FESSIONAL
editorial AradhanaKiran ,ContributorandMayaHaridasandSiddhiePillai,Co-Creatorsof YoucanbeapartofEnAvant too!Sendgroundbreaking cideas,sincererequests, aonstructivefeedbackor nythingelseEnAvantrelated toenavant@tlfcb.org Hello and welcome to En Avant! The theme of this issue is The Path to Professional. We will be looking at the professional dance world and what you can do if your dream is to enter it. We then have a feature on vocational ballet schools, detailing the dance related classes taught there We also have information about auditioning for a balle school or company and detailed tips and advice for aspiring professionals from our Artistic Director, Yana Lewis Along with all these inspiring features, we have an interesting crossword about less known ballet companies, as well as some interesting fun facts In our first feature, you can see the professional journeys of two TLFCB alumni who currently work in dance They practice different styles of dance, and are in different parts of the world, so you get to see dance from a more global perspective This issue of En Avant is special because it is Siddhie’s last She is off to university in a few weeks We wish her the best wherever she goes, and hope that she keeps dancing! With that, dive into this issue, and explore what a life in dance is like
announcements 03 JULY| JULY | 04 JULY| AUG |11 JULY | AUG | 20 14 JULY| 29 AUG | 17
Francesca Hayward's Birthday Click here to watch a performance of this Royal Ballet principal Julie Kent's Birthday Click here to watch a performance by this former principal of the American Ballet Theatre Claire Calvert's Birthday Click here to watch a performance by this Royal Ballet first soloist Maria Alexandrova’s birthday Click here to watch this principal of the Bolshoi Ballet
Sarah Lane's birthday Click here to watch the dancer who played a ballet double in the movie 'Black Swan'
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Kathryn Morgan's birthday Click here to check out her YouTube channel with lots of tips for dancers National Sports Day Click here to find out more about the significance of this day Day Happy Independence Day!
Independence
What was your first stage role with TLFCB? Your favourite? And your last? The first show I did was one of the December productions. I was mainly doing jazz and hip hop at that time. I'd had only around 6 months of ballet training. My favourite was in 2011 when we did The Nutcracker, mainly because I was training with Sid, Dayita, Elina and Sush. I’ve always loved being in class and on stage with all four of them. We call ourselves the 'permanent fixtures', because of how many corrections we get from Miss Yana! The last role I did was for the TED talk event, in February of 2018. I filled in for someone who was unable to join. What was your first dance job?
I had choreographed for this Indian festival for the Indiana Mehta is a dancer, choreographer, voiceover artist and an actor in award-winning Netflix film Work It. Indiana Mehta Two TLFCB alumni share their experiences of working professionally in dance.
When did you start dancing with TLFCB? When did you leave? I first came to check out TLFCB in 2008, and liked it I stayed in Bangalore for a month and when I went back to Mumbai, which is where I’m from I explained to my dad that I wanted to move to Bangalore to train under Miss Yana In 2009, I moved to Bangalore and stayed with TLFCB till 2012 I did come back to teach the year before the pandemic started, so I’ve been in and out of TLFCB over the years However as a student, I left in 2012
The last project I worked on was for the Canadian Broadcasting Corporation (CBC), which has a TV show called Sort Of I worked as a choreographer on that show I got to dance it in as well!
What is it like to work in Canada?
What was your experience being part of Work It?
I was nervous and did feel a little out of place at first From watching the show So You Think You Can Dance, the level of dance that I had been exposed to was at a very high level and I sort of expected everybody to be dancing at that level
That made me compare myself to a lot of these other dancers Eventually, I took that insecurity and realised that the opportunity wouldn’t have come to me if I didn’t have the talent for it The experience was amazing, just to learn from Liza, Jordan, Sabrina and seeing how they would just switch into character so fast I’ve always been used to choreographing, so it was also interesting to see what worked better for stage versus what worked better for camera
I’ve found that the process to book any sort of role here in Canada has always been quite fair Everyone gets an equal chance, and even roles that don’t seem as significant like a background performer also have to get an audition So no matter how big or how small a role, you always have to audition for it, which is what I really like about working in Canada Another thing that I like is that as a dancer, I’ve not had to limit my skills to just dance and I’ve been able to experiment with other performance aspects such as voiceovers, acting for film and TV, and even motion capture which is fo id d h t screen an movements genres
What is it like to run your own dance company? It’s been challenging, but it’s fun We started Bollyheels because I love Bollywood and I love dancing in heels, but I also love my jazz and hip hop I wanted to do something that combines Bollywood and heels and have it be my project on the side so I stay connected to when I would dance on the streets in Bombay, just in heels We started during the pandemic, so we just focused on content to see what we were about We also collaborated with a lot of artists in the city with different backgrounds like afro jazz or Latin dance, and that’s essentially how we started In Canada, there is a lot of cultural funding for arts, so there are a lot of grants that are available If there is an idea that you pitch and the panel likes it, you get accepted for the grant The value of the grants may vary depending on how big the project is At the moment, we are focusing on grant writing for creative projects over content We received two grants as a company last year, so we are currently working on a production There’s a lot of opportunities and guidance from the government here that has helped me dive deeper into working on Bollyheels as a company
What is it like to work both as a performer and a teacher? I enjoy working as both a performer and teacher because there are so many things that I take from stage, film and TV experience that I’m able to then translate first hand to the students that I teach Just taking auditioning experiences to students, knowing what to expect is a good place to be at I like being that mediator for the students I teach You can find out more about her work on Instagram: @indianamehta
When did you start dancing with TLFCB? When did you leave? I learnt with Yana from the end of 1999 to 2003 I mainly went to classes as there wasn’t any company or foundation yet I was one of Yana’s first students when she came to India After that I went to dance college
Rukmini Vijayakumar
I danced only twice on stage with Yana, and they were both corporate shows not school shows like you have now I remember my first stage role, it was a lyrical number called Hero which I really enjoyed dancing along with Elina
I currently am primarily a bharatanatyam soloist. I always was a bharatanatyam dancer so that is what I do a lot of. I went to study modern ballet as well, so I do practice my barre. I do contemporary as well, I create and I use the bharatnatyam vocabulary to make my contemporary work now, in the last five years. I feel that contemporary is a thought process rather than a movement vocabulary f what peop e also Rukmini Vijayakumar is a very well reputed dancer, choreographer and actor in regional films. She is the founder of the Raadha Kalpa Dance Company and the originator of the Raadha Kalpa Method, a system of training for classical Indian dance. She is also the director of LshVa, an art space.
What was your first dance job?
I don’t think I can remember! It must have been a show I did for Indian Institute of Management, I did a bharatnatyam solo. It must have been around 2000 and that was my first real dance job, yes. What kind of dance do you currently practice?
What was your first stage role with TLFCB? Your favourite? And your last?
Movies When dancing in movies I feel that I don’t really dance that much because there is so much happening with the sets, the lights, the camera angle and the presence needed. It is also about the story and presentation and not only about the dance. The dancing is part of the story, you see, it doesn't take precedence over the other aspects of the film. It is another tool that the director uses to express the story of the film. I am really grateful that I have the chance to dance for movies because it is such a great learning experience I really have to focus on what the choreographer wants (I don’t necessarily choreograph all my movie pieces myself) and I have to keep in mind a much bigger picture than just the dance Dance films Dancing in dance films that I’ve been making is very different because dance is the main thing, dance tells the story and I get to decide exactly what to do The dancing in those films is challenging, it’s hard and I do have to get it tip top and clean and square before I can record it Art films don’t have big budgets so we won’t have five or six days to shoot, we’ll have maybe 3 hours Naturally we don’t have the luxury of doing multiple takes so I have to be on the top of my dancing game and be prepared to shoot in one take
The travelling is not as great as it looks because it’s very tiring, no sleep, lots of flights, I always have to train So that is not as fancy as it looks! But when the performance is done and you see people connect to the material, some people have tears in their eyes while some are happy Art can leave an impression and create a bond between two strangers that might have never existed without that dance being there I think that makes it special, and that is what I enjoy the most
What was the last dance project you worked on?
What does it feel like to be able to create your own pieces and dance them for multiple audiences all over the world?
It’s really nice to create my own choreographies and dance them all over the world I think the most important thing about dance is human connection Actually during the pandemic I thought I don’t miss performing at all! I am really happy just dancing by myself in the studio My favourite thing is to do class and just having all that time to dance and train was really fulfilling for me But when I started performing and travelling and touring again, not so long ago really, in April or May, I realised that I do very much enjoy connecting with people
To be honest I feel humbled that I have this opportunity and that I am able to do this, because it is not something that is a surefire It could happen, I may not have it tomorrow, I have it now and I am really grateful and humble to have this
That is a big question! There is no ‘worked on’ in the past, but I have quite a few projects going on right now. I had two performance tours, one in Europe and one in the US. I performed two of my bharatnatyan choreographies solo. I premiered my new contemporary work, ‘Abducted’, just before I left on tour. I am also working on an ensemble work called ‘The Goddess’ which will premiere in November and I am working on a dance film which was commissioned and will be released in September.
Do you get a chance to dance in the movies you act in? If yes, how is the experience of dancing for a live audience different from dancing for film? Yes, sometimes. Not all the time, sometimes I’m just acting. Dancing in dance films, dancing in commercial movies and dancing on stage are very different, so let me define the three:
On stage Dancing on stage is totally different because I get to submit to the dance and I get to go on an emotive journey. I can just be in the dance and forget myself, which actually happens in movies but it’s always in short spurts. You stop, wait for the camera, make sure the lights change, etc. Whereas I feel I enjoy my dance more when I am on stage. In terms of impact, with respect to the audience, the impact is different. Film does have a large impact, but when you are in the same room as the performer the connection is different and it happens in the same time and space. While with film you dance a piece today and the audience might watch it two months later so as a performer you don’t experience that connection with strangers that I spoke about earlier. Maybe it happens but in a very different way, as an after effect I can’t really say that one is better or worse; for me as a dancer, obviously stage is better, but as art forms I cannot gauge the effectiveness of one over another because they both have their place in the art world What do you consider your greatest achievement in your dance career? All I can say is that I hope I haven’t already achieved it! I hope it’s something that I am yet to achieve in the many years to come So that I have something to work towards
Rukmini on the teachers who inspired her to dance professionally: I started studying with Yana when I was in my late teens, around 16, 17 The Lewis Foundation wasn’t there, she used to call it the Yana Lewis Dance Company (YLDC) so I primarily had classes with just myself or just Elina and I There were no school shows and all that It was when Yana had first moved to India Yana as a teacher changed the way that I saw movement possibilities and she was the first one who introduced me to becoming aware of alignment and lines in my body She sparked an interest in anatomy for me She was also the person who took me to my yoga teacher, Arun Sir, whom I studied with for many years later Although I studied ballet for a year or so when I was 5, I never had formal training in ballet until I was with Yana. I did go to dance school after and I had many, many wonderful teachers there but I think I owe being a dancer now to those few years that I studied with Yana, Narmada Aunty and Sundari Akka. Those three teachers really formed me and made me into the dancer that I am today, they made me embark on this dance and performance journey. I am really grateful for that. You can find out more about her work on Instagram: @dancerukmini
Ballet school students under 16 also learn regular subjects like math, languages and science. While they train in their art with focus and dedication, the ballet students are also studying their academic subjects and clearing board exams! But the emphasis laid on the subjects varies from school to school, and some schools, as we shall see below, have some very specific ballet related academic subjects.
A number of ballet classes are held throughout the day There might be an ISTD syllabus class, then an RAD class, a Cecchetti class, a free class, etc Students have to be very versatile, as they tune their body and mind in the way required by the method that they are doing In each class they will go through the full set of exercises: warm up, barre, port de bras, adage, turns and allegro and beats These classes are an essential part of every ballet school timetable, as this is where alignment is correctly learnt and technique is strengthened
There are also vocational schools for students over 16, some with college academics and some which focus solely on dance and dance related subjects. Some schools, like the Royal Ballet School, have a lower and an upper school. Students from the lower school pass directly into the upper but the school also offers auditions for 16 year old ballet students from around the world to join the upper school. Here we are going to explore the dance related classes that are taught in ballet school.
Ballet Class
Vocational ballet schools are quite unlike the regular schools that most of us attend Whether they are day schools or boarding schools, the students there spend most of their days dancing
Pointe Class / Male Technique Girls will have a pointework class going from basic pointework, when they join, and working up to more and more advanced pointe work, as they progress through the school, and as their feet and ankles strengthen. Meanwhile, boys have male technique classes. In these classes they largely focus on virtuosity and flair in performance.
WHAT
HAPPENSIN
There are many styles of contemporary dance, like Graham and Cunnigham and modern techniques like Horton and Limón. Contemporary and modern dance are a combination of many other styles, including ballet and jazz. There is also floor work, and an emphasis on contracting and releasing parts of the body. Ballet schools teach contemporary dance through all years
Pas de Deux Pas de deux, or partnering, is an extremely important part of ballet It is also quite complex, and so it is taught only in the later years of vocational training, after the basics of ballet technique have been properly established Girls and boys practice together, and they focus on lifts, pirouettes and balances Sometimes they also learn pas de deux from famous ballets like Don Quixote and The Nutcracker
Classical repertoire is enormous, and there are many aspects to it. Ballet schools teach variations from different ballets like La Esmeralda and Le Corsaire. They also teach corps de ballet roles for classics such as Giselle and The Sleeping Beauty.
Classical Repertoire
Contemporary & Modern Dance
Pilates / Strength & Conditioning
Acting
In ballet school, dancers have a chance to experiment with choreography. They get to try different types of movements and string them together in ways that they choose to. They are exposed to choreography from the very beginning, but they get to immerse in it only in later years. Choreography / Improvisation
Some ballet schools are very serious about their acting classes, as acting is as big a part of a ballet as dance They teach sections of pantomime and gestures from different ballets, to get a sense of the movements. And of course, like all acting classes, they have some seemingly silly, but very effective exercises like pretending to be falling leaves or running at other people in the room but avoiding collision!
Ballet schools use pilates to improve dancers’ strength It is a form of exercise that requires strength, flexibility, core stability, muscle control and attention to posture all of which are essential for dancing ballet well Schools use pilates to complement ballet training, as it helps dancers stay strong and injury free by using the right muscles
Character Dance
Special Theoretical Ballet Subjects
Folk / Historical Dance
In some ways, folk dance is very similar to character dance These classes usually are only for younger students, and they stop in the later years of vocational training They teach the basics of many different dance styles, many of which are no longer popularly performed, such as gavottes, minuets, and even ballroom dancing!
Only a few ballet schools offer these classes, in the final years. Some of these subjects are history of ballet, history of music, history of theatre and history of fine art. They might even teach Benesh notation, or choreology, which is a system of recording movements. These classes give background to ballets that exist in company repertoires, and help dancers appreciate the details of each production. At the end of these classes, dancers are already familiar with the music and choreography of classical repertoire as they get on stage and start their careers!
Character dance is the stylised representation of folk dance set to music that has been adapted for the theatre, and they are seen in ballets with a lot of peasant dances, like Swan Lake and Coppélia. Some of the common styles are mazurkas, tarantellas, csárdás and even flamencos! It is taught through all years in ballet school. Boys and girls wear a heeled shoe for character dance.
Less Known Ballet Companies Most of us have heard of the Royal Ballet, the Bolshoi Ballet and the Paris Opera Ballet. But there are hundreds of other companies all over the world doing all kinds of dance! How many of them can you identify? Click Clickhere hereto to play this ponline lay this online
Across Down 1. The main opera house in Buenos Aires 2. Run by Jean Christophe Maillot, and closely linked to the famous Princess Grace Academy 4. Company with a repertoire that includes both classics and new work based in Tokyo 8. Ballet company based out of South Africa with wide repertoire 10 Contemporary dance company housed in the Pavillon Noir in Aix en Provence in the south of France srewsnA ssorcA tellaBhsittocS 5tellaBgepinniWlayoR 6ertaehTyksvoliahkiM 7kcalBtellaB 9tellaBSENILgniKoznolA 11ynapmoCecnaDtrebmaR 21tellaBtsewhtroNcificaP 31tellaBgreblluC 41melraHfoertaehTecnaD 51abuCedlanoicaNtellaB nwoD 1noloCortaeT 2olraCetnoMedstellaBseL 4napaJfotellaBlanoitaN 8tellaBgruboJ 01jacojlerPtellaB
3. One of the five leading ballet companies in the UK, based in Glasgow 5. Canada’s oldest and North America’s longest continuously running ballet company 6 One of St Petersburg’s oldest ballet and opera houses 7 UK company founded by Cassa Pancho with the aim of increasing the visibility of dancers of Asian and Black descent 9 Contemporary ballet company based out of San Francisco founded in 1982, named after founder 11 Britain’s oldest dance company, founded by a Polish emigree and Ballets Russes dancer 12 Highly regarded classical ballet company based in Seattle, current Artistic Director Peter Boal 13 Founded by a modern choreographer and dancer, later directed by her son, Mats Ek, another eminent choreographer 14 Founded by Arthur Mitchell in 1969 who was also the first Black principal dancer of the New York City Ballet 15. Founded by the prima ballerina assoluta Alicia Alonso, who comes from the country it is based in
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Auditioning for a professional ballet company Usually big ballet companies have a school attached to them so the officials come to the school and handpick dancers for the corps de ballet from the final year students You would send in your photographs They would ask you to come and take a class You would then perform a piece for them If you were auditioning from elsewhere then the procedure would be as such: ABOUT
Auditioning for vocational ballet school Photographs As you apply, you would be asked to send in some photos of yourself usually in a developpé à la seconde, a first arabesque, a dégagé to seconde and a dégagé to effacé These photos are a telltale of so many things and if you are faking your turnout or your line is distorted then they will not even consider seeing your video Video You would film and send in certain parts of a ballet class: some barre, centre work, adage and allegro as well as a jazz combination, a drama piece and a song If you were to do an in person audition, you would be asked to do a few classes ballet, jazz and a combination of the two Sometimes you have to do a solo and a ong/drama piece. WORLD OF DANCE
TO ENTER THE PROFESSIONAL
WHERE TO FIND OPPORTUNITIES Dance company websites: Check the websites of the ballet companies and schools that you are interested in applying to on a regular basis Take note of details like audition dates, requirements and processes these usually vary depending on the company Social media groups: Social media groups such as Facebook groups are a great way to find auditions as well as other dancers who are auditioning for different schools Dance opportunity websites: A variety of dance opportunity websites exist that announce popular auditions and application openings Some websites even offer notification systems that you can sign up for to be alerted of new openings.
Generally, the process of an audition for a ballet company is held over two to three rounds In the US, auditions take place from September through March In the UK, auditions are held between November and January These dates may vary depending on the year, so it is important to research as much as possible to know when to register Most ballet companies allow dancers to send auditioning videos so that it’s accessible to people from all over the world, but this also comes with deadlines
It is common for the audition process to include learning a dance to perform in front of judges or directors. In addition to that, you may be asked to show various exercises, stretches, dance steps, turns and dance moves. The judges will want to examine your technique and flexibility during this process.
Some adivice for aspiring professionals: Do as many classes of ballet as you can get, even if they are at a lower grade If you assist in ballet class, think about the corrections that you get, even if you assist in Primary classes
Some things dance students can do to give themselves an edge over their competition: On the technical side Do as many exercises as you can Your body needs to be ready for the job it is going to do Take these as a start On the artistic side Learn a monologue or a song, perform it with full expression, record yourself, correct yourself and repeat Watch your old performances, be it dance, music, drama, etc Analyse them while keeping in mind the corrections you used to get for that piece Watch A LOT of dance, the more exposure you get the more you will grow " Most of all, own your space. Just own it." Click here to the source interview
read
TIPS FROM Start acting before you get there You have to act the part, because when you walk in, people will intimidate you If you go into the audition and start looking at who is there and comparing yourself, it is a disaster You have to own it You have to go there, keep your focus and not look at anyone else Make other people wonder who you are You have to psychologically have an edge Focus on the instructions that are given to you, observe the small nuances that the choreographer gives to you, that you wouldn’t normally focus on Always put yourself forward, try staying in the front lines. By the time the examiners get to the seventh line they will have seen the combination again and again and again, so standing there is spoiling your own chances.
When attending an auditition:
What is a chip's favourite style of dance? Salsa!
What did the male dancer say when his twins were born? I’m a Pa de deux!
Originally, ballet was a part of opera. Eventually it became an art form in its own right countries have their own national ballet companies
Many
Jokes & fun facts
Most European
What did the dancer feel after a week of non-stop rehearsals? The agony of de feet dancers rub the tips of their pointe shoes in rosin powder to prevent them from slipping on stage. Violinists also use rosin so that their bows don't slip on the strings!
FEATURE 1 2 CREATOR SEE YOU
My main reason for getting more involved with TLFCB was that I was taking a gap year before leaving for college, and ballet played a big part in making that decision, so I thought it would be good for me to try applying for the position of a TLFCB intern This is when the idea of the magazine was brought up to both Maya, who had also expressed interest in interning, and me A student magazine wasn’t what I was expecting, but I was interested to work on this new project After the launch of the first issue, Aradhana also joined our team The whole process from the conceptualisation to publishing the magazine was always so rewarding, and it was better because there were multiple interesting people I was working with from the TLFCB teachers to the various people we interviewed and the rest of the magazine team
One of the funniest incidents that happened while creating the magazine was 'The Midnight Formatting Nightmare'. It happened the night before publishing the first ever En Avant magazine. All the content and photos were ready and all that had to be done was upload it onto Issuu. Maya, Miss Elina and I were all on a call and we were so excited to have the issue ready to publish on World Ballet Day! We were eagerly waiting as it was getting uploaded, bit by bit, onto Issuu As soon as the upload was done, we opened the link to the magazine We saw that a formatting disaster had taken place Each page was showing up as a double feature, meaning that, two pages on Issuu looked like four! We were shocked and thrown off by this situation We realised that we would have to re upload the whole magazine after reformatting it in such a way that we do one page at a time Siddhie started learning ballet at the age of 15. In 2020 she joined the National Youth Ballet. In 2021, in the run up to World Ballet Day, she and Maya joined forces to create the first issue of En Avant. She will be leaving the En Avant team when she goes to King's College London this September where she will be pursuing the neuroscience course. We really will miss her and we wish her all the best! Here she writes about her time and experiences creating and working on TLFCB’s very own student magazine.
this!
3 4 5 Oops!
Confused, we jumped back onto Canva and started copy pasting the pages, one at a time, to the best of our abilities This took some time, but when we finally got through it, we were so relieved So we went again, to re upload this next attempt Crossing our fingers, we opened the magazine again, but things didn’t look too good This time, some of the pages and photos were not aligned properly, some text was also not in the right place We started to realise that making double spreads probably wasn’t the best idea, but our only option was to fix it So we kept re uploading and modifying till we got things in the right place It was around 12 am by this point, and we figured that we had put in so much time and effort, a little more to get the details right would be worth it Each spread was looking like For one of the games in En Avant, we had a quiz with a picture of a ballet step and options on which the appropriate correction would be for that particular step For this, Aradhana, Maya and I had a photoshoot after one of our classes, and we had to perform those steps incorrectly While we were brainstorming some ideas on what we could use to make a step look more 'subtly wrong', Miss Yana was in the studio and she was giving us so many suggestions! We would do a step, for example a relevé fifth and she would tell us a bunch of things that she has seen students do that are subtly incorrect It was funny hearing her input for each step It definitely helped us get the photos we wanted!
My favourite feature to make was probably the different methods of ballet, simply because of the attention to detail that was required in terms of finding pictures from each style of ballet. It was interesting to see how different styles have different approaches but fundamentally, the performance aspect remains the same. We spent a long time looking for images of a first arabesque executed in each of the four methods we featured. Then we analysed each image and put down the key differences (and similarities) that we discovered. Also any interview with Miss Yana is always so insightful and informative, to learn about and from her vast experience and her advice for aspiring dancers has been great. I had gotten so used to seeing the magazine just on my screen, so when we decided to make physical copies of the magazine it was a totally different feeling It was so rewarding to be able to flip through the pages and know the work that went into it It was really special
PIERINA LEGNANI The first Prima Ballerina Assoluta ALICIA MARKOVA as GISELLE Prima Ballerina Assoluta of London Festival Ballet, now English National Ballet MAYA PLISETSKAYA in DYING SWAN at the age of 61 Prima Ballerina Assoluta of the Bolshoi Ballet MARGOT FONTEYN in SWAN LAKE Prima Ballerina Assoluta of The Royal Ballet ALESSANDRA FERRI as JULIET Prima Ballerina Assoluta of Teatro alla Scala in Milan SVETLANA ZAKHAROVA as NIKIYA Prima Ballerina Assoluta of the Bolshoi Theatre Inspiration Prima Ballerina Assoluta Rare title given to the most notable female dancers in each generation
mime competition 2022 Areyoureadytotakeyourcreativeskillstoanewlevel? Here’sachallengeforyou! In ballet, dancers tell the story through body movements, facial expressions and gestures rather than words something we practice a lot in Pre primary and Primary classes The mime is used to relay specific elements of the story, such as feelings and events. We want you to show us your mime skills through your favourite Super Hero! To see the guidelines for the competition, click here. Get creative, and have fun! Final Submission Date : August 31st
