dance ed AUSTRALIA AUSTRALIA AND AND NEW NEW ZEALAND’S ZEALAND’S EDUCATIONAL EDUCATIONAL DANCE DANCE MAGAZINE MAGAZINE
Join the Tramb Wagon with Travers Ross Fundamental Movement Skills in Dance Bone Health
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DANCEHUB AND DANCE ED ARE PROUD SPONSORS AND SUPPORTERS OF THE FOLLOWING EVENTS IN 2011:
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National Dance Qualifications Choreography with Reece Hopkins Ask Colin:
Australian Ballet Six Sizzling Events for 2011
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Feature Article 8
Join the Tramb Wagon
Dance Advice 14 When Can I Start Pointe Work? 17 Fundamental Movement Skills in Dance 28 How to Choose a Dance Studio 31 Youth Dance 32 Children & Professional Dance
Dancers Health 18 The Challenge of the Adolescent Dancer 22 Bone Health 24 Understanding Hypermobility
Syllabus Information 23 Glen Wood Tap
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35 CSTD 38 National Dance Qualifications
Choreography 26 with Reece Hopkins
Australian Ballet 34 Ask Colin Peasley
Events for 2011 40 Six Sizzling Events
Snapshot 6 Ilona Fabiszewski 37 Quick 10 with Gaz Griffiths 42 Little Achiever
Studio Focus 12 En Pointe Ballet School
Program Guide 20 Utopian Dream Festival
Studio Setup 36 Sprung Dance Floor
Review 27 Dance North
Shoppers Guide 43 The latest products and services for dancers
My Genre 10 Hip Hop
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Editors Note
We have had a hectic few months here at Dancehub. Our Dance Ed magazine was launched just in time for the Australian Dance Festival in Sydney. Who would of thought that the magazine only took 8 weeks to produce from concept to completion. It’s a testament to the wonderful staff we have on board here at Dancehub. The magazine has flourished since September and now we have over 60 outlets around Australia who stock our magazine including dance schools, dancewear outlets and tertiary dance providers. Our direct subscribers are growing day by day. In fact, if you’d like to receive this magazine before anyone else does simply visit our website: www.dancehub.com. au/shop and purchase one of our subscription packages. In this edition we have some amazing articles to suit dance teachers including: “Understanding Hypermobility” and the new National Dance Syllabus information released by IBSA in Victoria. We review Dancenorths’ two week residency in NY under Mikhail Baryshnikov. Enter our competition to win a photo shoot with Belinda Wright from BWP Studios valued at $450. We also take a look at our story on Full Time Ballet Schools and much more. You can meet us at the Utopian Dream Dance Festival in Coffs Harbour in January. We are supporting this event and hope that we can encourage and inspire more dancers from regional and remote Australia. We are also at the National Dance Championships “Showcase 2011” on the Gold Coast after the UD event. And finally, a big thank you to our authors, photographers, distribution network and advertisers who continue to support us in making this magazine possible. The Dance Ed magazine is all about educating our dancers, dance teachers and the dance community as a whole. If you want to become a contributor, offer feedback or want to advertise please email me at: advertise@dancehub.com.au You can find us on Facebook, Twitter and dancehub.com.au
Editor Philip Reece
Directors Philip & Jan Reece
Contributing Writers Rachael Jefferson-Buchanan (NDTA UK), Sue Cottam (Freelance Writer for NDTA UK), Natasha Teys (Dancealicious), Dancehelp.com, Priscilla Clarkson, Melanie Fuller, Glenn Wood (Glenn Wood Tap), Carmel Evans (CSTD), Colin Peasley (Australian Ballet), Robyn White (Queensland Ballet), Travers Ross, IADMS, Reece Hopkins, Dancenorth, Karen Kiefer and Expressions Dance Company
Contributing Photographers David Barnes (Melbourne Dance Photography) www.melbournedancephotography.com.au Aaron Crouch (F-Stop) www.dancephoto.net.au Kimene Photography (Dance Portfolios) www.danceportfolios.com.au Belinda Wright (BWP Studios) www.bwpstudios.com.au Kate Whatman (Picture This Photography) www.picturethis.com.au Nicole “Lamb” Iovine www.nicolelamb.com
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Dance Ed Magazine is published by Dancehub Australia. advertise@dancehub.com.au M: 0422 190 683
Photographer: Nicole “Lamb� Iovine | www.nicolelamb.com | Dancer: Jason Winters
“The reason I read Dance Ed magazine is to keep up to date & read interviews with other dance professionals. I also like the informative syllabus information and the reviews.�
Ilona Fabiszewski
A week in the Life of
Sunday
Day off! Time to spend with my husband, family and friends...
Monday
I start my week off with a yoga class to get my mind and body into the right zone. I then catch up on all my emails, choreography and head to my beginner class at 6.30pm.
Tuesday
Usually starts off with choreography for my intermediate class. I then teach the full time students at Urban Dance Centre from 2.45pm – 4.15pm. During the break of class I work on music mixes before I teach the intermediate class at Urban Dance Centre between 6pm and 7.30pm. From there I rush off the Sydney Dance for another class from 8 to 9.30pm. A big day for me!!
Wednesday
Yoga again in the morning! Try to relax in the afternoon and catch up with emails and facebook friends. I head to Parramatta for beginner and intermediate classes I run there from 6pm to 9pm.
Thursday
I try to visit the beach, meet up with friends or do something for myself. Yoga if I feel like it before heading to Bollywood and Indian Classical rehearsals with Sirens Dance, whom I have danced with for four years. I love the challenge of Indian Dance.
Friday
I teach a private lesson in the morning. Have a break or prepare choreography depending on what I have on at the time. Sometimes I’ll do a gig at night!
Saturday
Kids Day !! UYP at Urban Dance Centre and then my open kids class at ACE. I also try to visit the beach or have some special time in between these two classes. My passion, or should I say focus changes at different times. At the moment I am really passionate about being creative with my music choices and choreography. I also like learning new things and taking risks with my choreography and dance. I don’t like to say I can’t stand something but being injured has been my biggest source of frustration. I recently hurt my back and was in bed for a week so I got frustrated. I felt unproductive so I started doing my tax which had been neglected! It really makes you appreciate your body and its value, that’s why yoga is so important to me now. Dancing especially hip hop is so “jolty” and it’s never even on your body. Your moves impact different locations on your body, sometimes left and sometimes right. Yoga gives me balance, relaxation and stretching.
September 8th 2010, just another day... Ok so another year has nearly come to an end, another decade has almost passed yet we wonder has anything significant happened yet? Well what would you say if you where told an underground movement of dance has toured the whole country, not just in one state or city; every direction on the australian map. Well it has, and everybody has had access to the TRAMB WAGON. What is the tramb wagon you ask, well its a new concept developed by the partnership or two of Australia’s most notable and active dancer/ choreographers Travers ‘DaeTRAVoo’ Ross and Nicole ‘LAMB’ Iovine. The Tramb Wagon is a mobile dance and choreography experience for the youth and dancers of Australia, it’s not just sit and watch but also to get involved in a new dance movement of positive self expression through using your body. Lamb and Trav are from Perth and Coffs Harbour and have danced at some of Australia’s most geographically isolated locations in Australia and noticed the hip hop dance movement had actually reached the far corners of Australia. They developed the Tramb Wagon to return and reach these kids and all dancers of various backgrounds including many indigenous groups to let them know, and the world know that they are here and they are now. Not only has the Tramb Wagon inspired these kids but also inspired Nicole and Travers to hone their craft, seeking inspiration from the desolate location’s sort of a self re discovery personally and artistically.
They visited and brought their dance workshops to Darwin, Katherine, Beswick, Burrunga, Tennant Creek, Tully, Innisfail, Sunshine Coast, Tambourine Mountain, Brisbane Gold Coast, Tweed Heads, Byron Bay, Lismore, Evans Head, Grafton, Woolgoolga, Coffs Harbour, Armidale, Kempsey, Dubbo, Gosford, Hursville, Kirrowee, Yarrawonga, Albury, Hobart, Launceston, Perth, Wanneroo, Padbury, Kalamunda. They travelled by plane, scooter!, Juicy rental van, and several hire cars to bring the dance to thousands of people. Bringing the kids together using positive expression as an output for a sense of community and belonging. They also brought Utopian Dream ‘Scholarships’ valued at $400 each for adults and $150 for kids to up to four selected workshop students in each town. For more about Utopian Dream see page [Insert page.] Nicole Lamb Iovine and Travers DaeTRAVoo Ross met when Lamb promoted the Perth workshops when Trav was on an Australian tour teaching and noticed they had the similar passions and goals in life and built on that to make dance accessible to everyone in Australia. Having travelled overseas previously and together to many international destinations including New York, London, New Zealand, Japan, Brazil, Las Vegas, and of naturally Los Angeles.
They decided they should bring it all back to Australia, and give something back to the people in country areas. The Tramb Wagon workshop has been recorded in many locations and Nicole Lamb and Travers are currently in talks with the ABC, SBS and any other networks over the possibilities of a documentary on the whole project and it’s performances. The Tramb Wagon hit to the roads from August November 2010. Both Travers and Lamb would like to thank Beyond Empathy, Slippery Cirkus, Eduardo Murillo Design, Art work by Daniel Milanovic, Pepper Print, Ice Graphics, Michael Iovine Consultancy, Dance Schools, Students, all the Councils visited, The Northern Territory and all those involved for their support and contribution towards The Tramb Wagon this year. Thank you! TRAMB WAGON - SINGING OFF! WANT THE TRAMB WAGON TO COME TO YOU? Contact | Travers “Daetravoo” Ross - info@traversross.com.au www.traversross.com.au | www.utopiandream.com.au Nicole “Lamb” Iovine - info@nicolelamb.com www.nicolelamb.com Email: thetrambwagon@gmail.com
Of all the keywords dancers enter into Google related to dance, the most popular search term is “hip hop”. Why? Well we think it’s more than a fad, we think Hip Hop has grown to develop new boundaries and styles. With the advent of TV shows like SYTYCD, Dance Academy and America’s Best Dance Crew, hip hop has increased it’s profile from the streets to the TV set. In this article we uncovered the origins of hip hop and explain the journey of hip hop in our dance culture.
Hip hop today can be found everywhere. It’s become a regular and well known form of dance. We find it in gyms where members dance just for fitness; we find it in dance studios, in music videos and on film as well. All we hear is that it is a form of ‘street dance’. This street dance has quite a history of development that led up to the coined phrase ‘hip hop’. Most practicing dancers today are trained in the hip hop ‘technique’ and take classes to perform a specific executed series of steps to hip hop natured music. This is actually a far cry from the origins. The phrase ‘hip hop’, was coined by DJ Afrika Bambaataa, in reference to the urban movement that was happening in the 80’s. The words ‘hip hop’ were also used by early DJ’s as a form of rhyming and audience hype. The roots of hip hop were formed in New York City and Brooklyn; the public saw it as a ‘funk movement’. A lot of elements were formed on the west coast as well, but the east coast is where it all started. Whether called ‘b-boying’, ‘uprocking’, ‘breakin’ or ‘top rockin’, it all led to the very dance form we know today as hip hop. The movement developed from a mixture of break dancing, turntable DJ music, martial arts, jazz, pop locking and hip hop music development. Breakdancing is a huge part of hip hop; it has now developed into an independent form of dance. It began as an improvisational battle between dance ‘crews’ that would cover anything from gymnastics and intricate balances, to simulated assault and aggressive physical humor to ‘break the opponent’. The winner would be the crew with the most difficult moves spanning from back and head spins and balanced ‘freezes’, to fast sharp aggressive movement and robotic body trembles. When hip hop music started developing, so did hip hop dance. As soon as it began being staged for an audience, aside from the original interactive audience, it began to take on a new form. Another influence on hip hop was a martial arts form from Brazil, originated by the African American slaves living there. The slaves would practice this fighting technique form and disguise it as dance when in all reality; they were getting strong to fight. Many glorified martial arts movements are very prominate in the hip hop technique. This movement was inspired by not only martial arts, but street fighting as well. A lot of this dancing was performed with ‘crews’, and would be done to ‘humiliate’ the opponent. They would form lines and would call the dancing a ‘battle’. Hip hop made it’s most recent mark in films today such as ‘Bounce’, ‘Hustle & Flow’, ‘Honey’, the documentary ‘The Freshest Kids; A History of the B-Boy’, ‘You Got Served’, as well as many, many more... The hip hop style is still developing today and now we see a new style addition starting to get national acclaim. This style is known as ‘krumping’ which was highlighted in the documentary ‘Rize’. This style originated in South Central Los Angeles. Krumping has a deeper African tribal influence including face painting, tribal movement and group dance. It’s a very aggressive yet positive energetic dance movement that has served as an evolvement in the dance style. Hip hop is a movement and it continues to grow and change with the times. Most people usually think of rap videos when they think of the dance related word ‘hip hop’, but it is much more than that. It has a thick history and an endless future. It is one of the most innovative dance styles out there today. Dancers have quite a respect for this dance form; it’s by no means easy and requires such a large amount of energy to execute, that it’s actually one of the most difficult forms outside of ballet. It is exciting enough to entertain millions of people, difficult enough to dazzle the most seasoned dancers, yet has a side to it that can reach out to the non-dancer as well. Hip hop is a dance style that has many faces. Tomorrow might produce a completely different movement; it’s one to watch and to enjoy.
Studio Focus En Pointe Classical Ballet Coaching (Qld), is an innovative and unique dance curriculum, tailored specifically to nurture, naturally gifted, talented and dedicated, elite young classical ballet students.
En Pointe Classical Ballet Coaching (Qld), offers students from the age of 11 years, a unique opportunity, to study their art form with personalized, professional coaching on a daily Basis. During these formative years, it is imperative that gifted students, who aspire to a career in Classical Ballet, obtain a strong classical technique, supported by associated practical and theoretical subjects which will heighten, their level of accomplishment and success in future years. This “bridging school” or “middle school”, is extremely unique and innovative. Students who successfully audition, are groomed and trained for a classical career from an early age.
This has many advantages, but none more important than by the end of approximately 5 years training at the school, students will have a realistic outlook, of whether their goal and ambitions of a career in Classical Ballet are on track to become reality.
that the high level of nurturing and care that En Pointe creates and desires for its students, is upheld and fostered at all times. All staff share similar beliefs, goals and aspirations for the students and this is reflected with outstanding results that speak for themselves.
Upon successful audition, a minimum number of places are offered, to those students who are identified as possessing outstanding potential, natural ability and a strong mental and emotional capacity, to undertake such a demanding, yet rewarding, dance curriculum. These places are reassessed every year. Medical certificates are required to accompany audition applications.
Academic Education Due to the tender young ages of these gifted students, much emphasis is placed on continuing an extremely high level of education. After years of experience with both mainstream schooling and distance learning within the En Pointe Curriculum, Distance Learning has proved to be the most efficient, up-to-date, and most effective and most flexible way of delivering a high level of academic achievement amongst the students. This academic opportunity is offered on campus, for full-time students from Years 6 to 12, through the acclaimed Brisbane School of Distance Education.
Faculty En Pointe Classical Ballet Coaching (Qld) prides itself in providing the most qualified, professional and caring teachers, coaches, trainers and tutors for it’s talented young students. All staff have been carefully chosen, to ensure
Facilities
The En Pointe Dance Centre boasts 3 fully equipped, purpose built, dance studios. All studios possess the latest in hi-fi sound systems, including 4 flat screen televisions, wi-fi technology and the full-time students, have full access to all areas of the complex, at all times. The Centre is complete with a fully equipped student lounge, with modern kitchen facilities including microwave, fridge, TV, DVD Player and 3 lounges, where students retreat in between their daily classes. The majority of the centre is air-conditioned for students comfort throughout the warmer months. Each studio is fitted with wall to wall full length mirrors and quality, sturdy Tasmanian Oak 2 tiered ballet barres are fixed to 3 walls of each studio. The full-time students are allocated personal lockers for their belongings and separate change rooms are provided alongside the students restrooms. Students have access to the extensive dance library located in the foyer and students are most welcome to use the fitness room at any time, to work on their own, in their own time. The “Fitness Studio” in Studio 3, is designed specially to house equipment vital to the training of these dedicated and committed young dancers. Studio 2 has been fitted with tap friendly “tapi-flex” tarkett, to allow for the flexibility of all styles of dance to be conducted under the one roof.
When Can I Start Pointe Work? Guidelines for Initiating Pointe Training Abstract The initiation of pointe training for dance students should be determined after careful evaluation of a number of factors. These include: the dance student’s stage of physical development; the quality of her (or his) trunk, abdominal and pelvic control (“core” stability); the alignment of her legs (hip-knee-ankle-foot); the strength and flexibility of her feet and ankles; and the duration and frequency of her dance training. For students who meet the requirements related to all of these factors, began ballet training at age eight or later, and who are taking ballet class at least twice per week, pointe work should be initiated in the fourth year of training. Students with poor core stability or hypermobility of the feet and ankles may require additional strengthening to allow them to safely begin pointe training. For those who are only taking ballet
classes once per week, or who are not truly pre-professional, pointe training should be discouraged. No student with insufficient ankle and foot plantar flexion range of motion or with poor lower extremity alignment should be allowed to do pointe work.
Photographer: David Barnes | www.melbournedancephotography.com.au | Dancer: Ebony Ziccardi
The young dancer asks, “When can I begin pointe work?” The answer usually given, almost without thought, is “at 12 years of age.” It would be better if the response were “What kind of dance student are you?” Starting pointe at age 12 presupposes that the child is beginning her fourth year of ballet classes at a dance academy with a program designed to train professional ballet dancers. Acceptance to such a program would indicate that, at age eight or nine, the child had sufficient anatomic facility. The program itself would consist of classes progressively increasing in difficulty and frequency over the first three years. By age 12 the student would be taking four classes per week. Her feet and ankles would be strong, her trunk and pelvic control would be good, and her proprioceptive skills would be properly developed. Pointe work would begin with 15 minutes of exercises at the end of each class. This student should be distinguished from the child who began classes at age five at a local dance school and now, at age ten, takes one ballet and one tap class a week. She is small for her age, with weak feet and ankles. She is very “loose-jointed” (hypermobile) in her spine, knees, feet, and ankles. Her teacher wanted her to start pointe work two years ago, but the mother thought she wasn’t serious enough about her dancing. Her cousin began pointe work at age ten and she wants to know why she can’t start now.
Growth and Development Can any one age be the correct answer for all students? Are all girls at the same stage of development at age 12? The answer to both questions is “No.” There
may be significant differences in girls’ physiologic development, depending on the onset and tempo of puberty. After age five linear growth proceeds at approximately 5.5 cm/year (two inches/ year). For girls, the growth velocity increases sharply around age ten and reaches a peak of approximately 10.5 cm/ year (four inches/year) at age 12. Peak weight gain velocity of 8.5 kg/year (18.7 pounds/year) is reached at age 12.5 years, and quickly decelerates to less than one kg/year (2.2 pounds/year) at age 15. During this rapid growth period there are inevitably significant differences in development from one child to the next. Mr. Justin Howse, retired Consultant Orthopaedic Surgeon to the Royal Ballet Schools and the Royal Academy of Dancing (London, UK), says that “the only factor which matters is the state of development of the child, and to be dogmatic about an age does not make any reference to the child’s maturity or immaturity.” The completion of growth in a tubular (long) bone is signaled by the fusion or closure of the epiphyses (growth plates). This occurs in the foot slightly earlier than in the leg. The appearance of ossification (bone formation) centers in the foot begins at age two months in utero. The last epiphysis to close in the foot does so at an average age of 16 years in boys and 14 years in girls. From age five through age 12 the average girl’s foot grows 0.9 cm (0.35 inches) per year, reaching an average foot length of 23.2 cm (nine inches) at age 12. Thereafter the average girl’s foot growth rate slows to 0.8 cm (0.31 inches) per year for the next two years. The completion of bone growth in the feet is often given as a reason for choosing the age of 12 for beginning pointe work. However, this concept is basically
erroneous, as bone growth in the average girl’s foot is not complete at that age. How far along in bone maturation is any one girl at age 12? A knowledge of statistical averages is not accurately predictive, as chronological age does not necessarily correlate with bone age. Although x-rays can show the completion of growth in the foot, they are less exact in determining the stage of bone maturation prior to closure of the epiphyses. If bone growth in the foot is not complete at age 12, and if this is a common age at which girls begin pointe work, is there medical evidence for damage to the bones of the growing foot resulting from training on pointe? Not to our knowledge: not from studies, anecdotes, or the authors’ collective personal experiences. This is not to suggest that initiation of pointe work before age 12 is harmless; indeed, by way of analogy, studies involving gymnasts have established the potential harm of repetitive microtrauma to growing bones. If neither chronological age nor bone maturation alone determines when to begin pointe work, what other factors must be considered? In the fifth (and final) edition of her seminal book Anatomy and Ballet: A Handbook for Teachers of Ballet, Celia Sparger writes: “It cannot be too strongly stressed that pointe work is the end result of slow and gradual training of the whole body, back, hips, thighs, legs, feet, co-ordination of movement and the ‘placing’ of the body, so that the weight is lifted upwards off the feet, with straight knees, perfect balance, with a perfect demi-pointe, and without any tendency on the part of the feet to sickle either in or out or the toes to curl or clutch. This moment will arrive at different times in different children, not only by virtue of previous training but according to their physical type, and in this may be included the growth of the bones.”
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When Can I Start Pointe Work? Risks Associated with Starting Pointe Too Early As Ms. Sparger’s statement suggests, the potential dangers to the child from being placed on pointe before she is ready have less to do with actual bone or joint damage (although these are real) than with inadequate range of motion, strength and stability. These factors may cause undue stress on the leg, pelvic girdle, and trunk. The child with hypermobile feet and ankles is particularly at risk if placed on pointe too early. This condition, commonly described as the “over-arched” or “over-pointed” foot, can be deceptive. These students have the suppleness to achieve, or even exceed, the required pointe position, and thus they are more likely to be selected for ballet in general and pointe work in particular. However, they often lack the required strength and postural control to work safely on pointe. Prior to beginning pointe work in these students all the muscles of the leg must be strengthened, and adequate proprioceptive control developed, to facilitate correct alignment. At the opposite end of the spectrum, the child with an inflexible foot and ankle, resulting in insufficient plantar flexion range of motion, is also at risk. To ensure proper alignment on pointe the line of the metatarsals (represented by the top surface of the forefoot) should be parallel to the line of the tibia (front of the shin) when the foot is pointed (combined ankle and foot plantar flexion). Attempting to perform pointe work without such anatomic facility will place excessive stresses not only on the foot and ankle, but also on the leg, pelvic girdle, and trunk. If there is hyperextension (“sway-back”) of the knees, even more ankle and foot range of motion (plantar flexion) is needed to assure proper alignment on pointe. Unfortunately, insufficient range of motion may not improve with time, and children with these restrictions may never obtain sufficient flexibility for pointe work.
Assessing the Pre-Pointe Student One of the factors affecting the development of muscular strength and proprioceptive ability is the age at which the child has begun studying ballet. Although movement classes beginning at age four may be beneficial for other purposes, no proper ballet training can be accomplished before age eight (both Cecchetti and Balanchine agreed on this). Another factor is the frequency with which the child takes ballet class. In general students taking ballet class once a week will progress more slowly than those taking twice a week. Those taking four ballet classes a week will progress fastest, but this frequency is usually found only in professional schools or academies. Within any given class of 13-year-olds there will be girls in different stages of pointe work, just as there will be a variety of physiques and abilities. This places a heavy responsibility on the dance teacher. The growth and development of each student needs to be considered when determining readiness to begin pointe work. Teachers should perform their own pre-pointe assessment to ascertain whether the student has proper postural control (with good abdominal and trunk support), sufficient lower leg strength, and appropriate leg (hip-knee-ankle-foot) alignment to begin or continue working on pointe. Communication with parents is essential to explain the reasons behind every decision, thereby preventing misunderstandings. Finally, we offer two observations that emphasize the importance of making a proper assessment of when to start pointe work. First, the dancer who is struggling to work on pointe may have difficulty developing other aspects of her ballet technique; second, due to inability to execute the movements required to dance properly on pointe, she may be prone to psychological problems, including decreased confidence and poor self-esteem. Hence, we suggest that it is wise to be conservative in choosing when to begin pointe work. As Howse notes: “There are certainly well-known dancers who were not strong enough to start their pointe work until they were over the age of sixteen and this has proved no handicap in their career.” This Resource paper was written by David S. Weiss, M.D., Rachel Anne Rist, M.A., and Gayanne Grossman, P.T., Ed.M., under the auspices of the Education and Media Committees of IADMS.
Fundamental Movement Skills in Dance By Rachael Jefferson-Buchanan Senior Lecturer in PE, Dance & Primary Professional Practice, Bath Spa University, UK Notwithstanding the distinctive artistic nature of Dance, there are basic motor skills in Dance that are akin to those in other physical activities. In the FMS Resource (Hands et al. 2004), twenty-two skills are categorised, but several of these could be considered as ‘dance-oriented’. For example, under the heading of Body Management Skills, a static balance (‘balance on one foot’) and a dynamic balance (‘walk on a line…’) are clearly important skills to nurture in the young dance student. Within Locomotor Skills, ‘the sprint run’, ‘hop’, ‘jump for distance’, ‘jump for height’, ‘skip’, ‘gallop’, ‘side gallop’, and ‘continuous leap’ are also skills that many dance educators endeavour to cultivate within their students’ movement vocabularies. Kimmerle & Côté-Laurence (2003: 94) confirm such descriptive categories of FMS and their association with dance: “Dance skills are specialised, complex skills, built on the fundamental skills of stability, locomotion, and manipulation”. Young children love to move, and dance can make an essential contribution to children’s physical development. FMS can easily be integrated into existing dance programmes, in an effort to encourage the next dancing generation to become skilled life-long movers. Our goal should surely be to provide students with the skills, knowledge, and confidence to participate in a health-enhancing physical activity such as dance throughout their lives. Grounding our artistic endeavours in the physicality of dance in this way should help our young students to realise their dancing potential. Movement creates the context in which children learn about their world. It would therefore seem appropriate to intermittently shift the focus of our dance lessons to include the development of FMS, thereby working towards the improved health (in its holistic sense) of our students in their formative years. Bibliography Hands, B., Martin, M. & Lynch, P. 2004. Fundamental Movement Skills. Preparing Children for an Active and Healthy Lifestyle. Western Australian Minister for Education: Western Australia. (UK STEPS Professional Development website: http://www.steps-pd.co.uk/). Kimmerle, M. & Côté-Laurence, P. 2003. Teaching Dance Skills. A Motor Learning and Development Approach. J. Michael Ryan Publishing, Inc: New Jersey.
The adolescent growth spurt often occurs just as dance students are committing to career paths and increasing the intensity of their dance training. During the growth spurt enormous physical, psychological, and social changes correspond to a time when the young dancer is very vulnerable. Sudden increases in height and decreases in muscle strength and coordination are compounded by dramatically fluctuating hormone changes. Taken together, these changes can overwhelm both male and female teenagers. Choices made during the adolescent growth spurt can have a profound impact on a dancer’s professional development and long-term health. Parents, teachers, and the young dancers themselves all need to be aware of the following: physiological changes, psychological issues, nutritional considerations, and the need for training modifications.
Physiological Changes During the Adolescent Growth Spurt During the adolescent growth spurt, physiological changes include increased height, increased body mass, increased arm and leg length, and changing proportion of limb to torso length. As the nervous system struggles to keep up with these muscular and skeletal changes, the dancer experiences fluctuations in coordination and balance. The long bones of the arms and legs grow prior to the trunk, challenging the stable torso required in dance classes. This growth can also be asymmetrical, with one arm growing more rapidly than the other. Since the muscles often do not lengthen as fast as the bones, strength and flexibility can decrease. Growth plates at the ends of bones can be vulnerable to injury, particularly in areas such as the knees where strong tendons attach. The age of onset, length and pace of the growth spurt are all highly individual. The growth spurt usually takes place at ages 11 to 14 (sometimes earlier for girls and later for boys) and can last 18 to 24 months. While some youngsters grow slowly and may notice no dramatic changes, others can grow as much as one centimeter or more in a month. As one might imagine, these complex physical changes can have a significant effect on dance abilities. Many students will experience an overall decrease in technical skill and control. Specifically, a young dancer may notice a decrease in strength and flexibility, resulting in lower leg extensions. Decreased coordination and balance often make pirouettes and long balances difficult. The increased length of the legs in relation to the spine challenges the student’s ability to maintain proper (neutral) alignment of the pelvis and torso. As technical control decreases, the risk of injury increases.
Psychological Issues The adolescent dancer in a fast paced growth spurt is coping with rapid changes in his/her world. The combined pressures of dramatic hormone fluctuations and a perceived decrease in ability can make this an emotionally challenging time. Unless he or she is well informed, the student dancer is likely to feel a loss of confidence in dance ability and a
corresponding decrease in self esteem, compounded by being unable to perform at a level that was previously taken for granted. This in turn can be perceived as a loss of talent, especially when fellow students appear to be improving. Changes in body shape and size may also challenge a dancer’s positive self-image, particularly in a dance environment that values a slender physique. The young dancer should be informed that this is a temporary rather than a permanent state, and that the previous ability will return once the body has begun to catch up with the growth rate. The dancer also needs to understand the lengthy time frame of the growth spurt and accept that this process may last a year or more. Teachers and parents can boost the dancer’s confidence and morale by acknowledging the student’s efforts and maturity, providing a positive perspective while reinforcing the need for patience.
Nutrition: Avoiding the Female Athlete Triad Recent research suggests a relationship between exercise levels, nutrition, hormone levels and bone density. Adolescent dancers, like all physically-active young women, are at risk for developing the Female AthleteTriad, a syndrome comprised of disordered eating, amenorrhea (absence of menstruation), and osteoporosis (loss of bone density). Emphasis on low body weight as a prerequisite for success as a professional dancer can encourage the eating disorders linked to the Female Athlete Triad. This syndrome may have long-term health ramifications, with a chronic energy deficit or disordered eating contributing to amenorrhea, which in turn may lead to reduced bone density and early onset of osteoporosis. Young dancers should be educated about healthy eating habits and encouraged to pursue a healthy lifestyle to improve and prolong their dance careers.
Suggested Class Modifications Teachers can accommodate the adolescent growth spurt in their classes by modifying the class content and structure on an individual basis, making the class less physically stressful. This period can be used to consolidate technical understanding, enhance artistry, learn about the body, and work on individual needs. Sections of the class that should be limited include impact work such as jumps, pointe work in the center on one leg, challenging lifts in partnering classes, kneeling sequences in modern and jazz classes, and other movements that stress the knees, such as grand pliés. Other aspects of class can be expanded. Teachers can focus the student’s attention on trunk and pelvis stabilization through postural corrections, facilitating a deeper kinesthetic awareness. Attention to trunk control in classes may produce the dual benefits of minimizing injury while establishing good movement patterns. Similarly, spending time on developing proprioceptive skills (awareness of the position and motion of the body in space) through simple exercises will have long-term benefits. Body conditioning techniques are especially useful at this time as they can be non-weight bearing and executed during class.
The Challenge of the Adolescent Dancer Produced by: Education Committee (Kathryn Daniels, Chair) International Association for Dance Medicine and Science
The challenge for the dance teacher is to continue the dance class as normal for the majority of students while accommodating those in a growth spurt. Teachers should encourage students to modify their participation on an individual basis and provide alternative forms of class participation, such as floor barres and supplemental conditioning techniques aimed at muscular control rather than excessive flexibility. Teachers also might postpone high profile competitions or examinations during this time to lessen the pressure on the young dancer.
Medical Support It is important that dance students have access to informed medical advice during the adolescent growth spurt. A screening program may help to identify problem areas and prevent injuries; physical therapists or other exercise specialists can design preventive and rehabilitative personal exercise programs. Medical practitioners should work collaboratively with teachers and students to establish a team approach. The research work of dance medicine and science professionals should be shared with dance teachers and students in a way that is applicable to daily training.
Summary Physiological changes associated with the adolescent growth spurt can temporarily diminish a dancer’s technical proficiency and increase vulnerability to injuries. The loss of technique in combination with normal adolescent emotional challenges can lead to lack of confidence and low self-esteem. Adolescent dancers should be encouraged to learn about their changing bodies while trusting that they will regain their technical control and resume their progress once the growth spurt has ended. Teachers can support their students during these challenging times by providing flexible individual class modifications and encouraging healthy nutritional habits. Parents should be provided with information about the changes that occur during the growth spurt and encouraged to supply a supportive environment at home. Health care practitioners should work in collaboration with dance teachers, students, and their parents to build a bridge between the science and art of dance.
by Natasha Teys (Dancealicious)
BONE HEALTH
Dancers are active and their bones endure rigorous mechanical stress. Under normal circumstances, weight bearing activity enhances bone density, but restricted energy intake and poor nutrition may lessen these effects. For a more personalised dietary profile it is recommend you seek the advice of a qualified health professional.
Is your calcium intake adequate? Do you have a rigorous training & performance schedule? Do you indulge in high risk behaviours such as energy drinks or smoking? As aspiring dancers your bone health could be at risk! Dance is a form of weight bearing exercise. Weight bearing exercise is any activity that works muscles and bones against gravity. As a result of such impact, bones become stronger and bone mineral density (BMD) increases. Despite dance being a suitable activity for preventing osteoporosis, there is research to suggest a link between poor nutrition, disordered eating, and excessive training and sub-optimal bone density in both young dancers and furthermore - retired dancers. Dancers need to be aware of their nutritional requirements to ensure optimal bone health and careers. Low energy availability in dancers is often due to a rigorous training schedule and dietary restrictions. Early symptoms of a negative energy balance (energy expended exceeds energy consumed) may include: fatigue, lowered concentration, and in female dancers a loss of menstrual cycle. Dancers with prolonged low energy availability whereby calcium intake is reduced, have higher incidences of stress fractures, scoliosis, osteopenia, and osteoporosis. High caffeine intake (i.e. coffee, tea, and energy drinks), high alcohol intake, and smoking are common lifestyle causes of reduced bone mineral density. Adequate amounts of calcium, vitamin D, magnesium, phosphorus, and potassium from a well balanced diet will reduce a dancer’s risk of poor bone health, stress fractures and osteoporosis in both the short- and long- term.
The Importance of only using good tap shoes.
Tap dancing is all about feet and the wonderful rhythmic sound that we create. Besides having all the technical skill in the world you need the best possible shoes to deliver the goods. Flat shoes are preferable – sport heels and higher heels might look good but put too much pressure on the ankles and so are not free and loose to carry out advanced technical moves. In the old movies, Ginger, Eleanor and Ann all wore high heels but their sounds were dubbed in later.
Lace up “Oxfords” are my preferred shoe. And only certain brands will I recommend. The sole requires a double layer of leather to be put on. Tap plates need to be flat and large to cover the front portion of the ball of the foot and the heel. Attaching the plates is a very difficult skill. The plates need to be loose (the screws still recessed below the level of the tap to avoid scratching the dance floor). The shoe needs to rattle when you shake it. Finding a boot maker that can do this highly specialised job is difficult, in fact I only know of one. You can buy tap shoes already set up for use. Check that they have the above qualities. There’s only one brand of shoe that satisfies my criteria for prepared tap shoes. Nearly all of the prepared tap shoes have tap plates too thin, screwed on too tight and the leather used for the shoe is cheap and blister encouraging. Should you have any questions regarding tap shoes and what brands and where to buy them feel free to contact me glenn@glennwoodtap.com.
Understanding
Hypermobility
Melanie Fuller M Phty, B Ex Sci, Adv Dip PA (Dance)
Those with hypermobility may be exposed to increased stress & strain on already fragile tissues. Hence, the importance for dancers to recognise & understand hypermobility. Developing awareness at a young age aides to engrain good motor patterns & adopt strategies that may prove to be protective in the future. Good technique & exposure to appropriate choreography are key to training these individuals. Faults in technique such as over turning out, resulting in excess turn out from the knee & foot & hence rolling the foot should be avoided by all in their training but more importantly in the very flexible. It is tempting to ‘show off’ the extremes of flexibility but this appeal should be avoided when
Dancer: Rachael Walsh Photographer: David Kelly. Photo Courtesy of Queensland Ballet
Dance is an art form that attracts those with hypermobility. This may be due to their ability to achieve the desired aesthetic of dance with greater ease. Hypermobility is a genetic condition that affects the extensibility & fragility of connective tissue such as tendons & ligaments. In some dancers the appropriate strength is achieved to support these mobile bodies, others may develop pain & injury related to inherent joint hypermobility syndrome. Clinical scales exist in rating this condition, but those with this condition may be recognised as having a very limber spine or bendy feet & hyperextension in their knees & elbows. guiding young individuals to look after their bodies. Research from The Royal Ballet (McCormack et al., 2004) showed a greater number of dancers with hypermobility & a history of injury were in the school compared to a lower number of dancers in the professional company. This research suggests that hypermobile dancers that have been injured are less likely to progress into the profession. Seek advice from a health professional experienced with hypermobility management if you think you may have more than usual joint mobility.
References McCormack, M., Briggs, J., Hakim, A., & Grahame, R. (2004). Joint laxity and the benign joint hypermobility syndrome in student and professional ballet dancers. J Rheumatol, 31(1): 173-178.
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“Dancers are like instruments, like a piano the choreographer plays.” - George Balanchine.
Reece started dancing when he was 5. He did his first professional dancing as an 8 year old in The Wizard Of Oz in 1990 and got a taste for the stage. From here he became more driven to perform and a desire to create and share his gifts with others led him to choreography. In 2002 he auditioned for Raw Metal, now Raw Dance Company, in Brisbane and has been involved ever since travelling all around Australia and overseas. I love how one sentence can describe what you have never been able to, in such simple terms. As a dancer and choreographer, it is my firm belief that we are musicians. I approach choreography and dance with a musical mindset. I want to create a catchy, entertaining and memorable routine that expresses something that is part of me. I want to tell a story whether it be something light and fluffy, or something driven by deeper emotions. A dancer is like the lyrics in a song. If the song has words they are an extension of those words. In my main area of expertise, as a tap dancer, creating music and rhythm takes on a more direct musical correlation. The feet become a drum kit and their own source of music. Choreography, however, is not rocket science, and is less about your brain and more about your heart and your experiences. I find my most satisfying work comes when I dance and create to express myself, I start within before my head starts to interfere. While knowledge and technique are important, we are all different and all have something unique to offer. In a practical sense it is always good to start in a genre you feel comfortable in both in dance style and music style. The mistake many choreographers make is trying to be what they see around them, rather than settling into who they are. Speaking strictly from a tap dance choreographic point of view, I love to create rhythm. Sometimes a piece of music will inspire, a particular beat progression or emotion will grab my attention. From there I create moves that both compliment and contrast with the music, but match the song. Sometimes the steps will match the beat, other times they will match a particular instruments rhythm within the beat. Our favourite step or sequence may not go to our favourite song, so i like to start each piece with a clean slate and try not to reuse steps unless they fit well. I also listen for where the song builds and fades and create steps which flow with the song. It is important that the music and the dance are communicating together otherwise an audience will lose touch with what they are watching. Your choreography is the vocabulary you teach, the expression of that is within each dancer and is spoken out during a performance. Even if someone watching doesn’t understand the whole story, they will still be involved in the emotion, be it anything from excitement to hurt and loss. Overall, being creative is a rewarding experience. Choreography should, and can be fun, at the same time as it is challenging. Enjoy the process and don’t be afraid to try new things and be yourself!
Reece
Hopkins
Photo Credit: Ferry Photography
The Dancenorth team have hailed their New York trip a success after establishing American dance contacts and performing to industry representatives including Mikhail Baryshnikov himself. The company recently returned from a two week residency at the Baryshnikov Arts Centre (BAC). Established in 2005, BAC houses the core activities of the Baryshnikov Dance Foundation, incorporated in 1979 by dance great Mikhail Baryshnikov, and is a creative space for development and performances. Whilst there, Dancenorth spent time developing work for the 2011 season and had the opportunity to present a short showing of their work to invited guests including American dance industry representatives, actor Dan Heyada, and Mikhail Baryshnikov. Dancenorth Artistic Director Raewyn Hill said besides one of the dancers falling ill, she couldn’t have hoped for a better experience. “To work in Baryshnikov’s building was amazing and then to have him come along to the showing and be able to share our work with him was an absolute honour,” said Hill. Hill said Baryshnikov was enthused by what he saw, engaging with questions and commenting “it is very beautiful, thank you, bravo”. Directors from the centre were also impressed
by the company’s dedication and humility describing the work as raw, sincere and highly technical and were amazed at the dancers’ fluidity with floor work. “We’re so very proud to be the first Australian company to be resident at BAC and to have represented Australian contemporary dance and are humbled by the responses of BAC representatives,” said Hill. Dancenorth would like to thank the public, businesses and all those who supported their fundraising efforts and events that made the New York residency possible. The company came back to Townsville for just a few weeks before travelling to China where they performed the international debut of their production Nowhere Fast at the Macau Cultural Centre. For more information call Dancenorth on 4772 2549 or visit their website www.dancenorth.com.au
Classical Ballet Coaching (QLD) Leticia Polinelli A.R.A.D. Artistic Director World Class, purpose built, 3 studio complex
En Pointe Dance Centre
The Centre for Artistic and Technical Excellence in Dance!
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practical dance training, supplementary dance training and associated theoretical subjects for those dedicated students, serious about their dance training. Academic education is offered on campus for full-time students from academic years 6 to 12. Images: Picture This! Kate Whatman Photography
Unit 5/8 Exeter Way, Caloundra West, Qld 4551 Contact Artistic Director Leticia Polinelli A.R.A.D. on 0430 544 746 or Email: L_polinelli@austarnet.com.au www.enpointeballet.com.au
How to choose a
Dance Studio By: Karen Kiefer (Calgary, Canada)
When choosing a particular studio or method of learning to dance you must first answer the following basic questions. Your answers will determine the keys needed to evaluate a studio, and whether it is a fit for you. What is the most important element in your dancing? This question is the most important one. If your answer is to learn to dance for FUN, pure enjoyment -- stay with the inexpensive ways of learning to dance. However, if your answer to this question involves elements of learning to be the best, learning the proper technique, learning to dance for enjoyment but to also be “better than the average bear”, or possibly competing -- your best decision would be to choose a studio in which you felt the particular element was being addressed. What is the monthly or yearly total you are willing to spend? Before making any decisions as to which studio, you must decide for yourself what your yearly or monthly budget can afford. Do your budget numbers before you look for a studio -- this will be one less hassle if you know upfront what you can afford. As well, it will help you to be wise and not get straddled with a payment that is uncomfortable. Why do you dance? Ensure that you understand why you enjoy dancing or at least why you want to dance. Only you know the true reason -- but as long as you know - this will help you in deciding where to attend. For example, some people dance because it gives them a “workout” time with their spouse, some dance because they love to move to music, some dance because they gain self-confidence from learning
motor activities, others dance to meet people, etc. These are just a few reasons - determine yours. Do you need or want the social benefits of belonging to a particular studio? Belonging to a particular studio, is just like having a membership at the Glenco or the Winter Club. It’s a place you belong to -- it meets your social needs and gives you the benefits you’re looking for. Is this something that you believe you want in your life? Do you like having a membership? Ensure you know the answer. NOW, ARMED WITH YOUR ANSWERS TO THESE QUESTIONS here are some criteria to help you choose the studio that will meet your dancing needs: 1. What is the philosophy of the studio and its owners? Check out what the basic philosophy of the studio is. Is the number one goal to teach people to dance? Is it to teach people to dance technically correct? Is it to teach people to enjoy dancing and do it correctly? Is it to make the studio owners look good at a competition with students who do well? Is it to support the competing professionals in the studio and ensure they are advancing? Is it run as a profitable business? Is it a combination of the above? All you have to do is ASK -and then LISTEN to the answer. LISTEN to hear the answer and then compare the philosophy that is stated with the way the business is operated and with the answer you have to your question of what is the most important element in your dancing. Ensure that somewhere in the philosophy of the studio you find the element you determined was important for you.
2. What services are available? What various kinds of lessons are available -- privates, groups, practice sessions, 10 week specialized courses, coaching lessons, floor time for individual practice? What other services are provided -- information on shoes, competitive dresses; information on dance organizations in town; outside functions, social dances, etc. What special activities is the studio planning to participate in? Does the studio regularly attend competitions? AGAIN, see how the answer to this question matches up with your reasons for dancing and the social aspects you are looking to fulfill in your life. 3. What level of training/ accomplishment have the owners and teachers attained? This is a critical question whether or not you would like to compete. Ensure that the individuals who are teaching you have qualifications that will improve your dancing competitive edge. Ask for a history on the training of the instructors, ask about their own personal accomplishments in dancing. A key here is that the ability to TEACH another individual is not inherent in a GOOD DANCER. The top competing couples are not all equal when it comes to teaching others. Winning competitions does not make you a better dance trainer than someone who is skilled at TRAINING AND TEACHING skills to others.
Ask for some information on the method of teaching that is used in the studio. Ask for the policy they adhere to with respect to outside coaches -- especially check into the charge for these lessons. Careful that when you are quoted a price for an outside coach that you also know whether that is in addition to a charge for a private lesson or not. This makes a difference to the dollar amount you will be budgeting for. Ask for information regarding whether or not staff participate in coaching sessions for their own improvement. If competing is a prime objective of your dancing -- check out the ability of the studio to offer choreography. Especially critical to a well-performed routine is often the movements and the transition between steps. Not all individuals are equally trained or have the creative ability to offer GOOD choreography. 4. What is the atmosphere/ environment of the studio? Is the physical setting of the studio pleasing to you? Does it make you feel like dancing? Does it relax you, calm you and yet entice your feet to move?
Sit back and enjoy the setting of the studio, look around at the surroundings and observe the “atmosphere” of the studio. Ensure you feel good when you’re there. Do the owners/teachers make you feel comfortable and welcome on a consistent basis? Are students treated equally -fairly? Is everyone, no matter what size, or shape, or age, or colour treated equally by all the management? Check it out -- it matters in the long run.
How to choose a
Dance Studio con’td Another issue, do the owners encourage a good attitude towards all other studios? Do they support the dance community as a whole? The choice of any individual to attend other classes or participate in other functions should not mean that the individual should be treated any differently than anyone else. People are still people -- no matter where they work or where they choose to take their dance training. Courteous treatment of all people, acknowledgment that you know someone, saying “hello” is not a form of treason or disloyalty to your own studio -- it’s COMMON PEOPLE COURTESY. What is the attitude of the studio you attend?
5. What is the student body’s opinion/feelings about the studio? Are people happy with the service they’ve received from the studio? Did they receive what was promised to them? Are they happy with how they are treated? Do they believe they are getting their money’s worth? Is there an undue pressure applied to students -- does everyone have to compete to be “special” in the school? Is there always a push for students to spend more money? These pressures can make it uncomfortable. The saying -- You can’t please all the people all the time -- IS VERY TRUE. If a student has a complaint, they must address it with management, as long as management is willing to LISTEN and attempts to either address the issue or explain to the student why the policy exists. If you have a complaint, ensure that you give the owners a fair chance and before you discuss the complaint with others -- let them know and see if they can address the issue for you. This will give you two successes -one, is that you have taken the issue up with someone who can effect a change and second, if any other student in the studio is having the same feelings perhaps the owners can help them too.
Most importantly, however, is that students feel welcome in the studio, that they feel as if they are a part of the studio and that they can contribute positively to the experience of others who choose to participate in the studio. 6. Fees for Services The last question that must be answered is what are the fees. How much will it cost me to do the amount of dancing I’d like to do in the month or year? All you have to do is ask ... studio owners will give you this information. Ensure that prices are they same for everyone. Are there any special deals? Be careful if the pricing information varies from student to student -- ask for the criteria that is used. What determines special circumstances? Specifically, ensure that you completely understand exactly which lessons are included in the prices that are quoted. The above six questions are simple -- but you need to get an answer for yourself. Don’t ever decide on which studio to attend based on someone else’s criteria -- know what you want and then GO SHOPPING. The best advice I can give you is ensure that you are aware of what is important to you, exactly what it is that you are looking for, and then go and find it. Try them all out until you find a place where you are happy and your needs are being met. Never forget that you, the student, are the CUSTOMER -- you have the right to choose. Personally, dancing is an enjoyment -- it relaxes me and allows me to disappear from the stresses of everyday life for a few hours to a place of serenity and joy. For me, a studio should be a place that provides me the opportunity to learn, to improve my dancing, and to meet new friends in life -- all of this and I can have FUN, too!
Youth Dance Companies leap forward | by Sue Cottam
An evening full of original, exhilarating, inspiring dance performances, giving shivers down the spine..... a professional dance company? No .......all participants were aged between 11 and 19 years. The dancers were members of Youth Dance Companies (YDCs). Dances were either choreographed collaboratively with their leaders or created whilst working alongside professional dancers. Most were of a contemporary nature but many blended other dance genres. Some were humorous and some touched on sensitive issues. The work took place on a professional theatre stage, giving the young people a wonderful experience, bringing their performance to high quality, whilst being enhanced by lighting and a large appreciative audience. Opportunities for young people to participate in YDCs have come a long way, greatly enhanced by Youth Dance England’s work (www.yde.org.uk) These opportunities mean that young people have more time to develop their skills, keep healthy, meet with other interested peers, have continuity during their formative years and the possibility to extend their dance experiences towards a possible career. YDCs in England can exist within a school, youth club, private or community setting but they all offer the same possible advantages. A new, informative Resource pack, Managing a Successful Youth Dance Company, by Hannah Wheeler, edited by Melanie Precious & Sophie Amstell is an excellent purchase for YDC leaders, teachers or dance practitioners who are considering starting one. The 45 pages are packed full of essential information, covering basic planning ideas for starting a company, funding information (not all relevant outside UK), a list of dance organisations, legal and safety considerations, evaluation help, glossary of useful terms, sample constitution, media consent form, and a risk assessment template. Sample Youth Dance Committee Terms of Reference and Tips for Writing a YDC Business Plan should be particularly helpful, covering all necessary points with clarity. The pack also includes 9 detailed Case Studies about real YDCs, their leader, when established, members, how they survive financially, company history and their ethos. Grids show statements from their leaders about what they consider to be their strengths, weaknesses, challenges and opportunities. The realistic answers make very interesting reading and give YDC leaders first hand reflection on positive ways forward. See www.hampshiredance.org.uk for an order form £15.00 plus p/p
Queensland Ballet’s Artisitic Associate and Junior Extension Program teacher, Robyn White, answers the question: What determines whether my child will get a job as a professional dancer? Directors of companies will invariably engage good dancers, regardless of what school they have attended or curriculum they have studied. They will consider such things as musicality, coordination, flexibility, focus and concentration, and technical ability as well as such qualities as their ability to work in a team, willingness to accept correction and direction, and ability to relate to others.
How do I give my child the best chance of succeeding? Students in and around South East Queensland receive training that is at least equal to that available in other cities, with a rich choice of dance schools and curricula. In addition, there are many former professional dancers who are available as guest teachers to augment the training provided in those schools. Dance teachers are usually prepared to be very honest about the level to which they can take a child. Most dance teachers would be able to take students until the age of 15, especially with the extra training possibilities that are available. Some are able to offer training beyond this age. Some families feel pressured to send their child away from home at a very young age to a dance school elsewhere. The emotional and psychological impact of such a decision on a pubescent child needs to be carefully considered, especially given that the child’s body may not develop in the direction that the profession requires. This has led in many cases to long-term depression, eating disorders, and a sense of failure. There can also be pressure for children to undertake full-time dance training and either abandon academic studies prematurely, or study via distance education. Families need to consider carefully the impact on the child of removing them from the process of socialisation with their peers which is an important life-long benefit of face-to-face education. Dancers usually have to make a transition to another career at some time between the ages of 32 and 45. While some will find work in dance-related jobs, others may want to take up a completely different career, so getting as much formal education as they can is important.
DANCER: BRITTANY LESTER | PHOTOGRAPHER: KATE WHATMAN
Photographer: Tim Richardson | Dancer: The Australian Ballet
Ask Colin
at behindballet.com Colin Peasley is a founding member of The Australian Ballet. He retired as a Principal Artist from the company, a position he had held from 1987, to concentrate on establishing an Education Programme for The Australian Ballet, which he currently manages while continuing to perform character roles with the company as well as maintaining a busy international schedule as coach, teacher and adjudicator. Hi Colin, I was wondering if any foot in particular makes for better pointe work. For example, do toe length or high arches give any advantage in ballet? Lucinda
Dear Lucinda, A dancer en pointe stands on the entire stretched forefoot so that the dancer’s weight is evenly distributed on and around the metatarsal area and over the sole. This is why it is so important to have your pointe shoes fitted by a professional. There are hundreds of different fittings and styles so most dancers’ feet can be accommodated comfortably. High arches, although lovely to look at, are frequently on weak feet. What makes a foot beautiful is the way it is used. You can gain the most advantage in pointe work by carefully preparing yourself before you commence. Ask your teacher to show you some safe exercises to strengthen your feet and to increase their flexibility so that you gain what every dancer dreams of – lovely footwork. Happy dancing,
Colin
Commonwealth Society of Teachers of Dancing Dance is our business.The Commonwealth Society of Teachers of Dancing is one of the world’s great international dance societies proudly serving dance for over 78 years. The Society was founded in 1933 to exceed the Examination Standards and to raise the standard of dance in Australia. We cater for all major forms of dance including: Modern Jazz, Classical Ballet, Theatrical Stage Dance, Tap Dance, Jazz Ballet, Ballroom Dance, Teachers Certificate and Full Teacher Diploma. These styles are all learnt and taught from by their own individual syllabus which is kept the same throughout the Australian and Asian Pacific Region. The CSTD is constantly updating their syllabus to keep up with the new ranges of movements and styles. We are involved in competitions, festivals, championships and other member activities which are programmed each year to meet the needs of students and members in each state. To find out more about our society please visit our website:
www.comdance.asn.au
Ph: (03) 9570 1651
DANCER: TORI | PHOTOGRAPHER: KATE WHATMAN
News
“Their bodies, my responsibility”
FAQ’s Sprungfloor by Show Works TM is designed to fill the gap in the sprung floor market for companies that have a commitment to high standards of occupational health and safety but are operating on a tight budget. •
This was in the back of my mind when I watched our classes.
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I am a responsible teacher, I want my students dancing and learning in the best possible environment. I want the parents of my students knowing that their children are dancing on a floor that will support their development and their bodies and help to reduce injuries.
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But how do I afford one? I thought that all the sprung dance floors on the market were too expensive or too hard to install or had not been tested properly.
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As a way of keeping production costs as low as possible, Sprungfloor by Show Works TM uses as its floor surface a B-C grade plywood. This is a plywood variety that is manufactured from sustainable sources. It needs to be noted that the face of the ply may have small areas of filler or patching. A sample showing this feature is readily available prior to purchase. Note that the filler does not accept stain as readily as the timber around it resulting in potential inconsistencies in the appearance if the staining option is chosen. Sprungfloor by Show Works TM is delivered uncoated. It is possible to paint, seal only or stain and seal the finished floor as well as being appropriate to have a vinyl dance overlay laid directly over it. The floor requires a ramp where it meets an existing floor level; the ramp is 100mm in width. In areas where access or heavy lifting equipment is required to run up onto the floor, it is recommended that any ramps are removed. Failure to do so may result in damage to the floor panels. To de-install the floor, a vibrating saw is recommended. Its thin blade will not cut into the sheet but will easily cut through the Sprungfloor by Show Works TM joining clips. Simply remove the sacrificed clip and re-order new ones from Show Works. A template can be supplied to assist in this process. If damage occurs to a sheet, it is necessary to lift all sheets back to the damaged one. It is not possible to lift a fully surrounded sheet.
All I can say now is I am glad that I found the solution. My students are the ones who have benefitted - and my peace of mind.”
Facts and Figures
- Alice Hobden Director, Kew School of Dance
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SprungFloor by
TM
SHOW WORKS
www.sprungfloorbyshowworks.com Phone: (03) 9416 9611 Accurate as of 08/10/2010 – subject to change at any time
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Sprungfloor by Show Works TM is made from water resistant 18mm thick Softwood faced F17 plywood Standard sheet size - 1195 x 2395mm. It has a continuous groove that extends around the entire edge to receive a specially designed plastic tongue. The boards are held together with an internally inserted patented clip Patent Number 2010100602 The floor’s spring is derived from EPDM pads placed on the underside of the floor. Test Results: Testing has been conducted under FIBA (Federation of International Basketball Associations) by Acoustoscan – Surry Hills – NSW Vertical deformation (Minimum vertical deformation >2mm Sprungfloor by Show Works TM 6mm) Force Reduction Minimum force reduction 40% - Sprungfloor by Show Works TM 60%
Gaz Griff
iths
Hi Gaz, when did you start dancing and what inspired you? I started dancing 9 years ago, my friends are my biggest inspiration, they have continued to be and have kept me going throughout the last 9 years.
Before SYTYCD what were you doing? Before SYTYCD I was doing a fulltime dance course and working as a dancer teaching 16 classes a week plus also doing gigs.
How did friends and family take to you dancing? What adversities did you face and how did you overcome them? My parents have always been supportive and encouraging and friends have always stuck by me with any kind of venture I have taken with my dancing. I just smile when something get’s me down.
You are famous for your one armed salute. What does that mean to you? It unites our mates, and drives us to do the best we possibly can every time we perform or battle.
What advice can you give to young hop hop dancers? Be creative – Be you and stay original.
You are quite a tall guy and physically strong too. Do you find that helps you in hip hop to control and sustain certain moves? Actually my height goes against me with breakdancing as it is easier to move when smaller. I’ve never let it bring me down. Strength helps me to do the power moves on stage so working out is an important part of my routine.
Who was your idol growing up in the dance scene and why? I didn’t really have one! Throughout the years I have found my inspiration from people who I found step out of the box.
What do you listen to on your I-Pod? I listen to a lot of everything, but right now I’m a big fan of RnB.
What was the last dance event or show you went to see? Recently I was in Vegas and I watched Cirque de Solai. Oh, that was insane ...
Other than supporting events like the Hypa Hip Hop Festival here on the Sunshine Coast, what else do you do now? I look to support other events like Travers Ross’ Utopian Dream Event in Coffs Harbour. I also compete in various competitions nationally and internationally and also travel around teaching and performing.
National Dance Qualifications
November 2010 Update: We are pleased to announce after months of consultation and input from Australia’s diverse dance industry and training providers, on September 6th the qualifications and units were signed off on by the National Project Reference Group. The materials are currently undergoing a quality check process before they are submitted for endorsement to the National Quality Council. Verve – Knowledge and Skills managed the project on behalf of Innovation & Business Skills Australia (IBSA) and consulted with Australia’s diverse dance industry. The project ran for over a year, within which 8-9 months was provided for consultation and feedback on the framework for the qualifications and units of competency. Background
The proliferation of dance genres, the rise of competition television shows and high profile dance events has led to an increase in demand for training in all styles of dance. As the Industry Skills Council responsible for national qualifications in the cultural industries in Australia, IBSA commenced a project to develop a Live Performance Training Package, which incorporates a dance stream. Verve – Knowledge and Skills, the industry training advisory body for the arts, culture, sport and recreation industries in Victoria, has been contracted to undertake the National Dance Qualifications project. Additionally a National Project Reference Group with representatives from industry, training providers and State Training Agencies was established to oversee the management of the project. This group worked together to ensure that the dance community and training providers across Australia were engaged in the review process. The project builds on the valuable work undertaken by industry organisations and Ausdance to develop the Australian Guidelines for Dance Teachers, which included the development of interim national competency standards for dance teachers. A large number of accredited courses in dance are offered across Australia and there has been close consultation with training providers to ensure that national qualifications reflect best practice that already exists.
Project Components The National Dance Qualifications development spanned over twelve months, with national consultations concluding in July 2010. Key aspects of the project included: • research and analysis of existing curricula and units of competency (September-November 2009) • a training needs analysis and skills profile of the dance industry (October-November 2009) • a discussion paper on options for qualifications and skill sets in dance performance and teaching (midDecember 2009) • national consultation on the discussion paper (December 2009-March 2010) • development of draft units of competency (April-May 2010) • refinement of all draft materials (qualifications, skill sets and units) to incorporate feedback from industry and training providers (May-July 2010) • submission of final qualifications, skill sets and a case for endorsement to the National Quality Council (September 2010) It is understood that further information will be sent to Dance Ed in 2011 about the status of this project. Stay tuned.
Events 1. WICKED
2. TAP DOGS
Date: 11th to the 30th of January (except the 26th)
Date: Tuesday 4th January 2011
Venue: Lyric Theatre, QPAC, South Bank, Brisbane Tickets: $69.90 to $134.90 (a $4.95 fee applies for each transaction) at www.qpac.com.au So much happened before Dorothy dropped in. WICKED tells the untold story of the Witches of Oz. Long before Dorothy dropped in, two other girls meet in the Land of Oz. One, born with emerald green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. WICKED tells the story of how these two unlikely friends grow to become the Wicked Witch of the West and Glinda the Good. When WICKED opened on Broadway, it worked its magic on critics and audiences alike. Winner of 35 major awards including a Grammy®, three Tony Awards® and six Helpmann Awards® including Best Musical, WICKED has been described as the “Best Musical of the Decade.” (Entertainment Weekly).
Venue: Sydney, Capitol Theatre, 12 Cambell Street, Haymarket Tickets: from $106.90 - Get them from www.packages.showbiz.com.au If this is the only show you see this summer then ... “Kill to get a ticket” Tap Dogs the global dance phenomenon, has been seen worldwide by over 11 million people. Winner of 11 major international awards including an Olivier for Best Choreography, Tap Dogs has exhilarated theatre audiences across the globe and energises and hydrates the Capitol Theatre this summer with an explosion of dance. Leading the pack of the worlds sexiest dancers is Adam Garcia, star of Bootmen, Coyote Ugly and the West End’s Saturday Night Fever. The adrenalin pumped cast inject raw power and passion to present the ultimate visual dance spectacular. Upside down or even on water, they perform worldclass routines in this most original and revitalised tap sensation.
3. MARY POPPINS
4. CIRQUE DE SOLEIL
Date: 22nd Oct 2010 – Sun 27th Feb 2011
Date: All through 2011.
Venue: Her Majesty’s Theatre, 219 Exhibition Street, Melbourne
Venue: All states
Date: 19th to the 22nd of Jan 2011
Tickets: $177.20 to $218.00 at www.showbiz.com.au
Venue: Playhouse, QPAC, South Bank, Brisbane
Tickets: from $135.50 - Get them from www.packages.showbiz.com.au Brilliantly adapted from the beloved books by Australia’s own P.L.Travers and the classic 1964 Walt Disney film, MARY POPPINS is now playing at Her Majesty’s Theatre Melbourne for a strictly limited season. Disney and Cameron Mackintosh invite you to let your imagination take flight - as you rediscover the power of family, the joy of youth and the indelible memories that come to life at Cherry Tree Lane. Come and step into the magical world of MARY POPPINS. This spectacular production includes all of the best loved songs from the film including CHIM CHIM CHER-EE, A SPOONFUL OF SUGAR, JOLLY HOLIDAY, FEED THE BIRDS and SUPERCALAFRAGILISTICEXPIALIDICIOUS.
Cirque du Soleil® returns with Saltimbanco™, the show which started Australia’s love affair with the celebrated company when it first toured here in 1999. Saltimbanco – from the Italian “saltare in banco” (to jump on a bench) – features an international cast of over 50 performers and musicians from more than 20 different countries. Presented in premium ‘intimatemode’ arena venues, this is classic Cirque at its best - a thrilling, kaleidoscopic celebration of awe-inspiring artistry and agility. Set inside an imaginary metropolis of colourful inhabitants, Saltimbanco will enthral with the seemingly impossible balancing, jumping and spinning of the Chinese Poles and Russian Swing, the gravity-defying Bungees and Trapeze, and the crowd-pleasing Juggling, Acrobatic Bicycle and Clowns.
5. ALICE IN WONDERLAND
Tickets: $35.00 to $40.00* (a $4.95 fee applies for each transaction) at www.qpac.com.au This ballet adaptation of Lewis Carroll’s Alice in Wonderland will delight the entire family. The magic of this classic children’s book are captured dramatically on stage. Join Alice on her adventures through the nonsensical Wonderland as she follows the White Rabbit into a world of enchantment. Alice will lead you to a crazy tea-party with the Mad Hatter, through an intriguing Corridor of Doors, where you will come face to face with an absurd Caterpillar. Prepare to be awed by the spectacle of a magical garden of living, dancing flowers and a bizarre ball with the fearsome Queen of Hearts and a princely Knave of Hearts. Perhaps most memorable will be a curious Caucus race with the most extraordinary and extravagant cast of animals ever to grace the stage.
6. LOVE NEVER DIES Date: from 29th May 2011 Venue: Regent Theatre, Melbourne Tickets: from $60 to $145 at www.showbiz.com.au Having been seen by over 100 million people worldwide and taken more than US $5 billion at the box office, THE PHANTOM OF THE OPERA, is widely regarded as the single most successful piece of entertainment in history. Now, the story of the Phantom continues in a brand new musical production, LOVE NEVER DIES. With an award winning creative team including Director Simon Phillips (Priscilla Queen of the Desert), Choreographer Graeme Murphy, Designer Gabriela Tylesova, and one of Andrew Lloyd Webber’s finest scores to date, LOVE NEVER DIES will be the first new Australian production of an Andrew Lloyd Webber musical in nearly 20 years. In LOVE NEVER DIES, one of the world’s greatest love stories continues.
Achievers
In the Hills of Maleny on the Sunshine Coast, 14 year old Jessica awakes at 5.30am each school day, to prepare for the day ahead of her. Jessica studies dance full-time, at En Pointe Classical Ballet Coaching (Qld) where her days start at 8.30am and wind up late each afternoon. Jessica trains daily at the studio, as well as completes her Year 9 Academic Education on campus, in En Pointe Dance Centre’s purpose built studios in Caloundra. What started out as “following her big sister to dance classes” from 5 years old, has turned into a life time dream of becoming a professional dancer. Although Jessica has goals in sight, she is mature enough to understand, she must leave all her options open and train as hard as she can, with all her practical dance classes and associated studies. After years of “watching and wishing” she could be like the En Pointe students, Jessica successfully auditioned for En Pointe at the age of 12 and has never looked back. Jessica travels down to Caloundra daily, car pooling with another Maleny classmate. After
Jessica Linton - Sunshine Coast, QLD - Age 14
Little
asking her what she has gained from her full-time training, Jessica is quick to answer “apart from my improved dance technique, strength and flexibility, my time management skills have really improved and I am very organised now”, she says proudly. “I have to be very self disciplined when I combine my dance training with my schoolwork and it has taught me to stay on top of my tasks, I love every minute of it!” Jessica also displays artistic flair when creating costume and set designs and she enjoys using her talent as a young, up and coming choreographer for her peers. Jessica loves studying all genres of dance and enjoys learning about other aspects of the dance industry through her full-time training. When asked what has been the highlight of the past 2 years as a full-time dance student, she replies “I’ve loved the amount of personal attention I’ve received and I’ve loved that all students are equally important to all of the teachers. The variety of opportunities has been fabulous and we get to work with some amazing teachers. I’m just so glad that Mum and Dad have given me this wonderful opportunity”, said Jessica.
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Don’t struggle this Eisteddfod season ... Cast your mind back to your last Dance Eisteddfod. How much luggage were you carrying? Suitcase, Tote Bag, Clothes Rack, Cosmetic Bag ... This year you only need 1 piece of luggage. The Rac n Roll Dance Bag comes in 2 sizes (medium which carries up to 7 outfits plus accessories) or (large which carries up to 15 outfits plus accessories). The RAC n ROLL dance bag was designed several years ago by a dance mum in Canada. Rac n Roll are a well established brand in Canada and USA and are now available for the first time in Aust/NZ through Dancehub. Medium Bag: $198 Large Bag: $230 www.dancehub.com.au/shop
Come and see Australia’s Largest Dance Competition Friday 21st Jan to Sunday 23rd Jan
2011
Jupiters Casino, Gold Coast QLD