Dance 494

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Issue 494 • Januar y – April 2022


Looking ahead

Planning together for a bright future

Para Dance UK Practical advice on how to expand your offering

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Ballet and education combined for students aged 7 through to 19. A unique package combining inspirational ballet tuition with an exceptional education. Ex-professional dancers, equip students with an outstandingly detailed education in classical ballet preparing them for a career in dance. WWW.MOORLANDBALLET.CO.UK

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Members welcome Headquarters 22/26 Paul Street, London EC2A 4QE + 44 (0)20 7377 1577 Chair Michael Elliott Executive team Chief Executive Ginny Brown Director of Dance Liz Dale Director of Examinations Janne Karkkainen Director of Membership and Communications Gemma Matthews Director of Education Louise Molton Director of Finance and Operations TBC Advertise in Dance Magazine Email Tel + 44 (0)20 7377 1577 Cover photograph: DanceEast CAT outdoor performance Photo by Rachel Cherry Design by Membership and Communications Department Printed by Gemini Print Unit A1 Dolphin Way Shoreham by Sea West Sussex BN43 6NZ © 2022 Imperial Society of Teachers of Dancing. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior written permission of the copyright owner. The Imperial Society of Teachers of Dancing exists to advance excellence in dance teaching and education. Company Limited by Guarantee. Registered No. 00392978 England. Registered Charity No. 250397

“ Thank you to all our members.” Welcome to this edition of Dance. I hope you have all experienced well-deserved and peaceful holidays at home with loved ones and are now energised for the year ahead. As I write our teachers, examiners and students are in the midst of preparations for end of year performances, examinations and, of course, holiday celebrations – making this one of the busiest times of year. We have been delighted to see a healthy upsurge in exams and a return to live events and competitions, which goes to demonstrate just how important progressing in dance is for your students. So, thank you to all our members, examiners, lecturers, faculty committee members, staff and trustees for your hard work and dedication to dance over the past year. The challenges of the last 20 months have meant that no opportunity to dance has been taken for granted. This has been wonderfully demonstrated by the ISTD Challenge. We have loved to see the participation from young people across the world, dancing in indoor and outdoor settings and with a range of props – including some very well-behaved horses! If you haven’t yet watched the highlight reels take a few moments to enjoy these films We were delighted to welcome three new trustees to the organisation, our Chair Mick Elliot, Leanne Kirkham and Kathryn Williams at our recent online AGM. I would like to take this opportunity to extend our thanks to acting Co-Chairs Erin Sanchez, (who retired after completing two terms as a trustee) and Frederick Way, whose dedication and support have been invaluable. The new year is a natural time to set aims and make plans for the year ahead. And 'looking to the future' is our theme for this edition of Dance magazine as we share with you our ambitions for 2022 and beyond. Find out more on page 4. Wishing you all a happy, healthy and prosperous new year. Ginny Brown Chief Executive Dance | Issue 494

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News 8

Our new Chair We are delighted to announce the appointment of Michael Elliott as Chair of the ISTD

International update 28 Asia Chua Zjen Fong reflects on the future of Breaking now that it is an Olympic sport 29 North America Astrid Sherman looks at how international studios benefit from offering ISTD examinations 30 Europe Carole Watson looks at how dance has moved outside its classical space of the theatre 32 Australasia Jess Walker observes that whilst the world is getting smaller, our dance community is getting bigger 33 Africa and the Middle East Delia Sainsbury reflects on the way forward for dance in South Africa

What's on 66 Highlights Updates on current events and what's on in the industry 68 Join the conversation A look at what's trending online



Focus on 36 Cecchetti Classical Ballet ISTD Cecchetti at ENB and the Cecchetti Society celebrates its centenary 38 Classical Greek Dance Important news from our committee 40 Classical Indian Dance A catch-up with our committee and their visions for the future 44 Contemporary Dance Preparing for the future of contemporary dance and developing the next generation 46 Disco, Freestyle, Rock n Roll and Street Moving out of lockdown, we look at the future of DFR events 48 Imperial Classical Ballet Three dancers look to the future and share their stories of equity, diversity and inclusion in the ballet studio 52 Latin American, Modern Ballroom and Sequence Our October Medallist Tournament and committee news 56 Modern Theatre We welcome four new committee members 60 National Dance Inspiring African dance in UK primary schools 62 Tap Dance The future of Tap and learning to adapt in our ever-changing world, plus news from the committee

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Issue 494 | January – April 2022


Planning for a bright future A strategy update for members from our Chief Executive, Ginny Brown PAGE 14

Dance in focus Professor Angela Pickard looks to the future of dance education


Para Dance UK


Interview with Patrick McGeough, Chief Executive Officer of Para Dance UK

From our guest editor An introduction to this 'looking to the future' issue of Dance magazine from Society Chief Executive, Ginny Brown

22 Membership matters Continuing professional development, pathways to a professional teaching career, and membership updates 24 Creating a space for our community Details of how members can take advantage of our revamped building in central London


Talking dance How the dance sector can work together to ensure that all children have opportunities to learn dance Dance | Issue 494

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From our guest editor An introduction to this 'looking to the future' issue of Dance magazine from Society Chief Executive, Ginny Brown

Ginny Brown ISTD Chief Executive As we grapple with the new Omicron Covid variant, I imagine that we are all wondering what the future holds. Will theatres and dance companies survive? Will students want to return to their dance classes, or have we lost them to an online existence? And how will we all recover from the very many challenges and urgent priorities of the past two years? This edition answers some of these questions with brilliant examples of student and teacher adaptability, including European dancers moving outside their usual theatre spaces (page 30) and student teachers sharing their experiences of equity, diversity and inclusion in the ballet studio (page 48). These questions have naturally also occupied us at the ISTD and you can read how we used learning from the strategic review to plan a bright future for us all on page 10. Whilst the outlook remains uncertain, I have no doubt that dance will continue to play an important part. The commitment and passion of our members again shines through this edition and the importance of dance was clearly articulated in our symposium on the Future of Cultural 4

Education, which you can read about on page 6. The last two years have amply demonstrated the importance of being connected to the wider dance and education ecology. In our interview on page 16 Patrick McGeough describes his own personal motivation to lead Para Dance UK in working tirelessly to broaden access to dance. And the UK’s first Professor of Dance Education, Dr Angela Pickard, looks to the future of cultural education on page 14. One of the unexpected upsides of the pandemic has been the way geographic barriers have been swept away by online interaction, as Jess Walker reports on page 32. And it is inspiring to read about how restrictions have been turned to advantage, enabling African dance to be shared with English primary school children 13,500 miles away (page 60). These are just a couple of examples of how the world in 2021 changed in ways we could never have imagined back in 2019. It has been a pleasure to showcase so many different perspectives and future views from our faculties, members, students and professional connections.

Above Students of DDE student, Annalisa Pastorino, using open spaces to dance in Cumiana, near Turin, Italy (page 30) Right Para Dance UK dancers (page 16)

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As we evolve to meet the challenges, and the opportunities, of the post-pandemic world we look forward to this new year and beyond – celebrating the centenary of the Cecchetti Society (page 36), returning to ‘live’ events and competitions such as our new Medallist Tournament (page 52) and the prospect of breakdancing becoming an Olympic sport in 2024 (page 28). To help guide us towards the future, I am delighted to welcome our new Chair, Michael Elliott, on page 8.

The commitment and passion of our members again shines through this edition. Dance | Issue 494

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Talking Dance: The Future of Cultural Education We reflect on the latest event in our Talking Dance series, which focused on the ways the sector can work together to ensure that all children have opportunities to learn dance. You can find more in the series at On 2 August, the Society hosted an industry-wide symposium to explore the future of cultural education. The second in our ‘Talking Dance’ series, the event followed on from our successful Improving Racial Equity event in June. Our aims were to gain a greater awareness of the contexts in which dance is taught and the potential barriers to accessing dance education. It is vital that we consider ways in which the dance sector can work together to ensure that all children have opportunities to learn dance, and the symposium provided delegates with tangible strategies for improving access to the sector. Society Chief Executive Ginny Brown introduced the morning by talking about the value of dance education, touching on the physical and mental benefits it has on well-being and asking how we can work together to create a stronger infrastructure for dance education and talent development. Several prominent key speakers spoke throughout the morning, debating issues ranging from dance in schools to vocational training and the cultural landscape. Anne Appelbaum, Director of Children and Young People at Arts Council England was the first key speaker at the event, discussing the current cultural landscape in England. In the first quarter of this financial year, Arts Council has invested almost three and a half million developing creative practice funding streams and dance-focused project grants. 6

In the nine rounds of their ‘Developing Your Creative Practice’ fund, a fund specifically for individual artists, one and a half million, has been awarded to dance artists, which is a number that is expected to grow. When building their new 10 year Let’s Create strategy, Arts Council spoke to members of the public, including children and young people, to gather feedback on their experiences in the cultural sector. “Children and young people are very creative, but they don’t always benefit from investment in arts and culture”, she claimed. It was clear that the overwhelming response from young people was that it is “very hard to get experience when you don’t have it”, and role models, as well as support at the beginning of a career, play vital parts in their

In an ideal world, high-quality dance teaching would be in every single school. That’s the dream and long-term mission.

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Monday 2 August 2021 11:15am

lives. “There is now a lot more anxiety around future career prospects.” Anne said that the Arts Council were committed to continuing their conversations with young people with their Youth Advisory Board, which is currently being established. One Dance UK’s Laura Nicholson, Head of Children and Young People’s Dance spoke about dance in schools across the UK. “If the question is how we build our homegrown dance talent and nurture the next generation of dancers, artists, choreographers and dance health professionals, we have to offer every child and young people affordable training in and out of school.” Reiterating Ginny’s earlier point, Laura stated “We believe access to dance education is the birthright of every child, for the wider cultural and life skills it offers, not to mention the enormous range of health and wellbeing benefits that dance brings”. She spoke of the effect of huge cuts to funding for dance in schools, reminding us of the current obesity pandemic and mental health crisis here in the UK and how important the sector is when it comes to fighting these issues. The economic contribution of dance was also an important factor in Laura’s argument. “The cultural

sector alone contributed over £32 billion to the UK economy in 2018, an increase of almost 22% in real terms since 2010. Why are we battling to preserve a subject that teaches the very skills that are needed to enter employment?” She said, “We are in grave danger of dance only being a pathway and career available for those who can afford it. Dance is in very real danger of becoming the preserve of the elite.” Glyn Jones, Director of the Council for Dance, Drama Musical Theatre (CDMT) spoke about the graded dance examinations sector, stating that the government has recently contributed £650million for schools to use as they see fit. It is, of course, extremely important that dance is factored into this funding. “This premium could be used for performing arts, for students who might otherwise be deprived of access to a broad and balanced education”. The question is, how will schools be encouraged to create a more robust creative offering? “CDMT is interested in working with partners to bridge the gaps, creating tangible strategies to support and reinforce the need for dance in schools.” Solange Urdang, CEO and Board member at Urdang Academy, concluded the keynote lectures by speaking of her experience of implementing outreach activity at her school. “You can’t add diversity, you have to be diverse as an institution,” she said, adding “It takes time and effort”. Urdang Academy is not funded at all for their outreach, but a lot of outreach is done, Solange stated that “the secret is to find the uniqueness in somebody and train it. From the age of 12 upwards at least!” “Using policies and adverts and messages is not enough. We can’t just stand here; we have to readdress disadvantages in historical discrimination in the industry.” Solange added that the industry is changing, and colleges and pre-vocational training need to do what they can to make sure diversity continues and opportunities are given to talent. “This can mean hard work to find the talent” She concluded, “Cast your college as you want to see it.” After a panel discussion, the speakers were asked what they thought we in the dance sector can do to provide and address the challenges of accessing dance in their local communities. Laura responded, saying “In an ideal world, high-quality dance teaching would be in every single school. That’s the dream and long-term mission. In the shorter term, it’s all about subject knowledge and staff confidence. Be open-minded about what talent and creativity look like. Advocacy can be bottom-up, not just top-down. The best advocates for dance are young people engaged in dance.”

Using policies and adverts and messages is not enough. We can’t just stand here; we have to readdress disadvantages in historical discrimination in the industry.

Left The programme cover for the Talking Dance: The Future of Cultural Education symposium

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Welcoming our new Chair We are delighted to announce the appointment of Michael Elliott as Chair of the ISTD. Michael was duly elected to the Council at the AGM on 17 November 2021. He is a trustee of the Birmingham Royal Ballet, a member of the Governing Body of Trinity Laban Conservatoire of Music and Dance, and Pro-Chancellor, and Chair of the Fundraising Board, of the University of Wolverhampton. In the last 20 years he has served as the Chief Executive of both the Royal Liverpool Philharmonic and the Royal Scottish National Orchestra; as Director, Culture in the senior civil service of the Department for Culture, Media, and Sport (DCMS); and, until his recent retirement, as Chief Executive of the Associated Board of the Royal Schools of Music (ABRSM), the world’s leading music exam board. Upon the announcement of his appointment, Michael said: “As I share the Society’s belief in the power of dance to inspire creativity, communication, expression, collaboration, and physical and mental wellbeing, I am excited by the opportunity to contribute to its growth and development in support of its members and their businesses and students.

The Society’s commitment to inclusion, diversity, equity, innovation and sustainability will be at the heart of our drive for excellence in dance and dance education. “The Society’s commitment to inclusion, diversity, equity, innovation and sustainability will be at the heart of our drive for excellence in dance and dance education as we prepare to meet the challenges and seize the opportunities of the next 10 years.” In her address at the AGM, our Chief Executive, Ginny Brown, thanked Acting Co-Chairs Frederick 8

Way and Erin Sanchez for their dedication to our Society. Upon Michael’s appointment as Chair, Ginny said: “It is my absolute pleasure to welcome Michael as the new Chair of Council. Michael’s exceptional experience in leading world-renowned arts organisations to drive forward business strategy and growth; organisational and digital transformation; international collaboration; and advocacy will inform the Society’s development so that we, in turn, can continue to nurture future generations of dancers and teachers.” Michael joins the Society at a pivotal time, as we all navigate the challenges of the global pandemic and a crisis in arts and cultural education funding. As the Society works to support you, our dance teacher members, to build resilient and sustainable businesses, to open-up dance education for all and to demonstrate our reputation as world leaders through progressive, inclusive syllabi and qualifications. Our dedication to creating an inclusive dance community, means striving to break down barriers to accessing a dance education. Working together with our members, we strive to provide training, resources, and advocacy

to enable teachers to be leaders in their communities and make dance a part of everyday life. Investment in developing sustainable and digital products will be matched by the Society’s commitment to providing the best quality training for all. Our new Chair, Michael Elliott, commented: “The Society has enormous potential for growth and for extending its reach to support dance education in new contexts and new territories given the breadth and quality of its offer. And its values offer an essential foundation to its wider role in championing dance education and to building alliances that will make a positive difference. “The ever-increasing pace of societal, economic, technological, environmental, and educational change places new demands on our lives, communities, working practices, and businesses. This will require the Society to be ever more agile and efficient in adapting and responding to changed circumstances, developing its services to members and learners, and improving its governance, talent, delivery infrastructure, and systems.” Michael concluded: “Of one thing I am certain, the human passion for individual and collective expression through dance, shared across communities and cultures, will continue to grow in these uncertain times. Our task is to ensure that the Society is fit and ready to enable dance education to flourish.” Also elected to the board of trustees Sho Shibata was elected for a third term of office with newly elected trustees, Michael Elliott (Chair), Leanne Kirkham and Kathryn Williams. They join current trustees: Nafisah Baba, Lynn Chandler, Tom Hobden, Jeremy Kean, Karen King, Keith-Derrick Randolph, Elisabeth Swan and Frederick Way. Sincere thanks to Erin Sanchez, who stood down from Council after six years of dedicated service.

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Introducing our 2022



New catalogue available now! Catalogue available upon request. Teacher/trade enquiries only.

Scan to view our new collection +44 (0) 1626 36 32 32

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Planning for a bright future ISTD Chief Executive, Ginny Brown, reports on how we have been planning collaboratively to create a bright future of our members and the Society. As reported in the last edition of Dance, during 2021 we have consulted and listened to everyone who interacts with the Society to better understand the hopes and needs of our members, their students and our potential future members. The findings of the strategic review identified some overarching ‘big picture’ themes: that there is a crisis in UK arts education, which has been exacerbated by the financial impact of Covid; that we are living in a time of changing attitudes, with increasing awareness and interest in social justice issues, and in an era of rapid digital acceleration. When asked what the Society should prioritise, the overwhelming response was supporting members’ business recovery. We are painfully aware of how challenging the past two years have been for dance teachers, so we will be focusing our energies on supporting you to rebuild sustainable, thriving businesses. Feedback also stressed the importance of inclusion to nurture the next generation, with 25% of members selecting being ‘inclusive and welcoming to all’ as an immediate priority and 31% prioritising supporting the next generation of dance teachers. Whilst nearly half the respondents cited maintaining the quality of our work and standards in teaching as paramount. There was also a clear desire for the Society to develop a strong, visible voice for

dance and this feedback was reinforced by the enthusiastic response to our new Talking Dance series with over 500 delegates attending the Improving Racial Equity symposium in June. Over the past months, we have used the review findings as a guide for setting a new five-year strategy for the Society. This involved a series of planning meetings with staff and trustees, followed by consultation with faculty committee members, international representatives and examiners.

We will be focusing our energies on supporting you to rebuild sustainable, thriving businesses.

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Public he alth and we llb ein g

Broaden access to dance

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To educate the public in the art of dancing in all its forms

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Champion inclusion in dance education

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Left The diagram illustrates how our charitable purpose is at the heart of everything we do

Support members to build resilient businesses and reach a wide audience

Our charitable purpose

Creating opportunity

Our planning has been informed by reviewing and clearly defining the Society’s charitable purpose ‘to educate the public in the art of dancing, in all its forms’. We recognised that this is very broad and, to be effective, we need to focus on a few key areas of action. The diagram (above) illustrates how our charitable purpose is at the heart of everything we do. We can only achieve this purpose by supporting our dance teacher members to reach a wider audience by broadening access to dance. So, our key priority is to support you to re-build resilient and growing businesses, so that together we can champion inclusion by opening-up dance education. This will have the dual benefits of driving more students to your dance schools and increasing participation in our high-quality training and examinations.

We want to help raise your profile in your local community by empowering you to become a beacon for positive action; encouraging more people to dance and enjoy the health and wellbeing benefits this can bring. We will also advocate for the value of creative and cultural learning and the transferable life-skills gained through dancing, encouraging participation in dance from individuals and communities that might not have traditionally taken part before. Our ultimate goal is to build a diverse and sustainable profession for the future, meaning our new strategy becomes a dynamic model, which perpetually grows and re-seeds – new students come in, train with us, share their love of dance and inspire the next generation to learn to dance.

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Plans for the year To achieve these goals, we will focus on three key priorities:



Over the coming months we will develop an advocacy campaign to promote the social and health benefits of dance education and the quality of our teachers. This will be supported by improvements to our searchable dance teacher database, Find a Dance Teacher and marketing resources to help you promote and grow your business.

We will provide training and tools to support you to reach more people. This might be by forming links with local schools or community groups, or by promoting the health and wellbeing benefits of dance. Thanks to our Cultural Recovery Fund (CRF) grant, this year we piloted an intensive course designed to support members to Broaden Access to Dance for Children and we will be building on that experience as we plan future courses. The Society is also contributing to current Sports and Recreation Alliance research into the social impact of dance and movement designed to clearly articulate the health benefits of participating in dance. We will use these findings to help advocate for the many benefits of learning dance. We will continue to advocate at the highest level to demonstrate the importance of dance. Working collaboratively with our industry partners to address the barriers to participation and make a difference for our teachers and learners.

Supporting dance teachers to build resilient and growing businesses

Benefits to support your business • HMCA FULL teaching members in the UK can access a free Tax, Legal and Counselling telephone helpline – with advice on matters from income tax, capital gains and inheritance tax. Additionally, a counselling helpline – supporting with stress, anxiety and bereavement, grief and loss issues. To access information about this service login to My ISTD. HMCA also offer discounted rates for medical plans, dental plan, hospital cash plans, travel plan, income protection and vehicle breakdown products. • Insurance Members can take advantage of a specially negotiated insurance scheme, arranged and managed by Gallagher, for teachers, adjudicators, examiners and dance school principals. Find out more www.istd. org/affinity-partners or call 0800 062 2305. • Dance Biz management tool is used by hundreds of dance schools to run their businesses more effectively and efficiently. From maintaining and updating class schedules to tracking attendance, DanceBiz reduces the amount of time teachers need to spend on administration. Members can benefit from a special introductory offer: • Member meetings take place regularly in all UK and global regions so that you have opportunities to meet your community of local teachers, hear about future developments and let us know about your experiences.

Championing inclusion by opening-up dance education for all

I have more confidence now to move my work into the community. This has reignited my passion and love for what I do, reminded me of how important the work is and how precious the gift of dance can be.

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“I am beginning to pursue teaching in the community and promote myself as a dance educator. This course has helped me to solidify my pedagogy for teaching outside of the private sector and shown me how I can think outside of the box.” Dance for all Our Society Think Tanks focus on Gender and LGBTQIA+, Racial Diversity, and Disability Inclusion. They include a range of external experts, committee members, and Society staff, who meet regularly, to discuss the current barriers to dance and tangible solutions to addressing them. Together we work towards embedding diversity and inclusion into all that we do. Our Equity, Diversity and Inclusion hub brings together learning and teaching resources, news and insights for our members to be part of the discussion and the solution. Be part of the conversation Working together with industry leaders, we plan to continue our series of symposiums and talks on important issues in the dance community from safe and inclusive practice, to improving racial equity. These events provide you with the opportunity to learn and share your experiences. Watch out for the latest programme of free Membership Matters talks and Talking Dance Symposiums here:


Innovating to secure our reputation as world leaders in dance education We will continue to invest in development of industry leading products and services, inspired by our heritage. The review clearly identified development of digital services as a key priority, so we will be investing in digitisation of our syllabus resources. Online CPD has been a great success during the pandemic, enabling us to offer affordable, easy access, bite-size training to our teachers around the world. This has resulted in double the number of members attending training in 2021, compared to 2019. To continue to be accessible to all, we will maintain our online programme, while gradually re-introducing ‘live’ courses and student events. Over the next year, we will develop our international growth strategy. Our aim is to create a well-established presence in our key international markets by developing the international representative model and gaining recognition for qualifications.

“Online courses are a fantastic addition to the ISTD training. They allow more people to access training without the prohibitive cost of travel, not just for those living outside of the UK but for those who simply could not afford the train journey to London and hotel fees. Keep them coming!” “Thank you for making those courses possible! It would be great if they could continue in the future so international teachers like me could have access to CPD courses more easily and stay in contact with the community.”

Fit for the future The events of the last 20 months have challenged and tested us all but it has been inspiring to witness how important dance has been to your students during the lockdown periods. By enabling more people to access dance and dance classes, we can all re-build financially resilient and sustainable businesses. We will support you to play an important role in the recovery of your local communities. Because we have all seen the transformational power of dance; its ability to unlock creative, expressive potential; the opportunities for embodied learning and its ability to transcend social and cultural divides. So, it is natural to want as many people as possible to learn dance and to benefit from what the Society has to offer. And as we move forward, we will continue to build on the Society’s strong foundations – our history, integrity, and the standards for which we are so well known. For the latest information and development on our strategic plans read our regular newsletters and check out our news page of the website Dance | Issue 494 13

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Dance in focus Professor Angela Pickard looks to the future of dance education.

Professor Angela Pickard The first Professor of Dance Education in the UK

As the first Professor of Dance Education in the UK, Course Director of BA Dance Education at Canterbury Christ Church University and Editor in Chief of the international journal Research in Dance Education, I offer some reflections on experiences of teaching and researching dance during the pandemic, and possible impacts on the future of dance education. Dance holds a unique place in university contexts. It is the unique combination of the physical, cognitive, social, emotional, aesthetic and artistic. It is studio and practice-based, practical, creative, collaborative and embodied, emotional and somatic. Working in close physical proximity, with touch and contact, are important aspects of dance education and training. In March 2020, as Covid lockdowns occurred, these aspects were removed from the lexicon of dance educators. Dance makes a difference to the lives of people that participate and watch and has continued to immerse and pervade our screens, our schools, our studios and our society. The dance community fosters equality of opportunity for dance artists and educators regardless of age, ability, race or economic background, and can offer a sense of belonging, acceptance and power, a feeling of being in control, even when all around seems in chaos. It is suggested that the digital turn has and can continue to offer vast opportunities for dance pedagogy, creation and performance, that can utilise technology, interdisciplinary and international working and innovation that can be sustainable and wide reaching. Some active benefits of digital learning In the studio, lecturers are adept at dual teaching, with international students or those self-isolating on screen, and others in the studio face-to-face. The following benefits can be maintained and developed both in and out of dance studio settings.

• Students in different countries can meet and build a virtual community. • We can be there to support each other when needed, literally at the touch of a button. • Students gain academic and entrepreneurial skills and experiences through technologyenhanced learning and digital tools. • Dance Education students are supported and challenged to develop digital teaching tools for virtual context-based placements. • Students create professional practice online portfolios, research poster presentations, pre-recorded commentaries, dance for screen and dance films. • Global possibilities are enhanced as we connect with dance artists, workshops, conferences and performances from around the world. • Lecturers develop wonderful resources and digital recordings that will continue to be utilised in future years. • Creative alternatives to the stage are found. • We embrace video conferencing for interviews and focus groups and online tools for surveys. • Pre-recorded conference presentations, seminars, workshops and roundtable events bring the research community together. There has been much focus on the power of participatory dance and dance and health. We had a call for papers for a special issue of Research in Dance Education: Dance, Health and Wellbeing, that attracted submissions from around the world, profiling the potential that dance has for health and wellbeing, increased participation, inclusion, community development, acceptance, human-ness and identity(ies). This special issue (published in 2022) has also demonstrated the unique relationship between dance science and pedagogy. Our experiences during the pandemic have been happening against a backdrop of economic precarity and physical and mental vulnerability for many professional dance artists, dance companies and dance educators with little support from government. At the time, the Education Secretary was Gavin Williamson and his comments relating to

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reprioritising money towards STEM subjects was unhelpful. Despite a relentless focus on curriculum coverage in schools to meet expectations of coursework and examinations for students to move onto their next stage, such as going to university, and a government focus on STEM subjects for future workforce development as Science, Technology, Engineering and Maths, creativity through the arts continues to thrive in the UK and globally. So, what is needed for the future of dance education? Firstly, we need to advocate for the power of the creative industries and economy. What is needed for the future is STEAM – Science, Technology, Engineering, ARTS and Maths – and not just STEM. The human need for the arts, dance and creativity was particularly demonstrated through the increased streaming and participation in arts and dance opportunities during the pandemic, but also through those working in the arts/dance sector and their rapid adaptability within a changing (blended) society. In addition, we need to continue to build a highquality, diverse workforce for the evolving dance sector and that reflects the society we inhabit, that can demonstrate in-depth subject knowledge of, for example, a range of bodies, ages and stages, a variety of dance techniques, aspects of dance science, the craft of choreography and pedagogies. Of paramount importance is to build an infrastructure to retain those working in the dance sector and to develop the next workforce. We need an active and supportive community that enables others through role-models, mentors, influencers and leaders that inspire, enthuse, support and challenge future generations of dance artists and educators, so that the sector continues to perpetuate, grow and thrive. I believe that dance and dance education continue to live because of the people that make it happen – dancers, artists, dance teachers, organisations and researchers. Let’s continue to step up together for the future of dance education.

Actions There are some things you can do to share your passion, advocate for and grow dance education. We can all STEP UP... • Share your passion and what you have achieved in dance teaching, creation and performance. Disseminate what is special about dance and the impact this has had on others, (do get permissions from whoever you are working with to share). Take every opportunity you can to share. Use videos, publications, brochures, and statistics that support the role of dance in education as well as networks, social media and forums.

Creativity through the arts continues to thrive in the UK and globally.

• Team up with other schools, colleges and universities and share practice, build resources and performance platforms. You are stronger together. • Engage with professional development opportunities and professional and academic journals to continue to build your subject knowledge and share high quality practice. • Promote each other as high-quality dance educators by nominating for awards and national or international recognition. • Update yourself about the national landscape and keep abreast of current thinking by engaging with the latest news on the ISTD website and One Dance UK’s regular Advocacy Updates, and spread the knowledge. • Participate in consultations and research projects to educate, inspire, support and build evidence for development and change. Use your knowledge, skills and experience of the field.

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Para Dance UK Patrick McGeough shares his inspiration, from performing the first dance at his wedding using his power wheelchair to being CEO of Para Dance UK.

P Patrick McGeough Chief Executive Officer of Para Dance UK

atrick’s initial involvement with Para Dance UK came down to a wedding dance. “My wife’s grandparents were amateur ballroom and Latin dancers, so she wanted us to do a ballroom and Latin style first dance. I am a power wheelchair user, and we found that most of the choreography on offer to us was either too basic (it was suggested that my wife sit on my lap and we just spin round) or we were told that it couldn't be done. So, a year before the wedding we were about to give up. We had contacted lots of local and regional agencies, but nothing was being offered. Then, by chance, we contacted the charity that was then called the Wheelchair Dancesport Association (now Para Dance UK). Sue (the Chair) contacted me, I explained my situation and she said that it could be done. After speaking further with Sue and Ruth (Vice Chair), we had a plan. They were in Devon, and we were in Hertfordshire, but they came up and gave us 10 full-day lessons. On our wedding day we performed our Rumba! “My second stroke meant I started to use a power wheelchair, because my right side was extremely weak. My wife would have to help me lift my right arm during all the practice lessons. But what was amazing was that when I watched the video

of our actual performance, I could see that I was lifting my arm by myself. That was when the idea of dance as rehabilitation clicked for me. I realised that because I was doing something I enjoyed my rehabilitation had happened without my noticing. I spoke with Sue and Ruth, this was in 2011, and they explained that they would like to expand their charity and do more. My background was in business start-up, so I joined the charity as a trustee and then became Chief Executive Officer in 2012.” Aims and objectives Patrick is clear about Para Dance UK’s objectives. “Our charity aim is the relief of disabled people through inclusive dance and Para Dance Sport. That is the overall charitable objective. When I took over as CEO, we looked at what was going on in the disability dance sector and found a strong inclusive dance community. But it was aimed at contemporary and modern dance and the learning disability market. There seemed to be very little support or information about dance for those with physical, sensory, or mental health disabilities. “We have expanded the remit of inclusive dance so people can access non-genre specific dance in multiple ways, through social dance or fitness

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programmes. At the elite and competitive level, we’ve got the grassroots programme to support ballroom, Latin and freestyle. We’ve got a talent pathway that can support individuals from local to national level, all the way to representing Great Britain at Paralympic level. To clarify, Para Dance Sport is a Paralympic sport but not a Paralympic Games sport. We are part of the Paralympic family. “We asked how we can give everyone the opportunity to dance. To give people access to inclusive dance we run 10-week sessions in different dance styles, so organisations and groups can experience the benefits. We hold inclusive dance days, so that people can come and try out a particular genre and therefore see the possibilities that dance can hold for them. We ensure what we deliver is always in line with our ethical framework which is equality, safety, fun and dignity. "We work with other partners. For example, with Limb Power we produced dance factsheets to give children and young people who have limb loss the opportunity to move. We work with Alexandra Palace to produce the Para Dance Youth Games, which gives schools and young people the opportunity to perform or compete. The first year we had 100 young people and this year, being the third, we have 300.

“We are unique as we give many opportunities, and the key element is finding a baseline of inclusive dance with four key elements: physical, sensory, learning and mental health. Para Dance UK is about challenging the options and ideas and being there to help with advice and inclusive dance training. We are not a specialist in every dance genre, but we are a specialist in being able to advise and support, and help adapt to the disability community. We are working with a range of partners including the ISTD to see how they can make their dance opportunity accessible to the wider community. The basic function of inclusivity is the same.”

Where do you want to be as a dance teacher? Do you want to be fully inclusive?

Expand your dance offering We asked Patrick how ISTD teachers can get more involved. “Don’t panic,” he said. “Engage and communicate. Find out what you are interested in offering and what you want to develop. Where do you want to be as a dance teacher? Do you want to be fully inclusive? What does fully inclusive mean to you? “The first thing to look at is the internal aspect, this is everything about your organisation from building access to how you do your marketing. With the latter, be honest, make small changes to help engagement – sign language and subtitles help. Para Dance | Issue 494 17

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i Find out more about Para Dance UK's learning resources here: https:// paradance. Contact info@ paradance.

Dance UK provides inclusive dance training to Level 2 Accreditation, which supports your understanding of working with and engaging the disability community. “The second thing to look at is the public side, how do I reach that market? Talk to the right people. There are a wide range of disability organisations. Most local authorities will have a list of local support. Develop and continue your learning. Para Dance UK offers continued learning and resources.” Reacting to the pandemic Like everything, Para Dance UK was deeply affected by the pandemic. “It was like a tsunami that happened overnight. Everything stopped. Our 4,000 people in the UK had nothing. We decided to do things in stages. First, we had to stabilise Para Dance UK, because of our financial situation. Secondly, we had to support the instructors, by providing a small amount of help and information at the beginning. We produced our guidance for our coaches and instructors around online delivery and translated the government guidance and how that impacted our community, a large percentage of which were in priority groups for isolating. Our third action was

to develop some materials for our community to try out, like small challenges through social media. “Four months into the pandemic we produced the videos, in the non-specific genres, with movement to music for wheelchair users, or seated or standing individuals. We started something called Feel-Good Thursday and then Feel-Good Friday, which were 30–60-minute Facebook classes. After this, they could socialise together and engage through this platform. “Covid highlighted how we could develop our activity and we developed two new areas. ‘Tour of the Floor’ gave individuals a chance to try different genres to see which they liked, and this suggested different ways of showcasing different genres. We also designed ‘Fit for the Floor’ to help people achieve their goals, like making specific body parts stronger through the class. We started working together and breaking down the barriers. “This has opened new doors and opportunities to showcase and share information such as safeguarding for competitive dance and competitions, getting an equal footing across the genres, and looking at how a dance style can be adapted for examinations. We are now seeing many people

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We need more opportunities for competing and more opportunities within the dance genres for disabled people to try.

joining in online, posting videos, showing just what can be achieved. Rose Ayling-Ellis, the firstever deaf celebrity to take part in Strictly Come Dancing has highlighted many aspects of how dance can be adapted to a disability, and how to help remove barriers. She posted that she had received 488 requests for help with sign language, for example. Covid has highlighted how we can be inclusive and how much more we still have to do. It has also shown that dance is good for all.” A bright future Patrick is optimistic about the future. “Para Dance UK is growing, and in the next five years we want to see an opportunity of working nationally with other partners to make a difference in the dance community at a national level. I see us expanding and developing our opportunities to engage in the wider community, giving everyone the chance to dance. “Charlotte, one of our dancers, was someone who desperately wanted to dance and compete, but she had been told she couldn't. After working with her school to offer regular dance sessions with our dance teacher, Emma, she competed in her first national championships in 2017. Her determination comes to mind. When I think of why I'm involved with Para Dance UK, there are many things I could say it is for, but for me, it is for the ‘Charlottes’. If I can give people like Charlotte the chance to dance, perform and compete then I have done my job. I joined the charity to help it expand and grow, and have more possibilities and choices available to help people like me. “I hope that Para Dance Sport becomes equal with its mainstream counterparts so that in years to come we could be part of Blackpool and other national events showing how inclusive ballroom, Latin and freestyle can be. On the inclusive dance side, I hope dance organisations like UK Breakin, ISTD, IDTA and others will increase opportunities for the individual to take part in the different genres on offer. Now there are segments of opportunities on offer, but in the mainstream, there is a big gap for the disabled dancer. I like to think that in the future this will happen. Contemporary and modern dance are leading the way and I would love to see the other genres offering the same equality. We need to provide everyone with the chance to dance be that socially, creatively or competitively."

Membership You can find practical advice and resources on inclusive dance practice for teachers on our EDI Hub: Dance | Issue 494 19

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Teacher training bursaries 2022 Since its launch in 2018, our teachers’ bursary scheme has supported 113 members to access CPD or train towards their DDE, DDP or Dancesport Associate qualifications. Bursaries available are: • Initial Teacher Training Bursary – up to £5,000 • Higher Teacher Training Bursary – up to £2,000 • Online CPD Courses Bursary – up to £225 Bursary applications for online CPD courses: Open: 12pm GMT on 18 January Close: 12pm GMT on 15 February

Teacher training bursary applications: Open: 12pm GMT on 17 March Close: 12pm BST on 12 May Applications will be assessed on financial need as well as motivation to undertake training.

For further information or to apply contact: 020_021_DANCE_494.indd 20 20/12/2021 07:58

The UK’s Number 1 Dancewear Specialist

0344 561 6664 |

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Membership matters

Updates for members

Provisional membership A passport to artistic and professional progression Provisional membership has been designed with the studying member in mind. Launched in October, we are encouraging all learners embarking on their DDE or Associate studies to become a Provisional Member to enjoy benefits including bespoke CPD training, free Membership Matters talks, shop discounts on syllabus material and more. Provisional Members joining now pay just £50 and don’t have to renew until 1 April 2023. Feel free to share with your dance networks. More information can be found here:

Make dance teaching your career The pathways to a professional teaching career We’re rolling out our new ‘Make Dance Teaching Your Career’ campaign, encouraging dancers to find out more about the pathways to a professional teaching career. This campaign supports our recently launched prospectus which outlines all our teacher training qualifications and provides a useful resource for ADCs and Dance Schools. Find our new Prospectus online at www. and why not add the link to your website – allowing your students and their parents easy access to our publication so that they can read more about the progression through training into a fulfilling career as a dance teacher. If you would like assets to promote the ‘Make Dance Teaching Your Career’ campaign in our studios get in touch, or visit promote-make-dance-teaching-your-career


Dance Teaching Your Career

Whatever your ability or level, we provide clear pathways for development to support your career. Join our global community of dance teachers with our world-renowned teacher training qualifications in both Theatre Dance and Dancesport.

Discover more at

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Continuing professional development What is it and why should I take part? Continuing Professional Development (CPD) is how a teacher furthers their teaching practice through dancerelated activities. From attending courses and events to independent learning (like reading and journaling), continuing professional development can come in many forms. Why is CPD so important for ISTD teachers? CPD has a direct impact on the success of your business, keeping it current and vibrant and assisting your learners in staying creative, motivated and inspired. Continuing – Whether you have just finished your initial teacher training or you have been teaching for 20 years or more, there is always something new to learn. It is important to stay current and up to date with the latest syllabus changes, as well as changing trends and directions in the dance sector. When you attend a course, you take the expertise of lecturers and pass it onto your students, who could potentially be our future teachers, examiners, and committee members. It is vital that we continue the cycle of knowledge within the society. Professional – Dance teachers should maintain a level of professionalism and a high standard in their teaching. It is good practice to ensure you are giving correct relevant information in your classes and keep your work interesting, with references to the dance sector as it stands. Taking part in CPD shows your dedication as a dance teacher and high-quality training means high-quality teaching – making both teachers and students alike proud to be part of the ISTD. Development – Refining or updating your knowledge and skill set can only make you a better teacher. Attending courses provides you with the opportunity to refresh your thinking, share individual experiences and work with others in the same industry. You may learn and develop new teaching methods,

approaches, and concepts to keep your classes interesting and inclusive. Whether you want to learn a new genre/syllabus or go back to basics with the finer details of a particular grade, you should keep your brain and body active, challenging yourself as you would challenge your students. We recommend that teachers participate in a minimum of 18 hours of CPD each year. Our Plans for Continued Professional Development in 2022 Despite the many challenges of the pandemic, there have been some positive outcomes, with the development of our online CPD being one of them. We have supported members to connect online and to continue learning at a time it was very much needed. Learning digitally has meant that our international community has also been able to readily access CPD, allowing our entire network to share and learn about one another. For many of us, online courses have meant that we have been able to access events at a cost we can afford, at a convenient time, without any need to travel to a particular location. For some, it has enabled access to courses that otherwise could not have been attended in person. We do appreciate, however, that a number of members are missing face-to-face learning, so we have plans to gradually reintroduce a number of in-person learning opportunities. Over the course of the next year, we will continue with the majority of our courses online with an aim to embed studio sessions for those who would like to attend. We will be looking to adopt a ‘hybrid’ way of working so that we can be versatile and inclusive for all.

Book your CPD 12 Mar–3 Apr Weekend CPD Specials 4–22 Apr ISTD Spring Programme 25 Jun–10 Jul Weekend CPD Specials 25 Jul–­19 Aug ISTD Summer School Contact

Graduation Ceremony 2022 We are planning a celebration for all our graduate teachers who were unable to take part in a ceremony last year due to the pandemic. This will include graduates from both 2020 and 2021. It is due to take place during the October half term. 24–28 October 2022 We will confirm the exact date and venue as soon as we can.

Membership renewals Renew by 1 April 2022 Please note members who are due to renew will receive a notification towards the end of February with details on how to renew by 1 April 2022. To help us make sure we have the correct information for you, please visit the member area of our website and review and update your contact details. While you’re here, why not add in your genre information and update your DBS info.


Discover more – visit our website You may have noticed that we have made several changes to our website recently, making it easier for members to navigate the site through a new menu and working search bar. Our news page has been refreshed, with blog posts, Society news, examinations updates and more. Find out what we’ve been up to and read the latest news at Our Diversity and Inclusion Hub has also been recently restructured, allowing our Society Think Tanks to share their knowledge and further support our journey in making dance inclusive and accessible for all. Visit the Hub to find helpful resources and advice: Dance | Issue 494 23

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Creating a space for our community Details of how members can take advantage of our revamped building in central London.

Right and below right

Lower ground staff and members area

We are happy to announce that the building has had a number of improvements that have made our space more accessible for all members. These include a studio on the first floor, wheelchair accessible meeting spaces and an electric ramp at the entrance of the building. Our newly refreshed spaces at HQ will be available for members to visit and book. The boardroom and member’s lounge are ideal for meeting with colleagues, catching up on work or taking a breather whilst you're in the city. You can also book our dance studio. Details of how to book will be published on our website in the new year subject to the government's Covid guidance on working from home. We look forward to being able to welcome you to the building when we can do so safely.

Right Below

CGI of external view of Imperial Society of Teachers of Dancing building

First floor break-out and kitchen area, outside the dance studio


Sprung floor dance studio on first floor

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Spring Programme 4–22 April 2022

You can look forward to a packed programme, across our extensive range of dance genres to support your teaching and inspire you to develop your practice. Invest in your CPD, learn more about how to broaden access to dance and support your dance business. Take advantage of convenient, online dates as well as some in-studio events. Full details available early February.

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International update


Chua Zjen Fong International Representative for Asia

Asia Chua Zjen Fong reflects on the future of Breaking now that it is an Olympic sport.

The recent 2020 Olympic Games, postponed till 2021 due to Covid, are over, with many young children now inspired to be an Olympian one day. The closing ceremony of the Tokyo Olympics was done spectacularly, passing the torch to the next 2024 Olympic Games in Paris. During the closing ceremony, they announced new sports that will be included in the 2024 Paris Olympics – skateboarding, mountain biking, sport climbing, surfing and of course breakdancing! Breaking is one of the many styles under street dance, which include other dance forms such as hip-hop, locking, popping and more. The International Olympic Committee (IOC) gave the green light to the World Dancesport Federation (WDSF) for the Breaking event as an initiative to attract the younger generation into sports. There are a total of 13 disciplines under the WDSF, which includes Latin American, Standard (Ballroom), Breaking, Salsa, Para Dancesport, Boogie Woogie, Hip-Hop, Acrobatic Rock n Roll and many more.

Dancesport was originally officially recognised as a sport by the IOC on 5 September 1997. This opened a window of opportunity for dancers around the world by combining art and sports together, ensuring more sustainable career advancement. Dancers or athletes as we call them nowadays, can be involved in official competitions that are properly regulated for transparency, integrity, and fairness. There are also many sponsorship opportunities from companies to advertise their brands via sport. Dance in its original form involved a large pool of young people aspiring to be professional dancers one day. It is not an easy journey and takes up huge effort, dedication, sacrifices and time, with only a few making it to the top. From the sporting point of view, this window of opportunity allows the vast majority to pursue multiple careers in dance and make a name for themselves. Retired dancers or athletes can coach, work as a national coach, getting their adjudicator licenses, scrutiny license, DJ license, working with their national sports association, and more. The ISTD is one of the few societies that provides a high quality of dance education. Under the Dancesport Faculty, the street dance syllabus covers both medallist examinations for students and professional examinations for teachers. ISTD students and teachers will benefit from this education syllabus, to which many street dancers out there do not have access. Being properly qualified gives students and teachers an upper hand in pursuing their careers in dance.

North America Astrid Sherman looks at how international studios benefit from offering ISTD examinations. When the pandemic hit in March 2020, Astrid dance teachers wondered how Sherman many parents International would continue Representative for to pay for dance North America lessons on Zoom. Indeed, talking to teachers in the USA, Canada, Mexico and the Caribbeans, most of the students who stuck it out were those involved with examinations or part of a competitive team. They were more determined to keep dancing, and their parents more likely to support their efforts not only financially, but also in the home. A Zoom class meant other family members were impacted by space utilisation (kicked-out of the living room) or band width issues (limited internet). However, the tradition of dance examinations is generally not as established in North America (though slightly more for ballet than other genres). In the UK (and some former commonwealth countries), examinations are very much part of the dance training fabric. They are expected to be offered at respected facilities in multi-genres. Indeed, the ISTD’s portfolio of examinations designed to “encourage, motivate, and reward students of all ages and abilities, with progressive structure


Left Legosam, a Breaking athlete from Malaysia. He is currently the national champion and was Southeast Asian games gold medallist in 2019

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In Canada, dance examinations (especially ballet) are a greater part of dance studio culture. But modern, tap and other forms are more influenced by USA style teaching and studios that work without a set syllabus.

Above Students at Le Ballet School in Trinidad and Tobago

for learning and achievement in dance”, have progressed. They are now being regulated on the Qualifications and Credit Framework (QCF) and are recognised by most colleges and universities in the UK and some EU countries. This framework places dance examinations within the context of other qualifications (such as GCSE’s and A-levels’ UCAS tariff points for regulated student examinations and university credits for regulated teaching qualifications) and recognises equivalence in levels of knowledge, skills and understanding required for their attainment. With dance examinations not having the same academic weight internationally as in the UK, convincing parents of their worth is much harder. Additional examination fees, administrative fees, extra lessons, and uniform can quickly add up. In the USA, it is rare to find a school or studio offering examinations let alone having teachers with vetted dance teaching qualifications. It is very much an experience-based profession. If you danced, you can teach. Dance examinations are not part of the childhood dance experience culture and those studio owners who do want to offer this experience have to work a lot harder to persuade parents on their value.

“When parents entrust me with their children’s after school activity, I want to make sure I return their trust by making the best use of their child’s time. While preparing students for dance exams we set safe, attainable, and age-appropriate goals, every step of the way, in each level. It is satisfying to see, how over time, this fosters self discipline, diligence and pride in their own accomplishments.” Elizabeth Banke, Dance Studio #1, LA

“I talk about how valuable the experience of striving for one’s personal best and being evaluated on the world’s stage is. The richness/wealth received from honing your skills at each level and the pride of accomplishment the dancer feels. That it is a private performance for an attentive audience.” Sheahan Keinick, Crossings Dance in Calgary, Canada In Mexico, dance examinations are a more firmly established norm that come with great expectation and status due to the high costs that are associated with international examinations.

“I would convey to parents that with examinations teachers had to do their best and reach a good standard. To do this we have to be positive and caring with the students. With this, the parents would understand that the teachers were serious.” Gail Clifford, ISTD Organiser in Mexico In the Caribbeans, examinations have been occurring on the islands for about the last 50 years commencing primarily with ballet examinations but branching out to include modern, jazz, tap and ballroom. The UCAS points offer value to parents.

“At Le Ballet School parents and students are encouraged to view their participation in ballet classes not just as an enjoyable hobby but as part of their children’s overall formal education. Apart from the obvious benefits associated with dancing, namely focus, discipline and confidencebuilding, we discuss how their dance qualifications can directly benefit their tertiary education, earning them UCAS points towards some universities

abroad as well as boosting their non-academic criteria for selection into university. This I have found to be quite persuasive in the case for working towards examinations. “My grade 6 student was able to submit her Imperial Ballet Certificate as part of her non-academic criteria for selection into Faculty of Medicine and was successful.” Chantal Simon-Thompson, Artistic Director Le Ballet School, Trinidad and Tobago I used my student dance examination certificates as proof of “artistic qualifications that would enrich Canadian Society” when I emigrated from South Africa 23 years ago. In the 16 years to come, running a large examination-based dance school, I often had great success using the following: • Following a syllabus ensures training that is based on accumulated professional teaching experiences from many great teachers. Syllabi have and continue to evolve to offer in-depth safe and age-appropriate foundational training with attainable yet exciting goals and challenges. • Giving students achievable goals can instill increased work ethic and focus. • Teachers are held accountable for their results, not only to parents but also to their societies whose standards need to be maintained. • Teachers who belong to the ISTD have undertaken rigorous teaching qualifications and will continually be challenged to upgrade their skills and knowledge with various Continued Professional Development courses. • Regulated ISTD Teaching certification can used as proof of study for universities/courses that offer credits for prior learning (CPL/ RPL’s). Examinations, in my experience, made dance lessons more worthwhile for teachers, students and parents.

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International update

Europe Carole Watson looks at how dance has moved outside its classical space of the theatre. Above Students of Marika Campagnolo and Laura Racchella performing in the open air at a Venetian villa, Cartigliano, Italy.

Left Students of Giovanna Lanave performing in the open air at the Anfiteatro della Pace, Bari, Italy.


Carole Ann Watson International Representative for Europe

This issue, Carole examines how the audience for dance has expanded, and how this benefits ISTD teachers and pupils, plus a look at future changes. The pandemic hit the arts hard. Dance schools and theatres closed, artists and teachers suddenly had to reinvent to keep going. Some people searched for temporary work to cover this difficult time, others decided to change career and many used their creativity to devise new ways of teaching and performing. Online became the new favourite, and probably the only channel available to teachers and dancers at the start, but over the past few months performances have found new spaces. The arts are now more accessible to the public through an open space, or online through streaming. Here are some examples of performances in Europe during summer 2021. Giovanna Lanave was determined to give her students the opportunity to perform at the end of the school year. Her students had attended their classes online and, starting from March, in openair spaces. Thanks to the support of the local authority, she was able to use the

Anfiteatro della Pace, Bari. Giovanna still recalls the emotions of everyone involved, the sheer joy of her students, the practical help and strength of the parents, the voluntary staff (firefighters, policemen, ambulance service) and her staff, who helped with the organisation and the enforcement of all Covid measures. A memorable show that will remain in the hearts of all involved for life. Marika Campagnolo and Laura Racchella chose the grounds of a Venetian villa, at Cartigliano, where locals and passers-by were able to watch the show. Annalisa Pastorino, a DDE student, created her school show Lo spettacolo delle resilienza using mainly outdoor spaces in Cumiana, near Turin (Italy), her hometown. The performance was filmed and featured various locations representing the school year online, hope, the lack of socialising, and more. In September the local council invited Annalisa to show the film to the local community and her dancers could finally perform on an open-air stage. Last August, in the beautiful grounds of Johnstone Castle in Wexford, Ireland, an arts festival featured singers, classical musicians, actors, bands, plein air

artists and a special performance of A Midsummer’s Night’s Dream. Thirteen dancers from The Ballet Academy in Wexford performed on stage, and some of them also played Titania’s fairies. In Torremolinos, Spain, the local council set up many open-air stages to encourage artists of all kinds, professionals and amateurs alike, to spread the beauty of arts and make it available for all to see. So, the pandemic has had its silver lining. It has taught us never to give up, for one. With our theatres closed, dance has colonised other spaces and reached out to people who may never have seen a ballet or a musical performance before. Now theatres are beginning to open across Europe, and, in some countries, they will shortly be able to work at their pre-Covid capacity. We would not be surprised to see new faces in the audience during this new season as many people have been attracted to the arts during the pandemic and are now searching for more. This counts for parents, too, who saw how much creativity, self-discipline, and resilience can be passed on to their children in a dance school, and how long that remains with them.

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Above Students of DDE student, Annalisa Pastorino, using open spaces to dance in Cumiana, near Turin, Italy.

Above Students of Dara Pierce of The Ballet Academy, Wexford, Ireland.

Above Flamenco in the House of the Navajas from dance teacher Kathy Ingram in Torremolinos, Spain. Dance | Issue 494 31

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International update

Australasia Jess Walker observes that whilst the world is getting smaller, our dance community is getting bigger. The global pandemic has undoubtedly changed the world of dance. Societies, companies, teachers and students have all had to think outside the box and find ways to adapt, to keep our art alive and strong. We have always thought of dance as only a face-to-face activity, but like schools, we have quickly jumped into the world of online teaching. Whether it be by Zoom or other methods like prerecorded classes, we have all navigated our way. And this sudden change, this new method of delivering content has opened a whole world for some more remote regions, Australasia being one. With courses being transferred online, we now have access to so much more than we ever would have before. It is simple to join a course from your own home, without the cost and time of flying to HQ – even if the time zones make for some midnight learning! Because of this, we are connecting with tutors and teachers from around the world that otherwise we would never have had the chance to do. We are sharing knowledge and learning how to refine our craft, which is what we all so desperately want.

With courses online, we now have access to so much more than we ever would have before.


Jess Walker International Representative for Australasia

We are able to take exams in a remote setting, both recorded and live. Even in all the chaos that the world is in, we can continue to progress our students and our professional development. There are places I am sure that are now able to take exams, who never could participate in live exams. A whole new option has opened up to these remote studios. Even within our own regions, we are so widely spread, but with Zoom we are having regular meetings, getting to know each other, and really building a community of support, care and friendship. Teachers can be there for each other, we are bouncing ideas off each other regularly and as is the mantra of this region we are always there to help each other out. The pandemic has undoubtedly changed the world of dance, yes. But in some respects, this has been an improvement. The world is seemingly smaller, it is more accessible to everyone and more inclusive of all regions. The connectivity of our dance community is strengthening in leaps and bounds (yes, pun intended) with this incredible online connection. As a community, we are getting bigger. I for one sincerely hope that there are some parts that will continue into the future – it is needed, it is essential, to keep us connected and to keep the international members engaged and active. I’m not saying in any way it’s been easy. We have all had a digital meltdown at some stage. Me included. But if we communicate and persevere, we have overcome many hurdles. I don’t think there’s a teacher who has ever taken the easy way out. So, we have pushed on through and are still here fighting the good fight. We have all learnt a lot over this time, so let’s keep positive and progress into the future!

Africa and the Middle East Delia Sainsbury reflects on the way forward for dance in South Africa. South Africa is a country of exuberance, Delia high energy, beaches, wine Sainsbury lands, mountain International ranges, rural Representative communities, for Africa and and modern the Middle East cities. It is also a country with a deeply troubled past. This is reflected in much of our dance culture, where dance has often been the only expression of anger and frustration. Both despite and because of this cultural diversity, our ballet companies are thriving. Contemporary and African dance is ever evolving and strives to achieve a level of excellence on the world stage. Thank you to the dance practitioners who have given their views on the future of dance in South Africa for this article.


Dirk Badenhorst CEO and Director at South African International Ballet Competition and Mzansi Ballet Dirk believes in dancers performing anywhere and everywhere. He has performed on world renowned stages, shopping centres, airports, and sports stadiums. Dirk works

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with jazz musicians, pantsula dancers and groups in informal settlements, as well as founding and directing the now widely acclaimed South African International Ballet Competition, which attracts entrants from across the globe. Dirk believes: “It is about dance reaching people. All people.” His aim for the future is to strengthen the position of all dance forms in South Africa, to continually improve the standard of dance and increase the number of highly trained teachers from a range of socio-economic backgrounds. He will continue to work with companies in Cuba and China to promote the South African brand of ballet around the world. Averil Barry-Hughes Managing Director of Jazzart Dance Theatre The vision of the company is to promote social change through contemporary dance. Jazzart has its roots firmly connected to the history of the anti-apartheid struggle. The methodology has evolved into a fusion of local dance styles, such as hip-hop, pansula, gum boot dancing and traditional African styles. The company’s outreach programmes enable children and youth from marginalised communities to access the arts, and aims to elicit participation, promote appreciation, understanding and enjoyment of dance. Averil says: “We aim to keep innovating to give voice to local ways of moving and being, from rural and urban contexts that elicit the telling of our stories.” Rudi Smit Leading South African street dancer and hip-hop choreographer Rudi is passionate about furthering this dance form in South Africa. He is a firm believer in formal training and feels that the pandemic has really encouraged online training and given access to classes to a much wider range of dancers and young choreographers. Street dance is seen as a powerful tool for social change, encouraging healthy competition. Rudi is proud to be at the forefront of this dance development and says he is, “excited to see where these young careers will go in the future”.

Above Vuyo Mahashe on stage

Debbie Turner Artistic Director of the Cape Town City Ballet In 2018, Debbie took over as CEO of the Cape Town City Ballet Company. Through forging a new identity for the company, and creating a spirit of diversity and inclusion, Debbie is encouraging new works by young, vibrant choreographers and creating new energy and dynamics, as well as maintaining and honouring the excellence of the classics. She says: “Diversity, inclusivity and relevance to the time is fundamental to the life of Cape Town City Ballet and it’s journey into the future as an outstanding example of South African excellence.” Vuyo Mahashe Founder of The Browskies Group Vuyo is currently in Leipzig, Germany as part of the Pina Bausch Foundation, Sadlers Wells and Ecole des Sables collaboration, restaging Pina Bausch's iconic Rite of Spring. Vuyo says: "I think dance in South Africa is growing at a good pace but I

personally find that dancers are not given the creative freedom to fully express themselves. There is a lot of gatekeeping of resources and spaces in South Africa. Theatres are not offering their spaces to young creators and the system makes it very hard for any young choreographers to create in an environment that is constantly working against them. In Europe, there are many platforms to research, create or simply be in a studio. I find it sad that I have to leave my home country to find opportunities in a foreign country. I hope this changes in the future. "This is of course not everyone. There are artists like Mamela Nyamza who believe and invest in young contemporary artists who otherwise would never have the opportunities. "I also believe South Africa needs more diversity in its training and open minds to new ways of moving and self expression. Ballet is a great art form but it is also a very old art form and I think South African dance in the future should explore new ways of being original. "I believe there could be more diversity in training and also learning from other countries in the African continent. There are amazing dancers in Mozambique, Senegal and many other African countries. We need to open our perspective and increase our curiosity. This is something I am hoping to see in the future of dance in South Africa." Dance | Issue 494 33

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Focus On

Cecchetti Classical Ballet ISTD Cecchetti at English National Ballet School We asked two prominent figures at ENBS to talk about how Richard Glasstone MBE and the Cecchetti method influenced their futures. Viviana Durante

David Yow

Artistic Director One of the foremost dance artists of her generation, Viviana was born in Rome and trained at The Royal Ballet School from age 11. She joined The Royal Ballet aged 17, and two years later, attracted national media coverage when she took over as Odette/Odile in Swan Lake in midperformance, never having been taught the role. Promoted to Principal Dancer at 21, she danced all the major roles, winning equal acclaim in the classics and in dramatic ballets by MacMillan, creating roles in his Winter Dreams and The Judas Tree among many new works. In 2017, she founded Viviana Durante Company to bring neglected ballet masterpieces and exceptional new work to a wide audience; the company was most recently seen in Isadora Now at the Barbican Theatre. In 2019 she was appointed Director of Dance at English National Ballet School.

Second Year Men’s Ballet Tutor David trained at The Royal Ballet (lower and upper schools). He graduated into Sadler’s Wells Royal Ballet in 1982 and relocated with the company when it became Birmingham Royal Ballet in 1990. He rose to the rank of Principal Dancer and went on to dance with Cleveland/San Jose and Hong Kong Ballet companies. David holds an ISTD Cecchetti Licentiate, a degree in psychology from Goldsmith’s College, and is currently studying for his ISTD Cecchetti Fellowship. He started teaching at English National Ballet School in 2017 having previously taught at Elmhurst Ballet School, The Royal Ballet School, Central School of Ballet, Laban Dance Centre, and London Studio Centre. In 2015, Yow was invited to be a member of the

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Philippa McMeechan Head of Faculty Development for Cecchetti Classical Ballet

Left to Right Viviana Durante, David Yow

assessment panel at The Danish Royal Ballet School, Copenhagen. David has also taught for the Hong Kong Ballet, Cincinnati Ballet, and Michael Clark companies. In addition, he regularly teaches at Easter and summer schools around the world, especially in Japan, and has been a regular member of the jury for the Asian Grand Prix in Hong Kong.

How has learning the Cecchetti work benefitted you in your career? Viviana Learning the Cecchetti method at school made me understand and feel how music enhances our technique. I was able to learn how to use the upper body with lyricism and the lower body, the legs and feet, with staccato quickness. This is what we strive to achieve as dancers every day.

Last issue we featured an article on Richard Glasstone MBE. As we look to the future, how do you feel Richard influenced your career firstly as a dancer and now as a teacher? Viviana Richard did influence my career as a dancer. He was the one who chose me to be the centre of his documentary when I was at White Lodge and only 12 years old. Through his choreography, I was able to express my feelings and discover how wonderfully he used musicality to express emotions in dance. He was and is a real asset to British ballet.

David When I was a student at The Royal Ballet School, the training was strongly influenced by the Cecchetti Method. We were blessed to have such wonderful Cecchetti trained teachers like Richard Glasstone, Nancy Kilgour, Ronald Emblem, and Patricia Linton to guide us through our formative years. When I was fortunate enough to get into the Sadler’s Wells Royal Ballet, under the brilliant artistic directorship of Sir Peter Wright, I found the repertoire was a natural extension of the work we had been striving to master during our training. The heart of the Cecchetti method rests on certain overarching principles, which are clearly visible in the choreographic style of Sir Frederick Ashton – a purity of line and fast footwork.

David Richard was my teacher at The Royal Ballet School during the late 70s and early 80s. At White Lodge he taught us for three years consecutively. Amongst the many things he taught us, I remember him emphasising the importance of thinking about dancing as a means of communicating with the audience, and to do this convincingly we needed to learn how to move naturally despite the technical challenges that we were studying. It sounds so simple and yet, even today as technical standards have increased, I find it increasingly important to encourage my students about how to direct one’s eyeline outwards to show intention and emotion when required in reflective moments. What he taught me during that time turned out to be the magic that underpinned my success as a dancer and one of the main motivations that fuels the way I teach today.

As you train the dancers of the future at ENBS, what aspects of your Cecchetti training do you see as particularly valuable to pass on? Viviana We are very much inspired at ENBS by the Cecchetti method. I like my teachers to use elements of his method to complete students’ training. Cecchetti training embraces artistry and therefore reminds us that this is an art form and we are not only athletes. David It is the Cecchetti principles, such as the ‘law of opposition’ and how gravity helps one to create dynamic movement, that I increasingly find myself drawn to as I strive to pass on as many of the ‘pearls of wisdom’ that I was so privileged to receive during my training. Musicality, above all, is something that I cherish

and spend a lot of time encouraging my students to develop against the apparent trend to focus solely on pushing to the end of the body’s range of movement. For me, dancing is the physical embodiment of music. As a dancer and now as a teacher, music speaks to my soul. The Cecchetti method that Richard taught us with such passion was how we learnt to stand and to move musically, to communicate clearly with an audience.

Cecchetti Society Centenary 2022 marks the centenary of founding of The Cecchetti Society. Cyril Beaumont, writer, ballet historian and critic, founded The Society in 1922 to preserve and promote the work of Maestro Enrico Cecchetti. Cecchetti had worked with many renowned dancers including Pavlova, Karsavina and Nijinsky. His pupils included Alicia Markova, Ninette de Valois, Marie Rambert and Leonide Massine. The first committee of the Cecchetti Society comprised; Cyril Beaumont, Margaret Craske, Jane Forrester, Molly Lake, Derra de Moroda, Marie Rambert and Ninette de Valois. Maestro Cecchetti was the President. Cyril Beaumont was elected Chair of the Cecchetti Society in 1923 when Cecchetti moved back to Italy and in 1924 the Cecchetti Society was incorporated with the ‘Imperial Society of Dance Teachers’ (now, the Imperial Society of Teachers of Dancing). Following Cyril Beaumont, the position of Chair was held by: Diana Barker 1976–1990; Mary Jane Duckworth 1990–1999; Linda Pilkington 1999– 2005; Elisabeth Swan 2005–2014 and Catherine Hutchon 2014–2020. The Cecchetti Faculty of the ISTD is generously supported by The Cecchetti Society Trust. Dance | Issue 494 37

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Classical Greek Dance I hope we can continue the legacy of those wonderful teachers, embrace the future of Classical Greek dance, and continue to inspire and educate future generations. Karen Collings (1965–2021)

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Pippa Cobbing Head of Faculty Development for Imperial Classical Ballet, Greek and National

Karen Collings (1965–2021) The Classical Greek Dance Faculty is deeply saddened to inform readers that tragically Karen passed away on 23 November 2021 following a short illness. We pay tribute to Karen’s enormous talent, inspiration, energy, creativity and her exceptional contribution to the work of the Faculty. She was a very special person and greatly loved and respected by all who had the privilege to work with her or learn from her. She will be greatly missed and a huge loss to the Society. The following is an article Karen had prepared for this issue about 'returning to the fold', having been recently elected to the committee. My Classical Greek journey started as a very young child; my teacher Pamela de Waal was a huge inspiration to me in all dance genres. She had passion, insight and a fascinating and extravagant character. She had studied Classical Greek as a young teacher and had been lucky enough to take some classes with our founder Ruby Ginner herself. Being taught Greek dance at this age allowed my natural curiosity and creativity to

develop and thrive. Little did I know how those early days with a syllabus incorporating not only dance but music, speech and drama, history, and the necessity to encompass the world around us would have such an empowering influence on my life and career. I have now taught and been involved with the Classical Greek Faculty for nearly 40 years and previously served on the committee. During that time, I have had the privilege of being educated by, and working closely with some incredible teachers and mentors, many of whom studied with Ruby Ginner. They each in their own way have been my role models and have given me the opportunity and encouragement to help develop and keep Classical Greek alive. I am also a dance adjudicator for the British and International Federation of Festivals and All England Dance, and I am constantly striving to help teachers improve their Greek knowledge and assist their students to recognise and perform their skills correctly. I also endeavour to remind and educate our dance adjudicators to recognise correct Greek technique. As a faculty we have always understood that Greek is usually one of those ‘extra’ subjects, an add on to the main timetable. However, its ability

to firstly work alongside other forms of dance, particularly classical ballet, modern and contemporary techniques; strengthening, developing rhythm and dynamics, relaxation, flexibility, elevation, control and purity of movement and line, proves it has great value in the training of a dancer. Secondly, the dramatic and artistic qualities allow students to express their feelings and emotions, not only through movement but also through voice and expression, and this can be so important to the wellbeing of our young dancers. I am now returning to the Greek committee and find different challenges awaiting, as teaching and performing learns to adapt not only to a world living with Covid-19, but also to a future where children and students have so much pressure and emphasis is heavily on success. Classical Greek dance has always encouraged absolutely anyone to dance, and we will continue to inspire this to happen, helping individuals to realise their own abilities and vigorously embrace diversity and inclusion. I personally hope we, as a committee, can continue the legacy of those wonderful teachers, embrace the future of Classical Greek dance, and continue to inspire and educate future generations.

Classical Greek Faculty Committee 2021–2024 Lucy Pohl Lucy is a Fellow of Cecchetti Ballet and Classical Greek Dance. She is a current committee member for Classical Greek and has adjudicated at the AllEngland Dance National Finals. Lucy began dancing at the age of two at her family run school, The Buckhurst Hill and Woodford School of Dancing, which is celebrating its 100th anniversary in 2022. She trained at West Street School of dance in Covent Garden and danced professionally for two years. Lucy has had the pleasure to work with the Cecchetti scholars, Cecchetti associates and choreographed for the National Youth Ballet. She taught Classical Greek at White Lodge and enjoys holding workshops to promote Classical Greek dance.

Alison Seddon Alison is a triple genre examiner for the ISTD in Classical Greek, Modern and Tap and a dance adjudicator for the British and International Federation of Festivals. Alison has been a teacher and adjudicator at the Classical Greek Dance Ruby Ginner Awards over many years and has twice been invited to deliver the Gladys Thorpe Memorial Lecture in Classical Greek dance for the IDTA. She has also choreographed work for the ISTD Classical Greek vocational level syllabi, has previously served on the Classical Greek Faculty committee and lectured for the ISTD online summer school.

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Classical Indian Dance Our committee The ISTD’s Classical Indian Dance Faculty is now 23 years old. We caught up with our inspirational committee to find out more about their collective vision for the Classical Indian genres. Tell us about your involvement with ISTD Classical Indian dance qualifications, examinations or syllabi? Chitraleka I have been involved with the ISTD Classical Indian Dance Faculty idea since 1998 when there were meetings and consultations organised for developing the syllabus. I have been part of revising the syllabus in 2014/15. I have been an examiner since 2000/2001, I was Faculty Chair for 7/8 years and I am now one of the Lead Examiners for Bharatanatyam. As a participating dance centre, we have been sending over 100 candidates each year for examinations and currently have candidates registered for DDE teaching qualifications. Kiran I have been a committee member for around 20 years, teaching the Bharatanatyam syllabus since around 2000, and have been entering students for examinations ever since. I have been an examiner since 2011. Sujata I’ve been involved with the faculty since its inception with original syllabus consultation, as well as the rewriting of both the syllabus and specification. I was Faculty Chair for over a decade, as well as a committee member and examiner. 40 Dance | Issue 494

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Lisa Harrison-Jones Head of Faculty Development for Modern Theatre and Classical Indian

Classical Indian Dance Faculty Committee 2021–2024

Sujata Banerjee MBE Lead Examiner for Kathak. ISTD qualification level: Fellowship

Chitraleka Bolar Lead Examiner for Bharatanatyam. ISTD qualification level: Fellowship

Pushkala Gopal MBE Examiner for Bharatanatyam. ISTD qualification level: Fellowship

Urja I have been involved with the ISTD for almost decade, initially as part of the Classical Indian Dance Faculty and then as an examiner. Along with fellow committee members and examiners, I have worked on rewriting the syllabus as well as the content of the work. Nina I was part of the group that wrote the first drafts of the six graded Bharatanatyam syllabi. I'd already written a six-levelled syllabus for my school, which drew huge interest from the consultation group. This document that I had written to structure my own teaching was then used as the template for our ISTD syllabi. Since then I've led on all syllabus revisions for Bharatanatyam. I was secretary when the faculty came into being in 1999 and continued in this role until my appointment as Vice Chair. Having been a founding member, I’m delighted to be continuing on the committee. Pushkala I was privileged to be part of the consultative process before the faculty was formed and produced the first draft syllabus in Bharatanatyam for the steering group. I then served as Vice Chair of the faculty for several years and was active as a senior monitoring examiner. I have also written the syllabus for the DDE, DDI and Licentiate qualifications for Bharatanatyam, and conducted the first DDI (now obsolete) and DDE exams in Bharatanatyam for our faculty. Teaching on the day courses for the faculty has also been part of my positive experiences.

Nina Rajarani MBE Lead Examiner for Bharatanatyam. ISTD qualification level: Fellowship

Kiran Ratna Examiner for Bharatanatyam. ISTD qualification level: Fellowship

What has been the best thing about being on the Classical Indian Faculty committee? Chitraleka It has been a place to meet with other inspired dance teachers with similar ambitions for the art and students of the art form, and to openly discuss ways to teach examine and progress. Kiran Being involved in the progression of Classical Indian Dance for future generations, and being able to openly discuss all issues with fellow members. Sujata Learning from the fellow members – laughing with them and also leading the Faculty. Urja It is great to be part of the committee and the best part is learning from simply being around the experienced people and how each one of us is different and brings uniqueness to the table. I am happy to be able to represent Indian classical dance within the larger dance sector. Pushkala Fellowship and involvement with the greater dance professional community through cross faculty initiatives at the ISTD is a huge benefit. Continuous progress with improving syllabi or work practice and the input from colleagues keeps one fresh and relevant in one’s own thinking and practice. Do you have any particular aspirations for the future of the Faculty? Chitraleka I want to be involved with the faculty as long as I can contribute to the development and popularisation of the art form.

Dr Swati Raut Examiner for Bharatanatyam. ISTD qualification level: Fellowship

Urja Desai Thakore Examiner for Kathak. ISTD qualification level: Fellowship

Kiran To identify, train and appoint more examiners to meet the growing demands of teachers, especially those more available on weekends. Also, to lobby the appropriate authorities to enable teachers to take candidates out of school for dance exams on weekdays without penalty, so more sittings can be covered by current examiners. Also, to have more events outside of London to encourage teachers in other areas. Sujata To see many fully qualified teachers and the Classical Indian dance forms being taught as part of the regular school curriculum. Urja I want to see more young teachers becoming part of the faculty and bringing fresh new ideas. I would like the faculty to think internationally and how creatively we can bring strong and steady change. Pushkala As an examiner, it is so rewarding to see the improvement in standards across the board each year. Getting keen pupils to jump the hoops to pick up qualifications beyond the vocational, through university or young adulthood, will greatly enhance the growth of a cognisant dance community in our genres. Home-grown teachers will have the confidence to engage as professional teachers and the faculty needs to put energies into this to facilitate the growth. Our expansion outside of English borders – there are a few exams in Wales, Holland, Canada, USA and UAE – should become a global reality as the diaspora is HUGE. Dance | Issue 494 41

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Contemporary Dance

Preparing for the future of contemporary dance We caught up with ISTD trustee and teacher at Codarts, Rotterdam, Keith-Derrick Randolph. ROBIN GETTY

Living and working in Europe for 35 years, native New Yorker Keith-Derrick is a choreographer, teacher, lecturer, répétiteur, and dance administrator. Coming from an artistic family, he has a broad dance education, which includes ballet, Modern, Jazz, African, Afro Caribbean and Brazilian dance, as well as studying drama, music and lighting. In addition to his early education (High School of Performing Arts NYC and The Ailey School), in 2005 Keith-Derrick received his Didactic Teacher’s Diploma and a master’s degree in Choreography in 2010. Keith-Derrick has been a choreographer in the Dutch independent dance scene, as well as choreographing and teaching throughout Europe and the USA. For 15 years he had a successful career as a dancer and choreographer with Scapino Ballet Rotterdam. For nine of those years, he was on Scapino’s artistic staff, where he gained a wide and varied knowledge of company management. As a ballet master, teacher and administrator, he managed and coordinated Scapino’s 42 Dance | Issue 494

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Michaela Ellis Head of Projects and Strategic Events

workshops, the education programme, apprentices, and the yearly auditions. Keith-Derrick is now on the staff of Codarts University for the Arts in Rotterdam’s bachelor of performing dance programme as a coordinator (repertoire and performances), teacher (ballet and partnering) and head répétiteur. He is also founding member of the core team that runs Master Choreography COMMA, a joint degree between Codarts and Fontys School of Fine and Performing Arts in Tilburg. He has also served on committees in key organisations within the Dutch dance world and is an accomplished costume designer. What is unique about Codarts? What does it offer students to support them as they train towards their professional career? How can/does Codarts ensure that the training they offer continues to support the demands of the industry as it evolves? Codarts is strongly connected to the work field. We do this through a combined approach of networking and connecting students to the past, present and future of modern and contemporary dance. Students are connected to the past through training in Graham, Cunningham and Laban techniques, providing a good technical foundation. Our staff and guest teachers are connected to the profession, or still dancing and performing. We offer students the opportunity to learn and experience the repertoire of famous, well known, established and upcoming choreographers in their second and third year. This has included choreographers such as Jiří Kylián, Wayne McGregor and Lucinda Childs. Students go out and work in the professional field in their fourth year through apprenticeships. What makes us unique is that constant learning, connection of foundation, questioning and presenting. We shape our students as artists. We also offer Artistic Research in our curriculum. Students start this in first year and complete it in their third year, when they present their research. Since recently we have the Codarts Dance Company, which I manage. We perform a lot from second year, in theatres, outdoor spaces and at events, bringing students into the performing world and developing their artistic and

I hope I will be able to watch a production of Swan Lake that is so diverse it will be fabulous. professional attitudes. In the third year we tour nationally and internationally with around 25–30 performance in The Netherlands alone. We have performed in Poland and Italy and we also have a connection with National Ballet of Canada whereby every three years they invite major schools, like the Royal Ballet School and Paris Opera, to perform. We are very much for the experience of performing, so that students can apply what they learn in the studio to performing on stage. Students learn to perform, tour and the etiquette of being on stage; these are our goals. We are training highly technical professional dancers for the contemporary world. We try to give them the scope within the school, and tailor opportunities. We offer a Masters of Choreography called COMMA, of which I am one of the founders and co-ordinators. It is industry driven, Europe-wide and is geared towards people that have been in the industry for 10 years or more. At the end of two years, their work is performed which some of the Codarts students may perform. Some of these new works are brought into our repertoire. Also, here in Holland we have something called Network Dance. It encompasses the dance schools and companies, we regularly meet up so there is a constant dialogue and connection. We are therefore all coming from informed knowledge and this what we give to our students. What do the young dancers of today offer? Most come to us well trained and with a sense of purpose. They bring their own identity and offer a new way of

looking at things, dedication, openness and creativity. Our students study acting and improvisation to encourage this. How do you think the young dancers of today will shape the future of contemporary dance and what do you think the industry might look like in 5 to 10 years’ time? It is hard to say, no one can predict, but a lot has been influenced lately with the Black Lives Matter movement, gender issues and equality, inclusion and diversity. In the end we will see that on the stage. We will see that our dancers are helping to initiate that change. I do not think that tradition should be thrown out the window, it is about having variety. We will see companies that are fully diverse and I hope I will be able to watch a production of Swan Lake that is so diverse it will be fabulous. Progress is important and sometimes change needs to take time, because you need to get people on board and sometimes change needs to happen quickly because there is no time to wait. We try to instil in them resourcefulness as artists; we teach how to perform anywhere, not only in theatres. Creativity comes from within you, not where you are. Of course, the environment helps and makes you think, but you must learn to adapt and react. What advice do you have for the next generation of professional contemporary dancers? Understand, know and research the past. Be in the moment, be open, respectful, accepting, engage and listen. Challenge yourself and don’t be scared. Find the strength in yourself and be around people that inspire and understand that someone else’s negativity is not your story. Understand what criticism is and how feedback is different. Enjoy and realise you are in a profession, doing what you love. Understand there are ups and downs and maybe you can learn from the bad times. Find balance and remain human and maybe be more than just the dancer/artist. Be fabulous. Someone once said: “We are ordinary people doing incredible things.” But I think that we are incredible people doing incredible things. Dance | Issue 494 43

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Contemporary Dance ~ continued

Developing the next generation Tom Bowes, Centre for Advanced Training Manager, shares his perspective on the way the DanceEast CAT helps students to a bright dance future.

Right DanceEast CAT Students Below DanceEast CAT Outdoor Performance


The DanceEast Centre for Advanced Training is based at the Jerwood DanceHouse in Ipswich. Affectionately referred to as the ‘CAT’, this part-time prevocational programme offers high-quality dance training to young people aged 10– 18 years. Engaging young people from across the East of England, the DanceEast CAT delivers technical training, health, and creative studies, including performance, to young people with exceptional potential and talent. Part of a national programme launched in 2004, CATs offer the highestquality dance training to young people across England. Supported by the Department for Education’s Music and Dance Scheme, students can access means-tested grants to cover training and transport costs so that anyone can apply regardless of their background and personal circumstances. In reality, this means that we offer training to young people with little or no previous experience, who might not ordinarily be able to access training for financial or family reasons.

It’s important for DanceEast that our CAT student cohort is diverse in terms of ethnicity, disability, gender, and socio-economic background, so a variety of voices and experiences are brought into the studio. We want the programme to reflect the communities that exist throughout the East of England and are committed to enabling access for all young people with exceptional potential in dance. Our job is to get as far as we can towards meeting the needs of each young person and creating the conditions within which they can thrive, in turn creating a diverse future for dance. One of the main purposes of the DanceEast CAT is to prepare young dancers for full-time professional dance training. We work with young people to develop the skills and confidence to be the next generation of future leaders in the field of dance and beyond. The joy of the programme is that each CAT designs and implements their own curriculum, under shared values and strategies. The

DanceEast CAT works with around 95 young people each year and looks at them as individuals; enabling us to shift and adapt our curriculum to suit who is in the studio and the needs of the dance industry at any given moment. The task of predicting what a sector needs when a dancer completes full time training – possibly 10 years on from when they are in the studio with us – is a very real challenge. In dance, particularly contemporary dance, the nature of the art form is ever evolving, therefore, our training needs to adapt with it. Alessandra Way, a DanceEast CAT alumna, says: “Aside from the obvious improvement in technique, and general dance ability, the CAT has taught me so much about being an individual and having confidence in doing what you want and what is best for you. The CAT has really helped me to come out of my shell by nurturing each dancer’s creativity and individuality and has made me a much more well-rounded

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Today’s children and young people will determine the future of dance. As well as ballet technique, contemporary dance is one of the main techniques taught on the programme. The very essence of contemporary dance should be current, evolving and growing, and reflecting popular dance and current trends. As an organisation, DanceEast works with professional artists every day, and the building is a vibrant hive of activity, showcasing the very best of


person as well as a better dancer.” It is important to acknowledge the different influences of dance technique through cultural contexts, race, gender, and society. We recognise our responsibility to educate our young dancers through our CAT curriculum, so they have a positive impact on the future of dance. We are currently discussing trans-inclusion and anti-racism and are committed to making the programme the most inclusive possible environment for all. Following the first national lockdown in 2020, live in-person dance performances in theatres were put on pause. We saw increasing volumes of dance performance and creation go digital, and outdoor dance performances flourished. This demanded new skills and approaches for dance organisations, companies, artists, performers and choreographers. Our in-person live CAT performances responded accordingly and went digital through a mix of live online performances on Zoom initially and, like the sector, evolving to sophisticated dance works created for the screen. To offer an insight into outdoor performance, we worked with Creative Director and Producer Jeanefer Jean-Charles to create a new full-length outdoor promenade work on the entire cohort. This outdoor dance performance – on a rainy day in a large public park – required a host of new skills from our young dancers in terms of performance skill, dancing in different environments, and new choreographic approaches and ideas. These are all skills that equip our young dancers for long and varied careers in dance.

the dance sector. The CAT students are extremely fortunate that they are able to work and collaborate with these artists and experience first-hand what it is like to be in the professional world. Although we can’t predict what contemporary dance will be when they are working as professionals, we can get as close to it as possible by connecting the dots between training and the profession, along with focusing on attitude, as well as aptitude. Over the past 20 plus years we have seen the boundaries between styles of dance blur, fuse and combine. We also see that young people in society now are less bothered about labels, boxes and definitions – this is evident for example in how they talk about gender, identity and fashion. Today’s children and young people will determine the future of dance, but we imagine that it’s unlikely to segregate different styles and disciplines into silos – instead it will be a mixing pot of different styles, influences and ideas. The challenge for the DanceEast CAT and any teacher, artist or organisation working with young dancers now, is to prepare young people to be bold, fearless individuals and to recognise their uniqueness. To be ready for a world and a sector which is still – and always – evolving. We aim for students to be well equipped to enter the world of dance and have confidence, be resilient, versatile, and courageous – they are the future of dance and we look forward to where they lead it. We hope that our approach offers a broad and balanced dance education to prepare young people for whatever they choose to do. It is our responsibility to ensure they are fully prepared for

their next steps when graduating from the CAT. Alongside technical dance skills, it is important that they learn and rehearse the behaviours that will stand them in good stead to adapt to whatever they meet in future: they can look after themselves physically and mentally; they know how to learn; are resilient and tenacious; and above all, happy.

i Further information Many DanceEast CAT students have gone on to work with leading dance companies and organisations including New Adventures, Northern Ballet, James Wilton Dance and Scottish Dance Theatre, working in a variety of dance styles including ballet, ballroom, contemporary, street dance, and West African styles. We work hard to support students to continue with their graded examinations with private dance schools as we recognise that this is important to many young people. The National Centres for Advanced Training in Dance (CATs) are government funded by the Department for Education’s Music and Dance Scheme.

Websites: Dance | Issue 494 45

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Disco, Freestyle, Rock n Roll and Street

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Amanda Tapp Head of Faculty Development for Disco, Freestyle, Rock’n’Roll and Street

Moving out of lockdown We look at the future of DFR events On 4 July 2021, the DFR dance world emerged from lockdown to take part in the very first live online event. The event was hosted by the DFR Faculty committee, and after many months of research, a way forward was found to run competitions without entering busy venues. Run via a Zoom webinar, dancers were given the opportunity to perform their ‘Set Dances’ and family members could spectate at the event for the first time ever. 370 dancers took part from around the world and 175 spectators had the opportunity to watch the dancers perform. Here is what our members had to say: “It was just so lovely all being together again. Some of our pupils hadn’t seen each other for almost 18 months. We had so many happy parents yesterday when they came to collect because their children had been texting home saying it was just fun being together.” “The event was excellent, and our students loved every minute! Thank you for all the hard work before and during the event. We cannot wait for more DFR events this year.” “…Such a fabulous competition event today. The teachers, the pupils and I all thoroughly enjoyed the day.”

The DFR Faculty prides itself on offering a fun and inclusive day for all dancers to enjoy and take part. The aim is to develop and grow a love of dance and to instil a sense of community and fun into our competitions. Our dancers come together with their ‘dance family’ and enjoy a day of dancing, supporting their friends and taking part, regardless of their age and ability. There is an event for everyone. Those who took part have made history and everyone is now looking forward to future competitions, which will now be held in venues across the country. Please turn to page 67 and visit for our dates in 2022. Good luck everyone!

370 dancers took part from around the world and 175 spectators had the opportunity to watch the dancers perform.

All photos DFR dancers live online

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Imperial Classical Ballet As a newly qualified ICB teacher I am determined to support and encourage my students to achieve their aspirations. Ayshia Moreton

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Pippa Cobbing Head of Faculty Development for Imperial Classical Ballet, Greek and National

Looking to the future Three dancers share their inspiring stories of equity, diversity and inclusion in the ballet studio.

Ayshia Moreton Location Chichester Education Foundation Degree in Dance Teaching, Chichester College; BA Honours in Dance, University of Chichester Qualifications Level 4 DDE Imperial Ballet; Level 4 DDE Modern Theatre; Intermediate Contemporary Teaching Course; Intermediate Foundation Contemporary Teaching Course As a young child, I always dreamt of being a ballet teacher and 16 years later, I have qualified. However, it hasn’t been the straightforward road I imagined. I have always suffered with hypermobility but last year I was diagnosed with hip dysplasia and degenerative cartilage; doctors advised the need for a double hip operation and intense physiotherapy to relearn how to walk. This caused unimaginable pain, especially in ballet classes, resulting in my favourite style of dance turning into a class I could barely get through. I still had to pass my Intermediate Ballet in order to progress to my DDE Ballet exam. This was looking more and more unachievable as my mental and physical health deteriorated. I was told by many to give up dancing or wait until after my operation, but I knew there was a chance I might never be able to dance again. Despite the pain, my determination and the support of my amazing teacher Irela Strachan, who constantly pushed me and believed in me, I managed to pass my Intermediate Ballet. Four months later I took my DDE Ballet, which I passed with a mark I am extremely proud of,

which demonstrates that you do not need to be an outstanding dancer to be an outstanding teacher. This experience has opened my eyes to what the role of a teacher is and what I want to take forward in my own teaching practice. As a teacher, I want to create a safe environment where I can nurture and educate the next generation as well as encourage them to believe that they can achieve anything they put their heart and mind to, despite mental or physical disabilities. Teaching is much more than delivering high-class training, it is also about developing social, emotional and other life skills such as responsibility and teamwork. From my ISTD teacher training I have realised the importance of continually developing my knowledge to ensure I can deliver the best education to my students. Additionally, I have learned to understand and be able to adapt to individual students’ needs to promote inclusion and diversity. Over the last 100 years, ballet has come a long way with respect to equality and diversity. In 1932 Janet Collins was requested to paint herself white to perform with Ballets Russes de Monte Carlo; she declined. 37 years later Arthur Mitchell founded Dance Theatre of Harlem, the first minority race ballet company. The ISTD has moved with the times, offering analysis exams for Advanced 1 and 2 Imperial Classical Ballet for mature students who may not be able to physically dance the syllabus. As a community there is still a long way to go to make ballet fully inclusive. One of the biggest barriers is access to high quality dance education due to location, financial and social circumstances. I am lucky because my conditions did not impact me until I was older, so I had the opportunity to enter and pass graded examinations. However, many aspiring dancers are currently struggling, as their disabilities mean they cannot pursue opportunities their peers have, such as entering exams, and this becomes progressively more difficult at vocational level. As Imperial Classical Ballet teachers and as a society it is our responsibility to strive for further inclusion, diversity and equality whilst also celebrating our history and how far we have come. The new generation is our future, and as a newly qualified ICB teacher I am determined to support and encourage my students to achieve their aspirations.

“Teaching is much more than delivering high-class training, it is also about developing social, emotional and other life skills such as responsibility and teamwork.” Ayshia Moreton

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Imperial Classical Ballet ~ continued

but they appear so much more independent and open minded as a result. Of course, it comes with its challenges, but they will learn skills and develop important qualities to take forward in their later life. I am glad to see more workshops provided by the ISTD focusing on inclusion and diversity. Being accepted onto the DDE programme at Chichester College as a wheelchair user has given me the confidence and assurance that my limitations are not barriers, and I can believe in my own abilities as a teacher.

“I have made it my mission to create change within the ISTD and beyond to open teaching pathways for people with disabilities and additional needs.” Roxanne Seymour Roxanne Seymour Location Bournemouth Job role Owner of Raindance School of Performing Arts Qualifications ISTD Intermediate Tap; working towards DDE Tap, Intermediate Modern Theatre and Imperial Classical Ballet (in order to be awarded DDE in all three disciplines). Studying for DDE at Chichester College My aim is to complete my DDE in all three disciplines and go on to take the Level 6 Diploma in Dance Pedagogy. Eventually I also plan to take my Licentiate qualification and progress to teaching in secondary schools and in dance education. The most important thing I will take from the teacher training is the vital knowledge and experience of the tutors and their in-depth understanding of how to get the best out of students in the most effective way. As well as this, I believe that the teacher training will enable me to push through my own boundaries and barriers and achieve my dream of becoming a teacher in schools, something that felt impossible for many years. I have made it my mission to create change within the ISTD and beyond to open teaching pathways for people with disabilities and additional needs. Being disabled does not mean you cannot deliver high-quality teaching, but there is a stigma around teaching with a disability, and a belief that you must be able to ‘do’ what you are teaching. I currently run a school in Bournemouth and the students have had to adapt to me teaching from a wheelchair. It has meant I have had the opportunity to focus on the smaller details of what they are doing, and they have had to use their brains to understand what I am asking them to do, rather than being physically shown. It is rather a new concept,

Being accepted onto the DDE programme at Chichester College as a wheelchair user has given me the confidence and assurance that my limitations are not barriers, and I can believe in my own abilities as a teacher. Roxanne Seymour

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Gemma Siamantas Location Waterlooville Job role Principal (and ballet and modern teacher) at Classique School of Dance Ltd; Associate Lecturer in Dance at Chichester College Qualifications ISTD Licentiate in Modern and Ballet; BA Hons and MA at Chichester University; PGCE in FE teaching with Portsmouth University. I hope to continue to work towards my ISTD Fellowship

to continue to educate new generations of teachers about equity, diversity and inclusion in ballet. It is my belief that celebrating cultural diversity in ballet should start in the studio, teaching students from an early age the importance of recognising, supporting and embracing differences and ensuring everyone has equal opportunity to make the most of their talent, irrespective of their background. When training for my Imperial Classical Ballet Licentiate, I learnt to develop my teaching strategies so that I could further adapt my delivery to embrace diversity. The traditional didactic method of teaching classical ballet should not be forgotten and still has value when combined with modern awareness of the benefits of a personalised learning approach. I firmly believe that, moving forward, ballet should not be reproached for its historical teachings but should learn to embrace a culture of diverse approaches, to ensure longevity in its practise and consign to the past the archaic perspective that ballet is ‘not for everyone’. The ISTD has supported my Imperial Classical Ballet (ICB) teaching journey through courses focusing on training the ICB syllabi. The training of the classical ballet syllabi is a must for every ballet teacher. The DDE questions the processes and practices teachers need to review.

“Be strong, be fearless, be beautiful. And believe that anything is possible when you have the right people to support you.”

“A question I always ask myself at the start of a new term is, how do I ensure my students feel welcome and represented?” Gemma Siamantas

Left Gemma Siamantas teaching

Misty Copeland I always dreamed of being a ballet teacher. My aspiration to continue my professional training has not waivered, and one day I hope to achieve my Fellowship in ballet and progress to becoming an examiner. I am now embarking on a new adventure in my career, teaching on the DDE and DDP courses at Chichester College, and this has spurred my interest in the topical question of equity, diversity and inclusion (EDI) in ballet. EDI is, rightly so, a fundamental aspect of the DDE and DDP syllabi. I am looking forward to working with both the DDE and DDP students, helping to shape the future of inclusivity in ballet training. Inclusion for everyone has been my philosophy throughout my teaching journey, embedding practices within my ISTD school to support and embrace the diversity of emerging classical ballet students. Making ballet accessible for all, both financially and practically, has been paramount to me but there is a need to expand this approach to further support the diversity needed in ballet. The culture of training only the privileged white student to elite level may be diminishing but it is essential for the future of ballet

The ISTD has taught me that it is the teacher’s responsibility to foster inclusivity and equality, with a focus on accessibility. A question I always ask myself at the start of a new term is, how do I ensure my students feel welcome and represented? I consider important points such as dress code, appropriate terminology and fostering a supportive learning environment for all. Teaching ballet is, and always has been, a student-centred approach and fundamental to this is a focus on equality and diversity. I can only hope that in my new teaching role at Chichester College I will help to prepare future dance educators, including ICB teachers, to ensure their teaching practice incorporates inclusion, equality and diversity. Dance | Issue 494 51

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Latin American, Modern Ballroom and Sequence October Medallist Tournament 2021 Participants describe our first Society-run medallist tournament that was held on 10 October in Bracknell.

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Malcolm Hill Head of Faculty Development for Latin American, Ballroom, Sequence

Alex Costi, ISTD teacher and Fellow On a misty October morning, we set off for the inaugural Society-run medallist competition of the postlockdown era. For many, this would be their first ever competition, and for others, an opportunity to try something a little bit different. All three faculties, Ballroom, Latin American and Sequence, were represented and one-dance competitions were held in each genre from newcomer upwards. For those who relished more of a challenge, two-dance events were also provided. Whilst medals and trophies were awarded to most levels, teddy bears were awarded to each of our youngest competitors. In addition to their prizes, personalised certificates had been prepared for each newcomer to commemorate the day. Twelve schools attended the day, two of which were new to competitions. It was lovely to see such a diverse mix of dancers on the floor with one sole aim – to enjoy their dancing. A personal highlight was the Over 65 Gold Star Jive event, where Lynne unexpectedly found herself receiving a standing ovation for her dancing. I contacted her teacher Nick Jury to find out more. She explained it was her first competition in two years. “I felt quite nervous in the sense of wanting to enjoy the competition but not knowing what to expect. My teacher told me that it was a ‘friendly’ competition, which was helpful, a good way to ease back into dancing again after such a long break.” Lynne explained: “From the very start there was a feeling of freedom and warmth with a hint of competitive buzz. My teacher Nick told me to just relax and enjoy it. I was reminded of the last ISTD exam I took as a young adult where the examiner wrote, ‘now we need to see more of you’. At the age of 66, I now feel able to do that, and the supportive atmosphere on the day of the Tournament played a big part. Of course, the technique and training are important but the people who are watching you play a huge part in enabling you to produce your best and feel the freedom to express who you are through dance.” It’s clear Lynne has a great rapport

with her teacher. She commented: “Nick is a wonderful teacher, but of course all the teachers give so much of themselves to their pupils; their energy and personality, and it’s up to you to respond. My son who has a learning disability also danced at the tournament and he came away feeling 10 feet

tall – he too picked up on the supportive atmosphere and had a wonderful day.” Lynne and her son are inspiring, and their love of dancing is infectious. If you would like more information about future Medallist Tournaments, please email:

Above Richard Miles partnering pupil Jenna Sleath during the event Left The winners Line up of the Under 8's Ballroom competition Dance | Issue 494 53

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Latin American, Modern Ballroom and Sequence ~ continued

Above and above right Winners Line ups of some of the adult Latin American Competitions

Heidi Cruwys and Lawrence James, ISTD teachers What a fantastic day of competitions at the first Society-lead event, which was run extremely efficiently and was full of fun. It was refreshing to leave the worries of the last two years outside the ballroom! Presentation time was made special, with the opportunity to stand on a podium for 1st, 2nd and 3rd place and who doesn’t like to stand on a podium with a well-earned trophy? We were overwhelmed by the atmosphere in the hall and by the amazing support all the competitors and spectators gave to one another. It was lovely to see the children and adults competing together. Lynn and Richard Miller, ISTD teachers As the world started to emerge following 18 months of restrictions and lockdowns it was good to hear that the ISTD would be running its first, new format medallist tournament. We were excited, as were our pupils and a buzz was created as the preparation and excitement started to build. The entries were put in and tickets sorted, everyone started to prepare costumes, and there was lots of extra practice and lessons to perfect as much as possible before the event. New people began to show an interest in competing and it was so good to all have something to look forward to. The day finally arrived and for us it meant a three-hour drive, so we were up at 4am and on the road by 5am. Some members of the school had travelled the night before to be ready for the day ahead, but nobody was complaining because it was great to be competing again! On arrival numbers were collected at the door and seating was allocated for the school to sit together. Thanks to the team, everything had been organised perfectly. 54 Dance | Issue 494

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A great day was had by all, some great successes and everyone was supporting their friends within our school and cheering on people from other schools. The highlight for many was the fun party session of music which gave everyone, competitors, teachers, parents, grandparents, and ISTD event organisers, a chance to let their hair down. Pupil of ISTD teacher Richard Miles From the moment we entered the hall where the competition was held, there was a great atmosphere and this continued throughout the day, everyone being very supportive of other competitors. It was the first time I’ve been to a competition where adult, juvenile and junior events were run simultaneously, and it was good to see the younger participants; their joy of dance was plain to see! The addition of two-dance events seemed popular, and on a personal level I very much enjoyed them. They give dancers at any level and of any age the opportunity to compete in more than one event. The introduction of newcomer sections is also a great way for beginners to get a feel for competitive dancing. It was a nice idea to bring all the teachers on to the floor at the end of the day to enable us all to thank them for their hard work and support – and the Macarena was definitely very popular! This was a well-run, relaxed and friendly day – a big thank you must go to Head of Faculty development, Malcolm Hill, and all the team. I am already looking forward to the next one in 2022.

Faculty update Following the Modern Ballroom faculty elections, we welcome two new members, Nicholas Jury and Stephen Arnold. Nicholas Jury Nicholas is a professional Ballroom and Latin American dance instructor with a Fellowship from the ISTD, and an international championship adjudicator with the British Dance Council (BDC) and the World Dance Council (WDC). He is the owner of Dance Extreme Limited and has been dancing for over 20 years. After successfully achieving his medals and awards in Ballroom and Latin American early on in his amateur career, he now stands ‘highly commended’ as a professional dance teacher with the ISTD. Nicholas used to compete nationally as a ten-dance specialist and regularly travels across the UK competing at a high standard in all the major championships. Nicholas also coaches pupils to compete at Pro-Am events worldwide and has won the Top Teacher Award at the Fabulous Cup, Monte Carlo 2018, and the Top Teacher Award at the Fabulous Cup, Barcelona 2019. He has also recently been awarded the Top Studio Award at the Crown Cup, Dubai 2019. Nicholas has taken part in a number of charity shows as a key dancer and has been interviewed for radio, TV and magazines throughout the country. He enjoys choreographing routines for showcases and putting pupils through exams.

Left Lawrence James partnering Juvenile competitor Annabella Walmsley

i Far Left Lynne James, competitor from Dance Extreme, competing in the Over 65 Gold Star Latin American event


Stephen Arnold Stephen started dancing at the age of five. He took medals, competed at medallist competitions and joined the dance school formation team. This quickly progressed into open competitions. As a juvenile and junior competitor, he became a British National finalist, was selected for the British teams and became British National Junior Champion. In adult amateur competitions with his partner Yasmin Arnold, they became regular British National and UK Closed finalists, British Open and International Championship quarter finalists, British Open and UK Open Rising Star finalists, and European Championship semi-finalists. Stephen turned professional in 2016 and immediately reached the final of the International Rising Star Championships and UK Open Rising Star finalists. Nationally, they have become regular British National Championship finalists and UK Closed finalists, and they are still actively competing. During this time as a professional Stephen has expanded his teaching at The Capital Dance School in London and taken his professional teaching exams with the ISTD. His teaching experience alongside Yasmin has involved taking students through medal tests, medal competitions, Pro-Am competitions and training open competitors. As professional teachers they have also been invited to lecture for the major teaching associations in the UK.

Modern Ballroom Faculty Committee 2021–2024 Stephen Arnold Teresa Jay Christopher Hawkins Warren Boyce Claire Still Nicholas Jury Richard Miles Alternative Rhythms is the new name for Authentic and Emerging Dance (AED). This change has been implemented in and is live for all future examination bookings. Dance | Issue 494 55

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Modern Theatre Faculty update Following the faculty elections, we welcome four new committee members. Our new committee members, Valerie Jones, Andre Koschyk, Sadie Morgan and Elizabeth Reeves, join our re-elected members, Ruth Armstrong, Penny Meekings and Lyn Richardson. This experienced committee brings with it an uncompromising quest for excellence and continuing vision for the Modern Theatre syllabus. The Faculty committee will to continue to be our members’ voice, spearheading an exciting future for modern theatre dance at the ISTD.

i Modern Theatre Faculty Committee 2021–2024 Ruth Armstrong Valerie Jones Andre Koschyk Penny Meekings Sadie Morgan Elizabeth Reeves Lyn Richardson

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Lisa Harrison-Jones Head of Faculty Development for Modern Theatre and Classical Indian

Modern Theatre Faculty Committee 2021–2024 Ruth Armstrong Ruth began her training at the Pauline Howard School of Dance under the guidance of Patricia Ellis FISTD and Pauline Howard ARAD. She continued to further her studies at Laine Theatre Arts and graduated with diplomas in both Musical Theatre and Professional Dance and attained ISTD Associate teaching qualifications in Modern, Tap and Imperial Ballet. After working as a freelance teacher and choreographer Ruth joined the Dance Faculty at Tring Park School for the Performing Arts, teaching jazz, modern and tap alongside her role as resident choreographer. Ruth was instrumental in devising a structured course of study for Tring Park’s Outreach Dance programme, which successfully

encouraged access to dance for primary school children in the Hertfordshire area. Having gained ISTD Fellowship status Ruth became a dual examiner for the modern and tap faculties in 2005. As a member of the modern and tap teaching teams, she enjoys lecturing in the UK and internationally. Ruth has a passion for theatre jazz and dance artistry and was proud to have been instrumental in creating new Optional Jazz Award Amalgamations. She choreographed the Musical Theatre Amalgamation for the new Intermediate Tap syllabus, launched in August 2017, and a new Musical Theatre Amalgamation for the Modern Grades. Ruth is honoured to be re-elected and able to support and evolve the excellent work of the Modern Theatre Faculty.

Val Jones Val trained at the Merseyside Dance Centre and danced professionally before making a second career in choreography and teaching. She is a Fellow and Examiner for the ISTD in Modern Theatre, Tap and Imperial Ballet. She was organiser for the ISTD’s Northern Janet Cram Awards and is a member of the teaching team for the Modern Theatre Faculty. A belief in the value of continuous professional development led her to gain qualifications in Pilates and an MA in Dance Studies at Liverpool John Moores University.

She has taught at all levels in rural settings, inner cities, the UK and abroad. Teaching credits include the McDonald College in Sydney, Australia, the Merseyside Dance and Drama Centre, Northern Ballet School, Liverpool John Moores University and the Hereford Ballet School. Val feels privileged to be elected and hopes her teaching experience will be of value to the Faculty, our teachers, examiners and creative teams as they continue to build on the work of our talented previous committee members.

André Koschyk André was born and raised in Germany and was lucky enough to receive a scholarship to train at the Doreen Bird College of Performing Arts in the early 1990s. There, he completed his dance training with fabulous and inspiring teachers such as Doreen Bird, Frank Freeman, Karen King, Tracey Lee and Tereza Theodoulou, to name just a few. After college, André returned to Germany where he had a career as a singer and dancer in musical theatre. In 1998 he and his wife opened their own dance school in Ulm, where they also ran a full-time teacher training course.

In August 2020, they relocated to the south of England and now teach on a freelance basis for various dance schools. André is a modern theatre and tap examiner, DDE tutor and a member of the Grades and Advanced 1 Modern Theatre and Tap teaching teams. The ISTD’s vision of creating an inclusive and diverse future has always been something which he supports, and he hopes to contribute with some insight from the perspective of a male dancer and teacher. He feels honoured and excited to have been elected to the Modern Theatre Faculty committee and looks forward to working with such a dynamic team. Dance | Issue 494 57

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Modern Theatre ~ continued Penny Meekings Penny trained at ArtsEd in London, and secured work in both theatre and television. After six years in the business as lead dancer, choreographer and rehearsal director, the satisfaction of teaching outweighed that of performing and Penny switched to full time teaching. Penny has founded a dance academy, a dance teacher training college, and has been working as an examiner and assessor for the ISTD. Her love of dance, the ISTD, the colleagues she works with

and the mentors who have influenced her career path have been instrumental in guiding her to contribute to our Society and in particular the Modern Theatre Faculty, which has supported her unwaveringly throughout her career. She thanks outgoing committee members who are leaving an impressive legacy for us to aspire to sustain. She welcomes the incoming members, who are also rich in experience and versatility, and will ensure our continued and exciting future development.

Sadie Morgan Sadie trained at Bush Davies, East Grinstead, where she gained her Associate qualifications. She then danced professionally for many years working in the West End, on tour, and at sea on board the QE2. As a teacher, Sadie has worked at various dance schools and performing arts colleges teaching all levels from pre-school to Fellowship. She currently teaches at Corraine Collins Dance Studios and Morea Performing Arts, both

based in Cheltenham, Gloucestershire. Sadie is an ISTD Modern, Tap and Imperial Ballet examiner and a teaching team member for the Modern and Imperial Ballet faculties. She has taken class for the Imperial Ballet Awards and Janet Cram Awards and Modern Theatre awards in Malaysia. Sadie is excited to be on the Modern Theatre Faculty committee and hopes to help and encourage future ISTD teachers, promoting the modern theatre syllabi.

Elizabeth Reeves Elizabeth began her training at the Betty Wivell Academy (BWA) and then at Italia Conti in London, where she gained her ISTD Associate Modern and Tap, before working professionally as a dancer in the UK and overseas. She has taught at Arts Educational, Central School of Speech and Drama and Italia Conti. In 1986 Elizabeth took over The BWA and 35 years later is still running the school with a team of 10 fabulous teachers. The BWA became an ISTD approved dance centre 10 years ago. Elizabeth has found it rewarding to train and work collaboratively with the next generation

of ISTD teachers at the Academy. Elizabeth gained ISTD Fellowship status under the careful creative guidance of Tereza Theodoulou. In 2005 she became an ISTD dual examiner for both Modern and Tap faculties. As a member of the Modern teaching team Elizabeth enjoys lecturing and sharing the joy of teaching dance creatively. She is very happy to have been voted onto the committee and is looking forward to continuing to develop the ISTD modern theatre work, spreading the message of how brilliant and inspiring it is to teachers around the world.

Lyn Richardson Lyn was trained at Bush Davies Schools and Laine Theatre Arts. She has taught at prestigious performing arts colleges such as Laine Theatre Arts, Bird College, and Performers College, where she was course co-ordinator for five years (working with the founder members), and Morea Performing Arts. She is now a proud Patron of Morea Performing Arts. Lyn is a member of the ISTD’s Modern Theatre syllabus development team devising the Jazz Awards, Grades

5 and 6, Intermediate Foundation, Advanced 1 and 2 syllabi. Lyn works for the ISTD in the UK, Europe and internationally as a senior examiner and lecturer. She has recently been appointed Lead Examiner for the ISTD Modern Theatre Faculty. An advocate of developing musicality and artistry for dancers of all ages, and more importantly teachers, her mission continues!

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

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National Dance Inspiring African dance Kim Conley, co-founder and CEO of the Amoyo Performing Arts Foundation, shares her experience of including African dance in our ISTD summer school and conducting trial online sessions in UK primary schools. My co-founders Mandisa Qwesha and Nandipha Sandlana have a special talent when it comes to training our beneficiaries in African dance genres. I have always been mesmerised by not only the exuberance of the dances they choreograph but how it makes me feel when I am watching. Having behind the scenes knowledge of the Amoyo reality, I also have immense admiration for how quickly our students learn so much, given our under-resourced facilities and limited time with our students. We don’t have the luxury of endless rehearsals but to see our performances, no-one would ever guess that they are often the result of two or three classes. Over the past six years, we have expanded our African platform to offer Djembe Drumming, Gumboot dancing and Pantsula dancing, and I am incredibly proud of how both our local arts entities and audiences and the global community have heralded Amoyo for growing the African dance genre footprint. Now we are thrilled to offer this genre for greater recognition worldwide through our partnership with the ISTD. With the support of the National Faculty we have had the opportunity to develop material that can be adapted 60 Dance | Issue 494

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Pippa Cobbing Head of Faculty Development for Imperial Classical Ballet, Greek and National

Left and above The work of Amoyo Performing Arts Foundation

to all levels and all age groups offering beautiful rhythms, a different use of body composure and an insight to the African culture, symbolism and heritage of where from and why these styles have emerged. At this year’s summer school, we delivered two Introduction to African Dance courses, one for 6–8 year olds and one for 9–11 year olds, both very well received. Our African performances have always been celebrated as showstoppers, and over time we have come to recognise the calibre of what this genre has to offer the performing arts sector and how we can share the soul of South Africa with the world. Being supported in this way by the ISTD has been a dream come true – we believe so strongly in this dance genre and all it has to offer, and we are ecstatic that the world is now taking notice too. We will be forever grateful that the ISTD has recognised the importance of African dance by including it in this year’s summer school courses. The National Faculty helped us by arranging trial online sessions in UK primary schools. Like the rest of the world during Covid, we also needed to spread our wings and go online. Suddenly we had to get really tech

savvy and prepare to teach primary school children in the northwest of England, and the ISTD summer school, through a screen. The experience was exhilarating and nerve wracking at the same time and an enormous breakthrough for our tiny team in a little coastline town behind Table Mountain in Cape Town. To first see the response from children (and we all know how critical children can be) loving the classes and doing so well, and connecting with them 13500 kilometres away knowing we had made a difference to their day through a screen was life changing for us here at Amoyo. By the time the summer school came around, another set of nerves set in – how are international teachers going to resonate with what we do and believe so strongly in? The response was phenomenal. Now we can’t wait to develop our work to its full potential and to share our African soul through this powerful dance genre! Participants’ feedback “I teach in primary schools and two of the schools engaged in the opportunity to have the wonderful African dance workshop via Zoom. The primary school children loved the idea of engaging

with and speaking live to people in South Africa. The sessions were so well organised, and information sent ahead of the workshop helped the teachers and all children, ranging from Reception to Year six, to make the most of the opportunity. Thank you Amoyo!” Heather Burns, national dance examiner and committee member “I really enjoyed banging the cans and playing along to the music.” Amelie, Year 1, Highfield Priory School “I enjoyed doing the poses at the beginning.” Lailah, Year 1, Highfield Priory School “I really enjoyed learning the Eight Steps Forwards dance.” Freddie, Year 1, Highfield Priory School “The music was fun and made me smile.” Abu, Year 1, Highfield Priory School “It was very enjoyable and the fact it was a live Zoom, and we could see and hear them was great! The children liked it a lot.” Year 4 teacher, Grimsargh St Michael School Dance | Issue 494 61

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Focus On

Tap Dance The future of tap ISTD Fellow, Director of Tap Attack and Head of Dance at Wilkes Academy, Jo Scanlan, shares her perspective on the future. As society begins to creep back towards normality and we can thankfully once again be with our dancers in a studio, I wonder: can anything we’ve learned over the past 18 months help shape, or influence, our future? As teachers, many of us started this Covid journey slightly apprehensive about some of the technologies being touted to alleviate various lockdown problems. Almost two years later, the likes of Zoom and Teams have become integrated into not only our professional, but personal lives and are clearly here to stay. One thing we have all learned recently is that time is precious, naturally leading to much evaluation of work/ life balance. With this in mind, I see clear benefits to both teachers and students arising from our new and improving technological literacy. Without geographical constraints, we can provide content to a whole new student base anywhere in the country, or indeed the world. We are able to teach, inspire and continue to earn without the extra burden of travel, changing room delays and late pick-ups. At Tap Attack we successfully ran an online version of our summer intensive for dancers unable to travel and even had guest teachers join us virtually from the USA. We have also maintained an online platform for our regular training programme. Due to staff and time constraints, only one of our centres 62 Dance | Issue 494

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Jason Di Mascio Head of Faculty Development for Tap

Left Tap students in action

currently offers a junior programme but our increasing comfort with Zoom has led to a thriving online junior group, enabling access for those unable to travel to us or with weekend commitments.

Online teaching has broken barriers of time and distance. We teachers have also been learning online. This will never replace face to face teaching, however, I have learned that offering a combination of teaching platforms is optimum. Our next teachers’ workshop is online and has been designed to be presented in shorter blocks so it can be accessed around teaching commitments and family life. There’s no travel time to consider and sessions will be recorded for convenient access. Listening to the feedback of teachers, we are now developing a website of resources, where, for example, the teacher will be able to select areas that they want to include in their classes and access recaps of our previous workshops. Teachers I’ve spoken to seem more comfortable learning via platforms such as Zoom than they are teaching this way, however as we all adapt to our new work/life priorities amid ongoing

Covid-19/Brexit limitations, we will not only have to continue using technology in our industry, but we will also have to positively embrace it. Even as I write, we are facing a fuel crisis, once again reducing our freedom to travel, and once again it will be online platforms that step into the breach and keep us all dancing. At Tap Attack we’ve found this an exciting time of transition, with successful online services we may not have developed so soon had the need not been forced upon us. Online teaching has broken barriers of time and distance. Rather than looking back with negativity at the last two years I am trying to reflect on how much we have all learned and the new skills we have mastered, skills that can help us not only maintain our dance practice in times of disruption but to develop them to new levels of efficiency and participation.

i Jo Scanlan Jo is an ISTD Fellow and award-winning tap dancer and choreographer, director of Tap Attack and sought-after teacher. She is head of dance at Wilkes Academy of Performing Arts and a regular tap teacher at many of the UK’s leading full-time dance colleges including Italia Conti Academy of Theatre Arts, Sylvia Young Theatre School, Bird College, Performers College, The Centre and London Studio Centre.

Learning to adapt Alan Burkitt, actor, choreographer and ISTD Tap Dance Bursary Awards selection event adjudicator, reflects on the ever-changing world of tap. Its 11am on a Tuesday and I am frantically ‘drilling’ in lyrics and melodies in preparation for a self-tape audition for a stage production. A year ago, though, this would have been a totally different story. I’d probably be settling down to Homes Under the Hammer before I set about some online Zoom coaching. So, it shows theatre is back! It truly has been a rollercoaster ride for actors and everyone associated with the theatre industry but the tide is turning and cautiously productions are opening in the West End and touring the UK. This time away from the business we call ‘show’ has really made us value and take stock of what we possess, how lucky we are to do a job that we love and how we have the ability to enrich others’ lives when they attend live theatre. Dance | Issue 494 63

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Tap Dance ~ continued

We must embrace technology and continue to provide our students with the opportunities to grow and fulfil their artistic dreams. I feel slightly apprehensive moving forward as it has been a good two and a half years since I’ve been in the audition room, though I’m sure once I’m back on that proverbial horse things will not seem so frightening. In June I was lucky enough to create Him and Me, a touring musical extravaganza starring ISTD Associate Anton Du Beke and Giovanni Pernice, two of my favourite Strictly Come Dancing stars. This was daunting enough as my first professional show as choreographer and director but as a team, we had to juggle the ever-changing landscape of the Covid world, with the trials of testing and distancing. Yes, we had to reschedule some venues to the tour the following year but many theatres were able to open to full capacity and therefore the production could proceed. Unfortunately, at the tech rehearsal we had an injury within the cast and without swings I was forced to grace the stage. I will honestly never forget that feeling of being back performing and the sheer buzz of the audience. Yes, they were only allowed 50% capacity but it felt like a stadium-full and their overwhelming reaction made the hairs on your arms stand up. As I mentioned earlier, I taught throughout lockdown, so much so, I lost the ability to comprehend my left

from my right whilst embracing the many quirks of a Zoom existence! In some ways, I feel students benefitted in terms of focus and drive, really having to take on information and processing it over a screen rather than glancing in the mirror and copying. But I have to say, there is no comparison to live coaching and being back in the studio environment where the students can learn from each other and grow, which is truly exciting. At the time of writing, I’m looking forward to my role as part of the adjudication panel for the ISTD Tap Dance Bursary Awards selection event. In an ever-changing world we learn to adapt and continue to grow as dancers, teachers and choreographers. This year we will not experience the traditional ‘clapped’ parade as of days gone by as the competitors enter the floor, but instead we must embrace technology and continue to provide our students with the opportunities to grow and fulfil their artistic dreams. Thank you ISTD for continuing to do this. I cannot wait to see the competitors’ pieces. Look out for further coverage of the event online.

i Alan Burkitt Alan graduated from Performers College and has successfully worked in both theatre and television as a dancer, actor and choreographer. Alan is the co-director of Premiere Scholars, an elite dance and musical theatre associates programme for young students.

Faculty update Following the faculty elections, we welcome four new members, Andrea Ashton, Andrew Hindley, Aaron Lissimore and Carole Moseley.

Profiles Andrea Ashton Andrea trained at Laine Theatre Arts where she gained her initial teaching qualifications in ISTD Tap, Modern and Ballet. She has taught at Corraine Collins Dance Studios (CCDS) since 1996 and has freelanced at many other schools and colleges. Andrea was on the Tap Faculty of Bird College for four years and successfully ran her own school in Gloucestershire before starting a family. She currently teaches at Morea Performing Arts alongside CCDS, teaching all ages, from pre-school to DDE as well as private coaching for Licenciate and Fellowship students. Appointed a modern and tap examiner for the ISTD in 2013, Andrea is a regular lecturer for the Tap Faculty and is also a member of the modern theatre teaching team. She was part of the team who ran the Southwest Janet Cram Awards, with experience of teaching at various Cram heats and Tap Challenge awards. Andrea is delighted to be joining the tap committee. Andrew Hindley Andrew completed his training at Preston College Dance (PCD), where he currently holds the post of Curriculum Leader and Dance Principal. Whilst in training he gained his Associate teaching qualifications in Tap, Imperial

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Ballet and National Dance, and after a successful career in performing on board cruise liners and professional pantomime, he returned to PCD to join the teaching faculty. Initially delivering vocational tap, jazz and boys work, his role developed and expanded until 2013, when he gained his current position at the college. Andrew is a Fellow of the ISTD Tap Faculty and has been an ISTD regional representative for a number of years. He has taught at several Further Education colleges and dance schools in the Northwest; including The Amanda Rogers School of Dance and Performing Arts, where he currently teaches grades and vocational levels up to Advanced 2. Andrew has been an adjudicator for UK Dance Class Championships (UKDCC) and has delivered workshops for the NATD several times. He has a real passion for the development of tap in the UK and is delighted to have been appointed as a committee member for the Tap Faculty. He very much looks forward to serving the ISTD in this new role. Jackie Hutt Jackie trained as a child to major level with Esme Child and Vivienne Bond. She studied art and design at the London College of Fashion and later completed her dance teacher training to Fellowship level with Pauline Ash and Heather Rees, becoming an examiner for the Modern Theatre and Tap Faculties in 2004. She is a major examiner in both genres and has recently been appointed DDE examiner for Modern Theatre. Following 25 years of freelance teaching at schools in Hastings and Brighton, including 8 years at Stonelands School, Jackie decided to concentrate her efforts on nurturing young teachers. She is an approved tutor for the ISTD, and alongside her friend and colleague Deborah Lamb coaches all levels of teaching qualification in tap and modern to both new and established teachers in the South East. She is the ISTD’s Regional Representative for East Sussex and has been organising CPD courses

for teachers in the area for the last 30 years. Jackie is delighted to have been re-elected to the tap committee and is looking forward to working with the newly elected members and being part of the Faculty’s future development. Nathan James Nathan was originally born in the West Midlands and trained in all genres of dance. He appeared in several pantomimes at the Birmingham Hippodrome, danced aboard various ships for Princess and Celebrity Cruise Lines and appeared in the 2004 revival of 42nd Street in Stuttgart, Germany. Nathan gained his initial qualifications with Fiona McGuinness and Karen King, later gaining Fellowship status in modern theatre and tap. He is indebted to Christina Ballard and Tereza Theodoulou for their support and guidance. Nathan was awarded an MA in Professional Practice with distinction from Middlesex University and a PhD in dance from the University of Roehampton. He is currently Vice-Chair of the Adjudicators Council for the British Federation and an All-England adjudicator. Nathan is a grades examiner for the modern theatre and tap faculties at the ISTD, a member of the teaching team and currently developing new ideas for later syllabi. Nathan has been a member of the tap committee for three years and looks forward to continuing helping and supporting the needs of our members. Aaron Lissimore Aaron is an ISTD Fellow and DDP. His performance career included musicals, cruises, international tours, and residencies of shows such as 42nd Street, Spirit of the Dance and Essence of Ireland. He has worked extensively as a choreographer and director specialising in tap and Irish dance for shows including

Fire of Dance, The West End Experience and Thursford Spectacular. Aaron is currently director of The Company Performing Arts, Tiffany Theatre College and AJL Theatrical Ltd and teaches tap to students of all ages and abilities weekly. For the ISTD Aaron has taken classes for the Star Tap Challenge, Boys Only Day and Theatre Congress and has lectured for the musical theatre Level 6 DDP qualification. Aaron is a member of the tap teaching team and loves sharing his enthusiasm for tap dance with teachers globally. Aaron is proud to be co-choreographer of the new alternative unaccompanied sequence in Grade 6 Tap. Carole Moseley Carole trained at the Bush Davies schools in Romford and East Grinstead. While in full time training, she frequently taught for local dance schools and the junior students at Bush. She gained her associate examinations under the guidance of Miss Daphne Peterson. After dancing professionally in the UK and overseas, Carole returned to her love of teaching and in 1987 took over the running and ownership of the dance school in Alnwick, Northumberland. Having gained her Fellowship status, she became an examiner for both the tap and modern theatre faculties in 2000. In 2005, she started teaching tap for Ana Mangericão in Parede, Lisbon, commencing with just 2 pupils in Grade 4, she now teaches from primary through to Advanced 2. Carole is delighted and feels very honoured to be serving on the tap committee.

i Tap Faculty Committee 2021–2024 Andrea Ashton Andrew Hindley Jackie Hutt Nathan James Aaron Lissimore Carole Moseley Dance | Issue 494 65

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What’s on Dates for your diary We are maintaining our programme of online events, exams and courses in line with government guidelines. The most up-to-date information is on

What’s on in the industry Performances may be subject to Covid restrictions or closures. Check online for updates. January 18–19 Catch the debut from Jean-Daniel Broussé, otherwise known as one half of Nikki & JD, acrobatic dancing duo. As part of The Place’s International Mime Festival, JD travels through his colourful past, covering his time studying history and literature to ‘running away to join the circus’. A BSL Interpreted performance and post-show talk will run on Wednesday 19. Until 22 Feb Everybody loves a classic, and Kenneth MacMillan’s Romeo and Juliet is just that. With intricate choreography and stunning designs by Nicholas Georgiadis, enjoy an evening in Renaissance Verona, with Prokofiev’s score leading you through to the inevitable end. Cast may vary depending on date. The Royal Opera House, London. February 22–23 Visionary dancer and choreographer Carlos Acosta’s Cuban company Acosta Danza returns, bringing its intricate blend of both classical and contemporary genres to cities across the UK. Infused with Cuba’s rich musical and dance influences, enjoy the versatility of Swedish choreographer Pontus Lidberg’s Paysage, Soudain, La Nuit and Impronta, Spanish choreographer Maria Rovira’s explosive offering next February.

March 11–13 No matter what level you are, MOVE IT has something for every style of dancer, teacher, spectator and professional. Want to feel educated and inspired? With performances, dance battles, talks and professional development programmes, book your tickets for the world’s biggest dance event, with an exclusive 10% discount for ISTD members – details below.

Membership 10% discount for ISTD members using code ISTD10

11–13 March 2022 • ExCel London Visit the ISTD on stand 344 Be sure to join us at our panel discussion on Friday 11 March to find out how to make dance teaching your career. And why not try out one of our two contemporary dance classes on Saturday 12 March to get a taster of the syllabus.

11 A captivating dance experience, Firedance features live Latin musicians playing iconic songs you won’t be able to resist dancing along to. With dancing stars Karen Hauer and Gorka Marquez, this passionate performance is not one to be missed. Bridgewater Hall, Manchester. Always online Artist FKA Twigs directed a two-minute film celebrating a community of dancers who appear to glide on longboards whilst performing fluid dance moves. Featuring longboard champions, this short film is something a little different, but is mesmerising all the same. Watch time: 2 mins Search ‘LONGBOARD FAMILY, dir. FKA twigs’ on Vimeo Physically Being Me is an exploration of the experiences of six disabled people who dance from their own perspective. An inspirational 10-minute film, why not sit back and learn something new today by watching this moving short. By Foundation for Community Dance. Watch time: Approx 8 mins Search ‘Physically Being Me’ on YouTube Álvaro Restrepo is a dancer, choreographer and social entrepreneur who performed across the globe. Despite global success as a dancer, he decided to return to his home country, teaching contemporary dance to children in Colombia. Hear Restrepo tell his inspirational story of how he helps children from impoverished backgrounds realise their full potential. Watch time: Approx 20 mins Search ‘TEDxObserver - Alvaro Restrepo’ on YouTube

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Our events Jan–Apr 2022 Check for the most up-to-date information on all our events. Cecchetti Classical Ballet Online Bursary Awards Selection Event 7 Feb Entry ticket sales commence 14 Mar Deadline for purchasing entry tickets 25 Apr Videos must be uploaded, to an ISTD secure Dropbox account by 9am 23 May Adjudication results announced Cecchetti Day 3 Jul TBC Classical Greek Dance Classical Greek Festival 2022 7 Jan Online booking opens 10 Mar Online booking closes 1 Apr Live finals booking opens 8 May Live finals (including groups) at the Gordon Craig Theatre, Stevenage Classical Indian Dance Online Bursary Awards Selection Event 14 Feb Ticket booking opens 14 Apr Ticket booking closes and video submission deadline 04 May Winners announced Disco Freestyle Rock n Roll 30 Jan Essex area competition 13 Feb Hampshire and Dorset area competition 13 Mar Hertfordshire, Bedfordshire and Buckinghamshire area competition

Imperial Classical Ballet Solo Performance Awards 2022 11 Feb Ticket booking opens 7 Apr Ticket booking closes 16 May Video submissions deadline 29 Jun Winners announced (via ISTD website and YouTube channel) Modern Theatre Dance Janet Cram Awards 2022 (UK teachers and competitors) 24 Jan Ticket booking opens 11 Apr Ticket bookings closes 15 & 22 May Online class heats June (Sunday date tbc) Live Final at The Greenwood Theatre, London 01 Jul UK Award winners announced (via ISTD website)

Graduation Ceremony 2022 We are planning a celebration for all our graduate teachers, including those with initial and higher teaching qualifications who were unable to take part in a ceremony due to the pandemic. Teachers who qualified between January 2020–September 2022 will receive an invitation. The ceremony is due to take place during the October half term. 24–28 October 2022 We will confirm the exact date and venue as soon as we can.

International Modern Theatre Awards 2022 (online) (International teachers and competitors only) 24 Jan Ticket bookings open 16 May Ticket booking closes and video submission deadline 01 Jul International Award winners announced (via ISTD website and YouTube channel) Invest in your CPD Please find below the dates for spring and summer programmes so that you can start to plan your own continuing professional development for 2022. We recommend that teachers participate in a minimum of 18 hours of CPD each year. See page 23 for more information on CPD. To book contact 12 Mar–3 Apr Weekend CPD Specials 4–22 Apr ISTD Spring Programme 25 Jun–10 Jul Weekend CPD Specials 25 Jul–­19 Aug ISTD Summer School

Teacher Training Bursaries 2022

bursarie s@

Bursary applications for online CPD: Open: 12pm GMT on 18 January Close: 12pm GMT on 15 February Teacher training bursary applications: Open: 12pm GMT on 17 March Close: 12pm BST on 12 May

See page 20

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What’s trending online

Join the conversation on social media

Bringing you the most recent highlights from our social media over the last few months. To join the conversation, follow us on Facebook, Instagram, Twitter, LinkedIn and YouTube. @istddance #TeachDance Make Dance Teaching your Career November saw the launch of our NEW digital prospectus! This useful online resource is available to view and download via our website www.istd. org/make-danceteaching-yourcareer and is an essential tool to help teachers promote our programme of study. Looking to begin a career in dance teaching? Start your journey with the Society.

Disability History Month 18 November–18 December was UK Disability History Month and with the need for accessible dance becoming increasingly prominent, we celebrated by sharing stories of dancers with disabilities who are paving the way for a more inclusive dance industry. Read our featured article from Elsa Wiles Jenkins who shared her experience of dancing with dyslexia on our website

Your posts We always love to see our members and students enjoying their dance classes, examinations and more. Don’t forget to tag us in your pictures, and videos using the #ISTDdance #TeachDance

Black History Month October was Black History Month in the UK. We highlighted iconic black dancers and artists throughout history, and current artists making exciting new work.

World Ballet Day We loved celebrating World Ballet Day this year by sharing all your wonderful ‘jump for joy’ videos. Thank you to all those who submitted a clip. You can catch the highlights of the day on our Instagram profile.

World Teachers Day We are always looking for opportunities to celebrate teachers so on World Teachers’ Day we shared teaching tips, teaching experience, and fond memories. You can read experiences from a few of our heads of faculty development online here www.istd. org/worldteachers-day and don’t forget to thank your teachers!

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Enjoy the benefits of a global community Take advantage of ISTD membership and become part of our worldwide network. Our membership provides teachers around the world with the best advice and training in dance education. We provide access to CPD courses, teacher training and qualifications and work with a range of industry leading partners to provide members with products and services designed to help them at each stage of their career. As a member, you can watch webinars with industry professionals for free, gain exclusive access to helplines and insurance services, receive discounts for business management tools and more. Find out about all the benefits of membership at

Imperial Society of Teachers of Dancing 22/26 Paul Street, London EC2A 4QE @ISTDdance

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DANE BATES | DANNIELLE RHIMES LECOINTE | DARK ANGELS FLAWLESS JESS BADDIE | JOSH WHARMBY | JOSHUA BASE PILMORE | KLOE DEAN LIAM FRANCIS | SOPHIE ISAACS | TWINTUBE | YANN BOLENGE * Discount applies to VIP and standard tickets only and is valid until 11.59pm on 10 March 2022. Offer is only available on our online booking form, customers must be aged 18 or over to book online.

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