnante e accompagnatrice di studenti.

Ogni anno, sia per i giovani allievi che per le insegnanti, sono presentati interessanti programmi di lavoro e di aggiornamento nelle varie facoltà: Imperial Ballet, Modern Theatre, Tap, Musical, Street Dance.

Quest’anno, a Sportilia, l’ISTD ha divulgato in prima mondiale, dopo la presentazione nel Regno Unito, il nuovo programma di danza contemporanea elaborato da un team guidato da Ross

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McKim e spiegato con competenza didattica e professionalità dal docente Antonio Borriello.

Sette giorni di lavoro intenso nei quali si è percepita l’evoluzione della danza in tutti i suoi aspetti, dalla tecnica, all’interpretazione, alla didattica senza mai perdere di vista la crescita artistica, umana e sociale. Di grande interesse ed utilità anche il confronto tra insegnanti provenienti sia dalle varie regioni italiane che da paesi esteri quali Grecia, Messico e Guatemala. Realtà territoriali diverse tra loro ma legate dai passi di danza.

L’International Summer School italiana mi ha consentito di arricchire il mio patrimonio formativo, culturale e sociale ritrovando insegnanti che erano presenti nel lontano 1997, condividendo con loro nuove emozioni e nuove prospettive.

L’ottima organizzazione della scuola estiva la si deve alla coordinatrice, nonché esaminatrice ISTD, Carole Ann Watson che è stata promossa come responsabile ISTD per tutta l’area europea.

Le congratulazioni sono d’obbligo.

Ogni anno segue attentamente lo sviluppo della Summer School sia per allievi che per insegnanti.

Durante la settimana si è poi tenuta una conferenza per informare i docenti sull’evoluzione del nuovo progetto di legge italiano, volto a regolamentare il settore della danza in Italia. Il

DANCE News

ALL PHOTOS: MARCO PETRACCI

meeting è stato promosso da Amalia Salzano presidente AIDAF-AGIS, insegnante e divulgatrice della tecnica Mattox.

Erano presenti la Chief Executive ISTD Ginny Brown e la direttrice del dipartimento ISTD Education & Training Louise Molton. A Carole Ann Watson e a tutto il suo staff, composto da Barbara Bottaini, Luana Tartarotti, Marzio Vaccarini, Charlie Ann, un grazie di cuore.

Il mio è quindi un arrivederci alla prossima edizione dell’International Summer School cui spero di partecipare ricevendo nuova formazione, nuova energia e serenità data anche dalla location del paesaggio appenninico tutto italiano.

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The teachers exuded energy

English Translation of Chiara Fumanti’s Report The first time I attended the ISTD International School Summer School at Sportilia was in 1997 as a student. A rich and varied programme in Imperial Ballet, Modern Theatre, Tap, Musical and Street Dance has been presented every year to teachers and students alike.

This year, the ISTD presented the new Contemporary dance course, devised by Ross McKim and his team, outside the UK for the first time. The extremely competent and professional lecturer, Antonio Borriello led the course.

We had seven days of intense work in which the evolution of dance was examined in all its aspects, from technique and interpretation to teaching, without ever losing sight of artistic, human and social development. It was interesting and enlightening to contrast teachers from different regions in Italy as well as from different countries – Greece, Guatemala and Mexico. Though different, they are all connected by dance steps.

The ISTD International Summer School has enriched my educational, cultural and social heritage. It has enabled me to reconnect with teachers from way back in 1997, sharing with them new emotions and new perspectives.

The excellent organisation of the summer school is thanks to Co-ordinator and ISTD examiner, Carole Watson, who has now been promoted to ISTD International Representative for Europe.

Congratulations go to Carole. Each year, she closely follows the development of the Summer School for both students and teachers.

A conference was held informing teachers of the development of the new laws in Italy aimed at regulating the dance sector in the country. The meeting was led by Amalia Salzano, president of AIDAF-AGIS, teacher and advocate of the Mattox technique.

Ginny Brown, (ISTD CEO) and Louise Molton (ISTD Director of Education) were present.

A heart-felt thank you goes to Carole Watson and all the staff here: Barbara Bottaini, Shirley-Anne Osborne, Luana Tartarotti DANCE ISSUE 488

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and Marzio Vaccarini. For now I say goodbye until the next ISTD International Summer School, which I hope to attend in order to receive more training, new energy and serenity from the all-Italian Apennine landscape.

REPORT: OLGA GILIBERTO Anche quest’anno si è conclusa brillantemente la settimana dedicata alla danza che ha visto la straordinaria partecipazione di insegnanti e studenti, provenienti da ogni parte del mondo, animati da una grande passione: “la danza”. La Summer School svoltasi a Sportilia, zona Spinello, è stata, come ogni anno, sapientemente organizzata da Mrs Carole Anne Watson alla quale va il mio più sentito ringraziamento, poiché, con la presenza di nomi altisonanti della danza a livello internazionale, offre, a noi insegnati, l’opportunità di arricchire sempre di più le nostre conoscenze e la possibilità agli studenti di lavorare in maniera professionale, ottenendo borse di studio di pregevole livello.

Vorrei, altresì, ringraziare tutti i docenti intervenuti: Tracey Warner che ci ha donato i suoi preziosissimi consigli sull’insegnamento della tecnica classica, del repertorio e ci ha portato a conoscenza della nuova performance, da lei creata, per advance I. Immensamente onorata per aver ricevuto, da lei, la borsa di studio intitolata a Miss June Ricroft; Antonio Borriello, splendido ballerino e docente di danza contemporanea che ha presentato il programma di intermediate, certamente un valore aggiunto alle molteplici discipline già presenti nel grande scenario dell’ ISTD; Belinda Basu per la conoscenza del Musical in tutte le sue sfaccettature; Ruth K. Armstrong per la sua esplosiva energia nelle performance dedicate alla danza Modern Jazz; Natasha Gooden, straordinaria 24 DANCE ISSUE 488

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I liked taking part in genres I was unfamiliar with and making new friends

danzatrice di Street Jazz che è riuscita a coinvolgere, con le sue lezioni, anche chi ha una natura prettamente classica; Gianluca Raponi e Simona Imola che ci hanno insegnato la complessa tecnica di passo a due; Cinzia Maestri per le sue lezioni di Body Conditioning; Amalia Salzano con le sue master-class dedicate all’approfondimento della tecnica jazz Matt Mattox ed infine, ma non certamente per ordine di importanza, un ringraziamento speciale al Maestro Marzio Vaccarini che, con le sue splendide melodie, magistralmente eseguite al pianoforte, ci ha coinvolto in un’atmosfera ricca di emozioni rendendo le lezioni magiche.

In conclusioni, mi sento di consigliare questo corso a tutte le insegnanti, affinché si possa trasformare in un appuntamento fisso con la VERA DANZA.

English translation of Olga Giliberto’s Report This year again, the week dedicated to dance ended brilliantly with the extraordinary participation of teachers and students, coming from all over the world, fuelled by a great passion: dance.

The ISTD Summer School which took place at Sportilia was, like every year, well organised by Carole Watson to whom I extend my

DANCE News

ALL PHOTOS: MARCO PETRACCI

heartfelt thanks. Having well-established international lecturers offers us the opportunity to enrich our knowledge further and our students to work in a professional manner with some obtaining valuable scholarships.

Furthermore, I would like to thank all lecturers: Tracey Warner who gave us her invaluable advice on teaching classical technique, repertoire and taught us the new alternative variation, which she created for the Advanced 1 syllabus. I was immensely honoured to have been awarded the June Rycroft scholarship by her; Antonio Borriello, a splendid dancer and Contemporary dance lecturer who taught the Intermediate Foundation syllabus which adds greatly to the many disciplines already offered by the ISTD; Belinda Basu for her knowledge of Musical Theatre in all its facets; Ruth Armstrong for her explosive energy in performances in Modern Jazz; Natasha Gooden, an extraordinary Street Jazz dancer who managed to involve all students including those with a purely classical background; Gianluca Raponi and Simona Imola who taught the complex techniques of duets; Cinzia Maestri for her body conditioning lessons; Amalia Salzano with her masterclasses dedicated to the Matt Mattox Jazz technique and last but not least, a very special thank you to Maestro Marzio Vaccarini who with his splendid melodies, masterfully performed on the piano, created an atmosphere full of emotion, making the lessons magical.

To conclude, I would like to recommend this course to all teachers and may it become a regular fixture in your calendar for dance and self-development.

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I enjoyed the company and brilliant choreography

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The teachers were very kind and they taught us new steps DANCE ISSUE 488

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DANCE News

A Step Change for the ISTD Brand Gemma Matthews, Director of Membership and Communications explains how we are bringing our new brand to life

E

veryone is familiar with what makes a good brand and it’s more than just a logo. It’s actually the sum of many parts – the vision, values, experience and service, imagery, tone of voice, communication channels and most importantly people.

We all know which brands get these factors right, delivering a product or service we’re happy to use and recommend. For an organisation with such a history and pedigree as the Imperial Society of Teachers of Dancing, we had to ascertain what our brand said about us; what were we doing well and what should we be doing better? Over the last few years research showed that while our syllabi are recognised as a quality product, how we presented ourselves and represented our members needed improvement.

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Our creative brand proposition focuses on the passion and dedication of dance teachers, and excellence in dance across all our genres

This, combined with an ambition to position the Society as the leader in an international market and to grow our membership, meant we were in the perfect position to take stock and start the process to revitalize our brand. One of the many streams of work that the teams at Imperial House are undertaking is to improve the overall service and experience for our members.

Working with branding experts Design Culture we set to work to canvas our members, research our competitors and review our current outputs. This work helped us establish how we wanted to present ourselves in an increasingly demanding and competitive market. What came out of these sessions was the desire to see our organisation stand out from the crowd, to champion the quality and expertise of our product and people, show the Society as instrumental in providing career progression in the world of dance and put our members at the heart of the organisation.

DANCE News

Our creative brand proposition focuses on the passion and dedication of dance teachers, and excellence in dance across all our genres. Our new imagery will beautifully and vibrantly demonstrate this, making us accessible and instantly recognisable.

A celebration of our heritage has inspired the new logo and the use of our name in full so that there is clarity about who we are, what we do and who we are here for. The new logo will be revealed at an exciting brand launch event at the ISTD Graduation Ceremony on Tuesday 18th February 2020.

We have created a set of guidelines to ensure that the ISTD brand is consistently represented. The guidelines set how to use the logo, colour palette, imagery and apply our tone of voice to all communications – so that there is a unity of presentation. By embracing and applying a consistent brand look and feel, we can change how people perceive the brand, improve recognition and increase business. Our audiences will know immediately what we stand for, and how we can make a positive difference in their dance careers.

Members will have access to the brand guidelines and we will be providing a range of resources to help you transition from the old logo to the new logo over the course of 2020. These resources will enable you to promote your business and ISTD membership.

One of our aims is to bring members consistent and timely communications; we want everything you receive from us, from letters and e-newsletters to the magazine and educational guides, to look and feel similar and be relevant to you. It is going to be quite a big job to bring all of our communications in line and you’ll see the results materialise over the coming months, including a new look DANCE magazine. You can tell us what you’d like to see in DANCE magazine by completing the readership survey at istd. org. The survey closes 4th January 2020.

The ISTD website is our window to the world. It is often the first port of call for information about the students, parents and members, so making sure we are represented consistently online is a priority. As such, the site is undergoing a transformation that will improve the experience for all visitors. With more members accessing the website on the go, the site has been designed to

be fully optimised for mobile access, and navigation has been improved to ensure that all the information you need is just a couple of clicks away. Better integration and automation will make it easier for members to book events, manage their profile and link to examination information.

We will also be looking at our digital strategy to ascertain how we can better engage with our international audiences across our social media channels to increase our audiences and showcase our work.

It’s an exciting time to be part of the Imperial Society of Teachers of Dancing, and we hope that the new look brand is one that you will embrace and be proud to use. Resources for rebranding will be available from the start of the New Year. Please get in touch should you have any queries about using the brand.

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It’s an exciting time to be part of the Imperial Society of Teachers of Dancing

TIMETABLE FOR 2020 BRAND ROLL OUT •

Official launch of the logo on 18th February

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Website refresh from February

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New membership card – a sustainable card, with the new branding, will be sent out at the end of February

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Membership marketing resources available from February – logo, advertising template, guidelines

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New look DANCE magazine

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CREATED BY ROSS McKIM MA, PHD, NBS (IDP)

Contemporary syllabus

New level available NOW

BOOK NOW for Teachers Courses with CD, DVD and syllabus notes

Intermediate Foundation and Intermediate levels now available for teachers and professional dancers who work across different settings including: dance schools, colleges, secondary schools and youth dance.

For more information go to www.istd.org/contemporary

Advanced 1 Contemporary syllabus available soon

DANCE News

Renew Your Membership for 2020 Today!

All fee paying members of the ISTD will have recently received a reminder to renew your annual subscription.

We encourage you to renew by 1st January 2020 and continue to access all the benefits of ISTD membership.

For information on 2020 rates and how to renew visit istd.org/membership and login to My ISTD.

As a member you can enjoy a range of benefits, from your regular edition of DANCE magazine to CPD courses, training and excellent events – all designed to support your career.

We know how important the professional development of our members is, and we are committed to developing our products, services and communications in 2020 to ensure that you have access to the best resources to advance excellence in teaching and dance education for all.

Conti to be p nue a organi rt of an sation that makes a diffe rence DREW TOMMONS

renew today

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Bursary Awards Masterclasses

Time: 1pm – 3.15pm 16th February 2020

The Place, 16 Flaxman Terrace, London, WC1H 9AT Join the ISTD’s Theatre Faculties for a day of student masterclasses led by dance and musical industry professionals with observation opportunities for teachers and parents.

Tickets also include access to the Theatre Bursary Awards Performance at 4pm.

Tickets are available at istd.eventbrite.co.uk All student tickets also include a free parent ticket to the performance (only).

For further information, please visit: istd.org/bursary-awards-and-masterclasses

Bursary Awards Theatre Performance Time: 4pm – 6pm 16th February 2020 Robin Howard Theatre, the Place, 17 Dukes Road, London, WC1H 9PY Tickets are available at istd.eventbrite.co.uk

The ISTD Bursary Awards celebrate exceptional talent and potential amongst ISTD trained young dancers. Nominees for both junior and senior categories have been invited to represent each of the seven Theatre Faculties and will perform before a panel of industry experts.

Winners and their teachers receive a financial bursary to support their training and development.

For further information, please visit: istd.org/bursary-awards-and-masterclasses

DANCE News & Features

INTERNATIONAL NEWS

NORTH AMERICA

8 371 EXAM PERIODS

13

COUNTRIES

MEMBERS

EXAMS DAYS

292

CERTIFICATES

32 3984 TOURS

DATA FOR THE YEAR 2018

CANADA

CANADA’S NATIONAL BALLET SCHOOL L’ÉCOLE NATIONALE DE BALLET DU CANADA 174 NUMBER OF MEMBERS Interview with Anuschka Roes Canada’s National Ballet School (NBS) in 1637 Toronto advances ISTD National Dance NUMBER OF CERTIFICATES through their teacher training programme, IN 2018 where amongst other teaching qualifications, students can train at vocational and associate levels. The genre owes much of its popularity in Canada to retired ISTD National Dance and Modern Theatre examiner Maisie MacPhee, who trained numerous associates in Ryerson University’s dance programme.

Today, NBS has grown into a central hub for ISTD National Dance and their teacher training programme students consistently name National Dance classes among their favourites. It’s not just an enjoyable way for students to learn about diverse cultures and dances from other countries, National Dance is an important tool for teachers, too as patterning is excellent for choreography, to teach style, the basics of partnering, and also skills for dancing in a large group.

Teacher Training Programme students at Canada’s National Ballet School

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USA

OMAHA ACADEMY OF BALLET Interview with Penny Michonski 89 Inspiring thousands of people to dance NUMBER OF MEMBERS since 1962, Omaha Academy of Ballet (OAB) 161 is located in the ‘heartland’ of the United NUMBER OF CERTIFICATES States in Omaha, Nebraska. Founded with IN 2018 the belief that Ballet was a critical art form needed in Omaha, OAB established a rigorous Ballet programme to produce pre-professional and recreational dancers grounded in ISTD training. OAB is still the only dance school in the city that provides ISTD syllabus training, offering dance training for ages three through to adult, and beginner to advanced levels in many genres including Ballet, Tap, Jazz, Lyrical, Modern and Contemporary. Current OAB faculty members bring over 125 years of experience teaching the ISTD Imperial Ballet syllabus and OAB students in Ballet grades two through six are encouraged to participate in the ISTD Penny Michonski teaching a student Imperial Ballet exams each year. Many OAB students have gone on to dance professionally or further their studies at the collegiate level.

Beyond studio classes, OAB provides dance training and education in the community through free after school programmes at eight area elementary schools and community performances of Omaha Dance Project, a separate (yearly) production of a classical Ballet and mixed repertoire works. With 420 students enrolled in 2019, OAB has grown over 20% in the past three years alone and truly hopes to continue supporting students in their passion for dance and spreading the love of dance through quality dance training in Omaha and beyond.

DANCE News & Features

Dancing Petals students

DANCING PETALS Interview with Gurmeet Kaur Marhas “Teaching is the best way to remain immersed in Kathak, to delve deeper into every aspect of Kathak: historical, cultural, theoretical, musical, choreographic and improvisational”, says Gurmeet Kaur Marhas, who founded Kathak dance school Dancing Petals in 2012.

By using techniques like quizzes, adding a contemporary twist to the traditional stories, bringing in world-class artists and by participating in new formats like the Arts in the Dark parade, the school has managed to pique the curiosity of new students, generate interest and sustain enthusiasm steadily and successfully. There are also plans to create a platform for on-going learning, performing and experiencing this fascinating art form.

Passion, patience and perseverance are at the core of Dance Petals’ philosophy and dance students are always encouraged to stay the course. The ISTD’s emphasis on structured learning and objective dance examinations along with its formalised coursework is invaluable in enabling students to apply the discipline and training to all their future endeavours. Dance Petals hopes to have kindled an everlasting love for Kathak that inspires their students to continue practicing, training, performing and also teaching Kathak whilst ultimately enjoying the journey and never neglecting their physical, emotional and mental wellbeing.

PHOTO: PHILAMONJARO

Gurmeet performing at the Chicago Summer Dance Celebration

GAIL CLIFFORD, ISTD LOCAL ORGANISER FOR MEXICO 89 Gail Clifford, the ISTD’s dedicated local NUMBER OF MEMBERS organiser for Mexico, coaches teachers for 1649 their Associate, Associate Diploma and NUMBER OF Licentiate, and she says it is her contact with CERTIFICATES IN 2018 so many wonderful colleagues, examiners and lecturers worldwide that inspired what she believes in today. She says: “It is the structure of the ISTD Faculty, and the specifications that lead one level to another, that is second to none.” She is particularly thankful to Elizabeth Harrison for her guidance, inspiration and friendship and for challenging her to achieve what she thought was impossible.

MEXICO

A SPECIAL REPORT ON THE ISTD IN MEXICO

By Pamela Eddleston Over the past 33 years I have had the pleasure and privilege of visiting Mexico to examine, teach and coach ISTD work. I have seen many changes throughout these years and at a period of transformation for all of us I thought it the right time to honour the origin of the ISTD in Mexico with a brief review of how our work came to be here and flourish so greatly.

Gail Clifford has been the face of the ISTD in Mexico for over 50 years and, as with most of our growth overseas, chance played a huge role. Gail received her initial dance training at the Wessex School of Dancing and continued to Bush Davies School of Theatre Arts in Romford. In 1966 she flew to Mexico to visit her parents, where they lived at that time, always meaning to return to England. She was quickly recruited by the St Andrews Society as an exhibition dancer for their Caledonian Ball and fate held out its hand. Here she met her future husband Fernando Irveste and has been in Mexico ever since.

Gail Clifford Having a sound dance training, Gail opened a dance school in 1967 offering both RAD and ISTD methods and she recounts that she was greatly surprised and delighted to find 40 potential students waiting to start. She was up and running. Like so many of us who have started schools overseas she continued to study and attend courses wherever and whenever she could. Gail recalls inspiration from Joan Hardy at an ISTD National Dance course in Los Angeles. Joan Hardy subsequently visited her in Mexico and conducted lessons for her students.

Two years later, also in Los Angeles, Gail presented and gained her Associate Imperial Ballet Examination with Joyce Percy and June Rycroft. With encouragement from these wonderful ladies the seed was planted. Gail then coached 10 National Associates, which the late Robert Harrold examined on an official visit in 1977. Subsequent Triple/ DANCE ISSUE 488 33

DANCE News & Features

Gail Clifford (centre) with dancers and students at a tribute event held in her honour

Quadruple Faculty examiners encouraged and coached Modern, Tap and Imperial Ballet on each examining tour and the seed blossomed.

Gail became a magnet for teachers and professional dancers inspired by the structures and beauty of the ISTD syllabus together with the skill and generosity of the examiners.

Among the original candidates were Mario Mejia, Auda de Los Cobos, both dancers of Ballet Folklorico de Mexico; Joan Mondellini, dancer, teacher, choreographer, a graduate of Arts Educational Schools who had settled in Mexico City with husband and family; Claudia Gomez, Mario’s niece. All have developed their own schools and introduced the ISTD throughout Mexico.

Many of our pioneer overseas examiners visited Mexico multiple times in the following years bringing their individual gifts, inspiration and extra push to drive the growth along.

Since then Gail has taken Mexican teachers and students to many cities in the world for the ISTD experience; Toronto Summer School in 1982 where I first encountered and fell in love with the Mexican contingent, several visits to Chichester Summer School and with 50 students to Wells Summer Camp.

In 1994 she received the Imperial International Award, so richly deserved. She has built and maintained this wonderful connection with the world of dance through the ISTD and its many faculties.

This year saw 14 examiners, the young and the not so young, all master teachers, bring their talents and new methods travelling throughout many areas of Mexico.

Gail has been our cultural guide, translator, driver, travel guide, nurse, problem solver, rescuer and carer especially during serious medical emergencies, navigator through many of the unique situations we experience in Mexico. She has maintained her coaching, mentoring and public speaking in her role as Liaison Officer with her meticulous attention to detail of the syllabus and protocol of the ISTD. Hopefully she will continue in all these roles for many years to come but most of all Gail has been our friend. With love and many thanks.

GAIL CLIFFORD Y LA ISTD EN MÉXICO Spanish translation by Joan Mondellini A través de los últimos 33 años, he tenido el placer y privilegio de visitar México para examinar, enseñar y revisar el sistema de la ISTD. He visto muchos cambios durante esos años y ahora, en un periodo de transformación para todos nosotros, pensé que era el momento adecuado para honorar el origen de la ISTD en México con un recuento breve de cómo nuestro sistema se dio y creció tan grande. La maestra Gail Clifford ha sido la cara de la ISTD en México por más de 50 años y, así como con mucho de nuestro crecimiento internacional, el destino jugó una gran parte. Gail tuvo su entrenamiento inicial de danza en 34 DANCE ISSUE 488

la Escuela de Danza de Wessex y continuó en Bush Davies School of Theatre Arts en Romford. En 1966 voló a México para visitar a sus padres, quienes vivían ahí en ese entonces, siempre con la intención de regresar a Inglaterra. Fue reclutada rápidamente por la St. Andrews Society como bailarina invitada para su evento Caledonian Ball, y el destinó extendió su mano! Fue ahí donde conoció a su futuro esposo, Fernando Irveste, y desde entonces reside en México. Teniendo un entrenamiento solido en la danza, Gail abrió una academia de baile en 1967 ofreciendo los métodos de RAD y ISTD, y relata como estaba sorprendida y encantada al encontrar 40 potenciales alumnos listos para empezar. Ella estaba en su marca y lista. Como muchos de nosotros que hemos empezado escuelas fuera de Inglaterra, ella continuó estudiando y tomando cursos cuando fuera y donde fuera que pudiera. Gail recuerda que la inspiró Joan Hardy al verla en un curso de ISTD Nacional Dance en Los Ángeles. Poco después Joan Hardy la visitó en México y le dio clases a sus alumnos. Dos años mas tarde, también en Los Ángeles, Gail presentó y pasó su Associate Imperial Ballet Examination con las examinadoras Joyce Percy y June Rycroft.

Con el apoyo de esas increíbles mujeres, la semilla fue sembrada. Gail entrenó a 10 Associates quienes fueron examinadas por Robert Harrold en una visita oficial en 1977. Subsecuentemente examinadores triples y cuádruples alentaron y entrenaron para Modern, tap e Imperial Ballet en cada tour de examinación y la semilla floreció. Gail se convirtió en un imán para maestros y bailarines profesionales inspirados por las estructuras y la belleza del programa de estudio ISTD junto con la destreza y generosidad de los examinadores. Entre los candidatos originales se encontraban Mario Mejia, Auda de Los Cobos, ambos bailarines de Ballet Folklórico de México; Joan Mondellini, bailarina, maestra y coreógrafa, graduada de Arts Educational Schools en Londres, quien llegó a México con su esposo y familia; Claudia Gómez, sobrina de Mario Mejía. Todos han empezado sus propias escuelas y han llevado el sistema de la ISTD a todas partes del país. Muchos de nuestros examinadores pioneros visitaron México varias veces en los siguientes años, aportando sus habilidades individuales, inspiración y ese empujón extra para alentar el crecimiento. Desde entonces Gail ha llevado a maestros y estudiantes mexicanos a muchas ciudades en todo el mundo para la experiencia ISTD; Toronto Summer School en 1982, donde yo conocí por primera vez y me enamoré con el grupo mexicano. Además de varias visitas a Chishester Summer School y con 50 estudiantes a Wells Summer Camp. En 1994 ella recibió el muy merecido Imperial Internacional Award. Ha construido y ha mantenido esta impresionante conexión con el mundo de la danza a través de ISTD y sus múltiples facultades. Este año vio a 14 examinadoras, los jóvenes y los no-tan-jóvenes, todas maestras altamente calificadas, traer sus habilidades y métodos nuevos viajando por muchas partes de México.

DANCE News & Features

Gail ha sido nuestra guía cultural, traductora, chofer, guía turística, enfermera, mediadora de problemas, rescatista, y cuidadora especialmente durante serias emergencias medicas, navegadora a través de muchas de las experiencias únicas que vivimos en México. Ella ha mantenido su enseñanza, su rol como mentora y su habilidad de hablar en público en su papel como Liaison Officer con su meticulosa atención al detalle del programa y protocolo de ISTD. Esperemos que siga con todos sus roles y facetas por muchos años, pero más que nada, Gail se ha convertido en nuestra amiga.

Danza Studio 14, Mexico 2019 exam session with Heather Rees, at the Academia De Ballet Pilastra, Mexico

DANZA STUDIO 14 Interview with Raúl Fernández Danza Studio 14 was founded in August 2012 with the idea of having a space dedicated to forming dancers in the most professional way possible.

Sandra Barcenaswho has a professional career of over 20 years as prima ballerina in the National Mexican Ballet Company, is currently sharing everything she learned in all those years with her students. Her school has become a place of high performance standards, which over its seven years has started the careers of many students as professional dancers in Mexico and abroad.

Danza Studio 14 also takes great pride in giving its students the opportunity to express themselves through dance in a serious, correct and disciplined way, even if only for recreational purposes.

Danza Studio 14 is affiliated with the ISTD and instructs in both Modern Dance and Ballet with students taking ISTD exams each year.

ESCUELA DE BALLET DEL VALLE Interview with Martha Trejo-O´Reilly The ISTD was first brought to Mexico in 1975 after Martha O’Reilly and Gail Clifford attended a course given by examiner Joan Hardy in the USA. Mrs O’Reilly clearly viewed that her school, Escuela de Ballet del Valle, founded in 1961 under the Royal Academy of Dance system, would achieve further development by using the ISTD’s syllabus and has been determined to implement it ever since.

So, it was in 1975, when the National syllabus and Imperial Ballet vocational work were the first examinations to be held.

In the coming years, grade syllabi were introduced. Imperial Ballet has been the school’s structure providing a clear path for those who pursue opportunities for developing in dance.

Throughout many generations, students, teachers, professional dancers and choreographers have emerged from the school.

Examinations are held once a year. Mrs O’Reilly is now a Life Member and keeps up her work, always encouraging personal growth. Amongst the teachers in the school is also her daughter, Martha Trejo-O’Reilly, a fellow member since 2013.

Key values in the school are never to cancel a class, visualize the path, teach with respect for each individual student and share the love to dance.

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DANCE News & Features

ESCUELA PROFESIONAL DE DANZA COPPELIA’S BALLET & COMPANY Interview with Frida Yosif Frida Yosif started her school in 2008 in Playa del Carmen, Quintana Roo, a small community with little knowledge of classical dance. Her dream was to provide this knowledge, hence the school specialises in Imperial Ballet in all grades, from beginners to advanced.

The school’s commitment to encourage students to have goals, to surpass themselves and to motivate them to complete their Ballet studies and take certificates has changed people’s way of thinking about studying classical dance and turned Coppelia’s Ballet & Company into a sought after dance school, which offers professional studies and international certification.

Escuela Profesional de Danza Coppelia’s Ballet & Company students

MINA ROSALES PERFORMING ARTS Interview with Guillermina Rosales Mina Rosales Performing Arts is a small school, which in 2011 was conceived to provide quality artistic education mainly in disciplines such as dance and theatre. The city of Martínez de la Torre is a not very large place, located in the state of Veracruz in South-Eastern Mexico.

The area produces plentiful citrus fruits such as lemons and oranges, but lacks artistic activities that would offer the population culture, better education and entertainment, so some parents were interested in classic Ballet classes for their children.

Director Guillermina Rosales, dancer, actress and choreographer, founded the school eight years ago, and to improve the students’ dance levels she began to motivate them to prepare for ISTD exams.

The school has also had the privilege of welcoming a male student, and although he has had to endure discrimination for practicing an art considered only for women, the situation for men is undoubtedly changing and today one of the best dancers in the world is a Mexican.

Mina Rosales Performing Arts wants to encourage everyone to continue and hopes that the situation improves so that more children have access to enjoy and make a career as Ballet dancers.

Over the last four years the school has transformed itself into a small theatre, seating 100 and offering Ballet performances for the local population.

Above: Intermediate student as Swanhilda from Coppélia, dancing with an invited dancer

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Above, centre: Students of Grade 5, Intermediate Foundation and Intermediate

DANCE News & Features

PALOMA SUAREZ’S DANCE STUDIO Interview with Paloma Suarez Paloma Suarez has been in love with dance her whole life and joined the ISTD as a Modern Theatre student in 2001 and has been training students ever since, obtaining her Associate in 2009. Ten years later with an ISTD Licentiate certification and a PhD in psychology, differences have been observed.

Nowadays a lot of information regarding dance styles, technique, health and music, can be accessed at the tap of a screen. With that immediacy representing a challenge, Paloma always encourages her students to keep training and to start dance studies no matter their age or occupation. As a dance teacher of young adults with different professional and academic interests, she is sure that ISTD education has changed the lives of some of them who had lost the dream of being dancers. She is very grateful to them and hopes that dance will always be a priority in their lives, as it is in hers.

Grade 6 Modern Theatre students at Paloma Suarez’s Studio, Coyoacan Mexico City

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PRAISE ACADEMY OF DANCE Betty and Livingstone Alleyne received the ISTD International Imperial Dancesport Award in 2019. Betty Waithe-Alleyne initiated and co-ordinates the ISTD Dancesport examinations in Barbados. In 2013, she also introduced the ISTD Ballet and Modern examinations.

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DANCE News & Features

TRINIDAD & TOBAGO

LAMBERT SCHOOL OF DANCE, TRINIDAD Interview with Sarah Lambert The school opened in 1984 to introduce the 9 syllabi of ISTD Imperial Ballet, Modern and NUMBER OF MEMBERS Tap to Trinidad. They held the first ISTD exam 299 session in 1986, with Examiner Patricia Crail.

NUMBER OF CERTIFICATES Exams are now held annually with eight IN 2018 schools entering candidates.

The School, in San Fernando and Westmoorings, continues to offer quality dance teaching in a friendly, inclusive and stimulating environment with qualified, inspiring teachers. All students are encouraged to enter for exams and those considering teaching, for the International Associate Exam. Every student performs in the biennial show.

School Performance 2019 – Advanced 1: Daniece, Rashaad, Yasmeen and Jessie

Grade 6: Kirsten, Camryn and Aveesha

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In the region there are many dance genres from Ballet to Folk and Hip Hop for aspiring dancers. However, a progressive, structured syllabus, taught by qualified teachers is an important base, enabling the dancer to develop technique and artistry safely, minimizing injury and working to clearly defined performance goals. Taking externally graded exams develops strong, well rounded dancers, ensuring their progress is to an international standard.

With young, qualified teachers joining, the school continues its tradition of ensuring dancers of all ages gain a sense of achievement, confidence and self-discipline while exploring the exciting Art of Dance.

DANCE News

Can You Dance? Super Convention The ISTD team was impressed with the energy and talent on display The Can You Dance? (CYD) Super Convention took place in Liverpool on 19th–20th October 2019. It was a jam packed weekend filled with high energy dance and featuring classes by industry professionals.

There were competitions for young dancers and electric performances on the main stage plus an exhibition floor full of life with schools, dancewear companies and studios showcasing their wares.

The Imperial Society of Teachers of Dancing took a stand for the first time and the team was completely blown away by the positivity from both the organisers and audience. We had a highly successful weekend chatting to dancers, teachers and parents about how the ISTD can help in their chosen career path, and

promoting our new Contemporary syllabus. We also managed to watch students from some of our approved dance centres perform on the main stage. Everyone did an excellent job and some of the talent showcased across the weekend was truly inspiring.

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The exhibition floor was full of life with schools, dancewear companies and studios

A special mention and a big thank you to Gaynor Owen (a major UK and international theatre faculties examiner, pictured below) who worked with the team on both Saturday and Sunday, giving a unique insight to her 40-plus years of working for the ISTD. Her energy and enthusiasm were unmatched.

The er CYD? Sup 20 ion 20 Convent place on will take th ctober O 17th & 18 S Bank & at the M erpool Arena, Liv

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DANCE News

Library News Sarah Jardine-Willoughby describes the latest additions to the ISTD Library The Original Sleeping Beauty Ballet – An Alchemical Allegory.

Margaret Fleming-Markarian.

Published by Temps Lié, 2018.

ISBN: 978-0-9929469-2-0 Margaret Fleming-Markarian looks at the original production of the Sleeping Beauty ballet, and shows links to alchemy. She gives a close reading of each scene looking at the plot, choreography and the costumes and finds links to alchemy, which are mainly hidden to our eyes in the movement or in the colour of the original costumes or even in the names of the various characters, for example the name of King Florestan.

She writes that there was an interest in alchemy in the 19th century Russia, coming from a French influence. She notes that most people today are not familiar with the concept of alchemy, but it is still a known subject with current classical scholars. Today most people think of alchemy as early chemistry or the search to turn base metal into gold but the alchemical belief system is largely forgotten.

This book introduces the modern reader to the original ballet and to characters not usually seen in modern productions, as well as the alchemical elements.

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ISTD

Ballet: The Definitive Illustrated Story.

Compiled by Viviana Durante, Published by DK, 2018.

ISBN: 978-0-2413-0231-6 This book is very beautifully produced with many illustrations. It is arranged mainly chronologically, starting with the beginnings of ballet (1550–1830) through to Modern Ballet (1975–present). There are descriptions of ballets, choreographers, dancers and companies and also major opera houses and theatres.

I particularly like the ballet timelines included for some works.

This book does not just highlight the familiar ballets but includes some more unusual works that are not so well known in the UK. This is not a heavy academic book so has no bibliography for further reading but offers a good introduction to various aspects of ballet, for example the origins of ballet. However, the title is misleading as this is not really a definitive book on ballet and is inevitably selective. There is potential for debate about what has been included and what has been excluded, or about the size of some of the entries.

The Bloomsbury Companion to Dance Studies. Edited by Sherril Dodd. Published by Bloomsbury Academic, 2019.

ISBN: 978-1-350-02446-5 The Bloomsbury Companion series is aimed at postgraduate students, scholars and libraries.

This book is a series of essays on different topics written by various dance researchers or academics, for example dance pedagogy, practice-as-research, dance and politics and more. Each essay ends with notes and references. However, I was slightly baffled by one of the contributions, entitled Annotated Bibliography, which I feel is a misnomer as it is indeed a bibliography but is not annotated. However, the bibliography is divided into different dance topics and includes a list of journals and online resources. The last section is an A-to-Z of Key Concepts in Dance Studies, which has a useful introductory paragraph that explains the list is intended as a quick reference tool and the author, Lise Uytterhoeven, ends her introduction with: “I hope that the list may also offer a point of discussion among colleagues about the state of the field”. This book will be useful to dance students and researchers.

The ISTD HQ Library is a unique resource that offers a wealth of material covering most dance disciplines and related subjects.

We are open Mondays and Thursdays 10.30am–3.30pm. Visitors must book in advance. For further information or to book an appointment please call us on +44 (0)20 7377 1577 or email library@istd.org.

FIND US AT: ISTD Library, Imperial House, 22/26 Paul Street, London EC2A 4QE

DANCE News

Review by Melanie Curtis, Head of UK Examinations Choreography, by Kate Flatt.

Published by The Crowood Press, 2019.

ISBN: 978-1-78500-611-1 Kate Flatt brings her four decades of professional experience, as well as in-depth knowledge and expertise from working as a choreographer, teacher and mentor to write her book.

Choreography is an inspirational and insightful guide to the process of creating dances. During Kate’s illustrious career she has worked with artists such as Leonide Massine and studied with Nina Fonaroff, Glen Tetley and Robert Cohan. Her worldwide choreographic credits in dance include film, musicals, opera and the original production of Les Miserables for the RSC. Kate writes that her book is intended as an aid to navigate the challenges of the choreographic process and to enrich artistic development. She achieves this with an abundance of resources for ideas, developmental exercises and strategies for planning and managing choreography, which are expertly structured as a sequential and meaningful journey of discovery and enrichment.

Kate begins her book by exploring the role of the choreographer and charts its development to the present day, documenting the variety of dance genres and contexts in which choreographers work. This provides an insight into myriad settings and opportunities where choreographic skills are required such as private dance schools, community projects, musicals and fashion shows, and digital interaction such as motion capture for video games and animation.

Kate moves deftly through the choreographic process by first igniting the reader’s creative curiosity with inspirational resources for choreographic starting points, citing examples such as prose, architecture, myths and legends, and animals and landscapes.

She invites the reader to explore this rich tapestry of thematic possibilities with her playful strategy of “let’s see what happens if…” as she encourages artists to create meaningful choreography and communicate through dance with their own authentic voice. Kate’s step-by-step approach includes warm-ups, ideas and resources for music and practical advice such as deciding on the number of dancers, working with props, selecting costumes, and staging and lighting the completed work.

Kate’s narrative is supported with beautiful and thoughtfully selected images and photographs of the choreographic process in action to inspire creativity. Some of these images are of Kate’s work at various stages of development in the studio such as her ideas for a duet for Barcelona Ballet Project, and rehearsal and performance images such as those from her piece inspired from Shakespeare’s sonnets entitled Undivided Loves for Phoenix Dance Theatre. Particularly captivating are those by Royal Ballet dancer Matthew Ball, who has photographed the improvisation

process and examples of duet, trio and group work. Kate also uses images to show how stage directions and the orientation of the body on stage can change how choreography is interpreted by the audience.

Having taught choreography to dancers for over 20 years at The Royal Ballet School, Kate advocates the vital importance of improvisation as an aid of creative exploration and discovery, and details ideas for class which will help to develop dancers’ creativity, body intelligence and stimulate an inclusive choreographic experience. She writes that she believes that teaching and learning choreography are “an important part of dance training”.

Throughout the process Kate’s innate joy and passion for creative dance bubbles through the narrative and she touchingly concludes that she wishes she could accompany the reader on their choreographic journey. Having written a vital resource for teachers, students and choreographers at all stages of their careers, there is no doubt that she will be the guiding hand for many more choreographic careers through this enlightening and insightful book. Sample spreads from the book are featured below:

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CONTEXT, STAGE GEOMETRY AND ATMOSPHERE

Spatial orientation Massine asked his students to respond to the challenge of finding movement that was expressive in the body and spatial orientation in the shaping of dance material. Observe the difference in negative space and the difference in feeling between these

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images. The dancer is doing exactly the same pose, but using each of Massine’s directions: Moving on from these observations, try these tasks for solo and group invention. Allow the material also to use the twists and rotation in the torso.

This and the following three images show the difference between four of the orientations. Direction B. Dancer Jordan Ajadi. jack thomson

Direction D.

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Duet from The

right and below:

Ballroom of Joys and

ideas in author’s

Sorrows. Dancers

workshop for

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Duet

Amir Giles and Marie

Barcelona Ballet

Chabert. chris nash

Project (2017).

Directors Gino Labate and Emanuela Campiciano. Dancers Federico Labate and Giulia Riccio.

There are countless brilliant examples of duet choreography. From Fred Astaire and Ginger Rogers, through ballet pas de deux, to diverse contemporary duets on different themes. These few examples all establish a strong, lasting impression as a duet form. Each has compelling reasons to exist built into the choreography: • Agon (1957) by George Balanchine has a central male/female duet that holds a surprising tension and, although over sixty years old, still appears contemporary.

• Petite Mort (1991) by Jirí Kylián presents a contemporary love duet, with both tender and sexually suggestive moments.

• Anatomy of a Story Teller (2004) by Kim Brandstrup contains a compelling duet for two men, based on The Shadow, a strange tale by Hans Christian Andersen.

• A Quiet Evening of Dance (2018) by William

Forsythe explores duets that skilfully juxtapose his own ‘rules’ with references to those of classical ballet form.

Initial strategies for duets It is helpful to explore potential material in improvisation for duets in groups of three. It means that one person can act as an ‘outside eye’ to the other two.

One person can then take over and shape or refine the material as sections of a more complete statement.

Alternatively, the choreographer can set tasks or material that explores the idea for two specific dancers.

Working with lifts or carrying In finding solutions that can be exciting and challenging, it is important to acknowledge the strengths, limitations and abilities of the dancers available to you. If poorly managed, contact work with moving weight can get out of control and potentially cause injury. The choreographer leading the rehearsal should follow these rules:

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Quartets and even numbers

Small groups

Even numbers tend to lead to the use of symmetry and balance in the space. Small groups and quartets can be choreographed symmetrically by using paired dancers. To vary this, try using:

Small groups enable collaborative engagement, with several voices involved in the development of the work. They are commonly used in educational settings. Dancers also can be divided further into solos, duets or trios. Uneven group numbers tend to suggest asymmetrical groupings. Working with small groups gives a bigger range of possibility and allows considerations such as:

• one dancer against three others • interaction by crossing or invading other territories or areas of the space • irregularly phrased material for pairs of dancers, to create layers of complexity • similar material, but shared among individual dancers and performed simultaneously while facing different directions.

• group emotional tension, behaviour • complexity in formation and use of structural ideas • group lifts and imagery work • balance and dynamic use of spatial design.

Trio choreography with dancers Suzan Opperman, Luca Acri and James Stephens. matthew ball

above:

Creating

difference with four duets occurring simultaneously. matthew ball

A close-up of the detail in a narrative with a family group.

Dancers Suzan Opperman, Luca Acri, James Stephens and Georgia Ware.

A symmetrical arrangement for development with four dancers in the space. matthew ball

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44 DANCE ISSUE 485

COMPETITION WIN our dance class must-have prize bundle worth over £150 Simply email marketing@istd.org by 28th February 2020 with your name, address and ISTD membership number.

Also include Capezio in the subject line Holographic Makeup Bag worth £9.50 The perfect way to keep all your makeup and dance accessories in one place. This chic, holographic makeup bag is clear enough to see all that you need.

Ballet Squad Duffle Bag worth £33.50 A chic duffle with a longer strap to wear over the shoulder. Two front zip pockets and large inner pocket plus two mesh pockets on the inside are perfect for storing your dance necessities.

Yoga Wheel worth £33.00 Achieve a deeper stretch while improving your balance, posture and flexibility. Designed to match the exact contour of the spine, allowing you to massage and stretch the entire length of your back while opening up your shoulders, chest, abdomen, and hips. Not just for yoga, it is an effective and fun way to loosen tight muscles before dance class.

Full length Romper worth £45.00 (Available online from March 2020)

Full Length Romper worth £45.00 No warm-up routine is complete without this cosy romper. Ribbing helps the romper stay in place whether it’s worn as intended or folded over.

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Shrug worth £34.00 Layer this shrug over leotards or everyday wear to stay warm no matter where you are, it features fitted sleeves and a fashionable faux knot in the middle to keep the shrug in place.

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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.

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DANCE News

ISTD Open Day in Scotland On 15th September 2019 the ISTD held an open day at Dance Base in Edinburgh.

It was a wonderful opportunity for schools to come together, network and share their practice.

I

t has been many years since the ISTD has held an open day or congress in Scotland, so this was a excellent event for schools to come together and share their knowledge in terms of progression and career opportunities. At the 2018 Annual Regional Representative Meeting it was highlighted that Scotland would really appreciate an event that would raise aspirations and enable students to see what training was on offer for them. The ISTD was keen to support Scotland and therefore Education & Training worked with Approved Dance Centres and the Regional Representatives to make this happen.

For a first open event for some time this was very well attended and supported with 63 Students, 12 Teachers and 5 Approved Dance Centres. Education & Training staff were given a very warm Scottish welcome and the enthusiasm from all participants for dance and the ISTD was overwhelming. It was fantastic to see so many students early on a Sunday morning keen to take practical classes and listen to talks and discussions.

The day was split into sections in order to give students, teachers and parents a full ISTD day. Students were able to take part in a practical Contemporary class getting a flavour of the new Contemporary ISTD syllabus whilst teachers observed the work and gained an insight into the ISTD Intermediate Foundation. Seeing the students embody the work made it really come alive and this

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was a useful introduction taster for those who had not yet seen the work.

The ISTD gave an update on careers and teaching routes also touching on Level 4 and 6 teaching qualifications. We very much hope to work with Scotland in the next coming year or so to gain approval for the Level 4 Diploma in Dance Education (DDE). We want to support our teachers and students with employment routes and to gain recognition for ISTD qualifications.

This was followed by insightful talks given by Scottish Approved Dance Centres – Dance For All, The Dance Factory, Monument Dance Centre, Deeside Dance and MGA Academy, about the work they deliver and the courses they have on offer. It was very interesting to hear different approaches and routes and to know how much is available in Scotland to train as professional dancers and teachers.

We were also delighted to have three superb individual group performances during the day from MGA Academy, Dance for All/The Dance Factory and also Gillian Whyte’s HND students from Clyde Further Education College. All performances were outstanding and so inspiring. Some were pieces with exploratory themes, others were based on the ISTD work. The final piece to close the day constructed by Lesley Wood consisted of the Advanced Modern work with music from Scottish vocalists. This was a fitting and patriotic end to see the ISTD work performed against the sounds of the Proclaimers, I’m Gonna Be (500 miles), and had us all clapping along inspired by dance and seeing the ISTD work so beautifully performed by Scottish students.

Clearly what came out of the day was that teachers and students benefitted from sharing dance and networking to explore the routes that are on offer. There is some outstanding work in

DANCE News

Scotland and some very passionate teachers and centres. We very much hope to build upon the September Open Day and look forward to developing this event for 2020 and beyond.

Louise Molton, Director of Education

Seeing the students embody the Contemporary work made it really come alive “So many new and positive industry links were made between the FE colleges and dance centres. This has led onto further independent relationships developing between teachers and pupils from different schools, which I feel has made our circuit feel much more connected.”

Gillian Whyte, Lecturer Glasgow Clyde College “It was great to meet so many ISTD students and see the syllabus being performed.”

Louise Ferrier, Principal School of Part-time Studies – The MGA Academy of Performing Arts “It was a great day and interesting to get an insight into the new Contemporary course.”

Megan Woods, Student of Lesley Wood “It was a really positive and enjoyable day, and I loved being able to perform after the workshops and presentations.”

Tanya Waters, Student of Lesley Wood “It was lovely to meet other Scottish ISTD teachers as we so often work in isolation. I’m hoping that this will be the start of a new improved Scottish dance community for sharing information about all things ISTD. The new Contemporary syllabus is fabulous and I’m hoping to offer this to my students in the next year. I also enjoyed watching the full-time students from Scottish schools presenting the Modern syllabus. I am impressed that there was a very high standard of technical and performance skills displayed.

So often our students think they have to go south to study dance full-time when in fact they can stay in Scotland and receive the same standard of dance training.”

Louise Murray, Momentum Dance Centre

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DANCE Cecchetti

CECCHETTI CLASSICAL BALLET www.facebook.com/groups/ISTDCecchettiClassicalBallet

Cecchetti Summer Schools at Elmhurst 2019 Reports from a vintage year of summer schools held for teachers and students at Elmhurst Ballet School Teachers Summer School

whom summer school might be the first step in a transition to teaching. Add to this mix the fact Despite the hottest July on record, that participants come from all over the world, delegates enjoyed a week-long summer bringing with them their own languages, expeschool packed to the brim with exceptional riences and traditions. This year we welcomed opportunities for professional and delegates from Ireland, Italy, Malta, South Africa, personal development. Once again held at Spain and the USA, as well as from every corner Elmhurst Ballet School with its unrivalled of the United Kingdom. Miss Simmons skilfully facilities and supported by a distinguished navigated these challenges, presenting a class faculty of teachers, senior examiners and that inspired everyone to produce their best work, respected former professionals, delegates and resulted in a class of mature ‘students’ who were able to immerse themselves in a were suddenly walking an inch taller. comprehensive programme designed to Thereafter followed a programme of study support them in their careers, whether thoughtfully put together by Linda Isaacs and new to the Cecchetti Method or studying Christine Axon, where delegates were always able for Fellowship. to choose a session that was relevant or useful to The programme opened with a them. Options included sessions on the Diploma warm-up class for all from Kate Simmons, Retiring Cecchetti Summer School Organisers Christine Axon (L) and Linda Isaacs (R) with Holly in Dance Education, Licentiate and Fellowship, Senior Examiner, Vice-Chair of the Unnuk, recipient of the Emmerson Shield and there were regular classes in all vocational Cecchetti Society Faculty and Principal syllabi from Intermediate Foundation to Diploma, as well as an of KS Dance vocational school. The first class of the week is always a difficult call, with some delegates arriving exhausted from a busy overview of the grade examinations. We were fortunate to have teaching term, while others arrive from professional careers for senior examiners delivering most of these sessions, and they were

Cecchetti Summer School for Young Dancers 2019 at Tring Park The faculty comprised: Gillian Robinson and Gillian Toogood, Repertoire; Alison Jenner, Character and ‘Focus on Classical Technique’; Conchita del Campo, Ballet and Pilates; Judith Wilson ‘Expression in Dance’; Sarah Bradshaw, Choreographic Skills; David Beer, Choreographic Skills & Contemporary; Jenny Stow, Jazz, Lyrical Jazz & Contemporary; Fenella Barker, Spanish Dance; Eloise Hardy, Classical Greek Dance; Tracey Moss, Debbie Jellis, Desiré Samaai, Kasper Cornish and Miss Paris, Ballet; The Accompanists were Stuart Marsden, Bill Readdy, Choreographic Competition winners with Paris Brownlie Notley (L) and adjudicators Judith Wilson Evie Preston, Lee Shiel and Valerie Jonikic. and Stuart Marsden (R) Stuart Marsden: “It was not just a privilege but an honour to he Organiser of the Cecchetti Summer School for Young attend this year’s Cecchetti Summer School for Young Dancers at Dancers 2019, ‘Miss Paris’, and her 10 staff, welcomed 75 Tring Park. Miss Paris glowed with her love of dance, care of her students to the campus of the Tring Park School for the pupils and skill at ensuring that her students, team of helpers, Performing Arts in Hertfordshire for the last week of July. The teachers and musicians all gave their best. On the Monday, Gillian weather may have swung from the sublime to the absurd but Robinson and Gillian Toogood taught repertoire. Extracts were from Coppélia, Swan Lake, Romeo & Juliet and Sleeping Beauty. Getting the ethos of ‘Joy of Dance’ never diminished.

T

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DANCE Cecchetti

Students Summer School During the five intensive days of training at the Cecchetti Students Summer School held at the world renowned Elmhurst Ballet School, I got a taste of what training in a vocational school may be like. The facilities are out of this world, from the spacious studio spaces for all the jumping and travelling work you can do without

ALL ELMHURST SUMMER SCHOOL PHOTOS: ELAINE MAYSON

all brilliant at highlighting not only the technical requirements of any restriction, to being accompanied by a live pianist. You can the examinations, but the relevance of the work in its historical really get a taste of what a potential career in dance may entail.

Initially, I went into the summer school with a high level of context, and the value for today’s dancer. This was a reminder anxiety especially at the thought of of the importance of the Cecchetti the five to six hours of dancing we work in the 21st century.

The week was enhanced by would be doing daily. Although it was sessions on general dance issues, definitely a shock to the system, the amount of knowledge gained from a particular highlight being the avoidance of injury by Rupert the daily classes was truly rewarding.

Wiltshire from Science in Dance.

I especially enjoyed the Virtuosity David Yow, from English National Steps class with David Yow where we Ballet School, led an inspirational focused on executing male jumping/ session on pirouettes, which covered turning steps, and the Contemporary everything from ideas for beginners class with Antonio Borriello in which to the intricacies of tours en l’air. we arranged a piece for the showcase We were also treated to a double on the last day of the summer school. session on the new ISTD ContemBosco Chiu (Students' Course member) David Yow teaching on the students' course porary syllabus, led by Antonio Borriello with warmth and wit. In addition to this there were glorious unset classes every morning from ex-professionals and lots of fun to be had every evening – a case in point being Alison Jenner’s wonderful character class, which had everyone smiling – and throughout we were treated to the very best musical accompaniment from a strong panel of pianists who all kept us dancing even when we were exhausted.

Emily Wallace (Teachers' Course delegate)

Students, teacher delegates and course staff

some evenings’ practice sessions. It was wonderful that our Chair, Catherine Hutchon, was able to be there for the Choreographic competition and awards.

Final words from a parent: “Dear Miss Paris, a massive thank you for letting me borrow my daughter back until next year’s summer school – she had the most wonderful time and made some new lifelong friends and now has a love for Spanish dancing.”

Paris Brownlie Notley (Organiser)

changed into our ‘glad rags’ and after a tasty supper (courtesy of the ever-wonderful Tring Park catering staff), we proceeded to the Markova Theatre to share the day’s work. Small touches such as giving the students the opportunity to dress up and wear masks is something special that I’m sure that they will never forget. Each group performed wonderfully and should be proud of the hard work that they put in during the day. As a Cecchetti trained dancer I can state that with Paris and her team nurturing these dancers, our technique will live on for another 100 years!”

The Choreographic Competition, at the end of the week, was adjudicated by Judith Wilson and Stuart Marsden. The students presented some truly excellent pieces that they had choreographed and rehearsed on their own in only three hours of work spread over

ALL YOUNG DANCERS SUMMER SCHOOL PHOTOS: GARY FRASER

Kasper Cornish teaching a ballet class

Young dancers in Character class

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DANCE Cecchetti

Cecchetti Summer School in Tokyo of Japan’s most well respected and loved dancers/choreographers, Mr Seiichi Shinohara and Miss Yurie Shimomura, who expressed great interested in the Cecchetti work, especially the Diploma syllabus. All parties were full of admiration and found their time with us to be eye opening and thought provoking.

It is heart warming to see how the Cecchetti Method is gradually spreading throughout Japan, a country with over 15,000 teachers who teach a range of syllabi, and we must thank Kafuyu Shintani who was the very first teacher to introduce the Method after her training at The Royal Ballet Upper School. She has patiently passed the Method on over the years and we now have teachers in several areas of the country who continue to do the same.

Anita Young working with young dancers in Tokyo

The inaugural Japanese Cecchetti Summer School organised by the ISTD Education and Training department took place in Tokyo in August 2019. In all 40 students, divided into Juniors and Seniors, and 19 teachers attended. For some, this was their first experience of the Cecchetti Method. I was delighted to be working alongside Anita Young, Senior Teacher at White Lodge and The Royal Ballet Upper School. I focused mostly on the set Cecchetti work and Miss Young based her classes on her own Cecchetti training which was initially with Nora Roche during her time at White Lodge. Miss Young also showed the links between Cecchetti and the choreography of Sir Frederick Ashton as she explored various classical solos with each of the three groups.

The best thing was being taught by the famous Miss Anita Young and Miss Gillian Hurst for five days We both acknowledged that every single participant, both male and female, were incredibly keen to learn, and we found ourselves giving so much as teachers to enhance their learning and developing understanding of the principles inherent in the Method. It is deeply satisfying to know that so many are now inspired to study the Method further, or simply continue their work but with renewed vigour.

Each of the five days of this course included wonderful Pilates based sessions with Ryoko Sugimoto, who managed to link her exercises so cleverly to the technical requirements of the ballet class.

The students and teachers enjoyed free classes, syllabus focussed classes and solo and corps de ballet work, with the teachers also working on everything from teaching techniques through the grade syllabi to Inter, Adv 1 and 2 and ultimately Diploma.

The course generated a good deal of interest via two of our most experienced teachers, Miho Tsurutani, who introduced Miss Young to Miss Sayako Abe, editor of a magazine in Tokyo and who interviewed her about her experiences as a dancer performing Ashton’s choreography, and Yulie Fujino, who introduced us to two 50 DANCE ISSUE 488

Each lesson of every day was fun It was our great pleasure to award two scholarships at the end of the course, the first, a half scholarship to help with the cost of this year’s summer school which went to one of the Junior participants, Miki Mitachi, and a full scholarship to next year’s UK Cecchetti Teachers’ Summer School, which went to Gillian Hurst teaching class Lisa Nakagawa. Many congratulations to both winners.

Our very grateful thanks go to Miho for her help in organising this course and for her translating skills in the studio, to Akiyo Ishihashi who also translated and attended to our every need (even those we hadn’t yet thought of) and to the outstanding pianists Akiko Tsumurai, Nozomi Nakamura and Kayako Abe whose talent and professionalism contributed so much to the lessons.

Gillian Hurst

IMPORTANT UPDATE ROUGH REPORT FORMS Examiners and teachers please note that from January 2020, Cecchetti Examiners will provide and complete their own rough report forms for all levels of Class Exams for sessions in the UK and Internationally. Teachers no longer need to provide rough report forms at the request of the Examiner.

If you have any concerns regarding this matter please contact Catherine Hutchon, Cecchetti Faculty Chair: cecchetti@istd.org.

DANCE Cecchetti

Cecchetti International Classical Ballet Competition CICB 2020 Selection of dancers to represent the Cecchetti Society Classical Ballet Faculty of the ISTD in Sydney, Australia 12th–18th July 2020 The Cecchetti International Classical Ballet Competition takes place every three years and is hosted in a different country with young dancers from the Cecchetti Societies in the USA, Canada, Australia, South Africa, UK and Europe participating. In the 2017 Competition, dancers representing the Cecchetti Classical Ballet Society Faculty achieved exceptional results and the Faculty is seeking a very talented cohort of young dancers to do so again at the 2020 Competition.

The Competition will take place in Sydney, Australia from 12th to 18th July 2020 and is being hosted and organised by Cecchetti Ballet Australia Inc. Competition information can be found at www.cecchetticompetition2020.com.au including the entry requirements, age categories and competition solo list for the Junior and Senior sections. Teachers and students considering entering are advised to read this information very carefully.

The Cecchetti Society Trust has generously agreed to provide a number of bursaries for selected ISTD competitors to attend the Competition. It is anticipated that there will be six bursaries in total and the Adjudicators will allocate these as they feel appropriate in the Junior and Senior categories. The bursary will cover the cost of accommodation, food and a contribution to travel.

Application CICB Competition 2020

NON-UK APPLICANTS: Applicants from Europe or other countries who are not attending a UK vocational training school in the academic year 2019 -20 need to submit a DVD by Friday 31st January 2020. The DVD will include a ballet solo taken from the CICB 2020 Competition List in the appropriate category and a contemporary solo that meets the competition criteria, as well as additional Cecchetti set work.

Full details and applications forms are available from Sharon Orme email: cecchetti@istd.org or from www.cecchetti.co.uk DVDS will be considered by the same Adjudicators who will select the UK applicants at Elmhurst Ballet School – please see above.

N.B. Please note if any applicants from Europe or other countries would prefer to attend the UK selection on Sunday 23rd February in person rather than submit a DVD they are welcome to do so.

When requesting an application form please state clearly whether you require a UK application form to attend on 23rd February or a non-UK DVD application form.

PHOTO: ANDREA GIANFORTUNA

All applicants must be recommended by their teacher and have exceptional technical and performance skills. Those students participating are usually in full-time vocational training as the standard of the Competition is extremely high. During the CICB competition week students take part in adjudicated Contemporary and ballet classes and also perform a contemporary solo and a ballet repertoire solo. The selection process for students who hold the required ISTD qualifications and wish to apply to be selected to represent the Cecchetti Society Classical Ballet Faculty, ISTD is as follows.

Please note the application process below does not apply to ISTD Cecchetti students from Italy as they have a separate selection process and should contact ANCEC.

applicants who are in vocational training should attend a selection on Sunday 23rd February 2020 at Elmhurst Ballet School. Applicants will be asked to participate in an adjudicated class on stage and perform a ballet solo taken from the CICB 2020 Competition list. Full details of what will be required for the selection day and applications forms are available from Sharon Orme email: cecchetti@istd.org or from www.cecchetti.co.uk

Selection Process UK APPLICANTS AND NON-UK APPLICANTS IN VOCATIONAL TRAINING IN THE UK IN THE ACADEMIC YEAR 2019-20: All UK applicants and those non-UK

Students representing the ISTD at the 2017 CICB Competition, Florence, Italy DANCE ISSUE 488 51

DANCE Cecchetti

Cecchetti Children’s Awards 2019 The annual Awards took place on Sunday 3rd November 2019 at Westminster Kingsway College Theatre. In all, 58 children took part in this event which combines Let’s Make a Competition and the Cecchetti Children’s Awards.

The Adjudicator for the day was Wendy Mitchell who was able to give very warm encouragement and wise advice to the young dancers after each section. Presenters Angelina Spurrier (Let’s Make a Competition) and Hayley Cheneler (Children’s Award) enabled the young dancers to show their best work and pianists Mike Silk and Evie Preston’s lovely accompaniment inspired the dancers.

The willing volunteers who worked all day backstage and those who offered technical support are too many to mention, but sincere thanks goes to them all and to Belinda Payne Chair of the Cecchetti Group and to Organisers Lisa Hunter and Demetra Moore. The success of events like these can be judged from the sheer enjoyment of the young participants and the warm response from the audience to their dancing.

Catherine Hutchon, Chair Results were published online after the event: istd.org/ news/the-cecchetti-classicalballet-childrens-awardsresults-2019

Selection of young dancers performing on stage

Wendy Mitchell with children taking part in Let’s Make a Competition

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DANCE Cecchetti ALL PHOTOS: ANDREW FINNEY

Adjudicator Wendy Mitchel with the winners of the Children’s Awards

ISTD CECCHETTI CLASSICAL BALLET Applica tio Deadlin n e 30 th Ap ril 2020

Faculty Committee Elections

Elections for the Cecchetti Classical Ballet Faculty Committee open this year. If you would like to be nominated or know of someone who should be nominated, please contact: Executive Assistant, Gloria Taplin (ext. 806) Email: gtaplin@istd.org

THOSE WITH FELLOWSHIP STATUS ONLY MAY APPLY.

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ISTD SYLLABUS DANCE Cecchetti

Cecchetti Day 2020

assical Ballet

Sunday 19th April 2020 The Royal Ballet School Covent Garden

fications

We look forward to welcoming old and new ISTD Cecchetti teacher colleagues to this prestigious venue for our annual celebration of Cecchetti Work.

ns in Dance

spring events 2020.qxp_Layout 1 08/11/2019 11:01 Page 1

For further details please contact Faculty Co-ordinator Sharon Orme Email: Cecchetti@istd.org Telephone: 07551 15947

www.cecchetti.co.uk/competitionsawards

Spring Events for Young Dancers Wales and the West Awards

Sunday 9th February 2020

Congress Theatre, Cwmbran, Wales NP44 1PL

Choreographic Competition

Sunday 8th March 2020

Cecil Sharp House, 2 Regent’s Park Road, London NW1 7AY

Southern Area Awards

Sunday 22nd March 2020

The Barn Theatre, Southwick, Sussex BN42 4TE Further event information and application forms are available from Sharon Orme, Faculty Coordinator

Tel: 07551 159471 Email: cecchetti@istd.org

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DIARY DATES 2020 SPRING TERM EVENTS CECCHETTI CENTRE Sunday 2nd February 2020 Westminster Kingsway College WALES AND WEST AWARDS Sunday 9th February 2020 Congress Theatre, Cwmbran, Wales CICB SELECTION Sunday 23rd February 2020 Elmhurst Ballet School, Birmingham

For further details regarding Faculty events listed below please contact Faculty Co-ordinator Sharon Orme.

Email: Cecchetti@istd.org Telephone: 07551 159471 Address: 9 Sheppard Drive, Chelmsford CM2 6QE 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

SUMMER TERM EVENTS CECCHETTI SCHOLARS AUDITIONS Saturday 16th May 2020 Arts Educational School, Chiswick Please email Sharon Orme for an application form or send a stamped addressed envelope.

CECCHETTI SUMMER SCHOOL FOR TEACHERS Monday 20th July - Friday 24th July 2020 Tring Park School, Hertfordshire PLEASE NOTE NEW VENUE FOR 2020

CECCHETTI DAY 2020 Sunday 19th April 2020 The Royal Ballet School, Covent Garden, London

CECCHETTI SUMMER SCHOOL FOR YOUNG DANCERS Sunday 26th July - Friday 31st July 2020 Tring Park School, Hertfordshire CICB COMPETITION Thursday 16th–Saturday 18th July 2020 Sydney, Australia For further details go to cecchetticompetition2020.com.au

Cyril Beaumont Scholarship 2019

Revised Advanced 2 Update & Resources Technical Specifications

THE CECCHETTI SOCIETY CLASSICAL BALLET FACULTY Music for the

ADVANCED 2 SYLLABUS Revised 2019

Cecchetti Classical Ballet Advanced 2 Technical Specifications Vocational Graded Examinations in Dance REVISED 2019

+44 (0)20 7377 1577 www.istd.org sales@istd.org

Advanced 2 Syllabus ISTD Code: 636

I S T D : 607

IS TD : 607

ISTD: 636

ISTD SYLLABUS

Advanced 2

+44 (0)20 7377 1577 www.istd.org sales@istd.org

Advanced 2 Tech Spec cover 3mm spine.qxp_Layout 1 10/10/2019 12:33 Page 1

Cecchetti Classical Ballet

P

lease note a correction to the article published in the previous issue of DANCE. Revisions to the Advanced 2 Syllabus allowing students and their teachers to opt to study either Option A or Option B exercises, can be examined now (not as previously stated 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.

Please also note that the Syllabus Technical Specifications and the Music Manuscript are now available to purchase from the ISTD shop and the CD will be available shortly. The filming of the work for the DVD has been completed, but with such a large Syllabus it is a major piece of work to edit and complete the DVD – teachers will be advised when it is available in the New Year.

If you have any concerns regarding this matter please contact Catherine Hutchon, Cecchetti Faculty Chair: cecchetti@istd.org.

Advanced 2 Technical Specifications ISTD Code: 607

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PHOTO (LEFT) : RUPERT WILTSHIRE

In the end the adjudicating panel were unanimous in their We feel extremely honoured that the Cyril Beaumont Scholarship decision and the Cyril Beaumont Scholarship 2019 was awarded to in the UK is held at KS Dance, where many past recipients are now working in classical companies throughout Europe and Danielle Burgess and the Runner up was awarded to Ella Matthews.

The Mary Jane Duckworth Award for the Most further afield.

Promising Male Student went to Ben Newman This year’s Scholarship was held on 22nd and the Musicality Award to Hannah Gerrard.

October 2019 at KS Dance and we were thrilled Commendations were given to Paige Curzon, that Matz Skoog and Mary Stassinopoulos Elysia Capewell and Elliot Adams. agreed to adjudicate. Matz Skoog was Director of We were delighted to be joined by honoured Royal New Zealand Ballet and English National guests; Chair of the Cecchetti Faculty Ms Ballet respectively and Mary Stassinopoulos was Catherine Hutchon, Chairman of The Cecchetti a senior examiner for the Cecchetti Faculty here Society Trust Miss Elisabeth Swan, Patron of KS in the UK. The class was beautifully arranged, Dance Mr David Lloyd, Miss Kay Ball and Mrs expertly choreographed and taught by Gillian Alison Ayin.

Hurst. Gillian is also a Senior Cecchetti Examiner The whole afternoon was rounded off and Deputy Principal at KS Dance. The class with a celebratory champagne afternoon was accompanied by the wonderful Mr John tea. My heartfelt thanks go to The Taggart, who made every exercise sound as if a Cecchetti Society Trust for their continued full orchestra was playing for the class alongside support with this important scholarship. him. The students rose to the professional level Kate Simmons set by teacher and pianist and produced a most Cyril Beaumont Scholarship winner Danielle Burgess with Adjudicator Matz Skoog enjoyable and entertaining performance.

Cecchetti Scholars A4 20-21.qxp_Layout 1 19/11/2019 14:57 Page 1

Cecchetti Classical Ballet Scholars Audition Saturday 16th May 2020 I Entry 2020 / 2021 Scholarship places fully supported by the Cecchetti Society Trust are available for talented young dancers on this exceptional training scheme. Weekly classes in Classical Ballet, Body Conditioning, Pointe Work, Performance Skills, Contemporary and Repertoire are offered to those selected.

Audition and classes are held at Arts Educational Schools, 14 Bath Road, Chiswick, London, W4 1 LY For further information please contact Sharon Orme Tel: 07551 159471 Email: cecchetti@istd.org

Supported by The Cecchetti Society Trust

www.cecchetti.co.uk

THE PLACE TO BE!

H Audition dates for entry H

• Saturday 18th Jan • Saturday 8th Feb • Thursday 13th Feb • Friday 14th Feb

(boys audition day) • Saturday, 7th March

• Monday 23rd March

(boys audition day) • Tuesday 24th March • Weds 25th March • Thursday 26th March • Friday, 27th March

Closing Date: Friday, 24th January 2020

H Upcoming Events H

Easter School th

th

6 – 8 April 2020

Boys Days 20th June 2020 3rd October 2020

Summer School 27th – 31st July 2020

H Upcoming Performances H H DT3 Company Presents “20/20” 8 & 9th May 2020 - Stratford Circus Arts Centre th

H MT3 Company Presents “Legally Blonde” 12th & 13th May 2020 - Stratford Circus Arts Centre H MT3 Company Presents “Cry Baby” 15 & 16th May 2020 - Stratford Circus Arts Centre th

H Pre-Vocational Showcase “Grit” 26th May 2020 - Thameside Theatre, Grays H Annual College Production “Switch” 2 , 3rd, 4th July 2020 - Towngate Theatre, Basildon nd

H Our Courses H H BA (Hons) Musical Theatre and 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: www.performerscollege.co.uk performerscollege

/performerscollege

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

DANCE Classical Greek Dance

CLASSICAL GREEK DANCE facebook.com/groups/ISTDClassicalGreekDance

Ruby Ginner Awards 2019 Adjudicator Helen Leek reports from this year’s successful event, which took place on 10th November at The Venue in Milton Keynes It was an absolute pleasure and an honour to be asked to adjudicate the Ruby Ginner Awards. The event was superbly well organised, and I was made to feel very welcome.

The audience was treated to inspiring and imaginative classes, which brought out the very best in the dancers. From the youngest competitor to the eldest, every one of them gave a wonderful demonstration of Classical Greek technique and the joy of dance.

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It demonstrated to us all the true value of this beautiful dance genre. It was informative to see the new graded work incorporated into the classes and the new format worked very well.

Congratulations go to each and every dancer, your teachers must be very proud of you.

Helen Leek The afternoon culminated with a presentation to Kay Ball from the committee and examiners to mark their huge gratitude for her chairship of the Classical Greek Dance Faculty since 2002.

We are of course delighted that she will remain on the committee to continue the important artistic work of the Faculty for generations to come.

Sonia Bond The results were published online after the event: istd.org/news/ ruby-ginner-awards-2019

DANCE Classical Greek Dance

ALL PHOTOS: EG PHOTOGRAPHY DANCE ISSUE 488 59

DANCE Classical Greek Dance

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Daphne Hawkesworth Cup 2019

Fiona Sheehan received the Daphne Hawkesworth Cup for outstanding service to Classical Greek Dance ALL PHOTOS: EG PHOTOGRAPHY

Fiona Sheehan (left) and Kay Ball (right)

Trained at the Mayhew School of Dancing, Greek has been a major part of Fiona’s life since an early age, culminating in her Fellowship Greek in 2011. Her own students have had great success at Ruby Ginner, All England Dance, Classical Greek Festival Finals, Dance Proms and the ISTD Bursary Awards.

She joined the Greek Faculty committee in 2015, where she has been an invaluable member. A representative on Theatre Faculties Board, she has consistently given huge support to the Faculty.

She joined the team to help create the New Grades Syllabus, not just on the creative side but helping to write the criteria and new marking scheme, devoting an enormous amount of time and energy to this project.

We extend our sincere appreciation to her for all she has done, she is a truly worthy recipient, who has given outstanding service to the Faculty.

Kay Ball

SYLLABUS CLARIFICATION Advanced 1 exam format

Ritual Dance – item 2 is now to be taken out and be replaced with the following: “Candidates arrangement of dramatic movements portraying a present day topic”.

Advanced 2 exam format Preparation exercises for Tragedies are NOT shown in the exam.

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DANCE Classical Indian Dance

CLASSICAL INDIAN DANCE facebook.com/groups/ISTDClassicalIndianDance

Classical Indian Dance Faculty Bursary

W

e had a wonderful and diverse set of Bursary selection performances at the Beck Theatre in early October with guest adjudicators Paddy Hurlings, Akademi’s Mira Kausik and Sushma Mehta.

The Junior winner Shivani Kishor and Senior Winner Aishani Ghosh were selected to represent the Classical Indian Dance Faculty in the final ISTD Bursary Awards on 16th February 2020.

For further information about the upcoming Bursary Awards please turn to page 31, or contact: coursebookings@istd.org.

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Misrana 2019

M

israna is a rare event where invited teachers showcase their students’ works. This year did not disappoint, with exceptional choreography and inspirational dancing spanning all ages, demonstrating the inclusivity of Classical Indian Dance and showing the dedication and amazing work of all the teachers and the Classical Indian Dance Faculty committee. The event was held at the Beck Theatre on 6th October.

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One Dance UK Awards 2019 We would like to congratulate Sujata Banerjee MBE, who won the Lifetime Achievement in Dance Education and Participation Award and Chitraleka Bolar, who won the Lifetime Achievement in South Asian Dance Award.

Sujata Banerjee (centre) at One Dance UK Awards 2019

Chitraleka Bolar (second from left) at One Dance UK Awards 2019

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DISCO FREESTYLE ROCK ‘N’ ROLL facebook.com/groups/ISTDDiscoFreestyleandRocknRoll

Dance Exchange 2019

Freestyle with Isla Selley

MORNING REPORT BY YVONNE TAYLOR-HILL When I arrived at the Elgiva Theatre in Chesham on Sunday 15th September, the queue was long with teachers who had travelled from as far as Scotland and all the counties in-between. A preview of lectures showed that we were in for a very exciting day, offering a variety of lectures covering the a broad spectrum of genres.

A lively warm-up conducted by Dexi Rowland ensured all dancers were physically and mentally prepared for the day ahead. With layers of clothing coming off, it was clear to see that everybody was ready to participate in the first lecture of the day, Rock’n’Roll presented by Laura Rampton. Exploring the syllabus and with use of Compound Steps, this was an interesting routine that encouraged connection to partner as well as developing the Basic Systems. A great introduction for partnered Rock’n’Roll dancing which could also be used as a fun mixer dance.

Staying with that all-important word “connection” this was a lecture delivering Units for Pairs, given by Joanna Bevan. Still on crutches after foot surgery, but determined to deliver, Jo presented a first-class lecture assisted by her beautiful dancers. Units, that could be combined, with both an easy and more advanced version, showed full use of the syllabus. The advanced version showed the contrast of dynamics including Floor Work; High and Low lines to add accent and shape and the important factor: “Connection and focus points to partner.” A reminder to teachers – a pairs routine is not simply a solo routine danced side by side.

Changing to another genre – Street Style presented by Scott Wright. The timing, syncopation and musicality made this fusion of lyrical Street style choreography challenging with good light and shade of movement and fluidity. Broken down slowly and taught 66 DANCE ISSUE 488

Above: Pairs with Joanna Bevan Left: Slow lecture with Georgia Hussey

well, the routine was accomplished by all, with Scott reminding everybody that the movement and action should always be well grounded and to feel the “Groove” in this dance genre.

There is nobody better to deliver a lecture on “Polish” than master of Freestyle, Paul Streatfield.

He shared so much wonderful advice and knowledge to be considered when preparing your pupils for examinations and competitions: striving too much, too soon; choosing the correct choreography for the age and level; maintaining stamina, so often lacking in the higher four and five dance examination levels, and my all-time favourite – quality not quantity. Paul echoed so much that examiners and adjudicators would like to see. Add that final polish and consideration and combined with secure technique, your dancers will sparkle.

Making a first debut on stage, Gail Henry presented a Freestyle lecture for the Silver and Gold level. Personally, I have always found this a difficult level to gauge since our dancers are in the chrysalis stage of dancing, changing from young caterpillars and spreading their wings into a butterfly. This was a very appropriate routine that maintained a good foundation of syllabus choreography, introducing floor work to add some challenge and light and shade of movement with a good variety of speed. This was pure Freestyle with no gimmicks.

Bringing a close to the morning before a well-earned lunch break and a chance to catch up with colleagues, was a lecture on Professional Training. Suzanne Hammond shared a wealth of knowledge, delivered with the passion and energy that we have

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come to know so well from this lecturer. We were privileged to share how she approached teacher training and prepared candidates to achieve well and how to inspire them through the next important stage of their journey and teaching career to attain their professional qualifications.

In closing, I am a dinosaur and have attended hundreds of lectures and congresses over the years. I have never come home without learning something. For those that didn’t attend, a quote from a very esteemed lecturer: “Teach what you believe in. Allow your creative juices to flow. Learn and remember that your own continued professional development is vital to your own professional growth and that of your pupils.”

Your own continued professional development is vital to your professional growth AFTERNOON REPORT BY SUZANNE HAMMOND After a busy morning it was time to review our own businesses and maybe take on some advice from Keith Stephenson, our new Director of Finance & Operations. Keith informed us of changes to the examination system and gave an informative lecture with general advice on finance and an insight into GPDR, insurance and safeguarding.

Then it was time to get up and dance with Isla Selley, one of the Faculty’s Street Dance teaching team, who gave her first Freestyle lecture. A fun, easy U6 routine with room to develop individually followed by a Bronze/Silver routine was confidently taught, incorporating alternative steps for the lower levels.

Then it was back to the 1980s as our guest lecturer Gary Lloyd had the audience singing along to Fame, whilst the dancers learnt fabulous current choreography in a challenging routine, delivered with enthusiasm, experience, clarity and boundless energy.

And breathe… Georgia Hussey came to the floor showing us just how to do that with her SDT slow routine. This was a great and very useable introduction to this style and tempo. Georgia went on to teach a GS Slow routine that had beautiful musical interpretation and depth of feeling. This routine was in total empathy with the music.

Everybody’s body needs looking after and Dexi Roland was there to ensure we did just that with a comprehensive cool-down comprised of all the essential components. Having slowed down, stretched and relaxed it was then Dexi’s job to wake us up to safely finish our day with a fun and funky Salsa as the final mobiliser, which had everybody smiling and laughing as it turned into a partner dance – great music, clear explanations and lovely delivery.

Every dancer needs their music and what better way to provide this than in the talent and expertise of Terry Tew. Homework! Paul Streatfield delivered this in the form of introducing the 2020 Set Dances. An insight into what is to come next year. Make sure you do your homework and be there next year for the next assignment.

Freestyle with Gail Henry

Guest lecturer Gary Lloyd

Polish with Paul Streatfield

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STREET PAIRS REPORT BY CAROL GALE The atmosphere was electric after the Set Dance Grand Finals, everyone was buzzing with enthusiasm for Street Pairs. Upon calling up the age groups Under-6 to Over-21, a lot more entries than expected lined up to be counted. Up to 6 heats in certain age sections from Under-12 to Under-16, so the street pairs had their work cut out to stand out from the majority and we were not disappointed. It was inspirational to see such complex partner work, floor craft and different styles of Street dance from Popping, Locking, Commercial to MJ styles, which made the adjudicators’ lives difficult to choose who to put through. It was clear that teachers had worked hard to introduce this style of dance with good technique, rhythm and choreography.

Adjudicators were: Kirstie Henry, Tony Palmer, Naomi Richards, Isla Selley, Scott Simpson and Naomi Stevens. They did a fantastic job and clearly enjoyed judging, tapping and nodding to the beat of the music with lots of smiles at the competitors.

ROCK ‘N’ ROLL REPORT BY CLAIRE BLOME

Competitors at Grand Finals

National Grand Finals 2019 SET DANCE REPORT BY BONNIE BRIGGS As always, the Grand Finals was set up with immaculate organisation and ran seamlessly from beginning to end. The doors opened ahead of schedule with the crowds flooding through, ready to take their seats for what was an exciting day, filled with an abundance of talent.

First, to start the day, was the traditional parade, showing off all of the successful dance schools who made it to National Grand Finals this year. Again, teachers and students outdid themselves creating their dance school banners. What a wonderful way to celebrate the success of our ISTD competitors.

The dance floor was then cleared to introduce the admirable judges for the 2019 Set Dance event.

With both floors at the ready and the judges all set to go, we were off and straight in with the adorable Under-6s and 8s, showing off their incredible talent and setting an extremely high standard. This standard was sustained throughout the day from all competitors and certainly made it very difficult for the adjudicators to make their decisions. I felt privileged to pay witness to some very impressive performances.

I particularly love the finals of this event because it opens up the whole floor and gives all spectators the opportunity to watch every finalist. All dancers are given their opportunity to shine, and shine they did.

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It was already 4pm so everyone was keen to get the Rock ‘n’ Roll event started. The room was filled with a fantastic energy from the new Street Pairs section, which had gone down well. Maria and Paul were ready on the mic and called for the six judges back on the floor and off we went. We started with the Under-10 and Under-12 who were lined up and given their heat numbers. There were four heats in the Under-10 and five in the Under-12, so the judges and pupils had their work cut out. The music kicked in and the floor exploded into dance, with high energy and determination oozing from every couple. I was impressed to see a varied use of syllabus figures and especially the basic systems, with many dancers sticking to the use of the advanced flick basic with beautiful stretched feet and ankles and others favouring the tap basic with a pump action.

All of which were accompanied with very high knees and bounce through the legs.

As we advanced through the higher grades it was clear that teachers had been working hard on the choreography. Intricate armography was very apparent as were the various approaches to entering and exiting each figure shown. Gone are the days of sticking to the basic syllabus figures, we are now entering a much more technical and creative phase of playing with the figures with clever choreography, an extra knee lift here and a clever arm line there – all very exciting to watch, albeit too quick for me to remember.

The music was upbeat, with a different song for each round.

At 5.10pm the finals were announced. The six finalists proved their worth, with advanced foot actions and control and fabulous use of togetherness. They were deserving of their place in the final.

This carried on through to the Gold Stars and above and it was lovely to see good use of the lift work with fabulous upper body strength. I especially loved to see what I call ‘old school’ Rock ‘n’ Roll with great use of the more traditional syllabus and style.

At 5.40pm the finals were over and everyone waited with bated breath to see who was going to win those cute teddy bears and gain the national champions title. The awards were given out and everyone took their place in the line-up, pleased or disappointed they all should be extremely proud of themselves for making that final. It was a tough competition as usual and all in all another fantastic year of Rock ‘n’ Roll.

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FREESTYLE SOLO REPORT BY LAURA RAMPTON As we were just minutes away from starting the final event of the day, I did wonder along with my own dancers if the hall may empty in numbers slightly, especially as so many schools and teachers had travelled quite some distance to be part of Grand Finals Day. Yet, looking around the hall, it was still incredibly busy with dancers having a last minute practise before they took to the floor. There had been such an air of excitement, enjoyment and support throughout the whole day and this was still very apparent even heading into the evening event.

The floor was once again divided into red and blue for the last time and the six adjudicators were warmly welcomed back with huge applause ready for the final event of the day. I personally love to watch the Under-6 and Under-8 dancers, they are full of smiles, wiggles, enthusiasm and such amazing potential. Both age groups showcased beautiful dancing using a variety of basic steps and actions along with compound steps.

I always find that by teaching the Set Dance material throughout the year, it offers a wonderful opportunity for pupils to enhance their technique, increase their dance knowledge and understanding of steps and movements and raises confidence in all areas of performance skills. Set Dance choreography both present and in previous years offers fabulous work for examinations and class work – a teaching aid for professionals which is worth its weight in gold.

The little ones had an army of supporters around the floor offering little reminders such as: “smile, straighten arms, travel this way and bow at the end”, all of which these budding stars did perfectly. I was incredibly impressed with both the Under-10 and Under-12 social dance test and pre-bronze sections. The dancers were impeccably turned out in all the colours of the rainbow, with neat hair, big smiles and all standing patiently ready for the music to begin with such interesting starting positions. These dancers were an absolute credit to their teachers and parents, with both grades demonstrating good knowledge of arm and leg lines and extensions, super floor craft during busy heats and excellent kicks… with pointed toes I must add.

Grand Final winners of Rock ‘n’ Roll with committee members Julia Westlake (left) and Paul Streatfield (right)

Grand Final winners of Set Dance with Co-Vice Chairs Maria Howse (right) and Nigel Kirk (left)

As the event moved forward onto the higher grades of Bronze, Silver and Gold, as a teacher I can fully appreciate the beautiful work that was displayed on the floor. Some of these dancers were quite simply stunning in both their craft and outfits. The choreography was a delight to watch and packed full with both intricate and powerful movements demonstrating their knowledge and talent.

The Gold Stars and higher awards were fantastic. It is heart-warming to see the younger dancers sit and watch them so eagerly wanting to learn, some even had their own marking pad and pen pretending to adjudicate. I hope every dancer in the higher awards is reminded that they are a truly inspiring example to the younger dancers and that their training, hard work, commitment and talent really does shine through.

The Over-21 section was well supported and all dancers had so much energy and power and overall very sound technique with dancers showing amazing flexibility and core strength. I have to say that from the Under-6 to the Over-21, I thoroughly enjoyed watching every round from each grade, from the beginners to the advanced, from the shy to the more confident dancer, you should all be so incredibly proud of your efforts and achievements.

After the well-deserved trophies were handed out to all those who made the finals it was home time. The DFR Faculty thanked all those who had contributed to make Grand Finals Day 2019 such a huge success. It really is such a wonderful, special and exciting day from start to end. On behalf of the teachers I would like to give huge thanks and appreciation to the DFR Faculty for all the effort, time and thought that goes in to planning such a big day. Like so many others, I am sincerely proud to be an ISTD teacher and look forward to next year’s area competitions and Grand Finals Day, which is being held on 4th October 2020 at the Guildford Spectrum.

The results were published online after the event: istd.org/news/dfr-grand-finals-results-2019

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Teachers are you an ISTD Licentiate or Fellow?

The 2020 Set Dance DVD is now available

The DFR Faculty Committee needs you! The ISTD is inviting teachers to choreograph a Set Dance routine for consideration for the 2021 selection

Contact: dfr@istd.org

The Imperial Open Freestyle & Rock’n’Roll Championships Sunday 1st March 2020 Spelthorne Leisure Centre, Staines Upon Thames Middlesex TW18 1AJ For tickets contact Paul Streatfield +44 (0)7939 302106 harfielddancestudios@hotmail.com

SA VE

TH E

DA TE

Sunday 12th July Admiral Lord Nelson School, Dundas Lane, Portsmouth PO3 5XT

CONTACT: dfr@istd.org

DFR National Grand Finals Save the date Sunday 4th October 2020 Guildford Spectrum, The Parkway, Guildford GU1 1UP National Grand Finals for Set Dance and Rock ‘n’ Roll Contact: dfr@istd.org

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1.

2.

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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.

Contact Penny Childs: dfr@istd.org

ISTD DISCO FREESTYLE ROCK’N’ROLL (DFR) Applica tio Deadlin n e 30 th Ap ril 2020

Faculty Committee Elections

Elections for the DFR Faculty Committee open this year. If you would like to be nominated or know of someone who should be nominated, please contact: Executive Assistant, Gloria Taplin (ext. 806) Email: gtaplin@istd.org

THOSE WITH LICENTIATE OR FELLOWSHIP STATUS ONLY MAY APPLY.

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IMPERIAL CLASSICAL BALLET facebook.com/groups/ISTDImperialClassicalBallet

Imperial Classical Ballet Junior Awards 2019 Congratulations to everyone who was involved in the successful Junior Awards, which was held at The Venue in Milton Keynes on Sunday 27th October The results were published online after the event: istd.org/news/ imperial-classical-ballet-junior-awards-2019-results

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ALL PHOTOS: JAMES HUDSON

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ALL PHOTOS: JAMES HUDSON

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Obituaries ROSEMARY SARJEANT (1929–2019)

Rosemary was a recipient of the Imperial Classical Ballet Jean Campbell Award, 1999 A Tribute from Carol Venn My first introduction to Rosemary (or Sarje to me) goes back to the late 1950s when my Mother was Vocational Head and she was one of the senior pianists at Arts Educational School, Tring.

She became a close family friend who spent regular holidays with us and who had an unforgettable and amazing sense of humour.

In those days the Tring Faculty members were a very close-knit group. Every year they performed a Christmas show for the pupils.

I have an abiding memory of seeing Sarje on a scooter, whizzing around the Ballroom at Tring, when she performed in a piece with a script about a pom-ground-nut (pomegranate). Another year, having accompanied Tap classes for so long, she learned and danced one of the Bronze Medal amalgamations – and did it very well indeed. I understand that a few years later she advanced to the Silver Medal amalgamation!

As the Imperial Classical Ballet Branch (now Faculty) developed, so did Sarje’s involvement with them. She was invited to write the music for the Imperial Ballet Awards solos. For several years she produced something different for each Grade until they started to be reused. She was the regular accompanist for the Ballet Award Days for many years. Following the success of that, the Committee asked her to write the Class Examination Music. She had particularly small hands and her music was, I understand, easy for a class pianist to play. The empathy she demonstrated in her music was indisputable and I remember it with great fondness to this day.

A few years ago Rosemary had a major stroke. I realised something was amiss when she failed to acknowledge my birthday, which falls a week before hers and which she had never overlooked.

She contacted me immediately she was released from hospital – she knew I’d be worrying. Her speech was quite severely impaired and it was frustratingly difficult for her to communicate. We spoke regularly though I learned to leave her to ring me whenever she had better speech days. Miraculously her ability as a musician remained unaffected and it continued to give her a huge amount of pleasure to still be able to play her beloved piano.

Sarje was 90 years of age when she passed away on 12th October 2019. I shall miss her presence in my life enormously. She had such tenacity for life despite the deterioration in her physical health.

RIP Sarje – and ‘thank you for the music’ as the song goes.

through teaching exams with her wealth of musical knowledge.

Wednesday mornings at the school she would sit bolt upright at the piano (on several phone books) awaiting our instructions for a 3/4 or rag or tango dependant on our arrangements, be it Tap, Ballet or Modern. She found the balance between helping and supporting – in exams she was the silent little lady in the corner who was watching and providing the reassurance we required.

For 25 years Sarj became my ‘right hand man’ in my school. She supported me fully and attended every school event, played for exams and mastered the use of first cassettes and then CDs. She had a wicked sense of humour, but was a perfectionist through and through. She would spend hours with her twin cassette recorder joining two tracks together to give me a festival ballet group when times changed and live music became history. She became a friend who, when you called in to see her, made you a cup of tea the proper way, always a cup and saucer, always a tray.

Her raincoat in the rain with her headscarf, handbag in hand, fingerless gloves and thermos flask will be never forgotten.

In her later years despite her stroke she never lost the ability to play her beloved piano. Only a couple of months ago she treated me to a quick Tap tune, which brought a tear to my eye.

She will never be forgotten in Chesham by the many pupils who have gone through the Sargent School – the lovely quiet lady who sat in the corner come rain or shine – what secrets she must have had on what took place in those exam rooms – a treasure that cannot be replaced.

PAT LINEHAN (1935–2019)

Pat was a recipient of the Imperial Classical Ballet Jean Campbell Award, 2004 A Tribute by Rosemary Woodd Pat was a beautiful pianist who inspired not only children and students, but also teachers. Many of us who knew her will agree – her music came alive.

She played for my school for 40 years and in all that time she always turned up with a smile and looking elegant. She took an interest in all pupils and helped them immensely with their projects.

She had many loves, her cats were very important to her and flowers even more so – she always produced a most beautiful arrangement on exam days.

Most of all she was a very professional musician who we will all miss greatly. She was just a perfect lady.

A Tribute from Yvonne Plester

A Tribute from Christine Dettmer

Rosemary Sarjeant, known to so many as “Sarj” was a very special lady, a lady who prized punctuality and quiet grace, a lady who never aged and was immaculate at all times. I first met Miss Sarjeant in the 1970s when she first played for the Sargent School of Dance and I was a teenage pupil. She supported me and many other teachers

Pat was a lovely lady who played for 37 years at Sussex Summer School, giving the students beautiful music to dance to. She will be greatly missed by us all.

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Introducing the New Imperial Classical Ballet Committee The new committee members from left to right are: Irela Strachan, Tracey Warner, Ben Tribe, Lorraine Swain, Fleur Jones, Ruth Davies, Helen Steggles.

mperial al Ballet Imperial Classical Imperial Imperial ISTD 798

Imperial Classical Ballet Syllabus • Advanced 1 and Advanced 2

Update on New DVD and CDs

The following CDs and DVDs will be available from shop.istd.org from January 2020.

Imperial Ballet Advanced 1 and 2 DVDs; Class Examinations Pre-Primary, Primary and 1; Class Examinations 2, 3 and 4 CDs.

rial ClassiClassical ial Classical Ballet Ballet Imperial

llabus

4QE, England

taly and Performers College,

sed by Debbi Parks Twiner ed by Debbi Parks

wain, Andrew Wilson,

Imperial Classical Ballet Syllabus

Advanced 1 and Advanced 2

℗2019 ©2019 ISTD. All rights reserved. No unauthorised copying, hiring, lending, broadcasting or streaming of this copyrighted work is permitted.

IMPERIAL CLASSICAL BALLET

IMPERIAL CLASSICAL BALLET

CLASS EXAMINATIONS PRE-PRIMARY, PRIMARY ISTD Examinations Board, Imperial House, 22/26 Paul Street, London, EC2A AND 4QE, England1

CLASS EXAMINATIONS 2, 3 AND 4

℗2019 ©2019 ISTD. All rights reserved. No unauthorised copying, hiring, lending, broadcasting or streaming of this copyrighted work is permitted.

Imperial Classi Imperial Classi

ISTD Examinations Board, Imperial House, 22/26 Paul Street, London, EC2A 4QE, England

ISTD 799

Classical Ballet Ballet Classical 2-DISC DVD ISTD 000

ISTD 000

Advanced 1 and Advanced 2 DVD ISTD Code: 799

Class Examinations Pre-Primary, Primary and 1 CD ISTD Code: 775

Class Examinations 2, 3 and 4 CD ISTD Code: 776

IMPERIAL CLASSICAL BALLET FACULTY

Boys Day A

Sunday 2 February nd

2020

Boys of 8 years and above, both experienced and inexperienced in ballet, are welcome

A day of classes for your male pupils given by specialist male teachers Laine Theatre Arts, Epsom 10.30am – 4.30pm

£30.00 per pupil Closing date 13th January 2020

TO BOOK Please contact the Faculty Co-ordinator, Julia Beattie 8 School Close, Braunston, Daventry, Northants NN11 7JD 01788 899127 | imperialballet@istd.org

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Imperial Classical Ballet Day A successful student workshop day was held on Sunday 17th October at Bird College in Sidcup, Kent For the first time, scholars (finalists and winners of the Imperial Classical Ballet Awards) took part in an intensive day of classes in Classical Ballet, Repertoire and Contemporary. Their teachers were invited to watch and enjoyed a question and answer session with the guest teachers following the classes. We had students from Italy, Portugal and the UK, and Lorraine Bennett, a recent Fellow of the Faculty from Canberra, was also there. Thanks to Julia Beattie and all the Faculty Committee who worked to make the day so successful.

Vivienne Saxton

We had students from Italy, Portugal and the UK

The guest teachers and pianist from left to right: Clare Freeman-Sargent, Andrew Wilson, Fleur Jones, Kate Dickson, Davide Camorani

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IMPERIAL CLASSICAL BALLET FACULTY

7th & 8th March 2020

The Hawth Theatre Crawley, West Sussex Contact Julia Beattie imperialballet@istd.org

Classes for Grades 3, 4, 5, 6/Inter Foundation, Intermediate and Advanced 1

DANCE Ballroom, Latin & Sequence

LATIN AMERICAN facebook.com/groups/ ISTDLatin

MODERN BALLROOM

SEQUENCE

facebook.com/groups/ ISTDModernBallroom

facebook.com/groups/ ISTDSequence

Dancesport Congress Each year dancers from around the country get together in Worthing to learn techniques and gain insight from across the industry SATURDAY 20TH JULY 2019 Report by Jake Hooker Nick Kelly and Cheyenne Russell Fantastic Fallaways Starting with the Waltz and the variety on each fallaway, with angelic rotations and different timings. I loved the level changes and uses of the rise and fall on different beats from the standard technique creating an interesting take for higher level dancers to use. Switching to the dramatic Tango, another great display of their topic of Fantastic Fallaways used in a very staccato routine of steps. I liked how they changed the direction of some figures to give alternative alignments to steps allowing them to travel into the fallaway brief.

Crystal Main, assisted by David Crystal Clear Choreography Performing her steps of the Samba first, Crystal demonstrated the leg and body action of her steps and continued to show impressive isolation of hip action. I liked the way she used basic steps to tweak either the timing or the alignment to get into other steps without losing the feeling of it or using a pattern we’ve all seen and used a thousand times. Flicking into the Jive, the routine had some great takes on regular steps but focused on flexed knees to create more shape.

Flowing movements and sharp flick ball changes kept the energy high for a well put-together amalgamation.

Joanna Bevan DFR Warm-Ups Joanna exhibited her knowledge for everyone to see with her wellspoken lecture, delivering concepts for fast, slow and small space warm-ups that will really aid all dancers in any form. Interesting games and tasks for the Congress audience to get involved in and telling everyone the reasons behind them proved to be a winner and eye-opener.

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Vice-Chair ISTD Warren Boyce Developing Ballroom Frame Listening to this insight into the two systems he sees in Ballroom goes to show the time and effort that high level competitors and coaches will go through to achieve what many others can’t, making them the best. The first system articulating the ‘Connection Frame’ used by 95% of dancers to ensure they are dancing together and stable. Moving into the second system, which Warren only sees 5% of couples do correctly, is a ‘Fluid Movement’ system. This gives a far more dynamic look in creating sway and presenting expression into the musicality of the steps. Distinguishing the idea of using four directions – Center, Right, Left and Lift – to create expanded frame lines.

Phillip Blackburn Beyond Gold Phillip showcased his own winning Paso sequence with partner Chelsea Judson, dancing the Tauromachia Paso Doble (translates to Bullfighting Paso Doble). With the lecture focusing on teaching others the choreography, Phillip explained why certain actions appeared in his sequence and then related it to the characteristics that should emerge in all Sequence dances. I had a joyful time

DANCE Ballroom, Latin & Sequence

Left centre: Caleb Arslan & Daisy Barker Left: Michael and Lauren Hemera

ALL PHOTOS: FREDRIC FRENNESSEN

Above: Roksanna Zyla & Keira England Right: Stephen and Yasmin Arnold

learning this and have taken a lot home about how to create more shape whilst using complex fast timing to show more substance and feeling into the dance.

Nicole Cutler Developing Rhythmical Expression The power and clarity in Nicole’s steps and figures perfectly joined

by Matthew Stickels, who performed his strong posture and supportive lead. A quote from the lecture that stood out for me was “listen with your ears”. Now we all do, but Nicole went deeper into the meaning of such a quote: “We need to listen IN the music not ON the music.” Reinstating the beat values of when steps are half or a whole beat to illustrate perfect harmony to music and movement. On top of all that knowledge of rhythm, Nicole discussed how the influence of direction and preparation of steps aids the creation of expressive rhythm, not just in Cha Cha Cha, but all dances.

Christopher Hawkins Swing, Sway and further Dynamics Christopher covered the three sections in his topic of Swing, Sway and Further Dynamics, expressing how to develop and evolve each one for each level of dancing, using mathematics to harmonize swing and sway to create more volume and fullness to every figure you could possibly think of. Coming out with metaphors to help you imagine the motion of all the components together like how to picture the couple swinging from “monkey bars” to better their pendulum swing of movement together, rather than individually to produce a further dynamic to the dance. An interesting mention

to the evolution of arm swing and how the head can build more sway into a step and connect that with a partner was brilliant to see when performed with Cheyenne Russell throughout the lecture.

SUNDAY 21ST JULY 2019 Report by Nicholas Kelly Michelle Postlethwaite, assisted by Richard Miles Fanography – Creative Ways of Entering and Exiting Fan Position The main point of the lecture was to show interesting new ideas to enter and exit fan position, with a clever 8-Bar routine that was adapted from Rumba to Cha Cha Cha with minimal changes. The routines were demonstrated beautifully by two lovely dancers, super clear timing and very stylish curl actions.

John Foskett, assisted by Michael and Nika Foskett Foskett Figures – Simple Variations in Foxtrot and Quickstep Michael and Nika demonstrated the routines with great quality and accuracy while John explained alternate timing, sway and shaping options. An interesting yet simple combination of some syllabus figures with a little extra added on top.

Julie Oram Charleston Julie started her lecture by demonstrating a fun, energetic and lively solo Charleston group. Following this, she asked everyone to join her on the floor. Charleston is a style with lots of interesting moves, shapes and figures.

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the points they were trying to make, an interesting use of timing on the Rope Spin along with other syllabus figures was a nice added touch. Many other points were mentioned over the two dances, for example acceptance versus rejection, imagination and creation, changing holds and not setting a frame, and finally stillness versus movement.

TEA DANCE AND TEAM MATCH Report by Alex Costi and Marcus Edwards

Above: Juvenile – Petya Mott & Viktoria Hrytsayenko; R ‘n’ R/Freestyle – Bryony Housby & Tayla Spenceley; Under-35 Ballroom – Hedley Prowse-Janjua & Lalita Sarkhel; Sequence – Craig Topham & Emma Binley

Yvonne Taylor-Hill, assisted by Michelle Postlethwaite An Examiners Eye – Fundamental Faults at Lower Levels and How Best to Correct Them Starting with Rumba, Yvonne talked about foot pressure and how this is not used enough, and she continued to talk about other issues such the “Natural Top’s Cuban Cross” and the dreadful “Creeping Foot”. Yvonne mentioned many other problems in all dances. Dance exercises showed how to improve foot pressure.

Andrew Rhys Davies, assisted by Lily Cox Sequence Above Gold – the Premier Two-Step and the Empress Mazurka Andrew gave lots of top-class pointers including techniques to improve foot pressure, “Squashing Mushrooms”. This lecture was precise and detailed.

Steven Arnold and Yasmin Priestnal Weaving Your Way to Success – Simple Variations in Waltz and Foxtrot Everyone was invited onto the floor as the couple taught and explained their tricky combinations of Waltz and Foxtrot with good information and clear direction on how to achieve the different positions they were moving in and out of.

Jake Hooker The Phyllis Haylor Scholarship Award winning lecture Over the past two days most lectures had been specifically targeted to one main area of dance, so it was good to hear a lecture about fitness and its effects on dancing and vice versa. This is clearly something that can be applied to all areas of dance. The lecture included points such as: Is fitness important to dancing? What muscles do we use? How do we breathe? When do we breathe?

Michael and Lauren Hemera Contrasting Characters – Rumba and Paso-Doble Michael started off talking about emotional content and how to identify what you would like to show within certain movements.

They did a small group of Rumba choreography which enhanced 82 DANCE ISSUE 488

The teams drawn out of a hat: 24 couples from numerous ISTD schools to be divided into 6 teams. Each team would comprise a Juvenile couple, Junior couple, Adult Ballroom couple and Adult Sequence couple, and would be led by an ISTD committee member.

All of the dancers were ISTD medallists.

After a stint of social dancing we went back to our seats and the teams were welcomed onto the floor, each with a team theme song and individual marching style. Nigel Kirk’s team was particularly memorable for the volume of their entrance as he enthusiastically brandished a vuvuzela-style horn.

Once the teams had been introduced, they sat with their team leader around the edge of the dance floor. The judges were then welcomed to the stage as proceedings were now underway. First on the floor were the Juveniles who danced the Cha Cha Cha. It was lovely to see a mixture of boy-girl and girl-girl couples on the floor and the children really set the standard for the match. Next were the Juniors with their Disco pairs; a complete change of pace, which made us all sit up a bit, although by this point many of us had abandoned our seats to stand up and cheer the dancers on.

After Disco the marks for the first round were announced.

From then on we received cumulative marks between each round, calculated by Robert Aldred and announced by our compere Christopher Hawkins.

The Under-35s danced Waltz and Tango, restricted to ISTD syllabus figures. All of the dancers showed our basic and standard figures with excellent control and musicality, a reminder of the value of our syllabus work as building blocks for dancers of all levels.

The final group to dance were the Sequence adults, dancing the Countess Waltz. It was wonderful to see yet another contrasting dance style and to note the diversity of the competitors in this group; an all-female couple, younger adults and seniors all out on the floor, united by their evident passion for this poised and elegant Dancesport genre.

It was then time for each group to show their second dance; Juvenile Jive, Junior Rock ‘n’ Roll, Under-35 Tango and Open Adult Waverley Two Step. Again, between each round the cumulative scores were given, the anticipation building as we tried to work out how close it could be and who could challenge Simon Cruwys’ team, who seemed to be storming ahead. In the end Simon’s team were indeed named overall winners.

The audience was carried along by the energy of the event from start to finish. The Team Match celebrated the diversity and talent of our Dancesport medallists and the skill and dedication of our teachers.

The full length report from Dancesport Congress 2019 was published online after the event: istd.org/news/reports-from-this-years-dancesport-congress

DANCE Ballroom, Latin & Sequence

Committee News Meet the recently elected members of the Latin American Dance Faculty Simon Cruwys Grades and Medals Examiner for the Modern Ballroom and Latin American faculties, Simon Cruwys’ early influences came from the competitive world of dance, being fortunate to have gained much of his knowledge from the top coaches of the day and gaining the Closed United Kingdom Professional Ballroom title in 1996.

He was a recipient of the Phyllis Haylor Scholarship and invited member of the Ballroom Teachers Committee. He gained fellowships in Ballroom and Latin American in 2000 and was elected to the Latin American Faculty in 2001. Simon runs a busy school in Bournemouth with his sister Heidi, catering for all ages and abilities and frequently lectures and adjudicates.

Bruce Lait Bruce is owner of the Lait Dance Club in Ipswich, which opened in 1974. He has been with the ISTD since he was a boy, going all the way through his medals then moving on to open competitions.

He was a British Champion Dancer who has represented England at word championships numerous times throughout his career. He has danced and made finals and won in the famous Blackpool Tower, Winter Gardens and the Royal Albert Hall during his dancing years. He has also toured the world performing in shows such as Simply Ballroom.

Bruce is a successful coach and choreographer, teaching mainly in Ipswich, but also in Cambridge and all over Suffolk, producing couples of all ages and grades who have become champions themselves.

Crystal Main Crystal has devoted her life to the world of dance and is continuously inspired

by Ballroom and Latin dancing. She was born and bred an Ipswich girl and brought up through the branches of the ISTD medallist scene, continuing on to a highly successful competitive career at all levels from Junior through to Professional. Notable achievements include: representing the UK worldwide, UK Closed Champion, Open British Finalist and regular National Finalist in both Ballroom and Latin.

Crystal is a qualified teaching professional and adjudicator.

She launched her own dance academy in East Anglia in January 2019. She is happy to continue to be a Latin American Faculty committee member and wants to share her love for, knowledge of and enthusiasm for dance with others.

John Partington John became a member of the ISTD in 1999 and has been committed to the Society since then. During this time he has taught Ballroom, Latin American, Sequence and Alternative Rhythms to many pupils of all ages and abilities. He is currently a fellow of the Society and this year took up the role on the Latin American Dance Faculty.

Much of John’s time is taken up running the Capital Dance School in central London with approximately 15 teachers teaching there at any one time. The school continually enters pupils for various examinations including many who take professional qualifications. In addition to this, the school enters many pupils for the various ISTD competitions around the country.

Michelle Postlethwaite Michelle began dancing at the age of nine at the Olga Wilmot School of Dancing in Ipswich. Olga herself was an ISTD examiner. After progressing through the ISTD medal tests Michelle continued to have a successful competitive career with her partner, where they became regular finalists and represented their country as youth competitors.

At the age of 19 she turned professional and began to pass on her knowledge and passion for dance to others. She has won the Pierre Trophy on two occasions and was a closed British Latin American finalist. In December 2016 she was honoured to be appointed as an examiner for the ISTD. Michelle’s time is now devoted to her newly formed dance academy, Feather Steps, alongside her commitments to examining and committee work for the ISTD.

Charles Richman Charles has been a member of the ISTD for over 20 years, after first qualifying in 1996. Today he is a senior Dancesport teacher at Anthony Clifford Studios in Romford, Essex. Charles currently holds his ISTD Fellowship in Latin American and Licentiate in Modern Ballroom, Viennese Waltz, Disco/Freestyle and Country/Western. At the moment he is a non-active examiner having passed the Latin American and Country/Western examiner technical assessments.

Charles has been a hardworking committee member since 2000 when he became a member of the Country/Western sub-committee and was a co-opted member of the Disco/Freestyle committee before that. In 2004 he was appointed to the Club Dance Faculty and in March 2012 became the Interim Chair, a role he held for four years. Subsequently he became the new Authentic and Emerging Dance (AED) sub-committee Co-ordinator and when

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the AED became part of the Latin American Dance Faculty in 2018 Charles was co-opted on to that committee.

Charles has lectured on behalf of his committees on numerous occasions. He has assisted on examiner training days, delivering new technique and has also been a Phyllis Haylor Scholarship panellist.

Richard Still Richard started dancing at the age of four at the local dance school in Reading, having weekly classes and having some private tuition and worked through the medallist system. His first competition was at the age of five, which he won and then with his local dance partner continued training and competed in the national and international championships. At the age of 12 he moved into the Junior category

and became the number one couple in the UK finishing at the top in many major championships and at 16 moved into the Youth/ Amateur grade where he changed partner to another English partner, working hard to become the top ranked couple in England in Ballroom, Latin and Ten Dance.

As well as dancing he continued studying, obtaining 5 A-levels and graduating from Reading with a BSc in Business Economics and Marketing. Having competed all over the world as a professional dancer in Ballroom, Latin and Ten Dance as well as Show Dance and made all world and european finals in Ballroom and Latin Show Dance, as well as ranking second in the world and european Ten Dance, and 17th-time UK Ten dance Champion. He co-owns and operates Vibez Dance Studios in the heart of Reading, producing dancers in all styles and all grades.

To find out more about the Latin American Dance Faculty, please visit: istd.org/latin-american

Dancesport in Primary Schools Igniting a passion for dance in the next generation

A

s dance teachers we all understand the important role dance can play in the lives of young children and the social benefits can be profound in their personal development. Recently there has been some press coverage of dance classes within state schools. This is something that is very dear to my heart and in which I have been involved for some years. With this in mind I touched base with Claire Still, who also teaches in schools and asked her to describe one of her sessions and also with the Head of School at one of the schools where I teach. I asked them why they have Ballroom and Latin American dance as part of their curriculum and what benefits it brings to their children. Please see their responses below.

Malcolm Hill

practice through the steps and the arm lines, making sure we work together as a team, to match. The new section this week is a little tricky, so we spend some time challenging our brains to remember the choreography, and then work in pairs to practice while I go round to help, and give out stars to those working well together.

Lastly we’re on to this week’s competition – guess the music.

In teams, we practice guessing which of the Ballroom and Latin dances go with which music. Who can guess the fastest? Who

FOXTON PRIMARY SCHOOL, CAMBRIDGESHIRE Dance teacher Claire Still writes about her before-school dance classes

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PHOTO: FREDRIC FRENNESSEN

The clock ticks to 8am, and it’s time to wake up and dance in Cambridgeshire. The children, aged 5–9 years come in one by one, in a very unusual way for children going to school… bounding with excitement to kick start their day!

We warm-up with running, jumping, star jumps, isolations, and stretches to different music, widening their knowledge of musical rhythms and timings, fitting in with this terms scheme of work. Round the room we twirl with our couples Waltz, stretching high up onto our toes, and maintaining our strong arms so we can balance with our partner, listening carefully to the ¾ music and counting out loud as we go.

Next it’s on to the cheeky Cha Cha, where this time we are learning a formation team dance. We all take our places, and

Petya Mott & Viktoria Hrytsayenko at ISTD Dancesport Congress 2019

DANCE Ballroom, Latin & Sequence

can demonstrate the basics of that dance? Which team is going to win today?

Having burnt lots of energy we finish our class with a solo basic Quickstep in a circle and then, while we stretch, we remember everything we have learnt today. The children all go off into registration wide awake and ready to learn.

With half an hour to go before the next class, it’s time to jot down some notes, on what went well today and what needs some attention for next time, as well as a read through my class plans and scheme of work for this half term, to pick out the key areas I need to develop with them for next week to meet the criteria. We will be working hard towards our dance assembly in three weeks, where we will be presenting what we have learnt this half term to our school teachers and other pupils.

A research study written by Dr Jeanne Keay, Dean of Education and Dr Jon Spence, Head of Physical Education at Roehampton University, and funded by the Aldridge Foundation, which was launched in 2009, found that dancing improved pupils’ communication with each other and helped different age groups to work together, with older children teaching the younger ones new dance steps in the playground. To quote Darren Bennett (who launched the report with Lilia Kopylova): “Dance clearly has the potential to make a huge impact on all children’s learning, helping pupils learn to move and move to learn. The research also found that the introduction of dance into schools has the potential to positively affect social interaction within families and in local communities.”

Sequence News The latest updates from the Faculty 3-Dance Events for Blackpool Grand Finals 2020 Juvenile

Gainsborough Glide

Helenbrooke Waltz

Paso Deena

Junior

Premier Two Step

Arcadia Foxtrot

Juneau Jive

Under 35yrs

Regency Mazurka

Tynedale Quickstep

Vistamar Cha Cha Cha

35yrs & Over

Elizabethan Waltz

Eivona Quickstep

Rumba Roxanne

Over 50yrs

New England Gavotte

Tango Callatina

Social Samba

Sequence Inventive Dance Competition 2020 The Inventive Dance Competition will take place on Sunday 15th March 2020. Inventive dance sections are Latin and Classical sequence and the closing date for entries is 2nd March 2020. Entrance fees are as follows: ISTD Members £13; Non-members £14; 3-dance competitors £8. For further details please contact Megan Garner, tel: 020 7377 1577 Email: sequence@istd.org

Sequence Medallist Festival 2020 Save the date: 14th June 2020 Please check istd.org for updates on the above events.

Congratulations We congratulate Liam Pywell and Alexandra Stainton for winning the Outstanding Classical Sequence Partnership in the recent Carl Alan Awards.

RIVERLEY PRIMARY SCHOOL, LEYTON, LONDON Head of School Sabrina Reilly writes about her school’s dance provision

We endeavour to provide the finest educational experience for every single child at our school. One of our long-lasting and proud traditions is that our children participate in Ballroom dancing lessons, weekly. We believe that Ballroom dancing provides children with an opportunity to be physically active but it also serves to enhance their creativity and develop the characteristics of leadership, curiosity, resilience and general wellbeing.

Throughout the sessions, the skilled teacher strives to nurture and develop talent as well as celebrate the achievements of all students with each other, their families and the wider community.

These sessions have a huge impact on the physical development of our children by improving co-ordination, posture, strength, agility and flexibility. Teachers also up-level their skills in dance through these sessions.

We believe that by providing our children with experiences such as Ballroom dancing, children can develop their cultural and historical knowledge and understanding as well as developing rhythmic and musical sensitivity. Undoubtedly, Ballroom dancing helps develop attitudes and skills in children, which will serve them well in modern society.

To find out more about how gain qualified teacher status, visit: gov.uk/guidance/qualified-teacher-status-qts

ISTD SEQUENCE FACULTY Ap

plicatio Deadlin n e 30 th Ap ril 2020

Faculty Committee Elections

Elections for the Sequence Faculty Committee open this year. If you would like to be nominated or know of someone who should be nominated, please contact: Executive Assistant, Gloria Taplin (ext. 806) Email: gtaplin@istd.org

THOSE WITH LICENTIATE OR FELLOWSHIP STATUS ONLY MAY APPLY.

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MODERN THEATRE facebook.com/groups/ISTDModernTheatre

Janet Cram Awards Heats & Finals 2020 All applications and audience tickets will be processed online | Applications open 6th January 2020 Further details will be available from istd.org

SCOTTISH HEAT SUNDAY 3RD MAY 2020

NORTHERN HEAT SUNDAY 17TH MAY 2020

St Stephens Church, Stockbridge, St Stephens Street, Edinburgh EH3 5AB Closing date for entries – Monday 6th April 2020

The Litherland High School, Sterrix Lane, Litherland, Liverpool L21 0DB Closing date for entries – Monday 20th April 2020

SOUTH WESTERN HEAT SUNDAY 3RD MAY 2020

• •

The Bacon Theatre, Dean Close School, Shelburne Road, Cheltenham GL51 6HE Closing date for entries – Monday 6th April 2020

SOUTHERN HEAT SUNDAY 10 MAY 2020 Magna Carta Arts Centre, Thorpe Road, Staines, Middlesex TW18 3HJ Closing date for entries – Monday 13th April 2020 TH

SOUTH EASTERN HEAT SUNDAY 17TH MAY 2020 New Hall School, The Avenue, Boreham, Chelmsford CM3 3HS Closing date for entries – Monday 13th April 2020 86 DANCE ISSUE 488

Please note that numbers are limited at each heat Heats may be closed to applications before the advertised closing dates if classes are oversubscribed

JUNIORS: 8yrs to 11yrs on 1st April 2020 Must have passed ISTD Grade 3 or 4 Modern & no higher SENIORS: 11yrs to 14yrs on 1st April 2020 Must have passed ISTD Grade 4, 5 or 6 Modern & no higher PREMIER: 13yrs to 17yrs on 1st April 2020 Must have passed ISTD Grade 6, Intermediate Foundation, Intermediate Modern or Advanced 1 Modern & no higher

DANCE Modern Theatre

The qualifying examination for JUNIORS and SENIORS must have taken place between 1st October 2018 & 1st April 2020, and for PREMIERS between 1st April 2018 & 1st April 2020.

There will be no exceptions to this rule.

Competitors must have been trained at the ISTD school entering them, from the following dates unless written permission is given by the previous principal: Scotland: 8th October 2019 • South West: 8th October 2019 Southern: 15th October 2019 • South East: 15th October 2019 Northern: 22nd October 2019 Schools can enter up to 8 competitors.

This includes branches’ and assistants’ pupils.

Competitor Entry Fee (per competitor): £27 HEATS Spectators’ Admission Fees: Adults, including teachers: £10 • Under-14s: £5 Family ticket (2 adults & 2 children): £25 One free teacher ticket per school

HEATS CLASS CONTENT JUNIOR CLASS Set Grade 4 Warm-Up | 2 unset sequences, which may include the following technical content: Circular Spring; Side Kicks; Front Kicks; Spin Turns at high level; Triple Runs; Split Runs forwards.

SENIOR CLASS Set Grade 6 Warm Up | 2 unset sequences, which may include the following technical content: Single Pirouette at low level, inwards/outwards; Side Kicks; Front Kicks; Any dance vocabulary steps from Grades 5 & 6.

PREMIER CLASS Free Warm Up | 2 unset sequences which may include the following technical content: Any dance vocabulary steps from Intermediate Foundation & Intermediate; Double Pirouette at high or low level, inwards/outwards.

Please note that there will be no dances seen at any of the heats.

Janet Cram Awards Finals Sunday 21st June 2020 (from 10am) The Greenwood Theatre, 55 Weston St, London SE1 3RA

FINALS Spectators’ Admission Fees: Adults: £15 • Under-14s: £5 • Family ticket (2 adults & 2 children): £25 • One free teacher ticket per school

FINALS CLASS CONTENT JUNIOR CLASS • Free Warm-Up • 2 Contrasting sequences • Each finalist will then perform their prepared dance, which must be no longer than 1min 30secs

SENIOR CLASS • Free Warm-Up • 2 Contrasting sequences • Each finalist will then perform their prepared dance, which must be no longer than 2 mins PREMIER CLASS • Free Warm-Up • 2 Contrasting sequences • Each finalist will then perform their prepared dance, which must be no longer than 2 mins

ALL PHOTOS: EG PHOTOGRAPHY

West End Workshops 2019 An inspirational day of musical theatre workshops for students and teachers was held on 10th November at Performers College in Essex

W

e had a fantastic line-up of current West End performers and the award winning choreographer/director, Drew McOnie, all delivering a variety of fascinating musical theatre workshops as well as a Q&A session at the end of day where attendees gained considerable insight into the workings of West End performers and the choreographer’s mind.

FEEDBACK FROM THE DAY Eight of my students and I recently attended the ISTD Musical Theatre Workshop at Performers College, and I would like to say what a wonderful day we all had. From the warm welcome on arrival and the organisation of the day to the workshops themselves, the whole experience was full of energy and inspiration.

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For students to have the opportunity to learn from current industry professionals is invaluable and motivating and the teacher workshops were also thoroughly enjoyable as it was lovely just having the chance to dance.

The teacher’s reception was a nice surprise and a lovely occasion to talk to other teachers and faculty members.

My older students were enthused by the Q&A session, as they found listening to the professionals’ talk of their own experiences very helpful to prepare them for the future. I will most certainly be looking out for the next Musical Theatre workshops and I hope to bring more students along to allow them to enjoy the experience too. Thank you to the Modern Theatre Faculty for such a wonderful opportunity.

Kim Rogers, Principal, Pamela Hebberd Academy of Dance Thank you very much for the opportunity you gave to the students, they learned so much and enjoyed every second of the classes.

We can’t wait for the next one!

Camilla Rugini, Italian Teacher

Teachers Corner Your questions answered

T

he Modern Theatre committee is frequently asked for clarification for a range of technical details of the various Modern syllabi. Our most useful channel of enquiry is the official ISTD Modern Theatre Faculty Facebook page, facebook.com/groups/ISTDModernTheatre, and we encourage you to use this provision to obtain official clarification. This can be accessed by teachers on a global level, therefore if you are not yet part if this group, just answer a few simple questions to be accepted, in order to gain regular responses to your questions from our designated senior examiners and committee members.

The analysis below is an answer to a teacher’s question posted on the official Facebook page in May 2019. We have included it here for your information.

AN ANALYSIS OF THE GRADE 2 SPLIT RUNS Thank you to everyone on the day, everyone was so friendly and helpful. The workshops were amazing. It really pushed me to find more confidence and learning the actual choreography from the show was exciting. I really hope we can do it again soon.

Willow, aged 15 years I loved everything. Listening to Tim and Drew talking about their experiences as male dancers really helped me to feel more confident.

Barney, aged 11 years It was worth sweating over and I loved the challenge of the routines.

All the teachers were really nice as were the other children.

Charlotte, aged 9 years I found the whole experience really inspiring. The classes were amazing and as I want to get into choreography, listening to Drew talk of his career helped me to understand that part of the industry more.

Connie, aged 13 years

This is a preparatory approach that enables us to underpin the purpose of this fundamental step of Modern Theatre vocabulary.

The main goal in Grade 2, when the students attempt the first stage of learning a split run/leap, is to have extended (straight) legs. To achieve this goal, we are not looking for an attempt to show a wide range of movement (split), but instead to acquire a strong push off the back leg and fully stretched legs and feet.

The exercise shows four split runs in a row, making this a challenge to achieve. They are an extension of the springs that come before them, where on the first four counts we are hoping for a gradual build-up of power and elevation to enable this extension (stretch) of the legs on counts 5–8.

These split runs are therefore more like an accented spring with two straight legs although with a swish action.

The child will need more power in an upwards direction to enable them to do four split runs in a row than they would if there was a step preceding it. The split run movement at this level is only aiming for about 90 degrees of a split, as opposed to 180 degrees due to the emphasis on the straightening of the legs.

As we develop through to the higher levels, split runs remain focused on the intention of fully extended legs, however they will include a wider split line. There is always some elevation to enable this, however the elevation is not the main focus, as this tends to de-emphasise the extension of the legs.

At these higher levels, children could also practise leaping with more elevation, however this is not required for candidate examinations.

PRIMARY CLASS TEST UPDATE The use of a music operator is now ‘optional’ giving teachers the flexibility to operate their music system in the Primary Class test if they so wish, rather than using a separate music operator.

Drew McOnie with the West End Workshop teachers and our Italian Bursary pupils 88 DANCE ISSUE 488

I TA L I A C O N T I

The Italia Conti Arts Centre is offering teacher training for full DDE qualifications in Ballet, Tap and Modern

ISTD DIPLOMA IN DANCE EDUCATION

DANCE Modern Theatre

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: www.ibfund.net 90 DANCE ISSUE 488

DANCE National Dance

NATIONAL DANCE facebook.com/groups/ISTDNationalDance

Grandison Clark Awards 2020 Sunday 22nd November

The Venue Walton High, Fyfield Barrow, Milton Keynes DANCE ISSUE 488

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TAP DANCE facebook.com/groups/ISTDTapDance

ISTD Tap Bursary Selection 2019 Feedback from the Tap Bursary event

Waiting for the music to start, I thought I would be nervous but I felt excited and full of anticipation. The floor was smooth so it was easy to get my beats out. I felt the adjudicators were encouraging and positive.

Overall, I enjoyed performing my dance. After the positive feedback, tension built up and I was so excited and proud when my name was called as the winner of the bursary. Thank you for this excellent opportunity.

On Sunday 13th October I had the privilege of being on the panel to choose the Tap representatives for the Bursary Awards. The day started with an inspiring and inventive warm-up class taken by Nathan James.

It had everyone in the room tapping.

The junior solos were of a high standard and generally choreographed well and with imagination.

After lunch the senior section was treated to another warm-up class from Nathan James, which we all thoroughly enjoyed. The standard of Tap was extremely high. The final 10 seniors also presented a dance of a different genre.

These talented young students gave their all, which was much appreciated. Jackie Hutt (left) followed by Junior Representative Winner Congratulations to everyone on a totally Evelyn Tagg; Nick French; Junior Representative Runner-Up Charlie Gamble and Carol Ball uplifting day.

Carol Ball

From Jackie Hutt

From Charlie Gamble, Junior Representative Runner-Up I was so nervous about taking part in the ISTD Bursary event. It was the first time I had been to London for any sort of event like it. My teacher, Mr Aaron, told me not to be nervous and to enjoy myself.

The warm-up class was great and helped me calm down. The stage was big but Nathan made us all feel at ease.

Everyone was really friendly. I was pleased with my solo performance. I didn’t expect to come runner-up as the other dancers were all very good.

I’m grateful to the judges for their feedback and to Mr Aaron for nominating me to represent The Company Performing Arts. This has given me the confidence now to take part in more competitions.

As one of the newer members of the Tap Faculty committee I was delighted to join my colleagues Nick French and From Jasmine Gillott, Senior Carol Ball on the adjudication panel for Representative Winner our Bursary selection event.

It was a great experience to have attended It was such a joy to be able to sit the ISTD Tap Bursary Selection. I learnt a back and watch the students meet the lot during the class and also felt that I was challenge of Nathan James’ excellent being challenged with different styles and classes, which with the support of a complex rhythms. It was great to perform very appreciative audience, they all did in such a lovely space. I had a fantastic Senior Representative Runner-Up Chloe Frost (left) followed by with great enthusiasm and obvious Jackie Hutt; Jasmine Gillott, Senior Representative Winner; time and was very happy to be announced enjoyment. as the ISTD Senior Representative Winner.

Carol Ball and Nick French We witnessed a very high standard of work and congratulations and thanks to all the competitors and RESULTS their teachers for some entertaining and innovative choreography Junior Representative Winner: Evelyn Tagg – our task was not an easy one.

Teacher: Abigail Talmondt The event was a resounding success and I wish our selected Junior Representative Runner-Up: Charlie Gamble representatives the very best of luck at the Bursary Awards Finals Teacher: Aaron Lissimore on 16th February 2020 in London (see page 31 for further details).

Senior Representative Winner: Jasmine Gillott Teacher: Stephane Jones

From Evelyn Tagg, Junior Representative Winner

When I arrived there was an instant friendly and welcoming atmosphere. When I was signed in I became nervous. There was a great warm-up class taken by Nathan James in which we had to learn a routine and steps that were challenging but fun.

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Senior Representative Runner-Up: Chloe Frost Teacher: Judith Hockaday Finalists: Molly Bryant, Florrie Burrell, Jessica Dunn, Saffron Hamilton-Gill, Kieran Jefferies, Saona Lovell, Daniel Soutar

DANCE Tap Dance

Intermediate Tap DVD Members have written in with their feedback From Samantha Axford Ahead of the much-anticipated Intermediate Tap course in Dublin, Ireland, I couldn’t wait to see some of the new work we had heard so much about. When my DVD arrived, the week before our Day 1 course, it went straight into my laptop and I was not disappointed.

Just like the work itself, the DVD is fresh, current and relevant.

The dancers are beautifully trained and present the work with ease, clearly showing the style the new work requires.

Drills, sequences and amalgamations are shown from the audience’s perspective, and from the rear view as well. This makes it much easier to follow floor patterns and changes of direction.

Following that, each exercise is clearly counted while the camera focuses purely on the footwork. This helps clarify the counts and also offers highlights, something that can be difficult to notate.

These three different perspectives give us teachers the complete package when using the DVD to revise the work.

In addition to this, certain steps are analysed further to ensure a complete understanding of what is required. I believe this DVD to be an essential resource to accompany the new syllabus.

From Sharon Groves I’m so glad I bought this. After learning the work I came away brain dead and for me sometimes the notes aren’t enough. I am always checking things from the DVD, which is very handy and It’s always close by me. I particularly like the fact that each exercise is broken down and counted. It has been particularly beneficial for me as there is so much information to take on board and it has helped me immensely.

From Shirley Lewis I have thoroughly enjoyed teaching the new Intermediate Tap syllabus. There is a lot of work to cover but once achieved the pupils really feel that they can Tap and the DVD has been extremely useful. The different camera angles and clarity of the rhythms spoken during the demonstration is particularly helpful.

From Kate Paul I am writing to thank the Tap Faculty for releasing the new Intermediate Tap DVD, which I find extremely helpful. The counts are clearly explained and having the exercises shown from both the front and the back makes them very easy to follow. I also love all the extra fabulous facts and information that is included. Well done.

REGIONAL COURSE FEEDBACK A huge thank you to Regional Representative Jessica MorganBeale for giving us such a warm welcome at the Grade 4 and 5 Tap refresher at Clacton-on-Sea. I thoroughly enjoyed taking the course, the teachers were enthusiastic, worked their socks off and were an absolute pleasure to teach.

Helen Green

Sunday 7th June 2020

The Hawth Theatre, Crawley

Participants with Helen Green (centre) on the Tap Grades 4 and 5 Refresher, which was held at The Company Performing Arts, Clacton on Sea, on 15th September 2019

Tap Notices Advanced 1 and Advanced 2 Tap candidates should be conversant with all vocabulary found in the New Intermediate Tap. DVDs are available for all the Tap grades: Primary to Grade 6, Vocational levels from Intermediate, Advanced 1 and Advanced 2, and the Tap Awards.

The Primary Tap amalgamation can now be taken 116–130 BPM.

Newsflash

AGES FOR SELECTION Junior 10 – 12; Seniors 13 – 14; Premiers 15 and over Entries will be accepted from 1st February until the closing date on 27th April 2020 www.istd.org/tap-dance

We hope to be introducing an alternative Grade 6 unaccompanied sequence soon – Look out for upcoming courses.

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NEW TRUSTEES PROFILES The Imperial Society of Teachers of Dancing would like to welcome four new trustees Lynn Chandler Lynn Chandler has spent nearly all her professional life in the education sector and enjoys bringing financial discipline and process to companies as they grow and scale.

Lynn graduated from Essex University in Economics in 1982 and qualified as a Chartered Accountant with Ernest & Young in 1985. She joined BPP Holdings plc, a professional education group, which had just floated on the Stock Exchange, as Group Financial Controller in 1988; was promoted to Group Finance Director in 1995 and retired from full-time employment in 2005. Whilst at BPP, the group grew from a UK business with £6M turnover and 125 staff to an international group with turnover of over £130m employing 1,600 staff across 40 offices throughout Europe.

Since 2005 Lynn has worked part-time. In 2007 she was co-founder of a government sponsored vocational training business, which was sold in 2014 to an AIM listed company. In 2014, Lynn joined Virtual Class, an educational start-up, as Chief Financial Officer and Company Secretary.

Lynn is currently a trustee of the Dance Professionals Fund (Royal Ballet Benevolent Fund) and previously served as a non-executive committee member of A2Dominion Housing Group (a registered social housing group with over 34,000 homes under management and an asset base of over £2bn) and as a non-executive director of an NHS Hospital Trust.

Lynn believes the Society is well placed to achieve its aspiration of being a world leader in dance education. She considers it to be an exciting and interesting time to become a trustee of the ISTD and to be part of ensuring it succeeds in securing its future by expanding its influence and status as a high quality, multi-genre dance examination board world-wide.

Siân Prime Deputy Director: Institute of Creative and Cultural Entrepreneurship (ICCE) Goldsmiths, University of London: Course Director & Lecturer: MA Creative and Cultural Entrepreneurship.

Siân created, advanced and implemented appropriate strategies and programmes for value creation to support the development of cultural entrepreneurial activity. She developed two nationwide programmes and gained finance

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of over £10 million from a range of funding partners. She has over 20 years experience in working with start-up and mid-stage creatives and social, cultural and creative individuals and organisations. Siân was jointly responsible for a £15million investment fund at Nesta, and the work undertaken there informed policy in Scotland and the UK. At Government level she has worked as an Expert Advisor to Innovation Exchange and the Innovation Unit. She is an Advisor to the British Council’s Creative Economy Unit and an Associate of Nesta’s Creative Enterprise Programme.

Keynote speaker and lecturer in the last two years include: Rise Up Summit: Cairo, Egypt; Create Network, Glasgow; Leadership in the Social Networked Era: Moscow, Russia; Cultural Forum, St Petersburg, Ethical Enterprise and Sustainability: Kampala, Uganda and workshops led in Kenya, Chile, Argentina, Italy, Denmark, Poland.

Member of Business Book Award Judging Panel. Member of the Prospects of Innovation Research Studio; Deputy Chair: Fashion Research Unit. Developed new programmes and research into new business models in social innovation and leadership in the creative industries.

Gained £50,000 grant from Office for Students (previously HEFCE) to investigate new approaches to developing entrepreneurial thinking: “Catalyst: Innovation in Pedagogy”.

Having had a close relationship and experienced the warmth, professionalism and strong artistic curriculum and training that the ISTD gives emerging dancers, she will support the organisation at governance level to evolve, sustain and make a strong impact in the 21st century.

Frederick Way Frederick is the Head of the CEDR Foundation, the research, charitable and thought leadership arm of CEDR (the Centre for Effective Dispute Resolution), Europe’s largest provider of alternative dispute resolution services. As Head of the Foundation, Frederick leads on all Foundation projects, membership and engagement and is responsible for the Foundation’s strategy and external communication. Prior to becoming Head of the Foundation, Frederick worked as the Foundation’s manager and as a negotiation consultant, in charge of all of CEDR’s negotiation activity.

Foundation Projects which Frederick has worked on include: leading on the CEDR New Dialogues project for emerging leaders; developing a training programme for Board members of emerging economies about Corporate Governance disputes; improving international standards for ADR training; and working on methods of improving the use of ADR skills for young and emerging leaders.

In 2015, following work carried out on reforming the Public Inquiry process, Frederick

co-wrote CEDR’s book Setting up and Running a Public Inquiry: Guidance for Chairs & Commissioning Bodies with Dr Karl Mackie CBE, Chief Executive of CEDR. Frederick also works as a CEDR mediator, joining the CEDR panel in 2014. He regularly mediates on civil and commercial cases, as well as mentoring new mediators on conciliations. Frederick is a trainer in negotiation skills, conflict management, law for non-lawyers, and mediation advocacy skills trainers for lawyers. He also regularly speaks on behalf of CEDR at conferences and seminars and contributes to blogs, journals and writing.

Frederick originally read English at the University of Cambridge before completing an MA in American Studies at King’s College London.

He then converted to the law and was called as a barrister at Middle Temple in 2012. Prior to joining CEDR full-time in June 2013, Frederick worked as the Cases Manager for TWG Ltd, a company providing medico-legal support to doctors on specialist schemes facing litigation, and as a Duty Adviser at Willesden County Court where he defended clients facing home repossession hearings. Frederick is the founder of MediOUT, a group for LGBT+ mediators based in London and the deputy chair of Access All Areas, a leading performing arts charity for adults with learning disabilities based in Hackney.

Frederick greatly enjoys dance and believes in the importance of dance classes for everyone.

He danced as a child and is a regular attendee at dance performances. Becoming a trustee at the Imperial Society of Teachers of Dancing is something that he is honoured to do and to which he will give his full commitment.

Carrie-Marie Wootten Carrie is a senior leader in the digital, creative and cultural industry with over 20 years’ experience. She currently leads the programme of work for the Knowledge Transfer Network on digital innovation for the creative and broadcast technology sectors. Skills include strategic partnership management, commercial development and large scale, complex project management.

She is also the Director of Rise, an advocacy group for women working in the broadcast technology sector – this work includes leading an award-winning mentoring programme, an awards ceremony at Europe’s largest entertainment and media show, IBC, as well an education programme working with primary and secondary schools.

On a personal note, Carrie danced as a child through to her early twenties and has recently taken up ballet, tap and modern again. She is honoured to be a member of the ISTD board and fully committed to the mission of the Society.

DANCE People

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

DDE Cecchetti Classical Ballet Janine Griffis Poppy Rhiann Mason Taylor Rowden Francesca Anne Spong Brogan Young Imperial Classical Ballet Mark Allison Emma Louise Banham Charlotte Barton Hannah Rose Batchelor Angela Brierley Caroline Emily Burke Amy Challen Lissette María Contreras Cruz Aimée Louise Cooper Linda Dam April Davies Petra Durkan Leah Evans Graziella Ferretti Emily Francis Chloe Leanne Giles Rosa Gomez-Bengoechea Eve Charlotte Graham Ruth Gillian Hakes Ella Hargan Rebecca Heath Victoria Hutton Verena Melanie Jung Panagiota Kasiouri Jemma Louise King Emma Rose King Eleanor Myfanwy Poppy Lane Emma Jayne Laws Katrina Margaret MacDonald Natalie Meachin Cinzia Moia Marina Molero-Maltby Debbi Parks Kayleigh Louise Riddell Isabelle Sophie Russell Chloe Shelley Charlotte Emily Smart Jodie Martine Smith Alexandra Sian Taylor-Brown Patrizia Tinnirello Samantha Chantelle Watt Rebecca Louise Wells Natalie White Katherine Woodford Modern Theatre Caterina Banchelli Licia Baraldi Charlotte Barton Marika Campagnolo Lorna Rose Candlish Shannon Collinge Linda Dam Gemma Louise Donnelly Monica Esparrach

Leah Evans Andria Fella Ellis Franklin-Talbot Rosa Gomez-Bengoechea Eve Charlotte Graham Sharon Hargreaves Victoria Hutton Jodie Michelle Innes Verena Melanie Jung Panagiota Kasiouri Caoimhe Kerrigan Vanessa Lombart Katrina Margaret MacDonald Natalie Meachin Helena Jane Mitchell Veronica Jane Monk Delia Mulet Bertran Gina Neal Emina Jane Nicklin Giulia Pierucci Silvia Pierucci Natalie Louise Randhawa Amy May Redmond Kayleigh Louise Riddell Caroline Roach Kim Rogers Annarita Ronconi Isabelle Sophie Russell Dolores Seijas Moreda Charlotte Emily Smart Estela Soriano Guarch Harriet Leigh Spence Heidi Stubbings Chantelle Swatridge-Smith Danai Tyraki Natalie White Sophie Frances Whittle Mareike Wolf Katherine Woodford Brogan Young National Dance Brittany Davina Hood-Bladon Tap Dance Katie Victoria Allen Charlotte Barton Ami Louise Dickinson Gemma Louise Donnelly Leah Evans Matthew David Gillett Sharon Hargreaves Rebecca Heath Amy Heather Alison Kay Henderson Natasha Hilfiker Victoria Hutton Emma Rose King Cheryl Lynn Katrina Margaret MacDonald Natalie Meachin Markella Panayi Gianluca Raponi Katherine Margaret Richards Kim Rogers Stephanie Ross Bethan Claire Sinnett Maria Skagia Chantelle Swatridge-Smith Natalie White Sophie Frances Whittle Mareike Wolf

Associate Cecchetti Classical Ballet Anna Hyldmo Jebsen Emilie Wikman Timm Country Western Siew Jing Lee August Phang Lay Shing T’ng Disco Freestyle Zoe Avis Louise Evans Izabela-Pelagia Foulop Annabelle Rackham Jennifer Reveley Julie Johanna Schröder Ioanna Tsolisou Imperial Classical Ballet Monica Calderon Gabriela Cantón Anaya Anh Dang Mhynard Etis Jimena García Azarel Govea Mara Habichayn Andrade Elena Hernández Jazheel Herrera Sanroman My Huynh Paola Malvido Fernández Veronica Mendoza Gabriela Montes de Oca Hang Nguyen Rebeca Alejandra Ramirez de Aguilar Rodríguez Gøril Roesen Nicole Tabachnik Kaufer Suong Tran Pia Elina Wisung Latin American Wun Ching Chan Ho Kiu Chan Jennifer Siaw Yen Chen Ho Cheung Wing Mei Kong Wong Lai Na Tsz Ni Law Ka Yan Leung Wai Ling Mak Shu Wa Mak Ho Yuen Oscar Ng Kuang Wui Sim Yee Chun Tan Leun Fat Tang Efstratia Tzavella Tee Yun Yi Zhaoyu Zheng Modern Ballroom Conrad Coelho Simon Hung Liang Tiew Panagiotis Voulgaris Jia Wang Liqian Zhu

Sara Earles Alyssa Lucas Angela Marie Massey Zaida Maria Salinas Carballo Vy Vo

Latin American Cindy Sin Yee Chung Xiao Hong Kirill Shevelev Randell Lim Xiu Zheng

National Dance Wai Ki Au Yeung Clea Chapman Wai Ling Chen Haley Everson Anastasia Fischer Shaelynn Breanne Lobbezoo Michiko Nishimura Wai Nai Shum Cho Kwan Szeto

Modern Ballroom Lap Kei Au Cindy Sin Yee Chung Kin Wai Low Man Huen Huester Ng Thein Wei Soo

Rock ‘n’ Roll Emily Honour Tia Micheala Helena Thorp Street Dance Raheem Cox Rosella Ferrentino Charissa Haliday Holli Tegan-Louise Mustill Jodie Louise Osborne Rebecca Sandall Lesley Theon Seale Holly Strawberry Shiels Rashad Simmons Tap Dance Kathleen Olson

Associate Diploma Imperial Classical Ballet Sandra Barcenas Monique Mai María José Monje Pulido Modern Theatre Alisha Ahmadi Ashleigh Bezzina Michelle McLean Tap Dance Jacqueline Ali Kate Rebekah Voss

Modern Theatre Stephanie Ellis Katerina Ioannidou Mariantzela Koufoudi Kayla Rejek Magdalini Tsivitanidou Rock ‘n’ Roll Sozon Banavos Salsa Conrad Coelho Tap Dance Samantha Axford Janine Konczak Dawn Morrish Catherine Margaret Parker

Fellowship Cecchetti Classical Ballet Marisha Bonnici Imperial Classical Ballet Lorraine Bennett Latin American Nicholas Fury Jeroen Haak Modern Ballroom Bruce Lait Russell Jian Liang Lim Roswitha Wetschka Jennifer Anne Worne

Licentiate Cecchetti Classical Ballet Georgina Louise Hird Yasuko Kond Tamara Micallef Daisuke Miura Disco Freestyle Efthimia Argyrakopoulou Stelina Karioti Imperial Classical Ballet Mark Allison Luisa Díaz González Elisa Picco

Modern Theatre Martina Victoria Buzak Anh Dang Leila Djalalvandi

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Level 6 Diploma in Dance Pedagogy Enhance your teaching skills with an ISTD higher level teaching qualification

Designed to offer professional dancers and experienced teachers flexible learning options 3 Personalised training route 3 Flexible studying 3 On site or distance learning 3 Graduates will be able to apply for Qualified Teacher Learning and Skills (QTLS) APPLICATIONS ARE NOW OPEN for September 2020 start Closing deadline - 28th February 2020 Interviews - April/May 2020 Email: hqualifications@istd.org

APPLY NOW

#LoveLearnTeachDance

www.istd.org

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ISTD Exam Dates, Courses and Events | Jan–Apr 2020 UK Examinations News

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Level 6 Diploma in Dance Pedagogy

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London Centre Examinations

99

Open Days

104

UK Exam Centre Organisers

100

International Courses

104

Syllabus Training

102

Regional Representatives

105

DDE Tutor Training

102

Spring Programme

106

DDE Assessments

103

Bursary Awards & Masterclasses

107

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UK Examinations News Peak Periods for UK Examinations 2020: Spring: 2nd March – 13th April Summer: 1st June – 20th July Autumn: 14th November – 23rd December

Examination Fees An examination can be arranged at a teacher’s studio provided there are guaranteed entry fees totaling a minimum of £672 per day for 2020. Half days must be consecutive to a full day of the same genre and the minimum fee for a half day is £572. For example: 1.5 days is £1,244. The 2020 fees are available on the ISTD website. A rebate of 10% will be allowed on examinations outside of peak periods on entries totaling over £832 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 £832. 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.

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 withup 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 Ballet and Cecchetti vocational exams. CDs may be used for all graded and class examinations.

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London Centre Examinations DATES FOR THEATRE FACULTIES SUMMER TERM 2020 LEVEL

EXAMINATION DATES

CLOSING DATE

Grades and Class Examinations

31st May, 7th, 14th, 21st, 28th June 2020

6th April 2020

Vocational Grades

26th May – 6th June 2020 (weekdays only)

30th March 2020

DDE (Unit 4)* and Licentiate/Fellowship

26th May – 6th June 2020 (weekdays only)

30th March 2020

Cecchetti Classical Ballet (All Levels)

5th, 12th July 2020

4th May 2020

Classical Indian Dance (All Levels)

5th, 12th July 2020

4th May 2020

LEVEL

EXAMINATION DATES

CLOSING DATE

Grades and Class Examinations

8th, 15th, 22nd, 29th November 2020

13th September 2020

AUTUMN TERM 2020

Vocational Grades

26th October – 6th November 2020 (weekdays only)

6th September 2020

DDE (Unit 4)* and Licentiate/Fellowship

26th October – 6th November 2020 (weekdays only)

6th September 2020

Cecchetti Classical Ballet (All Levels)

6th December 2020

13th September 2020

Classical Indian Dance (All Levels)

6th December 2020

13th September 2020

Please contact the UK Examination department for National and Classical Greek dates.

To apply for a London Centre examination please download and complete the Theatre Applications form: istd.org/about-us/documents/ centre-exams--application-form-fees-and-timetable-sheet-for and email to the London Centre Organiser at sserridge@istd.org.

For all London Centre enquiries, contact Sadie Serridge on 020 7377 1577 ext 874 or by email to sserridge@istd.org.

DATES FOR DANCESPORT FACULTIES DANCESPORT EXAMINATION DATES EXAMINATION DATES

CLOSING DATE

29th March 2020

1st March 2020

7th June 2020

8th May 2020

15th November 2020

16th October 2020

To apply for a London Centre examination please download and complete the following Dancesport forms: istd.org/about-us/ documents/dancesport-faculties-examination-timetable and www.istd.org/about-us/documents/dancesport-studio-examinationsfees/?preview=true and send to: ukdanceteachers@istd.org.

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 istd.org/about-us/documents/ 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: 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.

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UK Exam Centre Organisers REGION

GENRE & DATE

ENTRIES TO

TELEPHONE

Bolton

Contact organiser

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

01204 841389

Bournemouth

Contact organiser

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

01202 393032

Bristol

Kathy Plaster, 344 Dance Centre, Alexandra Park, Fishponds, Spring 2020 Modern and Tap Vocational - 23rd March & 1st April Bristol BS16 2BG Modern and Tap Grades - 24th March & 2nd April Imperial Ballet Vocational - 26th March Imperial Ballet Grades - 27th March Summer 2020 Modern and Tap Vocational - 6th, 14th, 15th July Modern and Tap Grades - 7th & 13th July Imperial Ballet Vocational - 9th July Imperial Ballet Grades - 10th, 20th July

0117 9655660

Chichester

Contact organiser

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

01243 786321 / 01243 782297

Derby

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 – 21st/22nd March 2020

Louise Sampson accounts@rhythmanddance.co.uk

07884 315687

Guernsey /

Spring Term 2020 23rd March - 9th April Summer Term 2020 29th June - 19th July

Applications need to be made through Quest. The closing date for Spring Term is 5th January 2020 and the closing date for Summer Term is 6th April 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 sserridge@istd.org for any queries.

07781 113542

Liverpool

29th March and 5th April 2020, 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. studio10@studiodance10.co.uk

01515 214188

London

See page 99

Sadie Serridge, Centre Examinations Officer, ISTD, Imperial House, 22/26 Paul Street, London EC2A 4QE sserridge@ istd.org

020 7377 1577 Extension 874

Manchester

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 sserridge@istd.org

020 7377 1577 Extension 874

North Wales

Contact organiser

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

01407 769 818

Scotland

Contact organiser

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

0141 3399637

Spring Term 2020 1st March – 15th March Summer Term 2020 30th May – 14th June Autumn Term 2020 2nd – 15th November

Applications need to be made through Quest. The closing date for Spring Term was 15th December 2019. The closing date for Summer Term is 6th March 2020. The closing date for Autumn Term is 25th August 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 sserridge@istd.org for any queries.

020 7377 1577 Extension 874

Southwest

Jersey

Cecchetti Scotland Central Region

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REGION

GENRE & DATE

ENTRIES TO

TELEPHONE

Scotland

Spring Term 2020 16th March – 31st March Summer Term 2020 15th – 29th June Autumn Term 2020 1st – 13th December

Applications need to be made through Quest. The closing date for Spring Term is 5th January 2020. The closing date for Summer Term is 20th March 2020. The closing date for Autumn Term is 1st September 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 sserridge@istd.org for any queries.

020 7377 1577 Extension 874

Southampton

Contact organiser See separate boxes below

Sally Upton Southamptoncentre@hotmail.co.uk

07900 574718

West Midlands

Contact organiser

Joanna Brangwin, 3 Wiltell Estate, Upper St John St, Lichfield, Staffordshire WS14 9ET jo@bojanglesdance.co.uk

01543 415354 / 07582 920427

Yorkshire

Contact Organiser

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

0845 6525361 / 07908 808696

Northern

SOUTHAMPTON CENTRE DATES SUMMER TERM 2020

AUTUMN TERM 2020

FACULTY

LEVEL

EXAMINATION DATES

CLOSING DATE

FACULTY

LEVEL

EXAMINATION DATES

CLOSING DATE

Imperial Classical Ballet

Grades

14th, 21st, 28th June, 5th July 2020

6th April 2020

Imperial Classical Ballet

Grades

8th, 15th, 22nd November 2020

13th September 2020

Imperial Classical Ballet

Vocational

14th June 2020

6th April 2020

Imperial Classical Ballet

Vocational

8th November 2020

13th September 2020

Modern Theatre and Tap Dance

Vocational and Grades

14th, 21st, 28th June, 5th July 2020

6th April 2020

Modern Theatre and Tap Dance

Vocational and Grades

8th, 15th, 22nd November 2020

13th September 2020

Spring Programme 2019

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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 coursebookings@istd.org. Alternatively, download a booking form from the ISTD website at istd.org/courses-and-training.

To request a course and to be kept informed of local training developments, contact your nearest Representative via the details listed on page 105.

Regional Courses: Members – £70 / Provisional Members and Student Teachers – £45 / Non Members – £85 London Courses: Members – £75 / Provisional Members and Student Teachers – £50 / Non Members – £90 Contemporary Courses: £215 (2 Day Course Including DVD & Syllabus Notes / £150 (2 Day Course only) SYLLABUS TRAINING UK GENRE

DATE

COURSE

VENUE

TIME

TAP

12th January 2020

New Intermediate (Day 1 of 2)

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

10:00 – 17:00

BALLET

26th January 2020

Primary - Grade 3 Refresher

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

10:00 – 16:30

TAP

9th February 2020

New Intermediate (Day 2 of 2)

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

10:00 – 17:00

BALLET

9th February 2020

The Training of Ballet Technique

Natalie Woods School Of Theatre & Dance, Winsor House , Battersea Road, Stockport SK4 3EA

10:00 – 17:00

CONTEMPORARY

16th & 17th February 2020

Intermediate

The Studios, 75 Campbell Road, Maidstone ME15 6PY

10:00 – 17:00

CONTEMPORARY

16th & 17th February 2020

Intermediate Foundation

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

10:00 – 17:00

CONTEMPORARY

19th & 20th February 2020

Intermediate Foundation

Dance City, Temple Street, Newcastle Upon Tyne NE1 4BR

11:00 – 18:00

CONTEMPORARY

19th & 20th February 2020

Intermediate Foundation

Mountview: 120 Peckham Hill Street, Peckham, London SE15 5JT

10:00 – 17:00

CONTEMPORARY

21st & 22nd February 2020

Intermediate

Mountview: 120 Peckham Hill Street, Peckham, London SE15 5JT

10:00 – 17:00

TAP

15th March 2020

Intermediate Refresher

Louise Middleton School of Dance, 1A Market Street, Lutterworth LE17 4EJ

10:00 – 17:00

MODERN

29th March 2020

Grades 4,5 & 6 Amalgamations

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

10:00 – 17:00

BALLET

29th March 2020

The Training of Ballet Technique

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

10:00 – 17:00

MODERN

29th March 2020

Bridging the Gap Between Intermediate & Advanced 1

Whiltshire, Venue TBC

10:00 – 17:00

VARIOUS

6th April – 17th April 2020

SPRING PROGRAMME 2020

Mountview: 120 Peckham Hill Street, Peckham, London SE15 5JT

VARIOUS

TAP

17th May 2020

Primary, Grades 1 & 2 Tap Refresher

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

10:00 – 17:00

Emergency First Aid at Work

Margaret Howard Studios, 154 Street, Bushey, Hertfordshire WD23 3DH

10:00 – 17:00

NON-SYLLABUS TRAINING UK Non-Syllabus

19th January 2020

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.

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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 totara@istd.org

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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 pqmanager@ istd.org. 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 unit/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.

DDE ASSESSMENT DATES UNITS 1&5

INTENT TO ENTER

SUBMISSION FOR MARKING

2020

30th March 2020

20th April 2020

15th June 2020

6th July 2020

31st August 2020

21st September 2020

23rd November 2020

7th December 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 are currently accepting applications. The closing date for applications for a September 2020 start is 28th February 2020. Interviews will take place in April/May 2020.

We are also accepting applications from those who might be interested in taking individual units in order to develop their CPD. These individual units hold either 30 credits (Unit 4) or 20 credits (Unit 5) towards the Level 6 Diploma in Dance Pedagogy (DDP).

They are offered on an individual basis to allow our teachers to access regulated professional development opportunities and gain credits that later contribute to advanced study.

Each unit offers a specialised focus, for Unit 4 these are: Unit 4A: Teaching Classical Ballet, Unit 4B: Teaching Dance for Musical Theatre, Unit 4C: Teaching Dance in Education and Community Settings. Unit 5 options are: Unit 5A: Applied Dance Science, Unit 5B: Social, Emotional and Cognitive Development, Unit 5C: Choreography, Unit 5D: Action Research Project.

For an application pack, or to ask a question related to the DDP or study of individual units, please contact Education and Training on +44(0)20 7377 1577 or email hqualifications@istd.org

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: hqualifications@istd.org

APEL closing date 30th April 2020

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Open Days Join the ISTD for open days aimed to introduce students and teachers to our initial and higher qualifications.

Students, parents and teachers will have the opportunity to listen to Approved Dance Centres and Education and Training staff regarding teacher training and progression opportunities.

Students will also be able to take part in practical classes.

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 gbridge@istd.org.

OPEN DAY EVENTS 2020 – COMING SOON

International Courses For further information on ISTD international courses, fees and booking forms please refer to istd.org/courses-and-training.

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

COUNTRY

GENRE

COURSE

DATES

VENUE

TIMES

Ireland

Contemporary

New Intermediate

3rd & 4th January 2020

Arklow Dance Studios, Arklow

10:00–17:00

Cyprus

Modern Theatre

Advanced 2

26th & 27th January 2020

Vattis Art of Dance

09:00–17:00 08:00–15:00

Ireland

Modern Theatre

Teaching Modern Theatre Technique

21st – 23rd February 2020

Arklow Dance Studios, Arklow

10:00–17:00

South Africa

Contemporary

Intermediate Foundation

15th & 16th February 2020

Wessels Dance Studio, Pretoria

10:00–17:00

South Africa

Contemporary

Intermediate

17th & 18th February 2020

Wessels Dance Studio, Pretoria

10:00–17:00

South Africa

Contemporary

Intermediate Foundation

20th & 21st February 2020

Waterfront Theatre School, Cape Town

10:00–17:00

South Africa

Contemporary

Intermediate

22nd & 23rd February 2020

Waterfront Theatre School, Cape Town

10:00–17:00

South Africa

Contemporary

Intermediate Foundation

25th & 26th February 2020

TBA, Durban

10:00–17:00

South Africa

Contemporary

Intermediate

27th & 28th February 2020

TBA, Durban

10:00–17:00

Spain

Tap Dance

New Intermediate Refresher

5th April 2020

Escola de Dansa i Música Elisenda Tarragó, Barcelona

10:00–17:00

Mexico

Imperial Classical Ballet

Advanced 1, Advanced 2 & Training Ballet Technique

June 2020

TBA, Mexico City

10:00–17:00

Mexico

Contemporary

Intermediate Foundation

27th & 28th June 2020

TBA, Mexico City

09:00–16:00

Mexico

Contemporary

Intermediate

29th & 30th June 2020

TBA, Mexico City

09:00–16:00

Canada

Contemporary

Intermediate Foundation

2nd & 3rd July 2020

TBA, Vancouver

10:00–17:00

Canada

Contemporary

Intermediate

4th & 5th July 2020

TBA, Vancouver

10:00–17:00

Canada

Contemporary

Intermediate Foundation

8th & 9th July 2020

TBA, Toronto

10:00–17:00

Canada

Contemporary

Intermediate

10th & 11th July 2020

TBA, Toronto

10:00–17:00

Cecchetti Summer School in Japan 2019 104 DANCE ISSUE 488

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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 istd.org/courses-and-training.

The ISTD is seeking...

Regional Representatives for Hertfordshire 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: coursebookings@istd.org or 020 7377 1577.

AREA

NAME

ADDRESS

CONTACT

Bristol

Kathy Plaster

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

E: admin@dancestation.org.uk T: 01179 655 660

Central Scotland

Elizabeth Henderson

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

E: eahdance@googlemail.com T: 0141 954 8732 / 07817 566462

Derbyshire/ Leicestershire/ Northamptonshire

Jayne Wing

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

E: jayne_wing@me.com T: 07850 084 797

Devon

Deborah Laws

7 The Mews, Moorhaven Village Nr Ivy Bridge, Devon

E: deborahlaws08@gmail.com T: 07525 177 788

East Sussex

Jackie Hutt

200 Harold Road, Hastings, East Sussex TN35 5NG

E: jackie_hutt@hotmail.com T: 01424 444 803

Essex

Jessica Morgan-Beale

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

E: istdessex@gmail.com 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: jhs.dance@yahoo.co.uk T: 01793 527 275

Guernsey/Jersey

Karen Thompson

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

E: karen@kddance.co.uk T: 01481 242 568 / 07781 113 542

Hertfordshire

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

Kent

Charlotte Hudson

75 Campbell Road, Maidstone, Kent ME15 6PY

E: c.hudson@thecentrepac.com T: 01622 753 806

Manchester

Anna McBride

23 Newbury Drive, Urmston, Manchester M41 7FA

E: starlightschooldance@gmail.com T: 07835 593 381

Merseyside

Gaynor Owen

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

E: gaynorowenjames@gmail.com T: 0151 521 4188

Northern Scotland

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

Norfolk

Amy Jarrett

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

E: istdnorwich@gmail.com T: 07880 558 031

Preston

Andrew Hindley

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

E: ahindley15td@yahoo.com T: 01772 225 614

Shropshire

Nicola CarmichaelPhillips

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

E: carmichaeldance@gmail.com T: 01952 610 491 / 01952 619 155

South Coast

Victoria Caine

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

E: istdscr@gmail.com T: 02380 170 828

Yorkshire

Fleur Stevenson

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

E: fleur@fleurelizabethacademy.co.uk T: 01964 550 996

E: meesonlc@tinyworld.co.uk

Laura Meeson

For the most up-to-date staff, council, committee and organiser listings please visit the ISTD website. istd.org/about-us/people DANCE ISSUE 488 105

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Spring Programme 2020 Mountview, Peckham, London Monday 6th April – Friday 17th April No classes over the Easter Bank Holiday weekend (10th–13th April inclusive). Bookings are now open Visit: istd.org/courses-and-training Email: coursebookings@istd.org Call: +44 (0)20 7377 1577 TIME

GENRE AND COURSE TITLE

Fees per day Members – £75 Provisional Members and Student Teachers – £50 Non-Members – £90

TIME

Masterclass with Teacher Observation Student fees – £30 (half day) £55 (full day) Members – £45 Student Teacher/Provisional Membership – £35 Non Members – £50

GENRE AND COURSE TITLE

MONDAY 6TH APRIL

THURSDAY 9TH APRIL

10:30 – 17:45

10:00 – 17:00

MTH – New Grades 4, 5 & 6 Amalgamations (Day 2 of 2) - training progression exercises

10:00 – 17:00

CID – Bharatanatyam Grades Refresher Including Safe Dance Practice

10:00 – 17:00

CT – Intermediate (Day 2 of 2)

10:00 – 17:00

NS – Inclusive Dance Practice

TIME

GENRE AND COURSE TITLE

CEC – Day 1: DDE Unit 4 10:30 Intermediate Class 12:30 Break 12:45 Revision Grades 1 – 5 14:00 LUNCH 14:45 Build-Ups & Teaching Methods Grades 1 – 3 16:15 Break 16:30 Grades 4 & 5 Common Faults

10:00 – 17:00

MTH – New Grades 4, 5 & 6 Amalgamations (Day 1 of 2) – including training progression exercises

10:00 – 17:00 10:00 – 17:00

TUESDAY 14TH APRIL 10:00 – 17:00

CT – Intermediate Foundation Refresher

MTH – DDE Tutor Training: Modern Theatre Technique and Preparing Candidates – (Day 1 of 2)

10:00 – 17:00

ICB – Introduction to the New Class Examination CDs Pre-Primary to Grade 2

CT – Intermediate Foundation (Day 1 of 2)

10:00 – 17:00

ICB – Advanced 1 and Analysis

10:00 – 17:00

TAP – Intermediate (Day 1 of 2)

TUESDAY 7 APRIL

TIME

GENRE AND COURSE TITLE

10:30 – 17:45

CEC – Day 2: DDE Unit 4

WEDNESDAY 15TH APRIL

10:30 Intermediate Class

10:00 – 17:00

TT – To be confirmed

12:30 Break

10:00 – 17:00

ICB – Introduction to the New Class Examination CDs Grades 3 & 4

10:00 – 17:00

ICB – Advanced 2 and Analysis

10:00 – 17:00

TAP – Intermediate (Day 2 of 2)

TIME

GENRE AND COURSE TITLE

TIME

GENRE AND COURSE TITLE TH

12:45 DDE Specific Lists Grade 6 & Intermediate 14:00 LUNCH 14:45 Biomechanics Grades 4 & 5 16:15 Break 16:30 Common Faults – All Levels 10:00 – 17:00

MTH – New Grades 4, 5 & 6 Amalgamations (Day 2 of 2) – training progression exercises

THURSDAY 16TH APRIL 10:00 – 17:00

ICB – Licentiate Essential Learning ICB – Fellowship Essential Learning

10:00 – 17:00

MTH – DDE Tutor Training: Modern Theatre Technique and Preparing Candidates – (Day 2 of 2)

10:00 – 17:00 10:00 – 17:00

TAP – Intermediate (Day 1 of 2)

10:00 – 17:00

CT – Intermediate Foundation (Day 2 of 2)

10:00 – 17:00

TAP – Grade 6 Refresher & New Alternative Unaccompanied Sequence

TIME

GENRE AND COURSE TITLE

WEDNESDAY 8TH APRIL

TIME

GENRE AND COURSE TITLE

10:30 – 17:45

CEC – Day 3: Licentiate

FRIDAY 17 APRIL

10:30 Advanced 1 Class

10:00 – 17:00

TT – To be confirmed

12:30 Break

10:00 – 17:00

ICB – Student Masterclass with Teachers Observation (Free Work)

TH

12:45 Advanced 1 Men’s work

10:00 – 13:00 Grades 4 & 5

14:00 LUNCH 14:45 Class Planning 16:15 Break 16:30 Enchaînements Arrangement 10:00 – 17:00

MTH – New Grades 4, 5 & 6 Amalgamations (Day 1 of 2) – including training progression exercises

10:00 – 17:00

CID – Kathak Grades Refresher Including Safe Dance Practice

10:00 – 17:00

CT – Intermediate (Day 1 of 2)

106 DANCE ISSUE 488

14:00 – 17:00 Inter-Foundation & Intermediate 10:00 – 17:00

TAP – Intermediate (Day 2 of 2)

10:00 – 17:00

TAP – Intermediate Refresher

CEC – Cecchetti Classical Ballet CID – Classical Indian Dance CT – Contemporary Dance ICB – Imperial Classical Ballet

MTH – Modern Theatre TAP – Tap Dance TT – Tutor Training NS – Non Syllabus

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Bursary Awards & Masterclasses 2020 Student Masterclasses and Teacher Observations Sunday 16th February The Place, 16 Flaxman Terrace, London, WC1H 9AT Theatre Bursary Awards Performance Sunday 16th February The Place, Robin Howard Theatre, 17 Duke’s Road, London, WC1H 9PY Bookings: eventbrite.co.uk/o/ imperial-society-of-teachers-of-dancing-20145972517 Queries: mellis@istd.org

Masterclass tickets Student: £30 Teacher Observation: £40 Student + Teacher Observation: £59.50

Bursary Awards tickets Adult: £15 Concession: £8 Family: £38

STUDENT MASTERCLASSES AND TEACHER OBSERVATIONS Juniors, 8–12 years

Musical Theatre Masterclass incl. ticket to Bursary Awards performance

13:00 – 18:00

Seniors, 13–17 years

West African Dance Masterclass incl. ticket to Bursary Awards performance

13:00 – 18:00

THEATRE BURSARY AWARDS PERFORMANCE Bursary Awards

16:00 – 18:00

Senior students during Jenny Hayes Contemporary Masterclass 2019

DANCE ISSUE 488 107

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ISTD Teacher Training

Bursaries 2020

Applications for all 2020 teacher training bursaries will next open on 2nd March and close on 2nd April Bursaries available are: • Initial teacher training (the Level 4 Diploma in Dance Education and Dancesport Associate): up to £5,000 • Higher teacher training (Level 6 Diploma in Dance Pedagogy): up to £2,000 • Continued professional development for international members: up to £1,000 To apply, and for further information see: istd.org/courses-and-training/ teacher-training-bursaries or contact: bursaries@istd.org Applications will be assessed on financial need as well as motivation to undertake training.

108 DANCE ISSUE 488

SINCE ITS LAUNCH IN 2018, the Teacher Training Bursary has helped to support 35 DDE, 2 Dancesport Associate and 4 DDP students to achieve their qualification, and 5 international members to access CPD.

DANCE

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The Imperial Society of Teachers of Dancing exists to advance excellence in dance teaching and education.

Membership of the Imperial Society of Teachers of Dancing is the passport to artistic and professional progression.

Renew your membership today istd.org/membership/renew See page 29 for more information

#LoveLearnTeachDance

DANCE ISSUE 488 109

DANCE Classifieds

CLASSIFIEDS ISTD STREET, TAP, BALLET & MODERN TEACHER REQUIRED – HERTFORDSHIRE & NORTH WEST LONDON Be On Pointe (BOP) Dance School are looking for a full time dance teacher who is ISTD qualified in Street, Tap, Ballet & Modern.

Classes will be Monday – Saturday and all mid-week hours will be after school from 4pm. The age range will be between 3–9 years of age and you will need to be able to adapt your teaching skills accordingly.

Will need to be available from January 2020. If you are interested and feel this could be right for you, please email a copy of your CV to hello@beonpointe.com

marketing@istd.org

BALLET TEACHER REQUIRED – WINDSOR & ETON

ISTD MODERN AND TAP TEACHER REQUIRED – CHINA

Experienced Ballet teacher required for September 2020 at long established school in Eton and Windsor area. Saturday mornings all levels nice studio with pianist.

Preferably Cecchetti trained but not vital. Choreographic skills would be good. To apply, please email office@susanhandydance.co.uk with your details.

ISTD Modern and Tap teacher required for multiple teaching vacancies in Beijing, Tsingdao/ Qingdao and Shenzhen. Applicants must be able to enter students for exams, a degree is desirable but not essential. Rapidly expanding RAD and ISTD School. Flexible start time from now until August 2020. Come and join our team of 7 international teachers. All classes taught in English. Salary $2,800 - £3,400. Full Expat 2-year contract including flights, own accommodation, medical insurance and visas. To apply please email your CV, covering letter and 3 short video clips of you teaching / dancing to beckybradbury@gmail.com For more information visit www.renee-arts.com

ADVERTISE IN DANCE

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 marketing@istd.org 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.

DANCE is received three times a year

by ISTD members, examiners, teachers, dancers and students who support the vast array of dance styles covered in every issue.

With a readership of over 20,000, DANCE magazine is popular with companies and individuals wishing to reach a broad dance audience in the UK and overseas.

T: +44 (0)20 7377 1577

110 DANCE ISSUE 488

10% DISCOUNT for ISTD members and ISTD Approved Dance Centres

E: marketing@istd.org

#LoveLearnTeachDance

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: marketing@istd.org.

DANCE

Dame Beryl Grey DBE Life President

Sue Passmore Chair

Ginny Brown Chief Executive Officer ISTD HEADQUARTERS 22/26 Paul Street London EC2A 4QE +44 (0)20 7377 1577 Please see istd.org for the most up-to-date listings as well as councils and committees.

EXECUTIVE OFFICE Chief Executive Officer Ginny Brown (ext. 809) gbrown@istd.org Director of Dance Liz Dale (ext. 895) ldale@istd.org Director of Finance & Operations Keith Stephenson (ext. 805) kstephenson@istd.org Director of Examinations Janne Karkkainen (ext. 860) jkarkkainen@istd.org Director of Education Louise Molton (ext. 844) lmolton@istd.org Director of Membership & Communications Gemma Matthews (ext. 807) gmatthews@istd.org Executive Assistant Gloria Taplin (ext. 806) gtaplin@istd.org DANCE DIRECTORATE Artistic Projects Manager Michaela Ellis (ext. 896) mellis@istd.org Head of Faculty Development for Tap (Tues, Thurs & Fri am) Jason Di Mascio (ext. 804) jdimascio@istd.org Head of Faculty Development for Modern Theatre and Classical Indian Lisa Harrison-Jones (ext.892) ljones@istd.org

Head of Faculty Development for Imperial Ballet, National and Classical Greek Pippa Cobbing (ext. 802) pcobbing@istd.org Disco/Freestyle/Rock’n’Roll (DFR) Faculty Co-ordinator (Mon–Wed) Penny Childs 07786 508727 dfr@istd.org Latin American Faculty Modern Ballroom Faculty Sequence Faculty Classical Indian Faculty Co-ordinator Megan Garner 020 7377 1577 mgarner@istd.org Cecchetti Classical Ballet Faculty Co-ordinator (Mon–Thurs) Sharon Orme 07551 159471 cecchetti@istd.org Classical Greek Dance Faculty Co-ordinator (Mon–Wed) Penny Childs 07786 508727 classicalgreek@istd.org Imperial Classical Ballet Faculty Co-ordinator (Mon–Fri) Julia Beattie 01788 899127 imperialballet@istd.org Modern Theatre Dance Faculty Co-ordinator (Mon–Fri) Toni Ketterer 01255 852299 modern@istd.org National Dance Faculty Co-ordinator (Mon–Fri) Julia Beattie 01788 899127 national@istd.org Tap Dance Faculty Co-ordinator (Mon–Thurs) Caroline Lavelle tap@istd.org FINANCE & OPERATIONS HR Manager Roza Kobel (ext. 816) hr@istd.org Finance Business Partner Christian Levy (ext. 850) clevy@istd.org Accounts Payable/Receivable Oficer Joseph Alfonso (ext. 853) jalfonso@istd.org Accounts Payable/Receivable Officer Dalha Mohamed (ext. 855) dmohamed@istd.org ISTD HQ Receptionist (Mon–Wed) Laura Henderson (ext.800) receptionHQ@istd.org ISTD HQ Receptionist (Thu–Fri) Katie Barrett (ext.800) receptionHQ@istd.org ISTD HQ Facilities Manager Emelda Nwankiti (ext. 812) enwankiti@istd.org

UK EXAMINATIONS

EDUCATION & TRAINING

Head of UK Examinations Melanie Curtis (ext. 871) mcurtis@istd.org UK Examinations Manager Danielle Wojtylo (ext. 878) daniellew@istd.org Senior UK Examinations Officer Amanda Adams (ext. 876) aadams@istd.org Dancesport Examinations Administrator Sarah Brown (ext. 879) sbrown@istd.org Examinations Officer (UK Centres) Sadie Serridge (ext. 874) sserridge@istd.org UK Examinations Officer Georgina Winterborne (ext. 875) gwinterborne@istd.org Medals Administrator (Theatre and Dancesport) Brian Sanders (ext. 890) bsanders@istd.org

Head of Teacher Training Suzanne Priest (ext. 838) spriest@istd.org Professional Development and Events Manager Mavis Saba (ext. 832) msaba@istd.org Professional Development Co-ordinator Joely Stevens (ext. 833) jstevens@istd.org Professional Development Assistant Alice Redshaw (ext 835) aredshaw@istd.org International Professional Development Co-ordinator Valentina Grecchi (ext. 836) vgrecchi@istd.org Learning Experience Designer Levinna James ext. 837) ljames@istd.org Initial Qualifications Coordinator Gemma Bridge (ext. 834) gbridge@istd.org Higher Qualifications Co-ordinator Shamir Ahmed (ext. 834) sahmed@istd.org

INTERNATIONAL EXAMINATIONS Head of International Examinations Eve Drakouli (ext. 862) edrakouli@istd.org International Examinations Officer Alex Batts (ext. 867) abatts@istd.org (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) ymalavakis@istd.org (Europe – Cyprus, Greece) International Examinations Officer Stephanie Russo (ext. 864) srusso@istd.org (Europe – Spain, Gibraltar; North America – Mexico, USA; Oceania – Australia, New Zealand) International Examinations Officer (Mon–Wed) Metaxia Ypsilanti (ext. 882) mypsilanti@istd.org (North America – Canada, USA) International Examinations Officer Negin Vaziri (ext. 865) nvaziri@istd.org (Europe – Belgium, Italy, Luxembourg, Netherlands, Switzerland) International Examinations Officer Chelsea Fox (ext. 863) cfox@istd.org (Europe – Denmark, Germany, Malta, Norway, Portugal; Africa – Kenya, South Africa) International Examinations Officer (Dancesport) Julie Harries (ext. 868) jharries@istd.org

CUSTOMER SERVICES & QUALITY ASSURANCE csqa@istd.org Head of Quality Assurance Sophie Azam (ext. 840) sazam@istd.org Quality Assurance Manager Gemma Ward (ext. 841) gward@istd.org Customer Service Officer Amy Fraser (ext. 848) afraser@istd.org Complaints & Result Enquiries: complaints@istd.org Quality Assurance Officer (Dancesport, International Examinations, and Special Needs) Tolu Alabi (ext. 846) talabi@istd.org Applications for Reasonable Adjustments (ARA): ara@istd.org Quality Assurance Assistant Meg Brookman (ext. 826) Quality Assurance Officer (UK Theatre Examinations) Sabena Sengupta (ext. 847) ssengupta@istd.org Quality Assurance Assistant (UK Theatre Examinations) Jake Hacene (ext. 843) jhacene@istd.org Professional Qualifications Manager Selvet Tufan (ext. 845) pqmanager@istd.org Professional Qualifications Officer Briar Luff (ext. 842) bluff@istd.org Professional Qualifications Assistant Morgan Taylor (ext. 830) mtaylor@istd.org Quest Applications Analyst Matt Kudzio (ext. 849) questdev@istd.org

directory MEMBERSHIP & COMMUNICATIONS Membership CRM Analyst Nigel Joseph (ext. 891) membership@istd.org Membership Services Assistant Nicholas Hurd (ext. 823) membership@istd.org Design & Publications Manager (Mon–Wed) Tamsin Moore tmoore@istd.org Senior Graphic Designer Richard Czapnik (ext. 821) richardc@istd.org Marketing & Communications Officer Katie Andrews (ext. 822) kandrews@istd.org Online Marketing Officer (Tue–Wed) Birgit Diggins bdiggins@istd.org Shop Manager David Wood (ext. 810) sales@istd.org Shop Assistant Simon Hidson (ext. 811) sales@istd.org Librarian (Mon & Thu) Sarah Jardine-Willoughby (ext. 813) sjardine-willoughby@istd.org INTERNATIONAL REPRESENTATIVES Africa and the Middle East Delia Sainsbury +27 83556 7849 dsainsbury@istd.org Australasia Chelsea Clarke-Spresser +61 42397 7437 ccspresser@istd.org Europe Carole Watson +39 33583 31437 cwatson@istd.org North America Astrid Sherman +1 (604) 837 0393 asherman@istd.org Asia TBC LOCAL ORGANISERS Malta Theresa Lungaro-Mifsud + (356) 21242465 thedanceworkshop@gmail.com Mexico Gail Clifford +52 55 52473409 gailcliff45@gmail.com

DANCE ISSUE 488 111

DANCE Calendar

EVENTS CALENDAR February 2020 2nd February A Boys Day Laine Theatre Arts, Epsom Imperial Classical Ballet 9th February Wales and the West Awards Congress Theatre, Cwmbran Cecchetti 16th February ISTD Bursary Awards & Masterclasses The Place, London 18th February ISTD Graduation Ceremony The Barbican, London

March 2020 1st March Imperial Open Freestyle & Rock’n’Roll Championships Spelthorne Leisure Centre, Staines Upon Thames DFR 7th–8th March Senior Awards The Hawth Theatre Imperial Classical Ballet

8th March Cecchetti Choreographic Competition Cecil Sharp House, London 15th March Sequence Inventive Dance Competition 2020 22nd March Southern Area Awards The Barn Theatre, Southwick Cecchetti

April 2020 6th–17th April ISTD Spring Programme Mountview, Peckham 19th April Cecchetti Day The Royal Ballet School, Covent Garden

May 2020 16th May Cecchetti Classical Ballet Scholars Auditions Arts Educational Schools, Chiswick

June 2020 7th June Tap Challenge The Hawth Theatre, Crawley 14th June Sequence Medallist Festival 2020

20th–24th July Cecchetti Summer School for Teachers Tring Park School, Hertfordshire 26th–31st July Cecchetti Summer School for Young Dancers Tring Park School, Hertfordshire

August 2020 15th–25th August ISTD Residential Summer School University of Chichester

October 2020

21st June Janet Cram Awards Finals The Greenwood Theatre, London Modern Theatre

4th October DFR National Grand Finals Guildford Spectrum, Guildford

July 2020

November 2020

12th July Street Dance Competition Day Admiral Lord Nelson School, Portsmouth DFR

22nd November Grandison Clark Awards The Venue, Milton Keynes National Dance

16th–18th July CICB Competition Sydney, Australia

Turn to page 8 to read James Butcher’s #danceinspo

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 istd.org. We believe this information to be correct at the time of going to print. Please note that all events can be subject to change.

112 DANCE ISSUE 488

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