ONE Magazine | Spring 2020

Special Focus on Safety • RAD at 100 - in conversation with Dame Monica Mason • Protecting your image – using photography safely and effectively • Cirque du Soleil and circus safety

Industry • What does ACE’s Let’s Create 10-year strategy mean for dance?

• Spotlight on Community Dance • A look at caring responsibilities •B reakin’ Convention 2020 - win tickets!

Education • What makes a great dance teacher?

• Protecting South Asian traditions • Utilising load monitoring in class at London Contemporary Dance School • Cut out resources for teachers

Health • Rambert School and promoting mental wellbeing in the studio • Online resources for dancer health • Reliable measurement of dance student development • Info Sheet: Pelvic Floor for Dancers The One Dance UK Magazine Issue 8, Spring 2020

Welcome

For dance excellence The Imperial Society of Teachers of Dancing exists to advance excellence in dance teaching and education.

Sue Wyatt Chair, One Dance UK

We represent dance teachers and their communities, supporting and celebrating their artistic brilliance. For over 116 years, we’ve provided quality dance training and examinations across a diverse range of genres – enabling our members to inspire their students with a passion for dance.

Discover more at istd.org

Photos: Top: Brian Slater; Right: Brian Slater; Top Middle: Phillippa Gedge; Bottom Middle: James Keates Photography; Bottom: People Dancing

Membership of the Imperial Society of Teachers of Dancing is your passport to artistic and professional progression – so join us in leading the world in dance.

Sue Wyatt (R) and Sharon Hodgson MP at Houses of Parliament

Welcome to the Spring 2020 edition of One magazine. As I finish as Chair of One Dance UK’s board this spring, I thought I would look back at a few highlights and challenges.

My first major event was the U.Dance 2015 National Festival, held in Plymouth. It shocked me with its vibrancy, inclusivity and enthusiasm for dance. It moved me to tears and I knew I had made the right move to become the Chair.

That year, the Association for Dance of the African Diaspora (ADAD) also celebrated its 20th anniversary which had huge resonance for me in reinforcing the history and value of the work. Both ADAD and Youth Dance England joined with Dance UK and the National Dance Teachers Association, merging to form One Dance UK in April 2016.

There are too many highlights over my fouryear tenure as board Chair, but I believe the most important has been the increase in our advocacy work and involvement with political issues on behalf of dance. What’s struck me in particular is the team’s inspired efforts around dance in schools and efforts towards ensuring the best outcomes for the dance sector through the challenges of the Brexit process. The staff at One Dance UK have been fantastic; both the outgoing staff and the new team in Birmingham, and the organisation’s work, for its membership and the wider dance sector, is incredibly well represented by Andrew Hurst, Chief Executive. I have been lucky to work with him and have the support and involvement of a board deeply committed to dance.

In This Issue

The big future challenge for One Dance UK will be to maximise opportunities for those in our sector within the changing landscape of the UK as it leaves the European Union. But that is by no means all that One Dance UK will be doing for dance in the next few years. Other select projects include: updating and expanding the offers for its diverse and growing membership; the incredibly valuable One Dance UK Awards which are now firmly established; further work in dancer health and wellbeing, including lobbying to increase the number of NHS dance injury clinics; continued CPD and support for dance teachers; and the continuing success of the U.Dance programme, reaching thousands of young dancers nationwide.

I am so pleased to have been involved in the early years of One Dance UK and wish all the best to my successor in working with such a wonderful organisation.

We would like to thank the expert contributors who have been involved in this issue of One

Cate Caniffe Page 17

Phaedra Petsilas Page 22

Chris Stenton Page 33

Cate joined the Arts Council in 2010 and is currently Director of Dance and London. The role includes working with a team of Relationship Managers in London covering Dance, Combined Arts, Literature and Libraries as well as nationally with Relationship Managers to develop strategy for dance.

Previously she worked as a fundraiser for various organisations such as Rambert, National Theatre, Almeida Theatre and English National Opera, before joining Bonachela Dance Company as Producer (having raised her own salary).

Cate majored in dance during her BA Hons in Related Arts at Chichester University and undertook a leadership course at City University.

Phaedra Petsilas - BA(Hons) MA PGCE SFHEA - is Head of Studies at Rambert School of Ballet and Contemporary Dance. She is a passionate educator in dance and her interests lie in student development through reflective practice, and how to embed positive reflective models within a conservatoire dance training.

Further research interests include the notion of space and place in relation to choreography, as well as institutionalisation and politics in dance education. Phaedra is embarking on PhD studies at the University of Roehampton in late 2020.

Chris Stenton has worked in community and participatory dance since 1992. He is Executive Director of People Dancing, the organisation for community dance, leading on strategy development and partnerships.

Chris led the UK programme for Big Dance 2012, part of the London 2012 Festival. He is a regular contributor to books and conferences in the UK and internationally and has served on various Boards, including East London Dance and currently Dancefest.

The One Dance UK Magazine | Spring 2020 3

Reader Competition

Contents Welcome by Sue Wyatt

In the Spotlight 5 Competition – Win tickets to Breakin’ Convention 2020!

6 News 11 One Dance UK Membership Offers; Calendar – Dates for your Diary 12 Feature Interview: Dame Monica Mason

Past, Present, Future: Royal Academy of Dance at 100 by Gerard Charles 17 Let’s Create the Future by Cate Canniffe, Arts Council England

Cameron Ball Magazine Editor

Chloe Sprackling Copy Editor

49

Re:generations International Conference 2019

53

55

Cut-out Resources for Teachers Developing Motifs from ‘Still Life’ at the Penguin Cafe for Key Stage 3 and 4

by Jenny Murphy Pollution for Key Stage 2 - Cross Curricular Science by Amy Williams

BBC BFI Southbank CCA Glasgow Dance Consortium Equity Garfield Weston Gordon and Co. Insurance Brokers Harlequin Floors Marquee.TV Middlesex University People Dancing Rambert Royal Opera House Safe in Dance International Scottish Ballet The Place Tramway Trinity Laban Conservatoire of Music & Dance YDance Zurich Insurance Group

One Dance UK is showcasing the diversity of dance talent in and around our new home in Birmingham through a series of photographs. The images, showing a wide range of local dancers and dance styles in front of Birmingham landmarks, will be part of a free gallery exhibition in collaboration with Birmingham Hippodrome from MarchJune 2020.

Cover Image Dancer: Thomas Harden Photo: Dani Bower for One Dance UK 4 The One Dance UK Magazine | Spring 2020

This influential festival of hip hop dance theatre features unparalleled line-ups of both local and international performances, curated by UK hip hop theatre legend, Sadler’s Wells Associate Artist and Breakin’ Convention Artistic Director, Jonzi D. Offstage, theatres are transformed to feature dance workshops, graffiti, DJs and freestyle sessions.

Dani Bower Copy Editor

Special Focus on Safety 21 Introduction by Erin Sanchez 22 Safe to Take Risks? Safeguarding the Creative Process

by Rambert School’s Phaedra Pitsilas 24 Protecting Your Image by Dani Bower

Know Your Image Rights with Irving David

Taking the Best Image – Top Tips 28 Durability by design: art, business, and peak performance at Cirque du Soleil

by Erin Sanchez 30 The Power of Community by Leanne Welland

People, Dancing by Chris Stenton

Community Dance in Action by Claire Morris 35 Vintage Dance, Not Values: Leading with Consent by Nancy Hitzig 36 Using Technology to Monitor Workload in Dance Training by Kim Hutt 38 Balancing Life and Work in Dance by Helen Laws 41 Measuring Dancer Development by Elmhurst Ballet School’s Dr Nico Kolkythas 43 Cut-out Information Sheet: The Pelvic Floor in Dancers 45 Dancers’ Health CPD for Teachers by Erin Sanchez 46 Keeping Traditions Safe by Chitraleka Bolar 47 What Makes a Great Dance Teacher? by Laura Nicholson

Features 57 U.Dance 2020 58 Book Reviews

An unmissable date in the annual hip hop calendar, Breakin’ Convention returns to its Sadler’s Wells home for its 17th anniversary on Saturday 2 and Sunday 3 May 2020, before embarking on a national tour until Saturday 6 June.

Lara Coffey Head of Marketing and Communications

Advertising enquiries Contact Cameron Ball cameron.ball@onedanceuk.org Funders and Supporters

Following the festival at Sadler’s Wells, Breakin’ Convention tours the UK, taking in venues from Plymouth to South Shields.

Two tickets to any venue on the Breakin’ Convention tour are on offer to a lucky winner.

One Dance UK members receive two entries per submission, doubling your chance to win!

To be in with a chance of winning two tickets to any date of your choice head to the One Dance UK Facebook page (@onedanceuk) to comment on the pinned competition post.

Closes 31 March 2020

Tour Dates Saturday 2 May 6pm London, Sadler’s Wells Sunday 3 May 6pm London, Sadler’s Wells Wednesday 6 May 7.30pm Doncaster, Cast Saturday 9 May 7.45pm Poole, Lighthouse Tuesday 12 May 7.30pm Plymouth, Theatre Royal Wednesday 13 May 7.30pm Plymouth, Theatre Royal Saturday 16 May 7.30pm Blackpool, Grand

With thanks to our funders

Tuesday 19 May 7.30pm South Shields, The Customs House Friday 22 May 7.30pm Nottingham, Royal Concert Hall Saturday 23 May 7.30pm Nottingham, Royal Concert Hall

With thanks to our project partners, funders and supporters

Wednesday 27 May 2.30pm / 7.30pm Brighton, Dome Friday 29 May 7.30pm Norwich, Theatre Royal Saturday 30 May 7.30pm Norwich, Theatre Royal Tuesday 2 June 7.30pm Birmingham, Repertory Theatre Wednesday 3 June 7.30pm Birmingham, Repertory Theatre Saturday 6 June 2.30pm / 7.30pm Canterbury, Marlowe Theatre

The photography project will be rolled out by One Dance UK nationwide in the coming months, capturing dance in its many guises around the UK. Left: ‘Fidget’ Lauren Haywood; Centre: Callum Findlay-White, with thanks to Birmingham Royal Ballet; Right: Tiah Parsan.

* Tickets subject to availability. Standing tickets only if London is selected venue.

Design TM tm-studio.co.uk

Photos: Belinda Lawley

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Win tickets to Breakin’Convention!

Editorial and Advertising

‘Two entries per submission’ open to individual members or employees/students of member organisations only Winner must be 18 or over.

Further T&C’s apply, see onedanceuk.org/ terms-and-conditions for details.

The One Dance UK Magazine | Spring 2020 5

In the Spotlight

In the Spotlight

News

A round-up of some of the latest industry news.

For more, go to www.onedanceuk.org/news

One Dance UK members recognised at National Dance Awards

2020 vision for Greenwich Dance

The annual National Dance Awards took place on 19 February at London’s Barbican Centre. The shortlisted nominees were taken from nominations made by the members of the Dance section of the Critics’ Circle, covering performances in the UK between 1 September 2018 and 31 August 2019.

One Dance UK members were featured in each category, which showcased the diversity and depth of talent in today’s dance sector. We congratulate all winners and nominees.

Royal Ballet Principals Francesca Hayward and Marcelino Sambé were awarded Best Male Dancer and Best Female Dancer, with Gary Avis given the Outstanding Male Performance accolade.

Since relocating to Charlton House from the Borough Hall just over a year ago, Greenwich Dance has undergone a complete transformation with a new artistic vision: to operate peripatetically, bringing world class dance to forgotten corners of the borough and creating more opportunities for people to create, watch and take part in dance - regardless of age, experience or background.

Artist development is still at the forefront of what they do, with Greenwich Dance now working with a cohort of artists that they call their ‘Artistic Family’, to design and shape community-driven opportunities across the borough. Mathieu Geffré, Roswitha Chesher, Temujin Gill and ZoieLogic Dance Theatre are a few of the artists they are working with. They will be encouraged and supported to share their practice with the wider independent dance sector through artist retreats and online through blogs and vlogs.

Over the past year Greenwich Dance have also expanded their youth offer – now delivering a free programme of dance for 8–19 year olds across five locations.

Funded by the Royal Borough of Greenwich, NRgDance has Arts Award and teaching opportunities embedded.

Photos: Right: Roswitha Chesher

New book launched on the dancing life of Ignatius Sancho At last the life of Ignatius Sancho – a black man born a slave, who became a voting property owner in 1700s Britain – is coming into focus. A butler for the Montagu family, Sancho wrote music and dances during his life with them.

Early Dance Circle member Sally Petchey recently rediscovered Sancho’s collection of dances entitled, ‘Dances For A Princess “Cotillions etc. Humbly Dedicated (with Permission) To The Princess Royal By Her Royal Highnesses Most Obedient Servant Ignatius Sancho” 1729-1780.’

Unseen for 200 years, this edition also offers excerpts from Sancho’s letters and a detailed commentary on the dances and their links with Laurence Sterne and the Abolitionist Movement.

Further information The Early Dance Circle promotes historical dance at earlydancecircle.co.uk To purchase visit publications@earlydancecircle.co.uk To interview Sally or help stage an event showcasing these dances, please contact secretary@earlydancecircle.co.uk

Ignatius Sancho, portrait

by Thomas Gainsborough 6 The One Dance UK Magazine | Spring 2020

Greenwich Dance recently went live with a tongue-in-cheek film called GLORIA! by Roswitha Chesher featuring cameos from Luca Silvestrini, Yael Flexer, Tom Roden, Anna Williams, Chris Nash, Akeim Toussaint, Levantes Dance and Greenwich Dance founder Richard Blanco.

Involving communities and schools and starring Sarah Blanc as the disco-loving, lycra-clad GLORIA!, the film is designed to place Greenwich Dance within its new setting and has been selected as part of the Short Waves festival in Poland.

Greenwich Dance will also be on the road this spring, taking a specially crafted social evening, entitled the Up My Street Cabaret Club, to five community centres around the borough. Funded

by Arts Council England, Foyle Foundation and Royal Borough of Greenwich, the event forms part of a long-term strategy to develop dance audiences in the borough through interwoven offers of participation and performance. Audiences are invited to eat and drink whilst enjoying a line-up of excerpts from Greenwich Dance’s Artistic Family, performances by their youth and Over 55s performance companies and local community groups.

In January 2017, YDance (Scottish Youth Dance) launched an innovative four-year programme to raise attainment for over 2000 primary school children in areas identified as part of the Scottish Government’s Attainment Challenge Glasgow, North Lanarkshire, West Dunbartonshire and Clackmannanshire.

Funded by the Paul Hamlyn Foundation, Shake It Up uses dance to enable children to learn a range of curriculum subjects

and increase engagement through a kinaesthetic approach.

2017/18 saw two YDance Dance Education Artists deliver the project in six primary schools across two areas before moving to six new primary schools across the remaining two areas in 2019.

They work in close partnership with teachers to plan and deliver the dance sessions, ensuring the benchmarks of the subject are met and reinforcing what the children are learning in the classroom.

Subjects covered include numeracy, literacy and science.

Kieran MacLetchie, teacher at Aitkenbar Primary School in Dumbarton said: “I certainly feel that dance and the Shake It Up programme is one of the factors helping raise attainment and lift some of those children - particularly the ones that find learning difficult or challenging through kinaesthetic learning.

It’s helping them achieve things that perhaps they wouldn’t have been able to achieve otherwise.”

Shake It Up will run until December 2020. A research and evaluation impact study is being carried out by the Robert Owen Centre for Educational Change at the University of Glasgow. Findings will be available in 2021.

Further information For further information on the Shake It Up project, visitydance.org or email linzi@ydance.org

The Bridge Dance Project: supporting health in competition dance

Further information greenwichdance.org.uk

Greenwich Dance

Photos: Bottom: Paul Watt

English National Ballet picked up three prizes, including the emerging talent award for choreographer Stina Quagebeur, which marked the first time a non-dancer has won in this category. Katja Khaniukova received the Outstanding Female Classical Performance award, and Music Director Gavin Sutherland won for Outstanding Creative Contribution.

The awards also recognised Shobana Jeyasingh Dance for Best Independent Company, and Marion Tait, Birmingham Royal Ballet’s assistant director received the De Valois Award for Outstanding Achievement, for her contribution to the industry.

Shake It Up:Raising attainment in schools one dance step at a time

The Bridge Dance Project is a “ Very few people in newly launched cooperative our traditional dance endeavor between leaders in the dance medicine and science medicine world have field, and in the competition/ been involved with commercial dance field. The competition dance, Project began as an outgrowth and it’s been a problem of conversations following especially as we’ve seen the release of the Apolla Mia Michaels video series on the injuries skyrocket injury prevention in dance and the popularity (apollaperformance.com/pages/ of competition dance mia-michaels). grow in the past The goal of the Bridge Dance Project is to build a decade.” bridge between the current Jan Dunn realm of dance medicine and science and the commercial/ competition areas of dance --- to bring more information, working collaboratively together, into the daily lives of dancers working in this area.

“The dance world has many silos...In most sports… there’s an overarching regulator,so everyone knows the sport science.

There’s communication between coaches,across the world,and regulations put forth to protect the athlete.

That doesn’t exist in the dance world.So we have all these individual silos certification programmes, education programmes, that people may subscribe to - but very little communication.And we are going to build the bridges.”

Kaycee Cope Jones, MS

A Founders Board of dance and dance medicine professionals has been created to begin the work which we are all envisioning, and who would like to help in this effort.

Further information If you are interested in learning more or in helping with this project, please contact one of the Co-Chairs: Jan Dunn, MS jddanmed@aol.com Kaycee Cope Jones, MS kaycee@apollaperformance.com The One Dance UK Magazine | Spring 2020 7

One Dance UK Awards

One Dance UK Awards return for 2020

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The annual One Dance UK Awards are a chance for people from across the dance sector to unite, celebrate, acknowledge and reward those who’ve made an impact on the vibrant UK dance landscape.

Musical Theatre Syllabus

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Who are your dance heroes of 2020? Nominations open very soon!

Categories for 2020

Urdang International Syllabus

The Local Area Award Each year One Dance UK will present an award in partnership with the host region, recognising an organisation or individual who has made a significant impact to dance in the local area.

BRINGING LONDON’S WEST END TRAINING TO THE WORLD For ages 5 to 16+ Innovative, modern and progressive pathway for students to develop acting, dancing and singing skills Opportunity for schools wanting to increase revenue and offer musical theatre classes www.theurdang.international The Old Finsbury Town Hall Rosebery Avenue, London EC1R 4RP +44 (0)20 7713 7710 • info@theurdang.international

“Receiving this LifetimeAchievement Award in Dance of theAfrican Diaspora was a significant moment for me.It was a moment to reflect on the advocacy work I have contributed to over the last 25 years,celebrate with long-standing colleagues,and give thanks.It has been reinvigorating.

I am reminded that recognition is a doorway to new beginnings."

Urdang International Dance Competition (UIDC)

W NE 020 2 R O F

Announcing the Urdang International Dance Competition (UIDC) - an exciting new international platform for dancers to compete on a worldwide stage.

Starting with a series of regional heats and culminating in an international final where finalists will have the chance to perform on stage in London’s West End. Check out the dates below!

Urdang International Dance Competition

08 DEC 2019

Portugal, Braga

23-25 JAN 2020

UAE, Dubai

15 MAR 2020

UK, Bournemouth

18 APR 2020

UK, Newcastle

16-17 MAY 2020

Ireland, Cork

20 JUN 2020

UK, Manchester

05 JUL 2020

UK, Glasgow

19 JUL 2020

UK, London

‘Funmi Adewole

Top: One Dance UK Awards ceremony 2019, hosted by Jonzi D Middle: L-R: One Dance UK’s Christopher Rodriguez and Andrew Hurst with ‘Funmi Adewole, recipient of the 2019 Lifetime Achievement Award in Dance of the African Diaspora, which was supported by Derrick Anderson.

Bottom: L-R Andrew Self, recipient of the 2019 Dance Personality of the Year Award, sponsored by The Place, and Dr Roger Wolman, recipient of the Jane Attenborough Award

Primary Dance Education Award Secondary Dance Education Award Inspirational Lecturer at College, University or Conservatoire Award Inspirational Community Dance Practitioner Award Inspirational Work in Education & Outreach Award Dance for Wellbeing Award Research in Dance Award Dance Healthcare Practitioner Award Dance Healthcare Team Award Applied Dance Science Award Innovation in Dance Award Dance Campaign Award Dance Programming Award Dance on Film Award sponsored by Marquee TV People’s Choice Award sponsored by SunVit-D3 Dance Advocacy Award Rising Star Award Lifetime Achievement Award The Lifetime Achievement Award recognises professional achievements throughout a lifetime’s work, that has contributed to the development of a particular aspect of the dance industry.

Jane Attenborough Award The Jane Attenborough Award honours an individual who has made an outstanding contribution to dance.

The award aims to highlight the important, but often unacknowledged, contributions made by exceptional individuals who make a real difference to how dance is created, supported and seen.

Asia Semi-Final 24 JUL 2020 25 JUL 2020

UK, London

Finals 26 JUL 2020

www.theurdang.international

UK, London

European Semi-Final

UK, London, West End

Photos: Brian Slater

Celebrating Technical And Upbeat Dance Genres Worldwide

For more information go to: onedanceuk.org/one-dance-uk-awards

Event Sponsor

The One Dance UK Magazine | Spring 2020 9

In the Spotlight

Membership

One Dance UK convenes new All-Party Parliamentary Group for Dance

Make the most of your discounts and events

The inaugural Annual General Meeting of the Dance All Party Parliamentary Group (APPG) was held on 5 February in Parliament, electing Officers and reconstituting the Group.

One Dance UK was re-elected as Secretariat for the Group, which is co-chaired by Luke Pollard MP and Baroness Hooper.

In the last year, One Dance UK’s advocacy team have kept dance on the agenda with the Group, hosting political guests at high profile dance performances, involving them selecting winners of the One Dance UK Advocacy Award, and taking part in a parliamentary ‘dropin’ event, co-hosted by other arts organisations, focusing on future resilience of the sector, investment, education and the continued importance of international relationships.

Membership

Get involved Help One Dance UK share the benefits of dance to parliamentarians! Reach out to your local MP (info in the below link) to encourage them to become a member of the Group and to pledge their support for One Dance UK’s Dance Manifesto. Make sure to point out you’re a local constituent, including your address and post code and that you work in or study dance.

One Dance UK’s Andrew Hurst (centre) with members of the APPG, Westminster

Further information Find out more about the APPG and how to encourage your local MP to join here: bit.ly/DanceAPPG See and share the Dance Manifesto here: bit.ly/ODUKDanceManifesto

Dance professional practice at Middlesex

Photo: One Dance UK

Our highly flexible online distance education courses are designed for dance artists and practitioners looking to integrate their professional expertise with academic learning at a renowned centre for dance practice and research.

— BA Professional Practice, Arts and Creative Industries (specialisation) — MA Professional Practice in Somatic Studies — MA Professional Practice in Dance (specialisation) — MA Professional Practice in Dance Technique Pedagogy

10 The One Dance UK Magazine | Spring 2020

mdx.ac.uk/MAdance

Photos: Top Right: Dani Bower; Bottom Left: Dani Bower; Bottom Left Middle: The Royal Ballet’s Charlotte Tomlinson, (c) Royal Opera House, photo Andrej Uspenski; Bottom Right Middle: Dani Bower; Bottom Right: Brian Slater

News

As a valued member of One Dance UK, you are helping make a positive difference to the UK dance sector, as well as receiving free access to some member events and networking opportunities, further discounts on events, our library of resources, regular updates on industry news, and free promotion of your work. See below for further exclusive offers.

40% off Marquee TV One Dance UK members qualify for 40% off an annual subscription plan to Marquee TV. Subscribe with our exclusive industry code and save £35.99 a year.

Sign up for a 14-day free trial at Marquee TV and apply the code ONEDANCEPASS on the left when you choose the annual plan. Once redeemed on the website, you can access your subscription on the web as well as on iOS, Android, Roku and Amazon apps. marquee.tv

33% off Dancing Times subscription The special One Dance UK discounted one-year (UK) subscription to Dancing Times is £26.00 (usual price £39.50).

The promotional code is MEMODUK, to be entered in the subscription area on their website. dancing-times.co.uk/subscribe

Calendar

10% off bookings at the Academy Mews Studios 10% off all off peak and peak studio hire rates at the Academy Mews Studios, London.

Located less than 5min walk from Camden Town station at 15 Pratt Mews, NW1 0AD. academydancestudios.com

One Dance UK t-shirts now available!

Members save 33% off our new range of t-shirts, made from organic cotton. £10 members, £15 non members.

(Postage not included) onedanceuk.org/membersdiscounts-and-offers

For more information on these events and more, go to www.onedanceuk.org

21 March 2020 LAUNCH 2020 Dance Base, Edinburgh LAUNCH is an unmissable opportunity for both students and recent graduates to delve into the diverse aspects of a career within the dance sector.

The day will provide hands-on, practical advice from dance professionals.

22 April 2020 Pas De Deux Conference on Scientific Support in Ballet The Exchange, Twickenham Gain a fascinating insight into the joint programme from The Royal Ballet and St Mary’s University, Twickenham, which provides professional dancers with strength and conditioning, sport science and research support services.

16 May 2020 One Dance UK Networking Event LDIF, Leicester Part of Let’s Dance International Frontiers festival’s 10th anniversary, organised by Serendipity.

Join members and dance sector professionals to connect and collaborate at this celebration of international dance.

Tickets from £20.00 for Members onedanceuk.org/event/launch-2020

Tickets from £50.00 bit.ly/PasdeDeuxConference

Free for Members info@onedanceuk.org

17-19 July 2020 U.Dance 2020 Glasgow The National Youth Dance Festival is in Glasgow for the first time. Showcasing the nation’s young talent, the weekend is filled with performances, networking and workshops.

onedanceuk.org/u-dance The One Dance UK Magazine | Spring 2020 11

To the Point Feature Interview

Feature Interview

Dame Monica Mason DBE recently became Vice-President of the Royal Academy of Dance, following her long career as Principal Dancer, and subsequently Director, of The Royal Ballet.

She talks to Chief Executive Andrew Hurst about leadership, her inspirations and exciting new challenges.

Photo: Johan Persson

Photos: Foteini Christofilopoulou

Royal Academy of Dance workshop

12 The One Dance UK Magazine | Spring 2020

It’s an exciting time for the Royal Academy of Dance (RAD), celebrating their centenary and preparing to move to a new home, with you taking on a new role there too. What are you most looking forward to?

Remembering how all the members of The Royal Ballet responded to moving into a custom designed building, I can only imagine that the entire staff of the RAD will react similarly. To have more space and more studios will inspire everyone to dream even bigger dreams. They will surely also consider laying positive foundations for the next 100 years.

This new purpose-built headquarters in Battersea will also allow the RAD to inspire their local community, with lots of opportunities for everyone to make use of their new home for dance. The new building is 60,000 sq.ft, almost double the footprint of the existing one, enabling the RAD to meet increasing demand for dance classes and workshops for people of all ages and abilities. As well as seven new state of the art dance studios, this new space will have a beautiful new theatre, which I am sure will be a great source of pleasure for young students taking their first steps on the stage, as well as an incredible resource for local artists.

“My training completely set me up for my career, but of course the studying never ends.”

What sort of attributes and skills do you think people need to lead a large organisation such as The Royal Ballet or the RAD, which both have such a long history and so many moving parts?

No two Directors are ever the same but having a passion for each particular world is essential, as is having knowledge and experience of those worlds.

The skills required are many and varied: creativity, imagination, determination, energy, a love of hard work, a sense of humour, a belief in the young… but most importantly, a love of the art form.

Dame Monica Mason DBE

Step into Dance

The One Dance UK Magazine | Spring 2020 13

Feature Interview

Feature Interview

In recent years, how have you seen the dance sector change?

The dance sector has grown and developed in my 60 years in the theatre in ways one could hardly have foreseen.

The importance of dance education in all its guises is leading now to a real appreciation of the part that exercise and dance can play in health and wellbeing.

Alongside this, there have been enormous changes in welfare and care for dancers both during their time on stage, and after their careers have ended. There is constant growth of new companies and the ever-increasing interest in an enormously wide variety of dance forms.

You have had a keen interest in the health and welfare of dancers throughout your career which is something very important to us all at One Dance UK. How does this work benefit the dance sector?

I think that One Dance UK continues to play a very important part in the dance sector. I think the organisation’s work around health and wellbeing in particular, has seen real change in the industry and will continue to grow, influencing companies and individual dancers, and those concerned with the care of practitioners in this wonderful world.

What advice would you give teachers and choreographers of young people, to ensure they provide a safe and healthy environment for growing young artists?

Communication is vital for everyone everywhere. Keep in touch and try never to become isolated.

The Margot Fonteyn International Ballet Competition (formerly the Genée International Ballet Competition) returns to London this year at the Royal Opera House. It must be so inspiring for the candidates to rehearse and perform in such an iconic building, which you of course know very well. What do you hope they take away from the experience?

The Fonteyn is a perfect opportunity for young dancers to experience meeting others from around the world, to receive highquality coaching, to meet a big challenge early in a career and in this instance to dance on a very big stage in a great theatre.

Finally, what are the things that inspire you to continue be so active in the dance world after all these years?

Many things continue to inspire me. My love of dance in all its forms, the expression and emotion required to communicate through dance and the chance to help young dancers to discover how far they can push themselves and what they can achieve.

My love of music and finding a way to learn how to breathe and ‘be at one’ with the music. My love of new creations and my admiration for talent and the chance to continue to learn and experience new things.

I find fun and joy in the company of like-minded people, and an ongoing wonder at the arts in general, and what they contribute to our lives. I’m inspired by all the people who taught me, all the great dancers I’ve watched and known, and all the choreographers I’ve been lucky enough to work with.

100 Events in 100 Places

Darrion Sellman, Gold Medallist Genée International Ballet Competition 2019

To celebrate the centenary year, the RAD is planning a programme of events and initiatives throughout 2020, designed to celebrate the past, present and future of the renowned dance organisation with a global dance community.

See a selection of calendar highlights here: Pioneers of the RAD: Focus on Phyllis Bedells (Webinar) 26 March, Online This webinar will introduce participants to one of the founders of the Royal Academy of Dance, by briefly examining the context and career of Phyllis Bedells (1893-1985) – a pioneer of ballet pedagogy in the 20th century and a founder of the RAD. Other webinars will take place throughout the year focusing on other pioneers – check the website for details.

Royal Academy of Dance’s Faculty of Education

14 The One Dance UK Magazine | Spring 2020

Genée International Ballet Competition 2019 coaching

“The centenary offers a chance to celebrate all that we have achieved, but also to focus on what achievements lie ahead.”

Gerard Charles, Artistic Director of the Royal Academy of Dance

Photo: Michael Slobodian

Photo: Top: Tim Cross ;Left: David Tett; Right: Bruce Zinger

Gerard Charles,Artistic Director of the Royal Academy of Dance,looks at the organisation’s proud history and tells us of the recent programmes which have enhanced its reach and influence.

Introductory Benesh Workshop 21 May, RAD Headquarters, London The Introductory Benesh workshop is a fun, practical, interactive and friendly introduction to basic Benesh Movement Notation (BMN). No prior knowledge of BMN is required to take part.

Into Dance Making April-May (various dates) RAD Headquarters, London A guided choreography project providing young people with the skills and tools to create, craft and develop their own dance work, using the theme of 100 years of dance in this special Centenary year. Organised by Step into Dance.

Past, Present, Future It’s a great time to be Artistic Director of the Royal Academy of Dance - looking back on a century of achievement (for which I can claim no credit), while also being responsible for setting the foundations for the next 100 years.

The RAD was founded by a group of teachers and renowned dancers from five different national schools, who came together to raise the standards of dance teaching. We grew from, and continue to be part of, an ecosystem of dance around the world. Over 100 years the RAD has engaged with millions of dance students, many of whom are now active professional dancers, teachers or directors, who hold the future of dance in their hands.

From a core of just over 100 British teachers, there are now over 8,000 RAD teachers in 89 countries around the world. I see the passion and hard work of so many individuals that has made this collective success

There are 100 events taking place in 100 places across the UK and around the world, including online sessions and a major free to enter display at the Victoria & Albert Museum, open from May 2020.

possible. It is a huge blessing that our Presidents, Adeline Genée, Margot Fonteyn, Antoinette Sibley and Darcey Bussell, have assured a valuable connection with the ballet profession. I believe a strong link to professional dance is essential to our future.

We have all benefited from those who have come before us and so we have a responsibility to leave a better place for those who follow us. We all start our dance journey somewhere, and for many people that place has been the RAD. I want to highlight the positive impact of our teachers’ dedication and passion on so many people every day, across a diverse array of contexts.

Making quality dance training available to all has been at the heart of the RAD since its founding and we wish to continue to encourage access to as diverse a community as possible. Recently developed programmes include: Silver Swans for dancers over 55; Project B to encourage male

dancers; Step Into Dance (with the Jack Petchey Foundation) offering dance in 200 secondary schools (including SEND); and for 20 years RADiate has served children on the autism spectrum. Dance should be an option for anyone that wants to benefit from it.

With the ever-increasing physical demands of dance, safe and effective dance training is of even greater importance today. Secure in our core values, we must empower our global dance community to meet the challenges of the next 100 years and continue the stewardship of the art form that we all care so much about.

On Point: Royal Academy of Dance at 100 1 May 2020 - February 2021 Victoria & Albert Museum, London A display at the V&A in London celebrating 100 years of the RAD’s significant contribution to the development of British ballet.

The display will present costumes, designs, photographs and more from the RAD’s archive and the V&A’s Theatre & Performance Collection, exploring the RAD’s story from its foundation to its influence on ballet and dance internationally.

Original ballet costumes and accessories worn by RAD founders and Presidents will be on display, along with 75 original objects, over 80 supporting images, and many more.

The opening of the display will coincide with the V&A’s annual Performance Festival (25 April – 3 May), which will celebrate dance in all its forms with a wide range of special events taking place throughout the museum. The programme includes a special RAD Weekender from Friday 1 - Sunday 3 May.

Dance photography course 6-7 June, V&A Museum, London Take your photography skills and knowledge to the next level with this two-day workshop at the V&A. In a series of progressive tasks with dancers you’ll learn how best to photograph them under the expert guidance of specialist photographer Simon Tomkinson, culminating in a valuable discussion about taking your next step in photography and how to bring your own ideas to life.

The Margot Fonteyn International Ballet Competition 2020 27 August- 5 September Royal Opera House, London The RAD’s flagship event and the first competition under its new name. The final will be held at the Royal Opera House.

Mapping Dance and Dance Teaching: past(s), present and future(s) 4 & 5 September University of Roehampton This conference will focus on how histories and practices of dance and dance teaching from the past have and will inform current and future knowledge, understanding and practices. For dance teachers, practitioners, researchers and educators.

Further information For more information on the Royal Academy of Dance and the centenary celebrations please visit royalacademyofdance.org/RAD100

Wandsworth Arts Fringe (WAF) 8-24 May, Wandsworth A celebratory festival of art in all its forms – theatre, music, dance, visual art and all things in between, taking place in the home borough of the Royal Academy of Dance headquarters.

Workshops, performances and tours of the RAD archives will be on offer as part of WAF.

This is a shortened version of an article originally published in Dancing Times The One Dance UK Magazine | Spring 2020 15

Special Feature

Let’s Create the Future A look at the recently launched 10-year strategy from Arts Council England and how it impacts dance, by Cate Canniffe, Director, Dance,Arts Council England

NATIONAL CENTRES FOR ADVANCED TRAINING

World-class dance training for young people

National Centres for Advanced Training (CATs) provide high-quality dance training to young people. Students benefit from world-class specialist tuition in their region, whilst continuing to live at home in full-time education. Supported by the Department for Education’s Music and Dance Scheme, means-tested grants are available for individuals to access funding to support the costs of the programme.

Supported by

Each centre is unique in their delivery of the scheme, some embracing Contemporary Dance whilst others focus on Ballet, Circus Arts, South Asian Dance and Urban Dance.

To find out more and to discover your nearest CAT, please visit nationaldancecats.co.uk @DanceCats_news

16 The One Dance UK Magazine | Spring 2020

@natdancecatuk

@natdancecats

Photo: Top: Fuel Productions – Barber Shop Chronicles. Photo Marc Brenner; Bottom: Phillippa Gedge

nationaldancecats.co.uk

Cate Canniffe Arts Council England

On 27 January 2020, we shared Let’s Create. It outlines a vision for the next decade, one in which the creativity of each and every one of us is valued and given the chance to flourish; and where all of us have access to a remarkable range of high-quality cultural experiences.

It seems such a long time ago when, in Spring 2018, I sat down with independent dance creatives in Leeds and London to talk about what they wanted to see in the Arts Council’s new strategy. Some of their concerns highlighted that small organisations and artists need support to engage with both local communities and national/ international networks.

Since that time, we’ve consulted with a wide range of people across the public and the arts sector – capturing the perspectives of thousands of people. With their input, Let’s Create has developed into something that I hope addresses some of the challenges and aspirations raised; both by those dance creatives I met personally, but also all those who have participated in our wide-ranging consultation process.

Let’s Create the next ten years “Let’s Create is an Over the next ten years, we ambitious strategy want to put more emphasis on support for artists and and one which could independent creatives. We want really shift the to support the cultural sector to generate new ideas, to work landscape of dance in partnership and to develop and culture in this talent from every community. country over the We want to give communities everywhere more opportunity next 10 years. ” to design and develop the culture on offer to them.

Let’s Create sets out three outcomes that we are looking to achieve.

Desired Outcomes – Let’s Create

The One Dance UK Magazine | Spring 2020 17

Special Feature

“Dance is one of the most internationally facing of the artforms that Arts Council supports.”

Left: Rich Mix – Allo Mate Live Right: Sian Green takes centre stage, inspired by the film Black Swan, commissioned by People Dancing.

Bottom: Shobana Jeyasingh – Seniors Workshop

Special Feature Let’s Create for everyone, everywhere Let’s Create is an invitation to everyone who believes in the value of arts, culture and creativity to come together and create new opportunities for every person in England to be creative and to enjoy brilliant culture.

I believe dance is well placed to deliver Let’s Create, with strengths like high participation, talent development routes and international reach – to name but a few - chiming well with the outcomes.

We know there is demand from people of all ages and backgrounds for opportunities to dance, whether it be for health, wellbeing, sociability or just trying something new. There are many exciting examples of dance projects already working to fulfil this demand, whilst also working with communities to explore and develop their creativity.

Performances such as Newcastle’s Southpaw Dance Company opening Brent 2020

(London Borough of Culture) with Rise – a performance from 300 local participants.

Or at a smaller scale, Bristol’s Still House working with Tottenham-based Steppaz Performing Arts Academy to deliver Session – a part performance, part outdoor party extravaganza that was all fun! And of course, who could forget the amazing Peterborough Presents Diwali V Zombie Walk!

As well as the financial underpinning provided to individuals and organisations by international touring, we collaborate and learn from so many other cultures and countries. Let’s Create celebrates that outward facing approach.

Programmes such as Centres for Advanced Training and the National Youth Dance Company are providing essential talent development opportunities for children and young people, but we know there is more that can be done.

We know that dance can play a bigger role across the country.

Let’s Create for dance Let’s Create builds on the achievements of the last decade, but also gives us the opportunity to take on a development role beyond the organisations we have traditionally funded – embracing the wider cultural sector in England.

We know that there is loads of dance happening in communities – whether it’s Bharatanatyam, ballroom, tap or English Folk dance. We want to celebrate dance in all its forms and Let’s Create provides us with a wonderful opportunity to do exactly that.

Let’s Create a future We know that talent is everywhere, but opportunity is not. There are gaps in progression routes – geographically and by genre. Let’s Create sets out an ambition to change that.

We want arts organisations, museums, theatres and libraries to be an important part of every community; bringing people together,

supporting local economies and helping to improve lives.

Of course, none of this will be possible without taking note of how we run our businesses – small and large. Without thinking about the environment and our impact on it.

Without focusing on the quality of what we make – whether for the stage or a community park. And most importantly, continuing to strive to make our workforce representative of the whole community. That’s why the three outcomes will be underpinned by four Investment Principles. They will steer how we are able to deliver the outcomes.

In April 2020, we will be publishing our plan of how we expect to deliver the first three years. But none of this will be possible without you!

I’m really looking forward to working with you to put dance at the heart of the strategy.

Let’s (get out there and) Create!

Further information For more information about Let’s Create or any of the Arts Council’s funding opportunities, including National Lottery Project Grants and Developing your Creative Practice, visit: artscouncil.org.uk.

Investment Principles– Let’s Create

MA Advanced Dance Performance Next start date Oct 2020

Audition Leeds (Northern Ballet) Sunday 26 April

Photo: Left: William Adoasi; Right: Sean Goldthorpe; Bottom: Jason Thompson

The audition is free but booking is ESSENTIAL. Book your place: http://bit.ly/MA2020auditions

Pictured: The Collective Company 2019/20

dancecityta.co.uk / 0191 261 0505 @dancecitytrainingacademy 18 The One Dance UK Magazine | Spring 2020

The One Dance UK Magazine | Spring 2020 19

Special Focus on Safety

sity

er (Validated by Univ

By Erin Sanchez Manager of Health, Wellbeing and Performance and the National Institute of Dance Medicine and Science

When did you last feel most safe?

Try to remember it clearly. Who were you with? What were you doing? How did you feel?

And when did you last risk something? How did you feel?

What would have made you feel safer in this situation?

The word safety is most often discussed in the context of ‘health and safety’ - the regulations, rules, and procedures that aim to prevent accidents, and the risk assessments that aim to prepare us for danger in our environments. But often in dance, our work is about pushing boundaries, trailblazing, exploring, or making new connections – all of which incurs a level of risk.

In this issue of One, we’re exploring how safety can support us in relationship to the educational, professional, personal, and artistic risks that are a part life as a dance professional. Safety is not being free from risk, but instead safety is being prepared for the possible challenges we may face, having the information and autonomy to make informed choices, and having support to address and manage danger and uncertainly.

One Dance UK’s work as a sector support organisation aims to help the dance workforce to take risks with support, knowledge, and resources to hand. Our Healthier Dancer Programme (HDP) and our partnership with the National

Institute of Dance Medicine and Science is a great example of our philosophy about safety and risk.

Together, we provide education and resources to reduce the risks of both physical and psychological injury through healthy practices around training, nutrition, and physical and mental health through our range of Information Sheets, including a brand new sheet on pelvic floor health (see page 44), partnerships with educational leaders like Safe in Dance International, signposting to digital resources from brilliant organisations like Youth Protection Advocates in Dance and Dance Knowledge (see page 45), and provision of Healthier Dancer Talks, delivered by our expert HDP Speakers List.

However, injury can and does happen, even if you train well, eat well, and look after your physical and mental health.

Accidents happen, and very few people know everything about how to be healthy all the time. Injury can teach you what you need to do to take care of your body and mind. In light of this, we provide support for when injury does occur through free NHS-based dance medicine clinics, open to all dance professionals and students, our Healthcare Practitioners Directory of private dance specialists, and our Performance Optimisation Package, a cash plan to help cover the costs of private healthcare, provide

Highlights

Course Enquiries

rg/ba-degree .o e tr a e th e c n a d www.irie etheatre.org e: ba@iriedanc 99 t: 0208 691 60

mber 2020

pte Auditioning for Se

Photography: Irven Lewis. Graphic design: Darryl Hartley

22

Safe to Take Risks?

Safeguarding the Creative Process at Rambert School by Phaedra Pestilas

24

Protecting Your Image Making the most of dance photography in a safe way

by Dani Bower with Irving David

28

Durability by Design Art, business, and maintaining peak performance at Cirque du Soleil

by Erin Sanchez

30

The Power of Community How community dance, when practiced safely, can have huge benefits

by Leanne Welland with Chris Stenton and Claire Morris

35

Vintage Dance, Not Values The importance of consent in swing dance, by Nancy Hitzig

36

Using Technology to Monitor Workload in Dance Training Periodising training at London Contemporary Dance School by Kim Hutt

40

Measuring the Dancer’s Growth and Development Reliable ways to assess adolescent dancers’ development by Dr Nico Kolokythas

an annual health MOT, and connect you with free 24-hour counselling services.

When you feel safe, you feel safe to take risks. In psychological terms, social environments characterised by psychological safety are predicated on mutual trust between members of the group. This trust leads to outcomes such as innovation and less concern over negative consequences of expressing a new idea.

Safety is finding the courage to embrace risk, face challenge, and recognise that with support, knowledge, and self-belief, we can surpass limitations.

A true feeling of safety is fundamentally important to our work in dance because is it only by taking risks that we can be challenged and grow.

Safety

Creating r o f s r e c n a d the Global Community

tyles S e c n a D e s r e iv D ) BA(Hons of Roehampton)

Photo: Dani Bower for One Dance UK

, n a e b b i r a C , n a c Afri d n a y r a r o p m e t n Co e c n a D n Urba

Introduction

The One Dance UK Magazine | Spring 2020 21

Special Focus on Safety

Safe toTake Risks?

Students at Rambert School recently explored how to promote mental wellbeing and safeguard vulnerability in the dance studio.

Special Focus on Safety

“ What I learnt is that mental health and mental wellbeing is different for everyone.It made me think about what questions I need to ask myself to form this overall safeguarding process for myself.”

Lily, Rambert School Student

Photo: James Keates Photography

Phaedra Petsilas Head of Studies at Rambert School

I wish to start by paying tribute to the amazing team of people that came together to make Safeguarding the Creative Process project happen. The team were drawn together by the passion to support the next generation of dance artists in developing strategies for wellbeing and emotional safety within their practice.

Being at the forefront of the pre-professional stage, Rambert School sought conversations with colleagues from various practices to draw out the mirroring between training and the dance industry.

Stuart Waters was already exploring notions of mental wellbeing and safeguarding through his own creative processes in Rockbottom, and was the driving force in starting this very important conversation with Rambert School. We immediately connected by our shared passion for innovating training to include more awareness of the whole self, and by bringing Stuart’s own safeguarding practice into a training context we opened

•D evelop resilience and agency in young dancers •A pply strategies to safeguard ‘risk’ •E mpower young dancers to safeguard their mental wellbeing •E ncourage self-regulation within creative processes We were also keen to discover how we could innovate vocational training to incorporate a proactive approach to mental wellbeing, and to prepare the

22 The One Dance UK Magazine | Spring 2020

next generation of dancers to perspective, it is about following develop and maintain a praxis of a code of ethics – practices resilience within the multitude that have wellbeing and of creative processes they may safeguarding at their core. enter into.

Rambert School’s code of Stuart’s previous work practice for Student Support brought from the start the puts physical and emotional understanding that mental wellbeing at the heart of the health is not just connected to training, not as an add-on for a condition but relates to an when things go wrong. We attitude towards work, life, wanted to find ways to integrate relationships and community. this further within the studio A driving factor in our practice, and also empower collaboration was to discover young dancers to create their ways we can be proactively personal ‘emotional safety aware of emotional safety, toolbox’, by exploring with them focusing on the dancer’s health a variety of ways for self-care. in a holistic way, starting from The aim overall was to develop training. a personal in-built safeguarding The practice of good health practice for and with students is not a new concept. “A healthy which is transferable to any mind in a healthy body” has been creative situation. around since ancient times. We may have lost our way a little in the dance industry in the quest to push the boundaries of the art form. “Push yourself” is the writing on the wall; these are the words that dancers hear, internalise and believe in. But how much push is too much?

When it comes to the physical body we seem to know how to keep safe. But we were also keen “How do we empower to answer the question: what does safety and care look like for the young dancer before our mental wellbeing? leaving the training Conservatoires prepare context in order to go young dancers to enter a out into the industry competitive profession where expectations are constantly and have an open and shifting. In reaction to honest conversation with these demands, it is our codirectors and colleagues responsibility to respond to within the studio and not increasing demands and the deterioration of mental health be afraid to speak out?” in our industry. From my Stuart Waters

Photos: Rosie Powell

Phaedra Petsilas, Head of Studies at Rambert School, shares some of the findings of the collaborative project Safeguarding the Creative Process (2019),initiated by Stuart Waters, in partnership with Rambert School, The Conservatoire for Dance and Drama, and undertaken with guest artists Elsa Urmston, Steve Peck and Chris Nash. the conversation up. The other collaborators contributed their expertise in dance science and creative practice, which were invaluable to the process Stuart and myself were embarking on.

Focusing on this issue’s umbrella topic of Safety, I will discuss the project’s relation to risk ​in order to share our processes and how we co-discovered strategies for psychological wellbeing and safety from within the studio.

When I was preparing for this project, I felt a strong sense of responsibility to get it right, as we were setting off on uncharted territory. We were keen to discover, in collaboration with the students, what mental wellbeing and safety means for them and how they relate to their own sense of agency.

For me, it did not mean ‘compartmentalising’ mental health, but bringing self-care discussions into the studio, and integrating them within the training and creative process.

Our aims were to:

Rambert School students

In our time with the students we: •A ssessed at the beginning and at the end what ‘pushing boundaries’ and ‘risk’ meant in each artistic context we are working with •A pplied checking-in and checking-out strategies • I ncorporated mindfulness practice within the context of the studio •U sed creative dance processes to push participants out of comfort zones •U sed evidence-based processes in psychotherapy (psychological needs) and dance psychology (Flow, Growth mindset) within the studio through a series of workshop interventions with the students.

•E xplored self-portraiture (and the notion of curating the self) through a photography process to encourage an alternative viewpoint towards self and creativity.

•O penly discussed issues of consent, participation, vulnerability and agency.

•C ollected thoughts on how students feel about the importance of mental wellbeing and what they need to feel safe in preparation for their careers.

The ideas we explored, particularly that of risk, are often seen as the polar opposite of safety. Risk and vulnerability come hand in hand – the openness of the whole self within the creative moment in order to find what is authentic.

“What this project has done,which is really important, is to encourage students to make connections between how they are feeling and their health and wellbeing and how they are as artists.”

The myth of the suffering artist is often internalised by the dancer – working through pain, suffering for the art, concealing effort. Behind this façade, it is the whole person we need to train – to offer the tools and practices to be able to withstand the very process of being creative.

One of the most renowned choreographers in the 21st century, Ohad Naharin, has said: “…we must go beyond familiar limits daily.” Why not?

In order to innovate one needs to push boundaries and take risks. It is important, however, to have the skills and strategies to safeguard the whole self.

Remembering the motto – “A healthy mind in a healthy body” – the importance of that balance needs to feed into how we train young dancers. We want them to train for mind and body equally, encouraging a holistic view of the self.

In our view, and as a result of our project, this balance can lead to increased self-awareness within the act of being creative, as well as a balanced sense of self alongside agency and empowerment.

It may be time to re-write the codes of ethics within the dance industry.

Amanda Britton Rambert School Artistic Director and Principal

Rambert School students

Further information Rambert School celebrates their 100th year in 2020. A Celebration performance will take place at Linbury Theatre, Royal Opera House, 24 & 25 June rambertschool.org.uk stuartwaters.info cdd.ac.uk Images and film: Rosie Powell The One Dance UK Magazine | Spring 2020 23

Protecting Your Image Special Focus on Safety

Special Focus on Safety

Know your rights

“A photo release form is a legally binding document that grants a photographer permission to take photographs for personal or commercial use. It is always needed when a recognisable image of an individual will be distributed or commercially exploited “with the intention of receiving profit.”

‘Profit’ includes money, promotion of services or publication (for example, in a brochure or on a business card).

The ‘model’ or specified individual (such as a dancer) has to provide this written consent; can request payment by way of a fee or royalties; or can grant the photographer the right to use the images free of charge in return for the individual being able also to use the images for selfpromotion or in his or her portfolio or for posting on social media.

Photo release forms and agreements: what are my rights and expectations?

We asked Irving David, Head of Media Law at DWFM Beckman, who represents a range of dance professionals including dancers and photographers for his advice on this complicated subject.

With dance being a visual medium, getting the photography right to showcase your work is essential. But how can you ensure you are managing this process safely and effectively?

Dani Bower, Marketing and Communications Manager at One Dance UK and a freelance professional dance photographer, investigates working to capture the image you want,what to look out for when working with a new photographer and what constitutes copyright infringement.

Irving David Working with photographers safely When selecting a photographer, it is advisable to make sure that they come with recommendations and that they have experience shooting dance. One benefit of using an experienced dance photographer is that they will have a better idea of dance aesthetics and techniques and be able to work with you to get the best shot.

If the work is for your personal portfolio, before the shoot, ask for approval to see the images before they are posted elsewhere. It is advisable for dancers to put into writing that they require the right of approval of any images before they are released.

If you are working with a photographer that has a specific idea or style, it can be valuable to bring your dance experience to the planning process so that you can collaborate to get the best result. It’s advisable to talk things through in advance of the shoot, so that everyone is comfortable and happy.

If you haven’t worked with the photographer before or have not met them then we recommend bringing someone you know along to the shoot in case you start to feel uncomfortable. Remember - it is always ok to say no to something that could put you at risk of injury or that you feel uncomfortable doing.

24 The One Dance UK Magazine | Spring 2020

What if I don’t like the images?

Good communication in advance of the shoot can really help to avoid issues later on.

Likewise, it is always a good idea to check in with your photographer during the shoot to see if jumps etc. are being caught at the right time and at the most flattering angle throughout the shoot.

If you have pre-agreed approval rights with the photographer, you can always ask for certain images not to be used publicly.

In this instance, where possible, you could also offer to do a reshoot so that you and the photographer “sing from the same hymn sheet” the next time around.

Like any creative process this can be a difficult and a sometimes sensitive subject to approach but it is important to make sure you are being presented in the most professional way.

“Remember - it is always ok to say no to something that could put you at risk of injury or that you feel uncomfortable doing”

Photo: One Dance UK

Photo: One Dance UK

Dance is beautiful to photograph but can be extremely tricky to capture correctly.

Achieving an image with the right emotion and artistic intent, along with the desired technical dance aesthetic, takes time and experience and a good dialogue between the photographer and dance artist/s – communication is key!

Before going on the photoshoot, it is essential you speak with your photographer about safe working environments. An old warehouse or train track might seem like a great idea but your wellbeing should always come first. If, for example you are working en pointe, ensure you have an appropriate floor to do so. This is also the case for jumping/working in heels/breakin’ etc. as you can easily cause yourself injury by landing incorrectly on an uneven floor that is made of sand or concrete, for example. Ensure you are working in an environment that is appropriate for your style of dance and the poses you are hoping to capture.

Dani Bower on location with dancer Aishani Ghosh. With special thanks to Birmingham Museum & Art Gallery and SAMPAD Arts.

“The precise terms of a photo release form are subject to mutual discussion and agreement at the relevant time – nothing is engraved in stone.

Everything is negotiable.”

The requirement of a photo release form is an entirely separate matter from the question of who owns the copyright in the photographs taken at a session.

The copyright in any photographs taken will automatically belong to the photographer without any formality as soon as he or she ‘fixes’ i.e. reproduces them ‘in a material form’. For example, by printing copies of the images or publishing them online.

So, if there is any intention that you, the dancer, will own the copyright in the photographs, you will also need a so-called written ‘assignment of copyright’ in the photographs from the photographer to you. Strange as it may seem, this will apply even if you commissioned and paid the photographer to take the photographs.

There is one exception to this copyright ownership issue. The Copyright Act provides that where an employee creates a literary, artistic, dramatic or musical work entitled to copyright protection in the course of his or her employment, the copyright in that work will be owned by the employer rather than by the employee as soon as it is created. For the purposes of the Copyright Act, photographs and other images will generally be protected by copyright as artistic works.”

What if a brand or publication contacts me about using my images?

Bearing in mind Irving David’s comments about copyright ownership, in the first instance you must contact the photographer and ask him or her to liaise with, and negotiate rights for, third party image use. Otherwise you and the brand will be infringing the photographer’s copyright.

Any professional brand or its advertising agency will, of course, know this and will seek the necessary licence from the photographer but it is advisable that you point the brand in the right direction as soon as you are approached for an image. If you’re ever unsure, it’s always worth talking it through with your photographer.

Further information Dani Bower online gallery danibowerphotography.com One Dance UK members can access the below: Further guidance or advice on the legal issues raised in this article: contact Irving David at DWFM Beckman Solicitors, irving.david@dwfmbeckman.com One Dance UK Media Release template: Email: comms@onedanceuk.org

Turn over to read Dani’s Top Tips on taking images!

The One Dance UK Magazine | Spring 2020 25

Special Focus on Safety Dancer Aishani Ghosh by Dani Bower. With special thanks to Birmingham Museum & Art Gallery and SAMPAD Arts.

UCLanDance Centre for Excellence in Learning, Participation and Advocacy

Taking the Best Image – Top Tips

1

Photo: Dani Bower

Where possible, ensure the lighting is bright. For a more precise dance image the camera should ‘freeze’ the motion of the dancer, using a higher shutter speed. Not using a professional camera? This is also true for camera phones.

2 3 4 Make sure you match up your location to your piece or dance aesthetic, whether it be in a photography or dance studio, or out on location. If you are working on location consider whether the environment you’ve chosen will complement the story you want to tell, or whether it well distract/detract. The location you’re working in may also have an impact on the type of clothing you wear.

26 The One Dance UK Magazine | Spring 2020

Try to do to a site visit in advance. Apart from aesthetics, it is important to consider permissions, risks and flexibility when on location: do you have permission to take photographs there? Could there be any risks to your safety in doing so? Is there available space to get changed, warm up, or move into in case the environment doesn’t work well?

Variety and communication get the best results. Give your movement space within the image, as it can be jarring to crop out hands and feet in a dance image. An experienced photographer will most likely naturally do this as they work, but it is always good to keep checking in to be sure you are happy with the content being created.

• In Residence • Research • Outreach • Performance • Courses BA (Hons) Dance Performance and Teaching MA Dance and Somatic Wellbeing

uclan.ac.uk/dance

Special Focus on Safety

Special Focus on Safety

Durability by Design: art,business,and peak performance at Cirque du Soleil Erin Sanchez interviews Paul McGinley MSc, MCSP, about the unique qualities of his role as Director of Performance Medicine at Cirque du Soleil and the critical value of data to promote safety and sustainability in this most physical of artforms What did you do before you worked in the circus?

I came from the professional sports world. Directly before circus I was the Head of Performance Medical at Scottish Rugby, responsible for each of the medical teams across professional teams and the national representative team.

Photo: Cirque du Soleil

From that wide variety of professional experiences What is similar and what is different about this job?

At the end of the day, in both settings people are exercising, and using the whole of their bodies to do so. They are focused on trying to deliver outstanding achievements.

A key difference is the structure of a business and the structure of the way our teams work. In circus, we have multiple shows that are not based in one venue, that travel globally. You need to manage people who are remote or at a distance, while allowing environments to be autonomous, achieving their own agendas and being self sustaining, as much as is possible, as well as complying with the overall goals and objectives of a business that are established centrally.

As a clinician you’re expected to be capable of seeing anything that comes through the door. And that is what we face in circus, you’re expected to deal with first response, like in sports, where if someone gets a profound injury, we are the first responders who react to that.

There are many surfaces that 28 The One Dance UK Magazine | Spring 2020

our artists perform on – water bowls, trampolines, gymnastics style flooring for acrobatic work, and floors for dance and other activities. Our job is to provide emergency response in each of those contexts, but it requires a team around us of technicians that understand the nature of the equipment that we could be facing onstage and how to safely navigate through that or use it.

How do you structure the emergency response when people are performing such intensive - and often dangerous - movement?

We must be able to respond to any emergency onstage within one minute, and for specific acts where we have risk assessed the profile of the act and significance of something happening (if the risk of injury is high in this act or the nature of a rescue is complex should a rescue is required) we factor those things together, enabling us to make a decision about the risk profile for the act and whether we have a team of therapists standing at side of stage to respond in two seconds, or, somewhere in the facility that can respond within one minute.

And that’s a major part of what we do that is different to most performing arts environments. It is more of a sports model, where we establish emergency action plans, manage emergency response equipment, lead the emergency response teams and are the people to connect any injured artists to the external paramedic providers who then take them to a hospital if required.

Photo: Cirque du Soleil

At the office balancing on chairs from Crystal

What is the most surprising experience you’ve had in your role?

I did not appreciate the difference between our artists and sports people. With around 38% of the Cirque du Soleil cast coming from gymnastics backgrounds, you would think it would be just like sports. It’s absolutely not. Sport does not perform 10 times a week, or only 3 hours of training per week, (but potentially that can be 10+ performance hours per week) – it doesn’t have the 5 days a week schedule. That is hard, it’s a pace that is intense for our artists.

It’s also repetitive; the same music, the same actions, and so it runs the risk of being repetitive to the point where it is automated.

And that was a real surprise.

In sport, you have the capacity to win – to win games and to win a title. That’s the priority: “we need to win”.

Circus is about the creation of the art, and we’re a business.

It’s about having incredible show and being a leader in live entertainment in the world. In this environment, this company does not need to win the Super Bowl, it needs to have Super Bowl level performances every single night. It’s not about peak for that one off event, it’s ‘be ready to keep peaking’ time after time. Keep the outstanding nature of what you do, and make sure every time you deliver it – it is the same for the audience. That’s a different pressure, it means you have to think differently, it means you have to train differently, it means you have to prepare differently.

One of the things we’ve realised in assessing workload, when we see that sports teams talk about the ‘acute-chronic workload ratio’, they talk about the nature of the loading of their athletes such that significant change in loading volume leads to injury. Instability in loading – you’re unable to adapt to that so you potentially get injured.

We don’t really have those profound changes in load. We realised our artists get injured by volume, by doing a lot of training over a lot of time.

We’ve got to make sure we keep our people at the highest level possible – ‘maintenance’ as opposed to ‘peaking’ – it’s been the biggest surprise for me.

How does performance medicine operate at Cirque du Soleil? What is the role of data science, research and statistics in your work?

It’s fair to say that we are not as advanced as sports teams in our use of data science and that is something that we have been focusing on since I took up this post. Cirque du Soleil has been an early adopter of electronic medical records, we have wonderful volumes of data that we can potentially access. We have 1500 artists, and so the numbers are huge, and the opportunity to use the data is huge.

The data science approach started firstly to establish some consistent parameters that we can refer to across shows, and secondly, to connect our shows to our data.

We created an online platform and portal through a system called Power BI that would allow us to visualise data for each of our shows, including the breakdowns of their injury profilesand comparability in terms of injury rate, performance and severity.

In doing that, those shows could bust some myths about what areas needed focus and enable them to refocus, and to choose their priorities. Rather than being told centrally, ‘this is what your priority is’ we’ve asked them ‘What do you think you need to work on? What is your data telling you?’ and encourage them to make decisions around that.

What are the priorities of using data?

That was the larger part at the start, the clinical bias to what we were trying to achieve with our data – to improve quality of care.

But we cannot deny that we are a business, and close behind that is being business minded. We’ve got to understand that here are sometimes better ways to do things, and that better ways to do things could be improving care, but it could also be spending less money.

And so, the second part of our focus has been on reviewing models of care. So if an artist gets injured on tour internationally, my job is to make sure that they have the appropriate quality of care, that is intense, lasting, and encourages recovery as quickly as possible. That still emphasises quality care but is also good for the business.

Reflections clump from Crystal

That is one of the challenges that we face: being sure that we achieve quality care, but that we’re also saving the business money on unproductive time and length of time out, costs associated with going to an external provider as opposed to seeing an internal person who has Cirque-specific expertise. So our data has really helped us, when we combine our data from a medical point of view, more widely with other data such as financial data, we can really be more agile in our business models.

The last area where data is involved is in the wellness daily monitoring, including workload management and tracking workload. We have the ability to monitor our artists on a daily basis, and to combine that with their medical data. There is the capacity to combine data pools into researchable projects that hopefully will enable us to share some of our learnings and to change some of our ways of working for the positive benefit of the artists and for the business.

Tell us about your strategy to maintain ‘Durability by Design’ We created the pillars of Prepare, Perform, Recover as a mechanism to standardise our language. We want artists to ask “Does that help me with my preparation? Does it help me with performance? Does it help me with recovery?”

It’s something I’ve never had to do before – creating this concept, working with a branding team to market to ourselves to market to our

own staff to give us that vision of how we could potentially do things better and to give us that focus to say ‘ if it isn’t helping with this, is this something that we really need to do? Does it weigh up in the balance of our priorities?’

And it’s a critical point – it’s not just medicine, it’s not just strength and conditioning or performance science, it’s not just coaching, it’s not just our artistic directors – it’s actually for everyone, that we consider how to make it sustainable to do what they do over and over – which is reassuring to our artists, it’s reassuring for our staff. Durability by Design is not coming from Montreal, from Cirque du Soliel core management – but coming as a concept that enables each show to generate its own solutions to its own challenges, and to feel supported that it is a corporate message which is saying “yes, this is important to us.” It goes beyond caring for our artists, but also caring for ourselves.

Further information cirquedusoleil.com Crystal, Cirque du Soleil’s first show on ice, tours the UK until April 2020.

See some of the data on Cirque du Soleil’s work here: bit.ly/CirqueduSoleilData

The One Dance UK Magazine | Spring 2020 29

The Power of Community Special Focus on Safety

Special Focus on Safety

Community dance can be a powerful tool of self expression and social engagement for participants and brings with it a myriad of other benefits.

One Dance UK DanceAmbassador Leanne Welland talks to leaders in the field about how to practice safely and effectively, and the real change this can create.

“ To be truly inclusive is to provide a level playing field for all to engage, thrive and achieve.”

Photo: Indepen-dance

Above: Indepen-dance class Top: StopGap Dance Youth Company

As an advocate of inclusive dance, I am a strong believer that everyone can dance and should have the opportunity to dance. It is well documented that teaching dance, in all its forms, to children at a young age, can help develop a diverse range of skills, and carries additional benefits for health and education. However, even if someone is not taught dance from a young age, my belief is that dance is a valuable form of expression.

30 The One Dance UK Magazine | Spring 2020

What is ‘community dance’?

Community dance can happen anywhere and everywhere, includes different forms of dance and most importantly, aims to be highly inclusive.

People Dancing, the Foundation for Community Dance, defines community dance as “professional dance artists working with people”. We can determine community dance as opportunities that allow people to “access quality dance experiences irrespective of where they live, their age, gender, sexuality, race, disability, educational attainment or economic circumstance.”

What are some of the benefits for participants?

Community dance provides many social and cultural benefits, enhances wellbeing and encourages everyone to be creative in a safe space.

Laura Jones, Head of Talent Development at Stopgap Dance Company, says it can “build confidence and open up social opportunities, encouraging a sense of community and help against the feeling of isolation and loneliness.”

It generally promotes participation as opposed to performance and competition, which automatically takes

Photo: Chris Parkes

Martin Wilson, Executive Director, Tin Arts

the pressure off about being ‘perfect’ and allows those who engage in community dance to feel a notion of ‘becoming something bigger than themselves’.

Sam Nicholson, Creative Director of CandoHub, echoes this by stating that community dance plays a vital role, “creating bonds between so many people from varying backgrounds. Community dance is at the crux of creating a sense of togetherness, support and social wellbeing” There are many additional physical benefits to community dance. As with more formal

dance settings, community dance practice encourages artistic expression, and this in turn can improve balance, co-ordination and posture. Whether or not those who participate pursue it professionally or take it seriously, they have access to trying out new styles of movement. There is something special about community dance being so inclusive, particularly for those who may not take part in other fitness activities, as it allows a place to ‘move and think freely’, and the physical benefits just compliment it.

How can we practice safely?

How do we maintain safety when teaching community dance to make it as beneficial as possible? CandoHub’s Sam Nicholson notes that “it’s important for us as practitioners to be fully clued up on the groups we are teaching. We need to be aware of goals, limitations and injuries and be able to fully adapt to best suit our students”.

Karen Anderson, Artistic Director of Indepen-dance in Scotland, notes that before a dance step is taught, the space must be deemed safe for the particular needs on of the group. She says “venues for our organisation

pose the biggest challenge… Risk assessments have to be carried out before we hire a venue to ensure our participants can enter and exit safely and securely.”

It is clear that communication and the ability to adapt are both key when planning a successful, safe session.

Martin Wilson, Executive Director and co-founder at Tin Arts, explains: “Thinking about how a creative task could be shared with participants in a range of different ways BEFORE the session (for example) means that the chances of everyone being to take part regardless of their background are increased.”

The One Dance UK Magazine | Spring 2020 31

Photo: Left: Rachel Cherry; Top: People Dancing; Bottom: Ian Cuthbert

Special Focus on Safety Nicholson goes on to discuss the importance of encouraging participants to communicate how their bodies feel when moving, and for practitioners to continue their professional development.

The aim is to be able to fully cater to a range of needs without putting participants at risk. If we are teaching a participant who has Down’s syndrome, for instance, it needs to be known whether they may have certain conditions such as AAI – atlantoaxial instability of the neck, or hypermobility in the joints.

Imagination Arts, a Bedfordshire community dance organisation, often engages with young people with varying needs and vulnerable/elderly adults. They prioritise the dignity and safety of all participants and work to ensure no one feels left out or that they ‘can’t do’ a certain move. Having knowledge on adaptation is again key, as it ensures the class content can be tailored seamlessly. It also prevents participants’ risk of harming themselves.

As community dance is by definition inclusive to all, there are clearly some considerations that can help meet everyone’s abilities and needs. Karen Anderson outlines some essentials: “Safe and suitable venues, appropriate training in inclusive dance for the teachers, equipment that is PAT tested, ensuring appropriate policies and procedures are in place to ensure good practice.”

Some further questions we need to ask, according to Sam Nicholson, are: Has there been adequate warm up time? Has the participant had sufficient training to undertake a particular movement? Is a certain exercise or movement potentially harmful? Is the environment safe and suitable? Is the flooring safe?

“ I think a certain level of training is important, not just for the safety of the dancers and the leader,but also to make the opportunities as welcoming,accessible and beneficial as possible.”

Special Focus on Safety What next for community dance?

Hannah Reynolds, Director of Imagination Arts, says there is room for a strong development in social prescribing. “Dance for those with disabilities, or for the elderly community, is really coming to light because of the health benefits” and therefore, there is room for an increase in participation in dance for its social elements.

Recent projects such as Akademi’s Dance Well Project, Yorkshire Dance’s Dancing in Time,and Vital Arts/ Trinity Laban’s Older Adults Programme, all part of One Dance UK’s Dance in Health and Wellbeing network of projects, have been taking dance to older people with positive evidencebased results. Further projects are in the pipeline.

There are a lot of developments and impactful projects happening in community dance, but there are certainly more opportunities for growth. Jones says “It is a growing sector as more people are realising the benefits and importance of community dance, and there is more awareness of the need to encourage and cater for diversity and inclusion. I think developing clear networks and easy access to training opportunities will help the sector flourish even more.”

Echoing Laura’s statement, I believe there is room for development for training opportunities not only for practitioners, but also catering for individuals with different abilities and capabilities, including higher education pathways.

Everyone should have a non-judgemental place to enjoy dance and exercise. It is vital that we do all we can to maintain the safety and integrity of community dance so its many benefits can be delivered, allowing access for those who may rarely be offered it.

Laura Jones, Head of Talent Development Stopgap Dance 32 The One Dance UK Magazine | Spring 2020

People, dancing

People Dancing Summer School 2019

“We need to look at the ability in an individual, not focus on the label and therefore not put a cap on our expectations” Sam Nicholson, Creative Director, CandoHub

Further information Read One Dance UK’s 1-minute guide to dance and health: bit.ly/QuickDanceHealthGuide CandoHub candohub.co.uk Imagination Arts facebook.com/ImaginationArts18 Indepen-Dance indepen-dance.org.uk Tin Arts tin-arts.co.uk

A message from Chris Stenton, Executive Director, People Dancing

communitydance.org.uk

Community Dance in Action Fallen Angels Dance Theatre exists to support adults in recovery from addiction and mental health challenges to transform their lives through dance theatre. Based in the North West of England, Fallen Angels currently supports recovery community groups in three areas: Chester, Liverpool and Leigh, Greater Manchester, as well as working within criminal justice and other community settings.

Fallen Angels has developed its practice through Artistic Director Paul Bayes Kitcher’s (former soloist at Birmingham Royal Ballet) work in dance within recovery settings since 2009. With over 10 years’ experience in this field, we felt it was the right time to document and share practice with others.

Fallen Angels hopes to develop a continuing professional development (CPD) toolkit and offer for community dance practitioners. Harnessing their

“ We are overwhelmed with gratitude to be awarded this funding.It will enable us to reach out further to support people in recovery by strengthening our organisation.We are absolutely over the moon!”

Paul Bayes Kitcher, Artistic Director, Fallen Angels Dance Theatre

Fallen Angels Dance Theatre

Community and participatory dance are an established part of the UK dance scene. They began as an approach to increasing participation in dance programmes in the late 1970s, based on a broader vision for what dance is and who could dance.

40 years on, and practices are embedded.

Participation and engagement have exponentially increased since the early days, mirroring growth in the workforce and reflecting dance artists’ extraordinary skills in entrepreneurship and resilience.

Our last survey suggests that 4.8 million people participate in dance nationwide, in myriad ways across diverse contexts and locations.

The workforce is diverse, and includes dance artists, teachers, community artists and activists who continue to drive forward inclusive dance.

People Dancing is the organisation for community and participatory dance. Formed in 1986 by dance artists pioneering new ways of working, the organisation has grown to a membership network of 2,500+,

with a programme of professional development opportunities and creative development programmes about specific areas of practice.

The starting point for People Dancing is our artistic values, and an absolute commitment to quality. These underpin how we champion equality, diversity and inclusion and we encourage those working in community dance: • To place people, their aspirations, rights and choices at the centre • To respect everyone’s right of equal access to quality experiences in dance of all kinds • Not to be limited by form, style or convention • To contribute positively to people’s health and wellbeing, resilience, social relationships and creative learning It’s about people, dancing in the way that’s right for them.

Sometimes it’s about making art, individually or collectively; sometimes people dance for a specific reason; sometimes it’s about just dancing. It’s every-day and out of this world, wonderfully messy, and deeply human.

Community Dance Essentials Know what’s expected.

Being able to ‘read the room’ as a dance leader, to connect, communicate and include, is crucial. People Dancing’s Code of Professional Conduct – describing behaviours - and National Occupational Standards – describing competencies – are worth checking out.

Safeguarding is key Community dance needs opportunities for individuals and communities to operate creatively and artistically in a safe space. We offer practical support and resources for individuals and organisations.

Network and upskill Engaging with information services and networks is a great was to connect with others in the field. For example, People Dancing offers three Practice Networks (Early years, inclusive dance, dance for people living with Parkinson’s), free to access e-newsletters and a Summer School for practitioners.

Reaching out through dance and recovery,

by Claire Morris, Executive Director of Fallen Angels Dance Theatre unique practice this will be co-developed with people in recovery. They will initiate the activity through conversations with the dance sector to see how their practice can support others working with vulnerable adults and within more diverse dance settings.

An independent specialist research team will document and evaluate Fallen Angels sessions in the community and help them to distil their creative methodologies. This will underpin the CPD toolkit, which will be tested and refined through pilot programmes with strategic partners including One Dance UK, Swindon Dance and Rubicon Dance, Cardiff.

The toolkit will then be promoted and launched nationally thereafter.

This is an especially exciting time for Fallen Angels as they embark on a whole organisational development

period with funding from Arts Council England’s Elevate programme, which was announced earlier this year: The Elevate programme has come at a crucial point in Fallen Angels’ history. The funding will support the team to build on their success, sustain provision and become more resilient. Further, they will extend their reach and continue to lead the sector in participantled practice for supporting people in recovery from addiction to transform their lives and share the recovery journey, through dance, performance and creativity.

They hope to strengthen resilience, develop new sources of income, broker partnerships and enhance collaborative working.

Further information fallenangelsdancetheatre.co.uk claire@fallenangelsdancetheatre.co.uk

The One Dance UK Magazine | Spring 2020 33

Special Focus on Safety

Vintage Dance,notValues: leading with consent

Join the Royal Academy of Dance in celebrating 100 years of teaching the world to dance

Looking at managing consent in swing dance by Nancy Hitzig, Co-Artistic Director of Swing Sister Swing

#RAD100 royalacademyofdance.org/ RAD100

Nancy Hitzig

Photo: WinkiPop Media Royal Academy of Dance ® is a charity registered in England & Wales No. 312826

Nancy Hitzig with Stephen Atemie

There are many reasons you may enter the world of swing dance. For love – you were dragged by a friend/partner.

For entertainment – you adore jazz music. For an escape – the venue is steps from home…

Whatever the motive, you’re there and the air is filled with equal parts excitement and vulnerability. These emotions surge with every ask to dance. Each ‘yes’ gives way to an invitation for a stranger to step into your arms and into your personal space.

Start your journey to a

at the No.1 College in Greater Manchester

*

APPLY NOW

tmc.ac.uk

*Ranked the number one college in Greater Manchester for overall achievement (National Achievement Rates Table 2017/18)

34 The One Dance UK Magazine | Spring 2020

Photos: Left: Fredrik Lindbom; Right: Tim Gee

CAREER IN DANCE

“Teachers of swing and social dance are now combining lessons on technique with the importance of consent.”

This vulnerable, yet precious, moment is why I fell in love with swing dance – I often revel in the energy of a social dance where what we make together doesn’t seem to exist when we’re apart. But, it’s also a world and an embrace that people can take advantage of.

Our community likes to believe our powerful bond and united love of all things jazz has made us immune to society’s imperfections. The truth: swing dancing is a microcosm of society and because our community is small, the issue of consent is magnified.

As the #MeToo movement exploded onto the world’s stage, we were not immune.

Our beautiful swing dance community was rocked with a series of allegations: high profile teachers accused of alleged sexual misconduct against other teachers and students. These individuals were highly regarded by everyone – myself included.

Behind my shock rose the realisation that I too, have experienced violations of consent in the swing dance community. My responses have ranged from feigning ignorance to confrontation. My inconsistency in response, desire to enjoy my participation and passion for sharing this joy with others is the reason I’ve joined efforts to eradicate this issue.

One of the greatest strengths of our tight-knit community is its ability to see issues, self-critique and adapt.

In 2016, the Metropolitan Police launched Ask Angela.

The UK-wide campaign aims to give people a discreet way of communicating to the staff in a public area such as a bar, cinema or restaurant that they feel unsafe or threatened.

The application of this in our world is now seen on posters reminding dancers we can go to the event manager or a volunteer and ‘ask for Angela’, should the need arise.

Vocalising consent is being emphasised, as well as role modelling it from the start.

We now teach our beginners that asking for a dance literally means using your words, and that ‘no’ is a perfectly acceptable answer – one that should be delivered as well as received with grace.

To an outsider these may seem like small steps, but to our community they represent a massive shift.

Swing may be a vintage form of dance, but we’re choosing to lead with modern values.

A choice that not only elevates our craft, but also lets the beauty of a swing out and its embrace go beyond our jazzfilled walls.

Further information Nancy Hitzig is the Co-Artistic Director, alongside Cat Foley, of Swing Sister Swing – a company dedicated to producing female-led original shows and public programmes that promote female empowerment, social inclusion and the joy of swing dance for all. @swingsisterswing swingsisterswing.com.

The One Dance UK Magazine | Spring 2020 35

Special Focus on Safety

Special Focus on Safety

UsingTechnology to Monitor Workload in DanceTraining

Dance teachers at London Contemporary Dance School have embraced the innovation and have reported enjoying the challenge of reconsidering the delivery of the classes.

Students have subjectively reported enjoying the feeling of being physically pushed, with the comfort of knowing that there will be recovery classes.

Objectively, there has been a 20% reduction in injuries, when compared to the same time period the previous year.

During an era of evolving technological advances, data is being collected more efficiently within sport and dance. Some larger dance schools and companies benefit from software packages that

By Kim Hutt, Head of Physical Support, London Contemporary Dance School Dance science is a growing practice within an art steeped in tradition, and scientific concepts are now becoming more widely accepted by dancers and dance educators.

Principles of periodisation have been introduced in to dance curricula since 2000 and are now being more commonly used within dance institutions and companies.

“The concept of periodisation aims to help optimise dancers’ preparation for performance. It involves breaking down the days, weeks and months before performances into periods of

time where different priorities are given to different types of physical and mental training depending on the total length of time available, the type of preparation needed and the proximity of the performance.”1 Due to the multifaceted nature of dance, periodisation, by definition, is virtually impossible to include into a full-time dance degree, however London Contemporary Dance School has been monitoring the physical intensities of technique classes across its students’ programme with some promising results.

Monitoring training load is the first step to periodising training.

Training load is calculated by using one of two equations:

Equations for Calculating Training Load Equation 01 Training Volume (duration of training) X Training Intensity = Training Load

Equation 02 2,3 Session rate of perceived exertion (RPE) X Duration (minutes) = Training Load

Once training load is captured, it is possible to manipulate that load to allow for training phases and sessions focused on specific goals.

London Contemporary Dance School’s system of load monitoring has introduced intensities that are aligned with exercise prescription to stimulate the aerobic and anaerobic systems, based on the following guidelines:

London Contemporary Dance School students, The Place

36 The One Dance UK Magazine | Spring 2020

and the Physical Support Team.

Simply inputting a student name into the automatically generated live spreadsheet will reveal not only the student’s fitness scores for their most recent test, but will also provide their improvement (or decline) as a percentage from their previous tests and the previous year.

All students are also given an ‘overall fitness score’, which along with all individual tests are placed into quartiles to provide an indication of their fitness levels compared to other students and in relation to the maximal score.

Using a simple mail merge, students receive their results following each test day, along with an advice sheet explaining the implications of their results.

Term 1 Term 2 Term 3 Term 1 Term 2 Total Term 1 Term 2 Term 3 Term Term Total

-2 Raw -3 Raw Year Max % Max % Max % 1-2 2-3 Year Diff Diff Raw Diff Diff % Diff % Diff %

Term 1 Term 2 Term 3 Term 1 Quartile Quartile Quartile Rank

Term 2 Rank

Term 3 Rank

85

85

85

0

0

0

100%

100%

100%

0%

0%

0%

75-100% 75-100% 75-100% 1/122

1/108

1/75

50

58

60

8

2

10

83%

97%

100%

16%

3%

20%

75-100% 75-100% 75-100% 3/121

4/107

1/73

62

95

120

33

25

58

21%

32%

40%

53%

26%

94%

0-25% 25-50% 25-50% 97/121 76/109 55/75

57

75

100

18

25

48

19%

25% 33% 32%

33% 75% 0-25% 0-25% 25-50% 103/121 94/108 70/75

84

85

100

1

15

16

84%

85%

100%

1%

18%

19%

75-100% 75-100% 75-100% 9/121

8/108

1/73

Table 1 provides an example of the heart rate zones found in a single contemporary dance class at London Contemporary Dance School. Rarely do dance classes provide such cardiorespiratory stimulus. Usually dance classes are less intense for the cardiovascular system, and thus heart rates would be lower for longer periods in the class.

89

89

97

0

8

8

89%

89%

97%

0%

9%

9%

75-100% 75-100% 75-100% 5/121

9/106

4/73

126

100

95

-26

-5

-31

42%

33%

32%

-21%

-5%

-25%

25-50% 25-50% 25-50% 40/121 75/107 52/69

120

150

180

30

30

60

40%

50%

60%

25%

20%

50%

25-50% 25-50% 50-75% 50/120 38/103 37/75

Table 1 Time spent in heart rate zones taken from a heart rate monitor during a 1-hour contemporary class.

55

The dancer’s day is structured so that higher intensity classes sit alongside lighter intensity classes, or recovery classes to avoid overtraining and burnout.

Heart rate zone (beats per minute)

102 — 150 — — 48 20% — 30% — — 47% 0-25% — 25-50% 68/111 — 27/80 Term 1 Term 2 Term 3 Term 1 Term 2 Total — — — Term Term Total Term 1 Term 2 Term 3 Term 1 Term 2 Term 3 - 2 Raw - 3 Raw Year 1-2 2-3 Year Quartile Quartile Quartile Rank Rank Rank Diff Diff Raw Diff Diff % Diff % Diff %

Time spent in zone (minutes:seconds)

180-200 7:19 160-180 22:50 140-160 15:14 120-140 09:10 100-120 07:18

“It is widely recognised that the traditional dance class does not provide sufficient physiological stimulus to support the cardiorespiratory demands of many dance choreographies,4 and for some time,dance students have been encouraged to undertake supplementary fitness training.”

Photo: Camilla Greenwell

Photo: Camilla Greenwell

Anaerobic 1:1 90-95% HR Max (heart rate maximum) 6-17 RPE (Rate of Perceived Exertion) 3-6 Minutes

term / year. The simplest click of a button will allow the team to identify whether students are suffering from injuries to a specific body part when working on particular choreography, in a particular class or at certain times in the term or year. This allows the team to respond to any observable trend with advice and recommendations for enhanced safe practice.

In order to identify the effectiveness of the physical load of the programme, all undergraduate students undergo fitness testing spread across three time points each year. Fitness data are also collected via Microsoft Forms, and the results generate information that can be used for the benefit of both the students

Table 2 An example of fitness testing data for one academic year (details of tests removed)

Aerobic and Anaerobic Intensities Aerobic 70-90% HR Max (heart rate maximum) 4-17 RPE (Rate of Perceived Exertion) 20-40 Minutes

allow for extensive and highly sophisticated data analyses.

However, many of these packages are expensive and smaller schools and companies do not have the financial or technological resources to justify the cost. The Physical Support Team at London Contemporary Dance School capture injury, fitness, a psychology data using Microsoft Forms, which automatically populates some impressive live Excel spreadsheets.

To monitor injuries, simply inputting a date range within their injury spreadsheet will automatically generate updated numerical data and graphs that allow the team to observe injury trends across a week /

64

66

8

2

These data analyses allow the team to observe correlations between specific fitness components and injury for each student and as groups. For example, the team would look for correlations between lateral pelvic control and lower limb injury or between press ups and upper body injury.

There are limitless possibilities for data collection and analysis using these methods. London Contemporary Dance School is demonstrating that while sophisticated Excel (or other IT) skills and time resources are required to develop these systems, there are many opportunities for effective and efficient injury and fitness data collection without the need for specialised software.

10

—

—

—

15%

3%

19%

50-75% 50-75% 50-75% 26/122 12/109 21/75

London Contemporary Dance School students perform in ‘But We’re Doing This’, 2019 Further information www.lcds.ac.uk For more information on supplemental training, check out One Dance UK’s Supplementary Training for Young Dancers by Edel Quin: www. onedanceuk.org/supplementary-training-foryoung-dancers References 1 Wyon, M. (2004). Optimising Performance: Planning and preparation – the art of periodisation. Dance UK magazine, Issue 52 (online) onedanceuk.org/resource/ optimising-performance/. Accessed 17 Feb 2020.

2 Foster, C., Daines, E, Hector, L, Snyder, AC and Welsh, R, (1996). Athletic performance in relation to training load, Wis. Med. J. 95:370–4.

3 Foster, C (1998). Monitoring training in athletes with reference to overtraining syndrome, Med. Sci. Sports Exerc. 30:1164–8.

4 Wyon, M. (2005). Cardiorespiratory Training for Dancers. Journal of Dance Medicine & Science. 9(1):7-12 5 onedanceuk.org/supplementary-training-foryoung-dancers The One Dance UK Magazine | Spring 2020 37

Special Focus on Safety

Balancing Life and Work in Dance

Special Focus on Safety

“Performing eight shows a week for a year is a lot for any performer,whether or not they are a parent,so job sharing could be a sensible practice worth adopting more often.”

How small changes can have a big impact on parents and carers working in the performing arts, by Helen Laws In a global climate where businesses and governments (most recently in Finland, Japan and New Zealand) are trialing and seriously discussing the merits of a four-day working week, what could a more flexible and progressive approach to working practices mean for the dance profession?

Inspired by conversations started at the Parents in Performing Arts (PiPA) Dance, Orchestra and Opera Consultation in the summer of 2019, there are some key areas that could really make a difference, not only to parents and those with caring

responsibilities but to the worklife balance of all of us working in the performing arts.

PiPA’s research (pipacampaign.com/balancingact-survey/) found that 43% of those leaving the performing arts profession cited difficulty juggling career demands with parental responsibilities as the main contributing factor (with ‘finances’ following as a close second). Some issues such as availability/expense of childcare are obvious barriers for parents that dance has in common with other, especially lower paid, professions, and perhaps touring will never

Photo: Clark Thomas Photography

Matthew Bourne’s New Adventures company in rehearsals for Swan Lake, which adopted a job share setup for the resident director, enabling them to work flexibly around caring responsibilities.

38 The One Dance UK Magazine | Spring 2020

be easy for those with caring responsibilities at home.

However, there are certainly areas where an openness to alternative ways of working may not only make it easier for parents to continue working but also help to create an environment that is healthier and more productive for all those working in the performing arts, at whatever stage of their life or career.

At the PiPA event there was a general consensus, backed up by research in other industries (e.g. phys.org/news/2019-10happy-workers-productive) that happier employees make better,

more productive and creative employees. Being better able to juggle the demands of life and work is certainly conducive to happiness and arguably therefore to effectiveness at work and home.

“More transparent and inclusive scheduling,some performers have argued, would benefit every facet of the company.”

Schedules Parents from all the performing arts have repeatedly raised scheduling as a core issue.

Issues including not knowing what your schedule is going to be until the week before (as is commonplace in ballet companies and in theatre/ musical theatre), being called for long rehearsals and then not actually being used for large periods of time, being expected to stay late at very short notice, and working six-day weeks, all make it difficult to organise childcare (or have a private life) as well as not being the most efficient use of time, from the perspective of ‘periodising’ dancers’ training to improve performance and injury prevention. See page 36 for an article on periodising dancer training.** Obviously there are always going to be unforeseen circumstances (e.g. injury, illness) that may require last minute changes or some extra work, but how many of the aforementioned practices are down to ‘that’s how it’s always worked’, or accepted as just being a dancer’s/performer’s way of life, without question?

Tour dates are generally known well in advance, why not planned rehearsal schedules too, particularly on revivals?

Opera Holland Park now makes its schedules available to all two months in advance.

Would we do things differently, one dancer asked, if we were to set up a largescale dance company from scratch now?

At New Adventures, each production or tour is treated as its own entity and therefore performers engaged for a production (often on long contracts, some up to 18 months) will know the full rehearsal and touring schedule far in advance, making it more straightforward to plan for, and agree hours at the point of contracting.

In a large-scale traditional ‘rep’ company, with dancers employed on full-time permanent contracts and rehearsing for/performing in numerous different productions at any one time, scheduling is clearly very complicated.

However, almost because of the inherent complexity and multiple moving parts anyway, would it make a huge difference to accommodate a job share? Wouldn’t it be helpful for all members of the company to be fully abreast of the whole picture earlier on?

Dancers are obviously central to a company’s work and are not only required for performance and rehearsal but for outreach work, press and PR, guest appearances etc., and things like rehab and supplemental training also need to be given time, let alone rest and recovery! While creating a workable schedule, particularly for a large company, is probably an art and job in itself, making sure that every department, including the dancers themselves, can feed into and/ or have sight of schedules with as much notice as possible will allow everyone to plan and manage their time better.

This would be particularly helpful to enable managers to understand the constraints and pinch points, making it easier to identify availability (or not) for any additional demands.

Job sharing Interwoven with the impact of scheduling on parents’/carers’ ability to work, and all dancers’ ability to balance work and rest from a life, fitness and health perspective, is the question of openness to job sharing or parttime working.

In theory, ballet companies and musical theatre productions, which already operate a system of second casts or covers for roles should be amazing at doing this. The

problem occurs when despite this, most dancers are ‘on’ in some capacity all the time (more of an issue for corps de ballet and smaller dance companies). Being reliant on 100% of your cast being 100% fit for 100% of performances is a problem in an industry where injury is common.

Could more part-time job sharing help not only parents wanting to return to work but also reduce incidences of overload and burnout leading to injury, and create some slack in the system? If you have two people sharing a role and not performing all the time, when one is injured, there might be room to negotiate the other stepping in for a while as the exception rather than the rule.

Recently we have seen some high-profile performer job sharing in the West End: Charlene Ford in 42nd Street in late 2018, followed by Lizzie Wort and Ruth Calkin each performing half of the weekly schedule in Twirlywoos Live in early 2019. All performers talked about having to have courage to push the issue but found it worked well.

Florence Andrews, former cast member of School of Rock who was campaigning for changes in February 2018 pointed out, “There’s already what’s called an alternate system, which sees lead performers in musicals miss one or more show a week in a demanding role.” Ballet company principal dancers also have the privilege of working in this way.

New Adventures have had some success with job shares too, expressing how beneficial it can be all round. For example, a job share for a resident director role allowed flexibility around caring responsibilities for an experienced artist and a professional development opportunity for another company member stepping up

into the role. The attitude at the company, which, importantly, has many parents in its senior leadership, is ‘let’s see what’s possible’.

With good role models, showing that it is possible to better balance work and family life, and with conversations about flexible working being initiated by management, an environment of trust can be created where everyone knows it isn’t about the hours you work but the effort you put in while you are working.

With thanks to PiPA, Dance Mama, Imogen Kinchin, Tom Rogers and Moira McCormack.

Further information For more research, resources, and insights browse: dancemama.org/stories pipacampaign.com/

The One Dance UK Magazine | Spring 2020 39

Special Focus on Safety

Special Focus on Safety

Measuring the Dancer’s Growth and Development

“Considering that thinness is embedded in dance and in particular ballet culture, the use of appropriate measurements and language is paramount.”

Dr Nico Kolokythas,Performance Enhancement Coach atElmhurst Ballet School and Birmingham Royal Ballet, looks at a more reliable measurement to assess the developmental status of the adolescent dancer Elmhurst Ballet Company’s Lucy Fox and Jakob Myers

Dancers of different body compositions and similar Body Mass Index (BMI), showing varying % Weight For Height (%WFH).

A different way to assess the nutritional status of the young dancer is by using the percentage of Weight-forHeight (%WFH) calculation, also known as %BMI or %Ideal Body Weight. Percentage of Weight for Height (%WFH) accounts for the changes in the adolescent’s weight, height and relation to body fatness/ thinness over time. Therefore, it is thought to be clinically more meaningful than BMI alone, especially in underweight children and adolescents. One major limitation, however, is that both the BMI and the %WFH cannot take muscle mass into account.

40 The One Dance UK Magazine | Spring 2020

value of the height increases the BMI does not change.

Research also shows that BMI is of limited informative value due to the changes in the weight and height of the individual in relation to the body’s composition (fatness/ thinness) over time. This reduces the reliability of the BMI, i.e. the degree to which the measurement is accurate, as a comparable measurement from one age to another.

In the table opposite we present the data of six dancers, three females and three males, all of whom have a different body composition but the

similar BMI. Each of these dancers are classified as ‘underweight’, a statement that can be misleading.

BMI needs to be used with caution when used to assess the developmental status of the adolescent dancer. The calculation should be age and gender specific, as seen on the site nhs.uk/live-well/ healthy-weight/bmi-calculator/, and should be given as a percentile. In other words, the results of the individual need to be compared with individuals of a similar age group through the use of growth charts.

judgemental environment for them where they can feel relaxed and empowered.

We bi-annually assess the body composition of the students with bioelectrical impedance analysis (BIA), and measure their growth (weight and height) three times per year. The measurements are always taken first thing in the morning to control potential measurement variability. As stated by Dr. Bagutti, the BIA has major

limitations, however, when used longitudinally it can provide practitioners with some important information about the body composition of the young dancer.

Overall, the sensitivity over time of any marker and its ability to spot issues longitudinally need to be considered with caution and always as part of a more holistic approach for monitoring the health and wellbeing of the young dancer.

Dr Nico Kolokythas leading a physical education session at Elmhurst Ballet School

Photo: Kate Jackson

Photo: Andy Ross

Traditionally, the Body Mass Index (BMI), an index developed for adults, has incorrectly been the go-to marker for the developmental status of the young dancer.

The calculation of the BMI is derived from the weight and the height of the individual (weight/height2). However, even though the correlation of the index with bodyweight is strong, this correlation is low with the height of the individual. A strong correlation means that if the value of the bodyweight increases then the BMI increases, whereas, a weak correlation means that if the

It is important to keep in mind, however, that these are arbitrary values for a general population of children and adolescents and not specifically for young dancers. The University of Wolverhampton, together with Elmhurst Ballet School, is currently working on an international collaborative project to create normative values for young dancers.

Looking at the data in the table and comparing their BMI with their %WFH, the %WFH indicates that all dancers are of ‘normal weight’, with Dancer E being close to the ideal weight and Dancers A & D being above the ideal weight.

Gender Age Weight Height Fat (%) BMI %WFH (KG) (CM) Dancer A Female 12 42 150.1 24 18.6 103 Dancer B Female 14 47.4 162.4 23 18 93 Dancer C Female 15 45.2 158.1 26 18.1 90 Dancer D Male 12 37.3 143 21 18.2 104 Dancer E Male 14 55.1 172.5 14 18.5 99 Dancer F Male 16 46.1 159.7 14 18.1 90

At Elmhurst Ballet School, we believe that monitoring growth and development is vital for the young dancer during this crucial time of maturation.

Without close monitoring of both metric and behavioural aspects the risk of eating distress or disorder increases in both male and female dancers.

It is, therefore, important not only to educate the young dancers on the benefits of health monitoring/screening but to also create a safe, nonIn the Autumn 2019 issue of One, Dr Carlo Bagutti discussed the importance of the assessment of the nutritional status of a dancer, through methods such as medical and gynaecological history, assessing body composition, carrying out diet questionnaires as well as physical examinations, whilst importantly highlighting the limitations of using Body Mass Index (BMI) as a sole measure.

In this article we will focus on the developmental status of the adolescent dancer, as this is a crucial time of growth and maturation.

The calculation of the %WFH not only includes the bodyweight and height of the individual, but also includes age and gender. In addition, this algorithm draws data from existing growth charts and compares the individual’s results with the median of matched age and gender individuals, making the calculation more reliable. Practitioners assessing adolescents with disordered eating patterns consider a %WFH <90 to be problematic.

More specifically %WFH <90-85% is considered as mild malnutrition, 85-75% as moderate whereas >75% as severe malnutrition.

The One Dance UK Magazine | Spring 2020 41

One Dance UK Information Sheet

The Pelvic Floor in Dancers

By Dinah Hampson BA, BSc, PT, FCAMT, RISPT, Brooke Winder, PT, DPT, OCS and Nathaniel Dolquist MT Yale

What is the pelvic floor?

The pelvic floor is a region comprised of muscles, organs, ligaments, fascia, nerves, lymph and blood vessels that span across the pelvic bones from front to back and side to side. There are three layers of pelvic floor muscles (pictured).

The layers closest to the surface of the body and toward the front help with urinary and sexual function. The muscles that are deeper and closer to the back of the pelvis help with holding in and passing stool, and supporting the pelvic organs (i.e. bladder, rectum, prostate in men, uterus in women).

The pelvic floor muscles are anatomically linked to the hip; especially to one of the deep turnout muscles, the obturator internus. Repeated use of turnout in dance will naturally transfer force to the muscles of the pelvic floor.

What are the functions of the pelvic floor?

The pelvic floor muscles contract and lift, relax back to a resting level, and can also bulge outward (i.e. for a bowel movement or with labor and delivery). Properly coordinated pelvic floor muscles will respond to daily tasks and dance activity with appropriate amounts of tension (not too much, not too little) in a dynamic manner.

Layers 1-2 of the Pelvic Floor

Layer 3 of the Pelvic Floor

A Dancer’s Perspective Dancer Nathaniel Dolquist, NYC, describes his experience with pelvic floor engagement:

“ I dealt with lower back pain for years before I found someone who treated my pelvic floor. So many people have back pain that I thought it was just par for the course. But pain is a signal that something isn’t operating the way it should, and those who deal with it proactively can prevent it from becoming the lifestyle of, ‘oh yeah, that always hurts and there’s nothing I can do about it.’

Treatment Treatment of pelvic floor dysfunction involves a combination of strengthening and releasing to address hypo and hypertonicity. Only certified pelvic floor physiotherapists can perform internal examinations of the pelvic floor muscles.

“ My Alexander Technique teacher educated me on the way the pelvic floor and lower back work together to keep the spine upright in gravity. She showed me the way that tension in my head and neck caused distortions in muscle tone through the pelvic floor and into my legs. By learning to feel the difference between a hypertonic (too tight) and hypotonic (too loose) pelvic floor, I was able to find my way to a supported neutral position. It’s a difficult process because it’s a part of the body we seem to have forgotten about.

The 5 S’s Support The muscles, ligaments and fascia act like a hammock for your organs, accepting and managing the loads from above.

Sphincteric These muscles hold urine and faeces in, to maintain continence. They must also relax to allow for urination and bowel movements.

Photo: Marie-Josée Forget PT, Pelvic Health Physiotherapist, North Bay, Ontario, Canada

Stability These muscles span across the pelvic bone, helping to create stability and transfer forces to and from nearby regions like the legs and the trunk. For example, when you land from a jump, forces are transmitted through your legs, across the pelvis via the pelvic floor, and up to your spine. The pelvic floor muscles create tension across the pelvic bones to ensure appropriate stability in this region.

Sexual function Proper muscle function controls arousal and orgasm.

Sump pump These muscles help with fluid management in the pelvis to avoid swelling.

Breathing The pelvic floor muscles interact in “parallel” with the glottis and the diaphragm. During an inhale (breathing in), these muscles naturally lengthen, and during an exhale, these muscles will recoil. They help to create coordinated breathing mechanics.

Regulating intra-abdominal pressure Within the canister of the trunk and pelvis, there are consistent changes in internal pressure in response to load. This occurs with activities such as coughing, sneezing, deep breaths, jumping, athletic impact, holding the breath, singing, squatting, dancing, or lifting. The pelvic floor truly serves as the “floor” of the canister above, responding appropriately to increases and decreases in pressure to maintain continence (i.e. not “leak”).

What symptoms might a dancer have if this region isn’t functioning properly?

Example symptoms include: •U rinary or faecal leakage (inability to hold urine or faeces in) •T his could occur with jumps, coughing, sneezing, or lifting (stress incontinence) or in association with a very strong and uncontrollable urge to go (urge incontinence).

•P elvic pressure/falling out feeling with pelvic organs •U rinary or bowel frequency/urgency (Having to “go” more often than every 2-4 hours during the day, or getting up to go more than 1x/night) •P ain with urination or bowel movements • Irritable bladder • I ncomplete bladder emptying (having to “go” again or dribbling a few minutes after urinating) •P elvic pain (i.e. abdominal, hip, low back, perineal, vaginal, vulvar, testicular, penile, rectal, coccyx) • Constipation • Painful menstruation • Painful intercourse If a dancer experiences one or more of the symptoms listed, what’s wrong?

These symptoms could be due to weakness/underactivity (often termed “pelvic floor hypotonicity”), poor muscle coordination, or muscle overactivity/ tightness/spasm (often termed “pelvic floor hypertonicity”).

Problems with the pelvic floor can occur for a multitude of reasons: • Weakness can occur after a nerve injury or postpartum.

• Poor coordination, pain, and overactive pelvic floor muscles can commonly occur as a response to

•O veruse/overload in impact activities like dance, such as repeated heavy jump landings

•C hronic physical or psycho-social stress

•T rauma, such as a fall onto the tailbone or birth injury

•C ompensation for a hip or low back injury or instability,

•C ompensation for generalized joint laxity, Ehlers-Danlos syndrome, or hypermobility •H abit, such as over-recruiting these muscles (i.e. sucking the belly and pelvic floor in without relaxing during dance activity) or chronically holding urine or bowel movements

Management Strategies • I ncorporate a multitude of breathing strategies in daily life and during dance.

For example, avoid over-bracing and breath-holding, as this often creates excessive pressure or excessive pelvic floor tension and lift.

• I nclude simple exercises to become more aware of pelvic floor contraction AND full relaxation •L earn to recognise over-activation of the abdominal wall or sucking the abs excessively and find more balance in trunk stability. This can significantly decrease pressure on the pelvic floor.

•B alance the hips and pelvic floor by strengthening and moving into hip internal rotation during cross training if often working in turnout.

•W ork on stress-management and coping strategies like meditation or mindful practices. Neurally, the pelvic floor region is intimately connected to our “fight or flight” (sympathetic) and “rest and digest” (parasympathetic) systems, and its level of activation will respond to chronic stress states.

•W ork with nutrition experts to assure optimal digestive health (the pelvic floor reacts to constipation and compromised gut health) and adequate levels of Vitamin D (poor Vitamin D and nutritional status has been linked to incontinence).

“ It’s my opinion that sexual repression and feelings of shame about our genitalia cause this part of our bodies to become ‘cut off’.

In order to relieve pain in the pelvic floor, we must take responsibility for this area of our bodies and develop our proprioception of it.

I can attest: after treatment my lower back pain has completely disappeared.”

Resources for Pelvic Floor Physiotherapy NHS referral: To get a referral for pelvic floor healthcare, it is best to see your GP first and to explain your concerns or symptoms. Your GP will be able to refer you to a specialist service for consultation or pelvic health physiotherapy.

Private specialists pelvicphysiotherapy.com/list-of-therapists/ pelvicpartnership.org.uk/list-ofrecommended-practitioners/ pelvicguru.com Note The NHS has developed a physiotherapy app for pelvic floor muscle exercises, called Squeezy, squeezyapp.com which may be helpful to use alongside these exercises.

The One Dance UK Magazine | Spring 2020 43

One Dance UK Information Sheet

Special Focus on Safety

The Pelvic Floor in Dancers How can dancers optimise pelvic floor health?

Understanding that the pelvic floor muscles require full, dynamic movement is key to a dancer’s pelvic floor health. If a dancer suspects that a pelvic floor issue is present, it is strongly recommended that they seek qualified help from a healthcare practitioner who understands the pelvic floor, such as a pelvic floor physiotherapist. Pelvic floor physiotherapy is strongly supported by research for pre and post-natal care, chronic pelvic pain, and incontinence.

(Resources for locating practitioners are listed at the end of this document). Dancers who want to optimise their movement technique can also seek help from qualified movement educators who have an enhanced understanding of how the pelvic floor interacts with the rest of the body through movement.

Here are some basic exercise examples to strengthen and release the pelvic floor muscles: (for videos of these exercises, visit: pivotdancer.com/iadms/)

Strengthening exercises for underactive or hypotonic pelvic floor muscles:

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3

4

Activating the anterior (front) and posterior (rear) pelvic floor- otherwise known as the “Kegel” exercise. Use breath to time contraction with exhalation

Progression of exercise one to contract the pelvic floor in stages, like an elevator - first floor to 4th floor and back down, can add more floors if able. “lift the urethra one floor, now two floors…”.

Butterfly bridges: lie on the floor in a first position plie, lift your pelvis off the floor to bridge.

Goal 10 second holds, 10 repetitions.

Bridge, add Kegel, add single leg hip fall out in the bridge position.

Goal 10 second movements (5 seconds out, 5 seconds back), 10 repetitions.

Relaxing exercises for hypertonic pelvic floor muscles:

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Photos: Lindsey Nicole Photography

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Deep breathing with belly breathing incorporating rib and side expansion. Slow, 4-5 second breaths Reverse Kegel to fully relax the pelvic floor.

Cues to think about include: imagine relaxing the pelvis like a flower opening, or like butter melting in the sun. Use your breath to time relaxation with exhalation Hold 4-5 seconds.

3

Happy baby yoga pose Hold for 30 seconds

4

Supporting and enhancing dancers’physical and mental health is a key part of any dance teacher’s toolkit but finding time to attend courses to develop your knowledge and keep up to date can be challenging. Find out more below about online CPD that will give you the tips, tools, and information you need to teach at your best!

Safe in Dance International Setting international standards for safe dance practice

1

Cues •F or anterior pelvic floor: Think of drawing the urethra (where you void liquid) upward and inward- for women, a blueberry up the vagina, for men, “shorten your penis”.

•F or posterior pelvic floor: Think of drawing the anus upward and inward or stopping the escape of gas. Think of drawing the four corners of the pelvic floor together as you lift up, like lifting up a napkin from the centre.

•S tart with 5 second hold, working towards a goal of 10 second hold, 10 repetitions

Dancers’Health CPD forTeachers: improve your knowledge online!

Pigeon stretch yoga pose Hold for 30 seconds

Safe in Dance International (SiDI) believes that it is the right of everyone involved in dance to study, rehearse, train, perform and teach in a healthy, safe and supportive environment.

Formed in 2013 with the aim of raising awareness of safe and healthy dance practice worldwide and supporting all dance practitioners to integrate basic Core Principles into their work, SiDI works closely with the National Institute for Dance Medicine and Science (UK), Healthy Dancer Canada, and the International Association of Dance Medicine and Science. SiDI is also an Affiliate of the Council for Dance, Drama and Musical Theatre.

SiDI’s quality assurance combined with backing from the key organisations means that Certificates are recognised and valued in the sector and have transferable international currency.

SiDI currently have four Certificates in healthy dance: •P reparation for Healthy Dance Certificate (PHDC) •H ealthy Dance Practice Certificate (HDPC) •H ealthy Dancer Certificate (HDC) •T op Up (PHDC to HDPC) safeindance.com

Youth Protection Advocates in Dance An education hub for the dance professional

Dance Knowledge Dance science education for dance educators – at your fingertips

Youth Protection Advocates in Dance (YPAD) is an educational organisation that was created to make a positive impact in the dance community, bringing best practices and evidence-based research to the forefront of the industry. Although based in the United States, YPAD offers online educational resources to studio owners, teachers, and dance professionals around the globe.

With a mission focused on the health and safety of dance students, YPAD aims to promote high standards in dance through its easily accessible online coursework. The self-paced Safety & Wellness Course takes participants approximately 10 hours to complete and leads to a two-year YPAD Certification.

The in-depth training topics, led by experts from YPAD’s Advisory Panel, include injury prevention and response, sexual abuse awareness and prevention, risk management in the dance environment, social media safety, developmentally appropriate artistry, body image, nutrition and disordered eating, and bullying and conflict resolution.

In addition to the Safety & Wellness Course, YPAD also offers the Safety Course a la carte, which leads to a Certificate of Completion. This option, which takes approximately five hours to complete, is ideal for those seeking to focus solely on safety before expanding their coursework further.

Dance Knowledge connects dance teachers from around the world with the latest research through online, on demand CPD courses to support students.

Dance Knowledge was founded by Dr Luke Hopper, an Australian dance scientist with a research focus on the biomechanics of dance performance and injury. Luke’s research has involved collaboration with major ballet companies in Australia and the UK. He has served on the board of directors of the International Association for Dance Medicine & Science and is the Vice-President of the Australian Society for Performing Arts Healthcare.

Courses cover a range of subjects, each providing 2-3 hours of time-valued CPD and immediate completion certificates.

Courses range in price from £29-39, and teachers can request coupon codes to provide discounted courses for their students starting from just £10. Teachers can also subscribe to all Dance Knowledge CPD courses for just £9.90/month to access all courses.

ypadnow.com

Courses include: •V ariability and Movement Expertise •W hat is biomechanics?

•P erformance anxiety •B alance in dance •E ncouraging boys and young men in dance •A ccessing academic research •H ow perfectionism is learnt and reinforced in dance danceknowledge.com

44 The One Dance UK Magazine | Spring 2020

The One Dance UK Magazine | Spring 2020 45

Special Focus on Safety

Special Focus on Safety

What Makes a Great DanceTeacher?

Keeping Traditions Safe Artistic Director of Chitraleka Dance Company, Chitraleka Bolar, was the recipient of the One Dance UK Lifetime Achievement Award in South Asian Dance 2019. She looks at the importance of protecting traditional dance styles and how she has managed the impact of modern technologies across her 40-year teaching career.

Qualities that help educate, inspire and extend your students,

by Head of Children and Young People’s Dance, Laura Nicholson Take a moment to think back to a great dance teacher who inspired you. Chances are there is a clear picture of this person in your mind. What is it about them that motivated you? Whilst your teacher may have had a fantastic technique to help you master that perfect pirouette or taught you a particularly memorable and enjoyable lesson, it is likely that you recall their manner, their personality and their way of delivering. When we reflect on those great teachers who have made a positive impact on us, it is so often not just about what they taught us but how.

Kaishiki, Chitraleka Dance Company

Tradition, by definition, is a behaviour or belief passed down within a society with a special significance and its origins in the past. Whilst cultural mindset can change to adapt to the changing society, tradition remains rooted, unquestioned. That is the strength of the conviction with which it is passed on. Tradition connects to the society it has been nurtured in and with the rapid pace at which society evolves, it is important to remain rooted to where it all began.

Bharatanatyam, apart from being a classical dance form, which in itself makes it a prerogative to adhere to tradition, has also evolved with the changing times.

And whilst it embraces and even portrays contemporary ideas, its strength lies in the seedings of tradition it remains true to.

The art form evolved from the temples of South India and was almost a form of worship. Hence, it was replete with everything traditional about worship. A classical mudra such as ‘anjali’ is used in everyday life as greeting someone ‘namaste’, and is used when starting each class. Starting any auspicious event with a prayer, invoking the Gods especially Lord Ganesha is another hallmark.

If we were merely training the body to move, then the dance may develop in an aesthetic sense, but the cultural and 46 The One Dance UK Magazine | Spring 2020

the spiritual essence may be lost. Even the dress code for our students is traditional Indian attire, inculcating a sense of identity, uniqueness and purpose, and preferably with a bindi adorning the forehead. It is still customary to seek the blessings of the Guru or teacher who is most revered as the fountain of knowledge.

Since I began teaching in this country in 1979, technology has brought about a complete overhaul in the way dance is taught, received, perceived and published. It has made traditional art forms more accessible, allowing for inspiration across physical boundaries. A student does not have to be disappointed for want of a teacher as there are more ways than one to access one. It has also allowed for easier dissipation of ideas and has brought artists closer, at least by providing a virtual platform.

While the positive aspects of technological advancements are undeniable, it comes with its own set of problems. Technology has given a false sense of things being a bit too accessible.

Hence dance pieces are being copied from video links, the expectation of students and parents alike have increased significantly and perhaps unrealistically being influenced by what is seen and heard at the click of a button.

Easy access has diluted the very essence of learning and led to an easygoing attitude.

the need for a broad and balanced curriculum and the removal of Russell Group universities’ ‘preferred subject’ list.

We know that there is still a long way to go. Yet despite the recent challenges and hardship, here at One Dance UK we are constantly in awe of the incredible outputs and resilience of hard working dance teachers across the UK in every part of the sector – mainstream education, the private sector, community groups, Futher Education, Higher Education and in conservatoires and colleges. Testament to this are the quality and quantity of

nominations for the education categories at the One Dance UK Awards as well as the vibrant range of youth dance work on show at the U.Dance National Festival.

Here we reflect on the qualities shared by the many excellent dance teachers we are fortunate enough to work with.

James Aiden Kay leading a BalletBoyz workshop at U.Dance 2019

This has had the effect on children, with some being unable to remember the simplest of dance movement, vocabulary and any theoretical or musical knowledge required for pursuing the art from.

Stories told through Bharatanatyam still retain their old-world charm – where convention was acceptable and perhaps even the norm. With growing debates on feminism and gender equality, it is almost refreshing to see that the traditional Bharatanatyam naayika or heroine is still depicted traditionally and still can be portrayed as a strong wilful woman. Many of our stories have retained their essence because though the content has evolved, the context redefined, the traditional art of storytelling has not been tampered with.

“By virtue of not being questioned or origin being sought,tradition can firmly plant its roots whilst the branches of change spread far and wide.”

Photo: Brian Slater

Photo: Left: Sharad Bolar; Right: Thaxnay Kapdee

Chitraleka Bolar

Here at One Dance UK we are under no illusion that dance, as an educational subject, has faced huge challenges over recent years. Dance educators have become wearily accustomed to gloomy headlines about dance being sacrificed as a result of budget cuts, school performance measures and shifting educational priorities.

We have seen universities close or reduce their dance provision. As reported in One magazine issue 7 (Autumn 2019) there may be room to be cautiously optimistic – with a recent increase in GCSE Dance uptake, the current Ofsted framework supporting

The One Dance UK Magazine | Spring 2020 47

Special Focus on Safety Positive relationships and personalisation Dance allows students to give something of themselves - both physically and creatively. Great dance teachers know their students incredibly well and personalise teaching and learning accordingly. This doesn’t mean coming up with completely new exercises or activities for each student but being sensitive and intuitive about how to deliver to get the best from each student. It may mean considering when and how feedback is given, knowing when to push and challenge and when to nurture and support.

Great teachers are able to read the mood of their students/ class and respond and adapt accordingly. They give students their own unique opportunity to shine – on stage or in class – and celebrate their successes.

Great dance teachers believe that access to quality dance training is the right of every child and are committed to equity of provision regardless of starting point.

Special Focus on Safety Safe practice and safeguarding As a practical and physical activity, dance carries some inherent risks. Great dance teachers manage these risks exceptionally well, prioritising the safety and wellbeing of students in all that they do and using dance as a force for good, promoting its many well documented positive health benefits, both physical and mental. Great dance teachers are up to date with best practice in safeguarding and they constantly refresh and update this knowledge, using it to inform their practice.

As a sector we have access to an increasing range of support, information and resources around best practice – including injury prevention and treatment, mental health support and the importance of a multi-agency approach to safeguarding.

Creativity The Creative Industries sector is growing more than five times faster than the national economy. Whether teaching students who are preparing very explicitly for entering the dance profession, or giving students their first experience of dance, great dance teachers understand the need to develop creative skills.

Great teachers ensure students are ‘thinking dancers’, able to make connections and develop their own practice as artists. They provide opportunities to develop problem solving, versatility and entrepreneurialism – skills needed to thrive in life and employment. The links between creative activities and good mental wellbeing are well documented and great dance teachers understand and value this connection.

Resilience and grit We know dance education has been under immense threat and challenge in recent years. Great dance teachers professionally ‘stand their ground’ and advocate for the value of their subject. Dance teachers demonstrate passion in many ways – being inspiring, energetic motivators inside the studio and advocators for the importance of dance in their institutions and beyond.

Great dance teachers are entrepreneurial, being able to flex and respond to challenges such as reduced curriculum time, increased pressure for students to reach certain grades, or reduction in staff teams. Great dance teachers are aware of the latest innovations in teaching and learning and know how to make these work within the unique context of their subject.

Subject knowledge – always learning Great dance teachers have excellent subject knowledge and understand the best ways of imparting this to their student. They are committed to their development, growing their practice and being open to new ideas and ways of working in this ever-changing landscape.

Great dance teachers see teaching and learning as a twoway process, learning from the individuality of their students and from other professionals.

They accept that no one teacher can be an expert in everything and aren’t ‘precious’. They look to close the gaps in knowledge and provide their students with other opportunities, signposting them to experiences which will enhance and enrich their experience.

Do you know a great dance teacher?

Give them the recognition they deserve by putting their name forward for a One Dance UK Award.

The 2020 nominations are open very soon!

See page 9 for details

Akosua Boakye leading a workshop at U.Dance 2019

Gillian Lenton Weald of Kent Grammar School Outstanding Secondary Dance Teaching Award 2019

“Time to me is one of the main factors of being a good dance teacher. Providing time to give the students the opportunity to explore, create and perform.

Facilitating clubs before, during and after school to provide opportunities for creating together with different groups of students, subsequently enabling a dance community in a large school where the students can have a sense of identity.

Listening to their ideas and providing opportunities for performance. Finding the ways to unlock their creativity and let them fly.

Passion and the love of the artform runs through all of this, and the life skills it provides the students will hopefully inspire them in whatever they go on to do.”

48 The One Dance UK Magazine | Spring 2020

Jacqui Burrows Riverside School, Orpington Outstanding Primary Dance Teaching Award 2019

The One Dance UK Awards shine the spotlight on those working in the dance industry, including those working in dance education.We asked some recent award recipients for their take on the question: what makes a great dance teacher?

“Dance looks different for each and every one of our pupils and as there is no language barrier, dance is the perfect medium for our pupils to express themselves without judgement.

Many of our pupils are unable to express themselves verbally but their voices are heard loud and clear, through their feet, rhythmical tapping, giving eye contact, removing their hands from their ears, spinning in circles or running through the performance space with a ribbon flowing behind them.

It is my job to enable them to achieve through dance and movement, to push those that can manage a routine but equally, ensure that those pupils with very limited movement have meaningful lessons and a chance to shine. ”

Photos: Top: Brian Slater; Left: Shaun Dillon; Right: Lucy Seymour

Photos: Left: Gillian Lenton; Right: Jacqui Burrows

Tips from the Teachers

Shaun Dillon Freelance teacher and Artistic Director, Dillon Dance Rising Star Award for Dance Teaching 2018

“There is no mathematical equation for tolerance, for empathy, for patience, kindness, respect or gratitude. These are just some of the gifts we give to our students and all else is secondary. In this ever changing landscape of dance in education we need to be able to adapt both inside and outside the studio.

We need to fight fiercely for young people’s right to experience art in all forms.

We must open doors and break down walls, all whilst giving our students the tools to carve their own path.

We must encourage risk, embrace failure and never assume we have nothing more to learn. And when the time is right we must know when to step aside and let the next generation take ownership. ”

Lucy Seymour Tannery Drift First School Outstanding Primary Dance Teaching Award 2019

“Dance teachers achieve success in the same way that class teachers achieve success: they are passionate, they are inclusive, they are creative, they work to have strong subject knowledge, but most importantly they forge strong relationships with all the children in their class.

When children feel valued, secure, cared about and are guided in the right direction by their teacher, it is amazing what they will begin to express and explore physically.

When a dance lesson is recognised not just as a lesson in which skills are taught, but as an opportunity to develop children’s physical creativity, support them to build a core identity and help develop confidence to express themselves, great dance teaching happens.”

The One Dance UK Magazine | Spring 2020 49

Re:generations 2019 dance and the digital space

The Lowry, Salford, 7-9 November 2019 Re:generations – dance and the digital space was an international forum exploring how technology drives innovation in dance, particularly of the African Diaspora.

The event brought the international dance community together to stimulate critical debate, share current practice, research and innovation and encourage new perspectives for the future.

Event Partners

10 international performances

URBAN DANCE

33 sessions

Photos: Dani Bower for One Dance UK

200 attendees over three days “ This Re:generations international conference provided a platform that expanded the dialogue across the creative sector. The range of delegates and performers, from around the country and internationally, provided the conference with a vibrant, diverse mix of ideas and perspectives, which was inspiring, informative and food for thought on practical ways to advance practice and research collectively.”

Mercy Nabirye, Head of Dance of the African Diaspora, One Dance UK

12 countries represented, including USA, Canada, Norway, Japan, Ghana, Uganda and Burkina Faso

CertHE Contemporary Urban Dance Apply by 22 March 2020 nscd.ac.uk/courses

11 workshops

Teacher Resource

To celebrate our upcoming 90th anniversary, Patron Craig Revel Horwood shares his thoughts about learning & teaching dance.

How did you start training?

I did an am-dram show in my hometown, and then decided to go to Melbourne and train properly at this school that had all forms of dance—Contemporary, Jazz, Modern, Tap— you know, everything—

Developing Motifs from ‘Still Life’ at the Penguin Café (KS3 and KS4)

and also Acting and Singing.

Can you remember any of your teachers?

When I was 17–18, I had a job in West Side Story and did three hours of Ballet every morning, six days a week. It was just torture—‘cause we had this Russian teacher, who had a cane and she used to whack! our hamstrings when we were doing développés… so she could walk underneath them.

Wow! She was hard on us. And you wanted to please her —you couldn’t get away with anything.

By Jenny Murphy, Birmingham Royal Ballet Department for Learning

I didn’t enjoy it at the time, but, on reflection, and in hindsight, it was probably the best thing for me…

Choreographer, director & Strictly Judge, Craig Revel Horwood is a Patron of bbodance. We provide in-depth training for dance teachers that can be applied to all genres, as well as

‘Still Life’ at the Penguin Café, choreographed by David Bintley (1988), is a popular modern ballet showcasing a wide variety of social and cultural dance styles referencing different geographical locations. These include: traditional Morris dancing, in the Humboldt’s Hog-Nosed Skunk Flea; African dance, in the Southern Cape Zebra; and Latin American carnival style in the Brazilian Woolly Monkey. Following this, the ‘false finale’, all the characters return to the stage revisiting their choreographic motifs in a powerful ensemble number. syllabi, exams, and events in, as Craig puts it, ‘you know,

Still Life is an engaging and highly accessible dance piece that offers great potential for inspiring the creativity of young people. Prior to and in the process of developing their solo or group compositions through motif development, students can authentically experience this professional work and capture its essence and nuances in a range of ways.

everything.’

Read the full interview at bbo.dance/craig

Although the ballet is no longer part of the GSCE Dance syllabus, the piece remains a firm favourite with dance teachers and students alike, and with the urgency surrounding environmental issues in 2020 its subject matter is arguably even more relevant today than it was 32 years ago.

bbodance is a trading name of The British Ballet Organization Ltd., a Charity registered in England (No. 277177) and is a Company Limited by Guarantee (No. 1402656) / Photo by @clarkthomasphotography

Preparation • As a class, watch the Southern Cape Zebra section, focusing on the Zebra Ladies.

• Discuss the piece, including narrative, style, movement, music and costume.

• Ask students which movement phrases and motifs stand out.

Clarify the difference between a movement phrase and a motif.

A phrase is a sequence of linked movements. A motif is a movement or series of movements that capture the essence/style of the piece.

Ask which motifs are used in the Southern Cape Zebra section.

One example might be the ‘lipstick’ gestural phrase. Initially, this is performed using just the right arm. Later it is developed to include a flick of the leg and is also performed at floor level using a different body part (the leg flexing at the knee joint).

The following workshop outline is based on a session run by former Birmingham Royal Ballet Soloist Jenny Murphy at the 2010 National Dance Teachers Association (now part of One Dance UK) Annual Conference; it focuses on extracting, adapting and developing motifs for use in GCSE Dance and relies on the teacher having access to the DVD of the ballet.

Discover dance at Middlesex Join us at our outstanding London campus to build the skills and knowledge for the career you want.

CUT OUT AND KEEP

Workshop Tasks The following tasks are adaptable for either individual or group work and as such can be used for studying choreography. Initially, small group work can help spark off individual creativity and self-confidence as a precursor to solo composition work. The tasks use the Southern Cape Zebra section of Still Life.

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Photo: Andrew Ross

Foundation Years available Professional Practice postgraduate courses available

www.mdx.ac.uk/perform 52 The One Dance UK Magazine | Spring 2020

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24/07/2019 15:27

Designed to pull out and keep, we will offer fresh ideas for lesson plans for various Key Stages in each issue of One magazine.

For further resources and teacher information, go to onedanceuk.org

Teacher Resource In the Studio Begin the session with a general warm up referencing the preparation of specific body parts/muscle groups relevant to the sections you will be teaching.

Teach your students a short section of the Zebra Ladies dance extracting three of the key motifs. See the table below for an example. (It may be helpful to count this piece in quick 8s.) Zebra ladies: start offstage, stage left.

Development Task Using the Laban framework (action, space, dynamics and relationships), in small groups or individually, students choose one of the four elements.

With their primary emphasis on the selected element, students use the three movement phrases/motifs as a springboard to create a new composition.

They should consider: • Start and finish positions (on or off stage) • Use of motifs, e.g. in a different order, fragmented, in the original form or not included • Development of individual motifs • How interrelated the Laban elements are despite the primary emphasis

Teacher Resource

CUT OUT AND KEEP Count Action Space Travelling Phrase 1-8 3 walks pull feet together Travel to SR

and pose 1-8 Hold SR 1-16 Repeat the above 1-8 6 quick walks and pose Travel to SR

facing front 7-8 1-8 Hold 1-8 4 walks, step dig half turn, Travel to SL, end

step dig half turn 1-8 Hold Facing SL Static Phrase 1-16 Circling head with limping Static facing front movement 1-8 Strike pose on 1 Facing SL 1-8 Strke pose on 1, fingers Facing upstage

pointing in a low V shape,

head turned looking front Gesture Phrase 1-32 Handbag & lipstick Facing front

gesture (See DVD) Exit 1-16 Combination of slow and Travel to SR

quick walks

CUT OUT AND KEEP

KS2 Science Cross-Curricular Dance: Pollution

Dynamic Slow, strutting

by Amy Williams Direct, brisk

Direct, sharp

These activities are designed to fill one lesson; however, they could be split over several shorter lessons, or developed to create a unit of work. The tasks in this lesson plan can also be adapted to work for a range of cross curricular topics, using the same starting points of key words and definitions, paired exploration and group work.

Smooth, continuous Sharp with attitude Sharp with attitude

Learning Outcomes By the end of this lesson, students will be able to: • Identify different types of pollution • Embody a range of movements and qualities that relate to the stimulus of pollution • Link movements to create a travelling phrase of dance • Critically appreciate their own work and the work of others

Precise, direct

Introduction Question and answer based around what pollution is. Ask students to identify different types of pollution (e.g. air, noise, land, water, light, visual), how pollution happens and explain what impact this can have on the environment. You could develop this into a timed physical task, placing key terms or definitions around the room which students must find and link together.

Stage Right (SR) / Stage Left (SL)

Warm Up Use a sound scape such as the noise of traffic to set the scene. Ask students to walk around the space in different directions, encouraging them to vary the speed they travel at. Teachers should call out a range of verbs that could link to the spread of pollution, e.g. expanding, restricting, growing, releasing. Students should respond by changing the way that they move for each word. Praise interesting movements and interpretations of the instructions.

The Impact of Pollution Students split into pairs and label themselves A and B. Person A uses their body to create a held position to represent something that may be affected by pollution, such as a tree, river or animal. Person B then manipulates Person A into a different position showing the impact that pollution can have.

Encourage students to change their partner’s level, facing and even facial expression. You could take a more abstract approach, asking students to create open/extended/expansive positions that are then manipulated into complex, contorted positions. Alternative/extension task: instead of manipulating their partner, Person B adds themselves to the position to create simple contact work.

Watch each group/individual’s work and discuss how using one Laban concept can help to develop a motif. Ask them what worked well and what they might develop further. Ask students to refine their work in relation to the feedback given and their own personal critique.

Cool Down The music Now Nothing, from the Rainforest section is excellent as an accompaniment for a cool down incorporating the stretching out of the body parts and muscles that have been worked during the session.

54 The One Dance UK Magazine | Spring 2020

Toby Norman-Wright as Brazilian Woolly Monkey

Photo: Andrew Ford

Photo: Bill Cooper

Ideas for Further Development • Get students to emphasise an additional Laban element in their new dance piece. Ask them: “What happens to the dance piece now? How has it developed further?”

• Ask students to experiment with the underpinning emotions/motivations of the movement developed from the initial three motifs. For example, how would the three zebra motifs and subsequent developed material work with a ‘carnival’ feel? Contrasting music could be used as a catalyst for this task.

• Repeat the workshop using three motifs from three different sections of ‘Still Life’ at the Penguin Café (e.g. Penguin, Zebra and Monkey) instead of selecting all three motifs from one section.

The One Dance UK Magazine | Spring 2020 55

Teacher Resource

CUT OUT AND KEEP

Types of Pollution – Creative Task Students continue working in pairs. Verbally, or using cue cards, assign each pair a type of pollution. You may have several groups assigned to the same type. Each group create and explore movements that represent their type of pollution.

Encourage students to experiment with different types of movement and a range of dynamic qualities. Teacher to circulate and highlight interesting movements, asking open questions to facilitate creative thinking.

Resources

Music available on YouTube: • Vessel – Jon Hopkins (Instrumental) • You’re Not Meant to Be Here – Andrew Hewitt (Instrumental) • Breathe (feat. Jem Cooke) – CamelPhat & Cristoph • The Dressmaker Closing Credits – David Hirschfelder (Instrumental) • Illuminated – Jacob Shea & Jasha Klebe (Instrumental) • Time Lapse – Ludovico Einaudi (Instrumental) Creating a Phrase • In Motion – Trent Reznor & Atticus Ross (Instrumental) Add pairs together to create four larger groups. Each pair • Into the Trees (Serenetti, Pt. 3) – Trentemøller (Instrumental) shares their movements with their group, before working • La Boulange – Yann Tiersan (Instrumental) together to link the movement ideas and create a dance phrase • Traffic Sound Effects (youtube.com/watch?v=8s5H76F3SIs) based on the stimulus of pollution. The ‘golden rule’ is that the movement must travel along a pathway from one side of the Cue cards with key words for types of pollution room to the other. Set additional guidelines such as a minimum of eight movements, at least two movements should be on a low level or there must be a point of contact within the phrase.

Encourage students to use choreographic devices such as unison and canon if they are confident to do so. Vary the accompaniment to ensure the movement does not become music centric.

Extension Task Introduce students to the concept of ‘Reduce, Reuse, Recycle’ and use the three words as a starting point for an additional phrase using only gestures.

Performance and Appreciation Number each group (1 – 4) and give each group a starting point in the dance space (see Diagram A). Each group performs their phrase and as one group finishes, another begins. This gives a sense of a ‘final performance’ and provides an opportunity for students to watch each other’s work. Students feedback on interesting movements they have observed, where they could see the stimulus being used and how work could be improved.

comes to Scotland!

We are excited to present the National Youth Dance Festival in Glasgow! 17-19 July 2020.

Take part...

NEW DIMENSIONS APPLICATIONS OPEN Deadline: 30 March 2020 Youth dance companies from around the country have the opportunity to apply directly to One Dance UK to take part in U.Dance 2020 via the New Dimensions strand.

New Dimensions allows youth groups and individual young people to submit high quality pieces of work by video which are up to 15 minutes long.

Taking part in the festival includes performance, workshops, careers sessions and networking.

APPLICATIONS OPEN Deadline: 10 May 2020 Interested in making dance films?

Or have a dance film already created?

Group 1

Group 2

Diagram A

U.Dance On Screen is back! Apply now for the opportunity to showcase your work on a national platform at CCA, Glasgow, BFI Southbank, London, and on One Dance UK’s social media channels! If your film is created by a young filmmaker or features young dancers you can apply.

U.Dance on Screen 2020 Partners

Photo: Andrew Ford

U.Dance 2020 Partners

Group 4 56 The One Dance UK Magazine | Spring 2020

Group 3

For information and application guidance visit: www.onedanceuk.org/u-dance Image: National Youth Dance Company Scotland performing For Those Who Wait at U.Dance 2019, London. Photo: Brian Slater

Book Reviews

Review by Chloe Sprackling

Changing the Face of British Dance : Fifty years of London Contemporary Dance School

By Henrietta and Richard Bannerman This book is an enchanting celebration of London Contemporary Dance School (LCDS) as it embarks on its 50th year of existence. The authors chart the growth of the school from its humble beginnings: a single studio just off Oxford Street in London, to its swanky, modern home at The Place.

This delightfully descriptive and detailed account of the history of the LCDS, really captures the essence of the school and the powerful sense of community surrounding

it. It is filled with entertaining anecdotes and includes contributions from some of the most illustrious alumni, such as Sir Richard Alston, Siobhan Davies and Anthony Van Laast; some of the very first students to attend the school. A great deal of focus is also given to the school’s close connections with Martha Graham.

As the book goes on to examine the school’s considerable impact on the world of contemporary dance throughout the years and its lasting legacy, it becomes clear that this is undoubtedly a testament to the dedication and determination of Robin Howard, the original founder of the school, who

Review by Katie Stevens

Out Loud: A Memoir

By Mark Morris and Wesley Stace Out Loud: A Memoir is the strikingly honest story of Mark Morris’ extraordinary life.

Reading through depictions of his choreographic processes and his approach to working, you learn about the people he loved, and hated, and all the influences along the way, all of which contributed to him becoming a hugely successful choreographer.

Morris guides you through his life’s experiences and the places dance has taken him, from his first introduction to dance, his eventful travels throughout Europe right through to his

posthumous plans, whilst detailing, very candidly, about his personal life through the AIDS epidemic. In particular, his storytelling of a dancer’s life and the start of his own career in New York City in the 70s and 80s brings you right into the loft apartment doubling up as a dance studio and encapsulates the atmosphere and essence of that era.

At times, it feels as though Morris could burn bridges with the statements he makes in this book, especially with one particularly outrageous description of Pina Bausch.

However, his quick retorts and openly honest tales are presented in such a way, you can’t help but

One Dance UK Staff Andrew Hurst Chief Executive Cameron Ball Special Projects Manager Dani Bower Marketing and Communications Manager Dann Carroll Project Manager Lara Coffey Head of Marketing and Communications Barny Darnell Membership Manager Tori Drew Dance in Education Manager

had the vision to revolutionise contemporary dance in the UK. This book takes you on a fascinating and illuminating journey back to where it all began: a journey that is bought to life by the accompanying photos. If you’re like me, you’ll come away from reading this book with a great knowledge of LCDS and its history, and a desire to dance!

Purchase ISBN: 978-1852731809 bit.ly/LCDSChangingFace

quickly pass over the right-onthe-edge statements and delve further to hear everything else he has to say.

Even if you aren’t a particularly avid Morris fan, you should read this book.

Familiar names crop up on every other page and a broad picture is created of these dancers’ intertwined lives. In amongst these stories, glimpses of Morris’ choreographic practices are inspiring and thought provoking.

Christopher Rodriguez Deputy Chief Executive/ Finance Director

Lauren Hewett Projects Assistant (Surrey University Placement)

Erin Sanchez Manager of Health, Wellbeing and Performance and the National Institute of Dance Medicine and Science

Jess Lowe Administrator, Dancers’ Health, Wellbeing and Performance Hanna Madalska-Gayer Advocacy Manager Mercy Nabirye Head of Dance of the African Diaspora Laura Nicholson Head of Children and Young People’s Dance

58 The One Dance UK Magazine | Spring 2020

Chloe Sprackling Marketing and Communications Assistant Katie Stevens Office Manager Alan Tuvey Finance Manager Amy Williams Dance in Education Manager – Maternity Cover

Sue Wyatt Chair Anthony Bowne Principal, Trinity Laban Conservatoire of Music and Dance Andrew Carrick Director of Carrickworks Julian Flitter Partner, Goodman Jones LLP Anu Giri Executive Director, Dance Umbrella Vicki Igbokwe Choreographer and Director Uchenna Dance Denise Nurse Legal Consultant

Our flexible distance learning BA (Hons) Dance Education degree will enhance your teaching skills and tailor your study towards your own interests and needs as a dance teacher.

Places available on our full-time and part-time programme to start September 2020.

Find out more www.royalacademyofdance.org/bade faculty@rad.org.uk +44 (0)20 7326 8086

Purchase ISBN: 9780735223073 penguinrandomhouse.com

Board of Trustees Frederick Hopkins Head of Membership and Business Development

Learn Today, Teach Tomorrow

Patrons Piali Ray OBE Freelance Artistic Director and Choreographer

Carlos Acosta CBE Children and Young People Patron

Susannah Simons Arts Strategist and Director of Partnerships, Marquee TV

Peter Badejo OBE

David Watson Executive Director of Audiences & Media, National Museums Liverpool

Bob Lockyer Arlene Phillips CBE

/RoyalAcademyofDance @RADheadquarters /royalacademyofdance Royal Academy of Dance 36 Battersea Square, London SW11 3RA

Sir Richard Alston Champion of U.Dance and Young Creatives

One Dance UK Dance Hub Thorp Street Birmingham, B5 4TB onedanceuk.org One Dance UK is a Company Limited by Guarantee.

Registered in England and Wales No. 2931636 Registered Charity No. 801552 Copyright One Dance UK 2019, all rights reserved.

LEARN / TEACH / DANCE Royal Academy of Dance® is a charity registered in England and Wales No. 312826 Photo by Tim Cross

“The programme has offered me valuable knowledge and skills for my teaching career.”

BADE Student

Conservatoire for Professional Training in • Classical Ballet • Contemporary Dance londonstudiocentre.org

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info@londonstudiocentre.ac.uk

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• Jazz Dance 020 7837 7741

• Musical Theatre |

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