dance ed AUSTRALIA AUSTRALIA AND AND NEW NEW ZEALAND’S ZEALAND’S EDUCATIONAL EDUCATIONAL DANCE DANCE MAGAZINE MAGAZINE
RAD - CSTD - ATOD Syllabus Information Aboriginal Theatre All about Dance Floors
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Are you looking to improve extension? Obtain a higher arabesque? Finally have a full split? Originally designed by a professional dancer for use in some of the world’s top ballet companies, the Flexistretcher is an indispensible component of any athlete’s fitness arsenal. Harnessing the power of elastic resistance, the Flexistretcher safely improves flexibility, while simultaneously strengthening the muscles as they stretch. The Flexistretcher can be used by any age or fitness level. For serious athletes and dancers, the Flexistretcher can help extend range of motion and improve functional strength within specific positions necessary for a sport or activity. For casual exercisers, the Flexistretcher can increase flexibility and build muscle strength without many of the risks associated with weight training, making it a great alternative to free weights and dumbbells. Doing yoga or Pilates with the Flexistretcher leaves you feeling firmer, longer, leaner, and more confident. To enter, sign up to our newsletter for FREE at
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Feature Articles 6
Aboriginal Theatre
Dance Advice 36 The 5 Secrets to Flexibility 10 Sherborne Development Movement 24 How to choreograph a solo
Dancers Health 14 Dance Fitness 26 Focus on your Fitness 32 Top 10 Dancer Skin Breakouts
Syllabus Information 27 Royal Academy of Dance 28 CSTD 39 ATOD
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Reviews 8 Ballet Studio Inspirations CD 20 Little Achiever
Australian Ballet 30 Open Masterclass 2011 Info 31 Ask Colin
Events for 2011 38 ADPE 39 Xtreme Dance Starz 40 6 Must See Events
My Genre 34 The Roots of Tap
Studio Focus 12 Sunshine Coast Conservatory of Dance
Quick 10 with a Star 9
Marko Panzic
Event Update 23 Ballet Theatre Queensland “Alice in Wonderland“
Studio Help 11 The Ultimate Dance Floor 21 Dance School Management
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Editors Note
Edition 3 has some amazing editorial content from syallabus providers and educational specialists around the globe on dance related topics. We are really looking forward to this year and are excited about meeting and greeting our loyal subscribers, dance retailers, studios and dancers across Australia when we start “Dancehub on Tour“ in April. February and March were really busy for us because we spent countless hours and many sleepless nights rebuilding the dancehub website. The new site has been simplified in terms of navigation and is more newsworthy. We have introduced a new section called “Workshop Connect“. Workshop Connect allows choreographers to promote their talents to the dance community by uploading their dance profile. Dancehub will then act as a conduit between the dance schools searching for a choreographer and the choreographers themselves. It’s our way of connecting talented choreographers with dance schools. 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 touch on the following subjects “Aboriginal Dance”, “RAD Courses”, “The 5 Secrets to Flexibility”, “The Origins of Tap” and more. We have over 20 articles to read this issue. You can find us attending several Eisteddfods across Queensland or New South Wales. Why not catch up with us at the ADPE in Melbourne (see front cover). We are supporting this event and hope that we can encourage and inspire more dancers from regional and remote Australia. We are touring Queensland, Victoria and New South Wales between April and September this year. You can follow our journey on Facebook or on Dancehub. If we are in your neighbourhood call in and see us. 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: advertise@dancehub.com.au or phone: (07) 5476 9553 or mobile: 0422 190 683 4
Editor Philip Reece
Directors Philip & Jan Reece
Contributing Writers Rachael Jefferson-Buchanan (Bath Spa University, 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), IADMS, Dancenorth, Karen Kiefer and MOD 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
Subscriptions 12 months AUD $66 inc gst or NZD $88 inc gst (Includes postage). To subscribe go to: www.dancehub.com.au/shop or call (07) 5476 9553 Dancewear Outlets/Dance Studios: Can purchase in packs of 15 at a wholesale rate to on-sell. To purchase under a wholesale agreement call (07) 5476 9553 or 0422 190 683
Dance Ed Magazine is published by Dancehub Australia. advertise@dancehub.com.au M: 0422 190 683
5 Photographer: Kimene Slattery-Ching | www.australiandancers.com.au | Dancer: Megan Barry-Cotter
Aboriginal Theatre The Aboriginal Theatre program prepares students in a range of acting and performance disciplines through teaching methods designed to recognise and refine the skills and potential of each individual.Over two fulltime semesters, students undergo intensive training in acting and improvisation, dance and stage movement, voice and singing, script analysis, devising and writing for the stage. All areas are performance based where workshops feed into rehearsal and rehearsal feeds into performance. The Certificate IV in Aboriginal Theatre prepares the talented student for the demands of work in theatre, film and television. Some graduates go on to win places in higher-level acting and dance training programs at WAAPA, NIDA, NAISDA and VCA. Many graduates of the Aboriginal Theatre course have established solid careers as professional performers. In addition to the highest calibre of daily tuition from WAAPA’s professionally acclaimed staff, students also have access to visiting and guest directors, actors and practitioners who are brought straight from the industryand into workshops. Aboriginal Theatre boasts a dedicated, fully equipped studio space. Admissions Information If you are interested in pursuing a performance based career, have a passion for acting but never had the opportunity to explore this avenue, or simply want some high calibre practical training and experience to add to your skills, then contact the Aboriginal Theatre Course Coordinator for further information on (61 8) 9370 6527. This course is open to anyone of Australian Indigenous descent, 17 years of age and over. Nationwide applications are accepted. No acting or performance experience is required. However, the course demands thirty hours per week in practical workshop thus a high level of self discipline and maturity is preferred. Successful applicants may be eligible for Centrelink benefits such as Abstudy. Limited on-campus accommodation is available through Edith Cowan University Student Housing, Mount Lawley campus. 6
Applications for Aboriginal Theatre are still being accepted. You can apply online. If you would like more information about this course, please contact: Student Information Office: Telephone: (61 8) 134 328 Facsimile: (61 8) 9370 6614 Email: educationandarts@ecu.edu.au
Aboriginal Theatre
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‘Ballet Studio Inspirations: Volume Two’ CD
By Richard Maddock
Review Richard Maddock produces ballet accompaniment of such high quality; it is almost as if he is in the studio with you when you are dancing, as the lyricism of his pieces reach out to you on so many different levels.
His ‘Ballet Studio Inspirations: Volume Two’ CD provides a well constructed, logical play list for the dance teacher. It begins with barre work that includes tracks for pliés, battements tendus, battements glissés, grands battements, battements foundus, battements frappés, ronds de jambe en l’air, assemblés and more besides. In the centre work section, a wide range of accompaniment encompasses all the essentials, with several pieces provided for port de bras, pirouette, turns en diagonale, adage and allegro.
Although this CD is clearly designed for ballet, it also has potential within the mainstream educational sector. Indeed, it is rare to find such an assortment of piano music on one CD with pieces that are uncluttered by lyrics and additional instruments that would detract from the simplistic charm of the whole. It is certainly a CD that has been aptly named, for it promises to be an ‘inspiration’ to all who dance and all who have the pleasure of teaching dance.
Website: www.richardmaddock.com Email: richard11_maddock@yahoo.ca Download: From i-tunes for $16.99
On reflection, a number of tracks remain etched in my memory, particularly the wonderful jazzy little number in 3/4 time that accompanies pliés (track 3) with its repetitive playful and joyous atmosphere that makes barre work such fun! In contrast, track 5 entitled ‘battement tendus et glissés’ is reminiscent of a warm summer’s day with soothing auditory caresses to inspire dance students and teachers alike. Russian-like qualities are evoked in the short ‘battements frappés’ piece (track 8), creating a dynamic backcloth for the required short, sharp movements. The three ‘grand allegro’ pieces are positively sumptuous (tracks 29-31), enabling traditional jumping steps to be performed whilst facilitating the dancer’s exploration of physical feats. Reviewed by Rachael Jefferson-Buchanan Senior Lecturer in Dance and Education Studies at Bath Spa University, UK
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Marko Pan z inczic a P o Mark
We all know that dance is a female dominated industry, at what age did you start to dance and what or who was the driving force behind your career? I started dancing at the age of 4 years old at Johnny Young Talent School in Perth. My mum would always catch me in front of the T.V dancing along with Michael Jackson. My mum was a major influence as she was the one who put me into dancing and allowed me to do what I loved. Also the 2 teachers I had guiding me Alison Cotteral & Bernie Benard had a huge impact on me as a growing dancer. What challenges do you think male dancers face in this industry? I think the main challenge is to keep training and staying on top of your game. Also working on your body and appearance is a massive challenge to stay in the industry. Train, gym, train, gym…… You obviously had a lot of self-belief. Why did you feel you were ready to audition for SYTYCD? I imagine the experience had a positive impact on you professionally. How did it broaden your horizons? Before SYTYCD I was a working dancer/ choreographer in Sydney, so this gave me the courage to audition for this new exciting show. The show was very exciting and an amazing platform for me as a dancer and choreographer. It definitely increased my status in the industry and allowed me to push more boundries and explore different avenues as a dancer/choreographer.
How did you feel during the audition process?
High Point: The live performances were the best feeling you could ever feel as a dancer.
The 1st season audition process was the hardest of all 3 series. It was so intense, I had done many auditions before SYTYCD, but nothing could prepare you for the SYTYCD audition process. As a lot of the other auditioners for the show were student’s that I had taught I felt I had a lot of pressure to be good, was a very intense situation. But glad I went though it… Definitely changed me as a dancer.
You have established yourself as a leading choreographer. Congratulations! You are now giving back to the industry that has provided you many choices. As a choreographer what do you look for in a dancer when tutoring them for a particular dance?
What life-long friendships did you make during the SYTYCD experience? From my series I definitely made amazing friends, Kate Wormald is a great friend of mine and has been a huge supportive role in my life and has encouraged me through my career in dance. Meeting Kate Wormald and Jason Gilkison on the show were definitely the best thing I ever gained from the show. As I have two of the best friends in the world now. Explain a day during your SYTYCD process? The day would start early, 4 hour rehearsal with your choreographer for that week. Then would be practicing all day and night. It really is a non stop schedule, you are forever rehearsing something or doing publicity for the show. Did you have any high points or low points you think other dancers can learn from? Low point: The audition process, just stay strong and keep pushing your boundries.
I look for dancers with passion and soul. I love to see a dancer that lives and breathes there dance. I also love a dancer with connected emotion to there steps and choreography. It is important as a dancer to connect to why you are dancing and what your motivation is behind the movement. You have done very well since your TV appearance on SYTYCD in 2008. What doors opened as a result of this exposure and what are you going now? Currently I just finished Fame The Musical which toured around Australia as dance captain, which was an amazing experience to work with Kelley Abbey again was unreal. Now I am back choreographing for Artist’s, Corporate shows and many different T.V show’s. A lot of exciting projects are happening for me in 2011. Finally, what advice can you give to aspiring male and female dancers looking to extend their career? Come to CLASS!! Never give up…. It takes time, but it is all worth it… =) www.markopanzic.com
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I am a Community Awrts Worker, with a focus on dance and disability. I first came across the work of Veronica Sherborne, and her book ‘Developmental Movement for Children’ during my specialist training in disability dance in the early 1990’s. Now I had always danced and taught dance, but dancing with people, young and old with disabilities was a new direction for me. The techniques that I already understood, primarily ballet and contemporary dance, became irrelevant for this section of the community, yet they, as human beings had the capacity to share my enjoyment of dancing. Sherborne clearly articulated that ‘children need to feel at home in their own bodies’, blindingly obvious,
yet a concept that I had completely overlooked. This became my start point. The Warm Up was about body awareness, which could be geared to the needs of any group of pupils from profoundly physically disabled, who needed one-to-one support, to Dance Degree students. The floor became my friend. Contact with the floor with any part of the body brings, or sharpens body, awareness. It is safe because we cannot fall off it. It is familiar because this was our ‘gymnasium’ when we were a baby, and by renewing our acquaintance with the floor using the whole body, our spatial awareness and balance are improved and thus confidence grows. From this point on I was able to lead thoroughly
CREATIVE DANCE, DISABILITY AND
SHERBORNE
DEVELOPMENTAL MOVEMENT 10
enjoyable lessons in Creative Dance, knowing that I could develop any pupils/ students creativity using Sherborne’s second concept ‘that children need to form relationships’ not only with gravity but with others. All her work was based on Laban’s Movement Analysis and firmly grounded in observation. Thus this approach using different relationships and the Laban framework gave me endless ‘movement possibilities’ as relevant start points for Creative Dance, start points that could be tailored to fit many curriculum objectives.
Penny Rance Chair Sherborne Association UK
MA (Ed.)
References. Sherborne Veronica (1990) reprinted 2006 Developmental Movement for Children : Worth Publishing London Maslow Abraham (1970}. Motivation and PersonaIity (2nd ed.) New York: Harper & Row Laban Rudolf : (1963) Modern Educational Dance Macdonald Evans. London (Veronica Sherborne is acknowledged by Laban as Veronica Tyndale-Biscoe) Hill Cyndi Editor: (2005) Communicating Through Movement : Sunfield Publications www.sherbornemovementuk.org
The
Dance Floor Ultimate
Show Works has long been associated with building scenery for high quality theatre productions like Wicked, Jersey Boys, Love Never Dies and of course The Australian Ballet. Through their proud association of more than 15 years with The Australian Ballet, Show Works has developed an understanding of what equipment is needed for dancers to achieve the highest level of performance. Show Works’ Studio Range of products caters for all needs. Portable and built in ballet barres, rehearsal mirrors and sprung dance floors are all manufactured under the one roof at Show Works workshop in Melbourne and can be sent anywhere in Australia.
Show Works is now pleased to be able to offer Tarkett Dancefloor and Tapiflex for any size studio at extremely competitive prices. Tim Blaikie from Show Works says” We’ve been listening; teachers and dancers are demanding affordable equipment, that is what they tell us and that is what we have set out to supply. They want the future generations of dancers to get the best possible start and that begins with the facilities in their dance studios. Call us at Show Works for a free quote and advice, I am positive that we can help”
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Studio Focus After devoting more than 30 years to dance, Karen Manley has finally realised a lifelong dream by opening the Sunshine Coast Conservatory of Dance in January this year. Since the tender age of 5, growing up in Johannesburg South Africa, Karen has had an unwavering passion for Dance, and from the moment she first set foot in a Dance Studio, she has never looked back. Karen is a graduate of the Johannesburg National School of the Arts and has also performed as a Principal Dancer for the Johannesburg Youth Ballet Company. She is a fully qualified and registered teacher with the Royal Academy of Dance which is one of the most well established, largest and most influential Dance Education and Training organisations in the world. The R.A.D. dance syllabus is currently taught to over 250,000 students across 82 countries meaning that Karen’s qualifications are internationally recognised. Her dance School is situated in Kuluin on Queensland’s beautiful Sunshine Coast boasting state of the art facilities with 2 large, modern air conditioned studios both fitted with professional sprung flooring and covered with Rosco Adagio non slip vinyl floor covering. The facilities also include onsite change rooms, a student lounge with plasma TV and kitchen, and a front reception including a Parent waiting area with T.V. Comprehensive dance training programs are available 12
catering for all ages and levels. Whether a student is looking to pursue a career in dance or just wanting to dance for fun and enjoyment, the Sunshine Coast Conservatory of Dance can offer a suitable program and a positive experience. The school’s Available programs include: • Tiny’s / Preschool dance - (3 to 4 year olds) • Royal Academy of Dance syllabus classes from Preprimary (5 to 6 year olds) up to and including the prestigious Solo Seal Level • General fun ballet classes for fitness, coordination and confidence • Elite extension program for talented and dedicated students wishing to prepare for a career in dance providing opportunities to audition for the Australian Ballet Interstate and QLD Ballet Jnr Extension Programs. • Body conditioning / Limbering / Stretching • Expression and Mime • Private Lessons incl. Eisteddfod preparation and coaching for Solos and Duos • Performance Team Troupe classes for Group Eisteddfod entries
REACH YOUR POTENTIAL
principal:
karen manley
• Jazz / Tap and Theatrical classes (C.S.T.D. Syllabus) • Musical Theatre • Open Contemporary and Lyrical • General Hip Hop classes In conjunction with the prestigious Royal Academy of Dance syllabus, the Sunshine Coast Conservatory of Dance also offers the CSTD Jazz & Tap syllabus to its students. The Commonwealth Society of Teacher of Dance is a highly regarded international Dance Society proudly serving Dance for over 77 years.
Classes and examinations are offered in the New Modern Jazz as well as Theatrical Genres. “As a dance school, the Sunshine Coast Conservatory of Dance is committed to instilling quality, artistry, musicality, strong technique, discipline and a love of dance into each and every student and to provide them with the care and individual attention required to ensure they reach their full potential “ Opening the Sunshine Coast Conservatory of Dance has
presented many challenges along the way, however Karen’s passion for Dance, and dedication to nurturing young aspiring dancers has helped her finally realise her dream. With amazing support from her family and some truly wonderful, dedicated parents and students from across the coast, Karen could not be happier and hopes her story and journey will inspire other Dancers and teachers to follow their dreams and never give up. The future certainly looks bright for Karen and the Sunshine Coast Conservatory of Dance.
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Dance Fitness
Introduction
The formal dance class has long been considered the cornerstone of training, providing all the technical, requirements of dance. In recent years a considerable amount of research has been carried out regarding Findings from this research indicate that many dancers are not as fit and healthy as they could be. It has also is a discrepancy in the physical intensity level between training, rehearsal, and performance. This means that t are generally based on tradition, are not sufficient to help prepare dancers for the higher, more physically performance. In light of these studies, and with increased understanding of the artistic and athletic needs of dan it is no longer acceptable to train dancers without preparing them physiologically for the demands of current ch
What is Fitness, and Why is it Beneficial?
For dancers, the whole body (physical and psychological) is their instrument, their means of artistic expressio aspects of fitness. Good fitness is key to reducing the risk of injury, enhancing performance, and ensuring lon healthy dancer is one who is in a state of being ‘well’ in both body and mind. A physically fit dancer is one who the demands of a specific physical task at an optimal level. The goal of improving dancers’ fitness is to minimize the dancer’s individual maximal abilities and their performance requirements, so that they can becomethe best
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physical and aesthetic g the health of dancers. o been found that there training methods, which demanding aspects of ncers in different genres, horeographic work.1-5
on. Dance calls upon all nger dancing careers. A o has the ability to meet the difference between t dancer possible.5,6
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What Types of Fitness Are Most Important for a Dancer and Why? While research indicates that some dance styles require certain elements of fitness more explicitly than others, in a well-rounded dance training program, it is necessary to consider all the components of fitness. The components of fitness are: •
Aerobic fitness – associated with moderate, longer-term levels of activity.
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Anaerobic fitness – associated with high intensity, maximal, short bursts of activity.
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Muscle endurance – the ability of a muscle to produce continuous movement.
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Strength – the ability of a muscle to produce a maximal force on one occasion.
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Power – the explosive (speed-related) aspect of strength.
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Flexibility – the range of motion at a joint in association with the pliability of a muscle.
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Neuromuscular coordination – associated with balance, agility, coordination and skill.
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Body composition – the make-up of body weight by percentage of muscle and fat.
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Rest – a period of no activity, to allow for recovery and regeneration.
While any change in traditional dance training regimens must be approached cautiously to ensure that enhanced artistry and expression remain the primary goals, it may be suggested that unless dancers are physiologically honed to the same extent as they are artistically, their physical conditioning may potentially be the limiting factor in their development. Ignoring the physiological training of today’s dancers could eventually hamper the development of the art form. It is the continual responsibility of dance teachers and educators to develop their knowledge and understanding of the physiological demands of dance, and be aware of the options for either integrating physical fitness training into the technique class itself or providing it through supplementation.7,8 In a recent study, full time contemporary dance students completed a year of weekly dance fitness classes alongside their regular technique training. Students perceived positive physiological adaptations such as reductions in fatigue, improvement in general energy levels and an improved capacity in their dance classes to sustain technique and jumping ability. The importance of warm up and cool down was also commonly cited and the recognition of the relationship between fitness and injury prevention was highlighted.9 More than twenty years ago it was stated that the best dancers have an integrated combination of two talents: knowledge of what is to be expressed and the physical and mental tools to accomplish that expression. A dancer who is able to jump higher, balance longer and create illusions such as floating may not necessarily be a better dancer, but she does have the advantage of a greater range of tools with which to produce the desired images of dance choreography. Although a topic of continual debate, more recent research has since indicated that a fitter dancer is a better dancer.10,11
Which Activities Improve Various Types of Fitness? Aerobic Training The greater a dancer’s aerobic capacity, the longer they can work at moderate heart rates before becoming fatigued. Research suggests that dance will only elicit an improvement 16
Dance Fitness in aerobic capacity in a very unfit group of people, or if an aerobic dance class is taken. The average dance technique class is too intermittent in nature for any positive aerobic effect to occur. In order to improve aerobic capacity, the body needs to work hard enough to bring about change or adaptation within the body. Specifically, a rise in heart rate to approximately 70 – 90% of maximum (HRmax) will stress the aerobic energy system. This elevation in heart rate has to be maintained between 20 and 40 minutes, three times a week. Continuous movement activities, such as running, aerobics classes, swimming, cycling, and skipping, are good examples of aerobic exercise.6,12-18 Although there are variations among teachers, a primary intention of the technique class is dance skill acquisition. Developing high levels of technical skill and movement economy requires a different focus from developing the aerobic capacity of the dancer. However, technique classes can be modified to involve some degree of aerobic work, using simple repetitive movements. Simple movement repetition helps to stress the aerobic energy system rather than stress skill acquisition. Warm up could be conducted in a continuous manner at a higher intensity than normal, and center or traveling sequences could be longer, with less rest time, allowing an aerobic foundation to develop. Familiar movement combinations might be performed over consecutive classes, purely for the benefit of continuous repetition rather than artistic effect.6,12,19,20,21 Anaerobic Training Anaerobic training utilizes activity that is of a maximal, ‘all-out’ effort for short periods of time. An exercise-to-rest ratio of 1:3 is recommended for training the threshold at which lactate starts to accumulate in the blood stream, thus hindering muscle function. An exercise-to-rest ratio of 1:5 is recommended for training the source of the fastest muscle actions: high energy phosphates, adenosine triphosphate (ATP) and creatine phosphate (CP). Optimum exercise time for each bout can gradually increase from 10 – 50 seconds. The intensity of activity for the whole duration should be near maximal heart rate (95 – 100% HRmax). Rest periods should be at a low intensity exercise, as this promotes faster recovery. Examples of anaerobic exercises include sprints, quick steps, jumps, and fast skipping.6,13,22 Strength/Endurance Training The role of strength training in dance has frequently been misunderstood. There are still concerns in the dance world that increased muscle strength will negatively affect flexibility and aesthetic appearance. However, research has demonstrated that supplemental strength training can lead to better dancing and reduced occurrences of dance injuries, without interfering with key artistic and aesthetic requirements.6,7,23,24 For an optimal strength training program, it has been suggested that exercises be specific to the desired outcome. Strength training can involve very heavy weights/resistance with minimal repetitions for a relatively short amount of time, or exercises can involve light weights/resistance with many repetitions for a prolonged time. Each program targets a specific goal. A combination of high intensities (70 – 100% of maximum) and low volumes of work, two to three times a week, aims to increase muscle strength. A full recovery period (5 – 6 minutes) is essential between sets in this instance. Dancers wanting to increase muscle endurance are prescribed a combination of moderate intensities (60 – 70% maximum) and high volumes of work, three to four times a week. The rest periods are then shorter (2 – 4 minutes) so that the next set of exercises begins before full recovery.22,25,26 Power Training Jumping is an integral part of most dance performances and involves the use of both muscular strength and elasticity. Studies report that plyometric (jump) training has been shown to have a positive effect in dancers. However, there are warnings that plyometric training must be approached gradually and systematically to avoid injury. A good starting point is to design exercises in which dancers are encouraged to jump in a neutral position without emphasizing artistic skill, but instead simply focusing on jumping higher. Once the dancers have gained greater understanding of how to elevate themselves, they can bring correct dance technique back into the movements while trying to maintain as much height as possible.6,27-31 17
Flexibility Training Flexibility is an important element of physical fitness. It is crucial in complimenting muscular strength, building efficiency in movement, coordination, and preventing injuries. Holding muscles in a stretched position for a prolonged amount of time causes the muscle fibers to become accustomed to the new length, therefore increasing flexibility. For it to be beneficial, the specific muscle group being stretched needs to be isolated. For example, when stretching the hamstrings, spinal movement should be reduced. Relaxation is also important. It is advised that stretches happen slowly and gently with coordinated inhalation and exhalation at the moment of maximum stretch (i.e., refrain from holding the breath).6,32 There are many different types of stretching including static (holding), dynamic (moving through the stretch), and proprioceptive neuromuscular facilitation (PNF; a method utilizing alternate contraction and relaxation). It is important to be aware of the advantages and disadvantages of each. For example, ballistic (bouncing) stretches are not considered useful and can lead to muscle soreness and injury. Contrary to the practice of many dancers, stretching to full range should be carried out when the body is warm, preferably after class.28,29,31,32 Neuromuscular Coordination Moving beyond the purely physiological parameters, dance fitness also involves balance, agility, coordination and skill. Out of all the components of fitness, it is likely that neuromuscular coordination is addressed most often in the actual dance technique c l a s s . Through the use of imagery and visualization, improved neural pathways can h e l p facilitate and develop efficiency in movement. Neuromuscular coordination can positively affect levels of muscle strength by controlling the recruitment of the right number of muscle fibers at the right time. In others words, dancers can become more skillful in recruiting only the muscles required to produce a certain movement and thus sustain sufficient energy levels and reduce fatigue. Research into motor control and motor learning also offers invaluable information that can enhance neural re-patterning, coordination and muscle relaxation.20,33 Body Composition Body composition plays an important role in dancers’ health. Appropriate and healthy ratios of lean muscle mass to fat mass are key factors that can contribute to optimizing physical performance. Body composition is often expressed as a percentage of body fat and healthy recommendations suggest that dancers’ body fat be at a certain level in order reach their potential. According to the World Health Organization, healthy body compositions range from 17 to 25% for females and below 15% for males (but not too low as a certain amount of fat is essential for daily healthy function). Optimal body composition is going to vary from activity to activity. These measurements are useful to determine what the best make-up is for dancers so that they can jump higher, turn faster, and physically survive long days of training, rehearsing, and performing. A balance of appropriate energy intake (nutrition) and energy expenditure (physical activity) will help dancers achieve the body composition that is right for them.6,34 Rest The importance of rest in dance training cannot be stressed enough. Proper recovery from physical training has many benefits. Rest helps to accelerate muscle regeneration between training sessions, to decrease fatigue, and to decrease the incidence of injury. It has been appreciated relatively recently that continuous training beyond a certain threshold of physical activity, without sufficient rest, can negatively impact both the health and performance of dancers. This concept refers to overtraining – excessive training that results in no effect or even negative effects on a dancer’s performance. When there is an imbalance between habitual exertion (training) and recovery, symptoms such as severe and prolonged fatigue, changes in behavior and a loss 18
Dance Fitness of motivation can result. Recommendations to prevent or reverse overtraining include monitoring dance quality versus quantity, diet, hydration, rest, and sleep patterns.6,35 General Training Principles The following variables of exercise training also need to be understood in constructing balanced training plans. Depending on the dancer’s training/performance goal, it is often necessary to progress to a higher level of difficulty by increasing the intensity, volume and/or frequency of training over time. Otherwise, the body simply adapts to the training and fitness levels plateau. Also fundamental to training is the concept of overload, which means that the body must be challenged above a certain threshold to provide sufficient stimulus for improvement to occur. Normally encountered stress will maintain but not increase the level of conditioning. For example, if the demands of a dance class are too similar from day to day there will be insufficient overload for desired improvement to take place. Sport literature describes another principle called specificity, and recommends that to develop motor abilities, training exercises should use similar technical patterns and kinematic structure to the particular activity for which it is preparing the athlete/dancer.5,6,22,36,37 Summary of Fitness Training Methods The primary aim for a supplementary dance fitness class is for the structure and content of the class to be responsive to curriculum needs. Intensity and duration of exercises need to be considered. It is also recommended that recovery techniques become a part of the overall training program, alternating between work and rest. The dancers’ heart rates and/ or perceptions of how hard they feel they are working (rate of perceived exertion) can be monitored regularly to ensure that the intensity level is appropriate to elicit a training response.38 Functional fitness training should precede more dancebased movement that increasingly replicates vocabulary from technique classes. For example, plyometric training can be introduced, initially using basic parallel foot positions, and later modified to include turned out positions, which more closely mimic the type of jumps seen in dance. Upper body strength exercises can gradually progress to incorporate partner lifting of varying speeds and complexities. During the final phase, a mixture of all fitness parameters can be structured into a circuit-type class, reflecting the variety of activity and speed of succession that would be encountered in a dance class or performance.21
Are There Any Important Considerations Teachers Need to Make? While technique classes focus on neuromuscular coordination, the length of a traditional class may not be adequate to meet all of the dancer’s conditioning needs. The amount of space available, the numbers of students, and the time required for teaching and correcting also have an impact on work rate. Therefore, in order to achieve efficient and optimal development of dance skills, conditioning work over and above daily technique class has been recommended.6,12,19,20 Researchers state that regardless of performance level, talent, form of dance, gender, or age, all dancers have to use some or all of the elements of fitness during their daily practice. It is important to remember that particular groupings of dancers may have varying abilities and physical knowledge, so care must be taken to construct safe and appropriate regimens. For example, adolescent dancers can experience a rapid decrease in proprioception (internal body awareness), coordination, and strength due to the growth spurt.1,6,8,21 Conclusion Assessing, observing and researching the specific characteristics of dance assist dancers and their teachers to improve training techniques, to employ effective injuryprevention strategies and to determine better standards of health and physical conditioning. As we understand and develop more appropriate dance training methodologies, dancers can reap the benefits of enhanced performance, reduced injury and ultimately longevity in their careers. 19
Photography by AustralianDancers.com.au
Achievers Little
Madison’s eyes are fixed on the role of Principal Dancer with the Australian Ballet. Her latest step along that path was spent in Melbourne attending a week with Jason Coleman’s Ministry of Dance summer school. The first three days consisted of learning choreography from a variety of genres including Hip Hop, Contemporary, Commercial, Jazz and Musical Theatre. Days began at 10am, continuing until 4 pm under the direction of teachers such as Etienne Khoo, Troy Phillips and Angela McKellar. On Day Four, Jason Coleman directed the production of a music video for each of the classes – one junior, two intermediate and two senior. Friday was the day for final rehearsals before a performance for families and friends. Madi lives in Brisbane. Her Melbourne adventure came courtesy of Dancehub Australia – a competition run before Christmas last year. You had to be in it to win it. And Madi is in it absolutely. The dream of becoming a Principal Dancer with the Australian Ballet is not something Madi is taking lying down. Her first dance classes were at age three. 20
Madison’s
Avenue
She now dances five days a week. On top of that, most days she does core strength and stretch exercises. Along with private dance lessons and group performances at her regular classes, Madi is currently also dancing solos – 12 of them to be more specific. All this before her 10th birthday. “Do you think I’ll make it, mum?” she asks. When it comes to technique, Madi is highly critical of herself. The hard work follows without complaint. Despite being determined and competitive, winning is not everything. Family is a must. Madi is a bit of a ‘home body’ and cherishes her close family ties. She also enjoys school and swimming… backstroke and butterfly in particular. Within minutes of meeting her, you are left in no doubt about Madi’s caring and sensitive nature. But she’s also ready to play the clown. She cannot stay still for too long and a jaw-dropping grande jette can spring from seemingly out of nowhere.
DanceWorks Dance School Management Software DanceWorks is a PC-based Dance Studio Management Program that will also run on Mac computers. It was designed to make managing your school easy, accurate and fun! DanceWorks will make your dance studio run more efficiently and give you back time to spend with your students. DanceWorks’ intuitive design makes it easy to add an account, add students to the account and enroll those students in class. DanceWorks
automatically
calculates the tuition for each student and lets you post tuition to all accounts with a single click of the mouse.
an e-mail, access a class record or view the account record with a single click of the mouse.
The Account screen allows you to enter a charge or a payment, check payment history, print a statement, send an e-mail or access a student record with a single click of the mouse.
The Class screen permits you to edit class information, view the class roster, add or drop students, enter student measurements, enter recital songs, enter attendance, enter a charge for all students, view the teacher’s record or access any student’s record with a single click of the mouse.
The Student screen allows you to enroll in or drop a class, check class history, update student skills, update medical information, view emergency contacts, send
accounts receivable, charges, income and payments to help you manage your school. It also has unique school statistical reports to provide you a quick “snap-shot” of your current school status. DanceWorks can transfer your income to QuickBooks™ for a complete profit / loss report and comes in two versions: Mini for studios with up to 200 students or Unlimited for studios with more than 200 students.
DanceWorks provides over 200 reports, including For more information about DanceWorks contact DancersWorld International Toll Free: 1300 656 657 Email: info@dancersworld.com
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Photographer: Kimene Slattery-Ching | www.australiandancers.com.au | Dancer: Kim Hudman
Art in Motion
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Local Dancers Join Alice…. and the Mad Hatter in Wonderland Sixty-two talented dancers from the Southeast Queensland have successfully auditioned for Ballet Theatre of Queensland’s (BTQ) production of Alice in Wonderland. The dancers were selected after a very challenging audition not only for their dance ability and technique but for their stage presence and musicality. Selecting the dancers for this year’s performance was a difficult task. A record number of eager dancers turned up for the auditions held in May this year and the selection process was demanding for the choreographers. “We were very impressed with the standard of the dancers who auditioned this year,” said Boris Bivona, joint choreographer of BTQ, “the cast of dancers will really bring this charming and whimsical fantasy to life”, he added. BTQ’s hugely successful production of Snow White and the Seven Dwarfs at QPAC in January of this year was
memorable for the beautiful sets and scenery, stunning costumes and very talented ballet dancers aged 9 – 18. Alice in Wonderland is set to be another unforgettable performance that will appeal to all ages. Inspired by Artistic Directors, Jodie-Anne White and Boris Bivona (from Redlands), BTQ is currently rehearsing this exciting new production packed with fantasy, humour, drama, and the timeless beauty of Lewis Carroll’s masterwork. “Our aim at Ballet Theatre Queensland is to provide a unique opportunity for young dancers from around Southeast Queensland to develop their performance skills in a professional theatre environment,” said Michelle Platz, president of the BTQ Committee. “For some, BTQ may be the only opportunity they have to perform with a professional ballet company, for others it is a vital training ground for their future dance careers”. With nearly 75 years of history,
Ballet Theatre Queensland is a truly unique organisation. It is a non profit company which delivers the highest quality ballet performances to the local community at an affordable price. BTQ’s mission is to nurture young ballet talent in Queensland as well as attracting new audiences to the art of dance and ballet. Dancers who were involved in BTQ in their teenage years have gone on to join the Queensland Ballet, The Australian Ballet, the Royal Ballet and many other premier dance organisations around the world. Aimed at a family audience, the 2010/2011 production of Alice in Wonderland will be performed at QPAC from in April. Details: 3 performances on the 19th and 20th April 2011 (6:30pm on the 19th April and 11:00am or 6:30pm on the 20th April. Tickets are available from QTIX on QTIX 136 246 or qtix.com.au.
The History of BTQ Ballet Theatre of Queensland was the very first classical dance company ever to open its doors in Australia. Founded in Brisbane in 1936 by dancer and choreographer, Phyllis Danaher, BTQ is the premier youth ballet company in Queensland. In its 74th year, BTQ is renowned for producing the finest ballets that appeal to a wide audience. Photo: The White Rabbit – Rosie Walters, Alice – Katherine Baker, The Mad Hatter – Ari Thompson
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How to
choreograph a dance solo
Dance is beautiful and difficult in its own right, but doing a solo where you are the only one on stage is even more stressful and hard to pull off. Here is how to choreograph a dance solo that will keep the audience’s attention, and be entertaining and technically challenging. Things you’ll need:
capable of. Ask them what their favorite tricks and skills are. These are things they are probably really good at, and you’ll want to include them in the routine.
1. Listen to the music several times to figure out the story and develop an idea of where to take that and how to interpret it.
3. Start the routine with the dancer engaging the audience immediately. This will draw them in and make them want to go on a journey with the dancer. It should be either a big, explosive jump, an incredible extension or an emotionally moving gesture.
2. Watch your soloist dance in classes to see what they are
4. Create levels of intensity and rhythm. Vary the body levels,
• •
24
Dance room Music
lines and speeds of movement. Mix up the tricks so that there are jumps, turns and extensions throughout the routine, not just in clumps--that becomes boring. 5. Create a big ending. It must be dynamic and enthralling, something that leaves the audience wanting more. Make the dancer perform for the audience. Since it is a solo, the dancer must be terrific and hold their attention. The ending should bring up powerful emotions. It can be quiet, but there should be a strong finish with lots of tricks before the calm.
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Focus on your fitness If you want to see the latest in fitnesswear and discover new ways to keep fit and flexible, then you should head along to the Australian Fitness & Health Expo in Sydney in April. It’s the largest gathering of fitness professionals in the Southern hemisphere and offers the opportunity to try out the latest gear and gadgets and get nutritional advice to keep your body strong and looking its best. Did you know that Pilates has now morphed into a new exercise option called Cardiolates? Or want to check out the Halo Headphones, which are embedded into a sweatband so they can be easily worn while dancing? Exhibition Director Jon Perry said the Australian Fitness and Health Expo was a rare opportunity to see the latest products before they go mainstream and also an opportunity to rub shoulders with some of Australia’s top sportspeople and watch live dance fitness performances. “If there is a more effective means of doing regular exercise, training for a specific goal or avoiding injury who wouldn’t want to know about it. “Those interested in fitness and health naturally want to be the best they can be, so we bring all the latest gear, tips, tricks and secrets under one roof,” he said. Head down to the Sydney Convention & Exhibition Centre on April 15, 16 & 17. The Expo is open only to those in the fitness/health trade on Friday April 15, with general and trade admission on Saturday April 16 and Sunday April 17. Open from 10am – 6pm on Friday and 9.30am – 5pm on Saturday and Sunday. Pre-register online for a discount! Visit www.fitnessexpo.com.au for more details.
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Course and Syllabus Information The RAD’s student and teachers courses, classes and events can play an important part in the cultural life of the community. We aim for universal access to the high-quality services we provide: workshops, open classes, summer schools and courses. All activities provide ideal opportunities for young students to learn more about dance, to enjoy fresh challenges and meet new friends, and for teachers to enhance their professional development.
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Course and Syllabus Information
Essential three day course for teachers Teachers attending this course will derive a greater knowledge of the content and deeper understanding of the appropriate build up required for success in the teaching of these new levels. The course will also be beneficial to those teachers who are committed to further developing and broadening their teaching skills and dance knowledge. For further information, see Introduction to the new Intermediate Foundation & Intermediate examinations syllabi booklet below. 3 day course devotes 1 ½ days to the Intermediate Foundation and 1 ½ days to the Intermediate.
Do you have natural dance talent that you want to explore and expand? The C.S.T.D can teach, offer and support you with your goals in the dancing world. If you have the courage to try new things and overcome challenges, then please visit our website where you can find out more. www.comdance.asn.au Only a minimum level of experience is required for anyone that has an opened mind to the future of dance and would like to act upon it. The society has been operating for over 78 years and is now offering an exciting and innovative syllabus. We are currently working on our new contemporary, hip hop and street tap styles. Our community is trying to offer all forms of our art to a wide range of clients. We have got teachers right through Australia, Asia and Canada offering the students the chance to learn these exciting styles, whilst also passing on the knowledge and passion for the love of dance. We offer students the chance to gain confidence during examinations, competitions and future careers in dance. 28
Course and Syllabus Information
ATOD TEACHER TRAINING PROGRAM
SRC30206 - Certificate III in Community Recreation (Provider no. 31624) The new teacher training program for ATOD Ltd was introduced in 2006 at national launches throughout the country with resources for study released in March 2006. This initial package has units of study developed to a Junior Teacher level with the planned additional two units of study to be released in 2007 to take the study to the Associate Teacher level. The course consists of 7 units of study to complete the Associate Teacher Level. The Junior Teacher Level must be achieved before commencement to the Associate Teacher level. Junior Teacher Level Includes 5 units of study 1. Introductory Package 2. Best Practice for the Learning Environment 3. Safe Dance 4. Elements of Choreography 5. Journal Associate Teacher Level (2007) Includes an extra 2 units of study from the Junior Teacher level 6. Best Practice for the Learning Environment 2 7. Business Practice To complete studies in this course, candidates must •
have a Gold Bar technical qualification with ATOD Ltd or an equivalent approved qualification with another recognised dance organisation (as approved by the Board of Directors)
•
be 16 years of age (Junior Teacher level)
•
be 18 years of age (Associate Teacher level)
•
have achieved competent results in all areas of assessment
For further information of costs of the course, resource orders and general guidelines contact the secretary@atod.net.au
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Photographer: David Kelly | 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. Dear Colin, How long does a professional dancer dance for each day? Amelia, age 13
Dear Amelia, Professional dancers work harder than most people understand. The Australian Ballet, for instance, presents eleven to twelve productions per year. Each of those productions has to be learnt, rehearsed and then perfected before they are performed. A dancer’s average rehearsal day always starts with a training class, plus rehearsals scheduled for an eight hour day. A performance day also starts with a training class followed by rehearsal lasting four hours, then a short break before the dancer warms up before appearing in the evening performance, making a seven-and-a-half hour day spread over twelve hours. Add to these dancing hours, publicity calls, costume fittings, massage and physiotherapy sessions and you can understand why dancers need to be dedicated. The upside to all this time-consuming hard work is the fact that dancers are blessed by being able to earn their living by doing something they truly love, which makes it all seem like fun rather than work. Best wishes,
Colin 31
Top 10 Dancer Skin Breakouts can be a real bummer. In the dance world our skin is very visible. We wear low back leotards and costumes, and there is always someone behind us at the barré or on the floor who will be able to see it. And our faces are constantly on display and in bright lights on the stage. No matter how much we wash, sometimes breakouts are unavoidable and can become very embarrassing for a dancer. Covering it up all the time can be tiresome and annoying. Certain factors, that are avoidable, can contribute to breakouts that we aren’t aware of.
1) Sweat, Sweat and more Sweat! Boy do dancers sweat. Sometimes skin gets irritated when it’s wet all the time with sweat. It’s good to towel off when we get a moment or a break, just so the skin can dry off a bit! Think of how your skin reacts when you take a long bath, it starts to react to the moisture. Your skin needs to be dried off or aired out, so when possible, towel off.
2) Keep your skin clean. An obvious reason for breakouts is lack of cleanliness. Bring an oil free astringent in your dance bag, and wash your face, back and chest with it in between classes. It’s amazing how much grime our skin can pick up during a short time.
3) Flush out those toxins. A lot of the dirt our skin picks up, surprisingly comes from inside our own bodies! We accumulate toxins everyday and one of the main ways toxins get released is through our skin when we sweat. If we only drink water when we’re thirsty, then we are not getting enough. Water is essential to flushing out toxins. The more water you drink, the more pure your sweat will be. So remember to drink lots of bottled water to flush those toxins out regularly so they don’t build up and cause breakouts!
4) Someone mop that dirty floor! Oftentimes, our dance floor gets a bit dirty and doesn’t get kept up as often as we’d like. This wouldn’t matter so much if we weren’t required to lay on it so often! Dancers who wear back-baring dance gear are the most susceptible to laying a sweaty back on a dirty floor.This can easily cause bad breakouts. So make sure you bring a towel to lay on during floor exercises or stretching time. Or just wear a shrug or a cover up that covers your back.
5) Stop picking. When a breakout happens, the first thing we do most of the time is pick. We want to touch our faces and backs and squeeze out the impurities, thinking that it will help speed up the healing process. It does quite the opposite. We carry the most germs under our nails, and when we pick we infect the breakout further and can also cause scarring or permanent skin damage. So leave your skin alone!
6) Acne prone. A few of us just have Acne in our genetics. And no matter how immaculate we are 32
n Breakout Causes about our skin it doesn’t help. In this case we need to see a dermatologist. There are quite a few products out there that really help cases like this. Pro-Active Solution has worked for many, as well as several different types of Acne medications that can be prescribed. Make sure you see a dermatologist early.
7) Skip the makeup. Many times a breakout can be caused by clogged pores due to makeup or sunless tanning products. Be wary of make up with talcum powder in it! Use mineral makeup if you absolutely have to wear face makeup in class. If at all possible, go bare faced! Sweat and makeup don’t mix for a lot of us and a clean face is better than a made up face. And tanning creams and sprays are just another form of makeup. They are some of the worst offenders of breakouts. Try to skip the fake tanning and get a bit of real sun in exchange. Not too much though! And use sunscreen. Remember, tanning is not usually that popular with dancers, your natural skin color is just fine.
8) Diet Sometimes a breakout can be caused by what you are putting in your body. Your diet can be a huge contributor! Certain foods can trigger a breakout so try to avoid them just to safeguard your skin: chocolate, fast food, anything fried or greasy, too much cheese or dairy etc. Just pay attention to your diet and be aware of diet triggers.
9) Hormones This is another unavoidable one: hormones. As we get older our bodies start to change and hormones are what bring this change about. Even after you’re fully developed hormones still will play a factor. Especially when it’s that time of the month. Hormone breakouts usually show up in the same places each month. A lot of the time they will show up on the jaw line, chin and under the ears. Just be patient and wait it out!
10) Overactive Sebum Glands When you get a breakout from hormones or genetic acne you have to be sure not to scrub them too much. Over- washing your face too often can cause overactive sebum glands. These are the glands that produce oil. If you tinker with your face too much the PH of your skin gets out of balance and the sebum glands become overproductive causing yet more breakouts. So make sure you are patient with your skin and make sure you aren’t over-washing, especially with a variety of skin products. Too many products will irritate it as well. Try an alcohol free toner, a daily face wash and a light oil free moisturizer with SPF protection in it. Wash once in the morning, once after dancing and once at night. Every dancer wants clean fresh blemish free skin, it’s so hard to go through the embarassment of having breakouts. With the right knowledge of what is going on with your particular situation you have better chances of beating it! So pay close attention to your skin and don’t ignore it. Taking the proper measures will lead you to a blemish free complexion that will give you the confidence to dance your best!
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The Roots of Tap
For those who don’t already know, tap dancing is a dance step tapped out audibly with the feet. Rhythm is sounded out by the clicking taps on the heels and toes of a dancer’s shoes. Tap dancing is like no other, it’s making music with your feet! This is why it stands out as unique to all dance styles. Tap dancing has evolved into quite an art form today. Early forms of tap include an Irish Solo Step dance, an English clog dance and an African dance movement, which all sort of morphed into folk styles by the early 1900s. Folk styles included Buck-and-wing dancing (a flat footed dance style emphasizing sharp taps) and United States clogging (heavy stamping steps), both done in leather shoes. Metal plates were not added to tap shoes until the 1920’s One of the most famous American tap dancers early on, was Bill “Bojangles” Robinson, who was in various dance troupes and vaudeville teams in the early 1900’s. He went on within the next 25 years to become a Broadway star. Bojangles was known as a hoofer; a professional stepper from Harlem’s creative period. He was in four films with child actress and tap dancer Shirley Temple.
Shirley Temple and Bojangles
Tap became more popular in the thirties and forties in the television musicals being aired. One of the most well known tap dancers Fred Astaire, performed famous tap solos in films such as ‘Swing Time’ (which has a tribute number called Bojangles of Harlem) and ‘Top Hat’. Astaire also originally performed as a hoofer in a vaudeville team with his sister in his early years. He paired up with Ginger Rogers during the forties, and they became one of the most well known tap duos of all time.
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Fred Astaire
Gene Kelly added ballet and modern dance moves to tap in the fifties. Gene also grew up in vaudeville and choreographed films before becoming a star of such films as ‘An American in Paris’ and ‘Singin’ in the Rain’. In the late seventies and early eighties tap dance became popular again with Tony Award-winning tap dancers such as Gregory Hines, who starred on Broadway as well as in many films, including Francis Ford Coppola’s ‘The Cotton Club’, which was a film about a Harlem Hoofers Club.
Gregory Hines
In the thirties and forties, when tap dancers were common on Broadway, as well as in nightclubs and on vaudeville stages, even the greatest tap acts were rarely allowed for more than eight consecutive minutes. These days, performers such as ‘Bring in ‘da Noise, Bring in ‘da Funk’s’ Savion Glover, taps through two-hour shows. Glover’s tap is more hoofing and rhythm tap (i.e. step dancing, where the steps are more important than the postures.) Tap dancing has come a long way and still continues to be a popular form of art. We see it’s evolving through time and have come to value this as an elite art form of dancing. All the tap greats made tap dancing what it is today, these pioneers kept this art evolving and today we see quite a beautiful product of their creativity. 35
The Five Secrets to Flexibility As dancers, we know that being limber is just as important as being strong. Without the proper flexibility we aren’t able to accomplish the advanced movement dance requires. Some of us got lucky in the DNA bank but most have to work really hard at gaining flexibility. Stretching involves many hours of consistency and effort. To help guide the dancer in their quest for a more flexible body, we’ve compiled The Five Secrets to Flexibility:
1) Stretching Agenda Dancers need to put aside time to attend to their stretching as often as possible. The best time to do this is in the span of a dance class. Get to class early for pre-stretches. It is important that stretching is done before class, during class and most definitely after class. Stretching while warm will give the most progress. Muscles don’t easily respond to stretching when they are cold!
2) Stretching Technique Start by stretching the neck, and literally move down the body focusing on specific areas one by one. Stretching in this way allows the body to ease into deeper stretches. Think: how can you work on hamstring stretches if your neck and back are tense and inflexible? The body will only gain flexibility if it is stretched properly and in it’s entirely. Try stretching in ascending order: • •
•
•
36
Start with the neck and spine; gently roll the head while standing with perfect posture. Move down to the shoulders, back and rib cage with isolation moves and rolls. Bring arms forward and round back, then hold them behind and roll chest back. Roll shoulders forward and backward. Stretch the arms by opening them both out to either side and bend the fingers downward at the wrists. Don’t forget bicep stretches as well, lift the elbow straight up in the air and pull it down with the opposite arm, then bring arm across chest and hold with opposite arm. Stretch the sides by bending one arm over head reaching for the other side; keep the hips squared.
•
Concentrate on the back. Do a forward bend and hang there with the neck relaxed, roll up slowly. Also try laying on the back and lifting the legs to touch the ground above the head. This is a great spinal stretch.
•
Stretch the hips by sitting in “Indian Style” and laying down as far forward as possible.
•
Work on the hamstrings by sitting on the ground with the feet straight out in front. Sit up straight, bring the arms up, flex the feet then bend forward with a flat back.
•
Open the legs out to second and stretch the inner thighs, do a side bend toward either leg.
•
Also bring the body forward in this position with a goal to lay the chest on the ground, reach forward as far as possible and hold. This can also be done against a wall for more resistance.
•
Work the quadriceps by sitting on the knees (while leaving the calves underneath the body), lay the torso back as far as possible, try to lay on the ground or at least on the elbows.
•
Do a split to the left and to the right. If a split hasn’t been achieved yet then still try and hold it. Try bending either the front or the back leg if the spilt isn’t yet developed, and try reaching the body over the leg with a flat back.
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Also try to roll through the middle split and land in “frog” position. Or just lye on the stomach and bend both knees so feet are together (frog position). This is a great stretch for turn-out.
Each of these stretches will be uncomfortable initially, but with dedication there will be improvement.
3) The Committed Stretcher Stretch as often as possible. Stretch while watching TV, doing homework, reading…. Putting as much effort into stretching as dancing, is what it takes to see real results. A dancer who stretching just that no matter your flexibility
doesn’t dedicate several days a week to isn’t going to see the payoff. Remember how strong of a dancer you may be, if needs work then your dancing suffers!
4) Stretching on the Cl Deep stretching requires a good amount of time. Each stretch has to be held literally, for a few minutes a piece. Rushing a stretch won’t help progress. A good idea is to get a timer, and time each stretch. Relax the muscle while in the depth of each stretch. Then hold it for until the timer rings.
5) Supplemental Stretching Take a class just for stretching! Try Pilates, Yoga or stretch classes. These classes can be found at the local gym, private studios, parks and recreation centers or the local community college. Really commit to these classes and learn the art of stretching in it’s own right.
PHOTOGRAPHER: KATE WHATMAN | DANCER: TORI
Let’s face it, dancers who are not limber are left behind. Being limber is necessary in dance so treat it as a high priority! Take the time to focus to get the results desired. Remember though: be kind to the body. Pushing the muscles to quick and enduring pain is counter-productive. The idea is to gently stretch the muscles, not injure them. Overstretched injured muscles are full of scar tissue that is permanent and un-pliable… So take care, be committed and stay focused: improvement is inevitable!
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What is the
ADPE event?
ADPE is preparing to be Australia’s largest event of its type in Australia’s history, covering every aspect of the dance and performing arts industry, whether you are interested in learning a dance for the first time or if you are a life time performer, this show will cover your needs and expectations. Australia’s leading companies will be represented in a huge 12,000 sqm exhibition site at the Melbourne Convention & Exhibition Centre including over 150 exhibitors from Australia’s leading schools, distributors, retailers, agencies, suppliers, wholesalers, tailors and venues. ADPE will include two huge dance class spaces on imported wood dance floors of over 108 sqm for the public to be able to try a dance style or take a free dance class of the many styles exhibiting at the expo.
The Main Stage of the ADPE will be fitted out with the latest PA and lighting equipment and will feature some of Australia’s most outstanding performers. Live bands will be performing on the stage throughout the day, so we have 38
included a huge social dancing area for the public to hit the floor and try out a few steps or just to impress the crowd. ADPE is organized by Southern Cross Promotions, an expert Event Management company with a team of experienced Event Managers led by their returning Managing Director, Steve Hartshorne. Steve has been working in the world’s entertainment capital; Las Vegas with some of the world’s biggest performer’s and is looking forward to bringing the latest concepts and trusted ideas to this huge event.
Two levels of Competition? What does this mean, I hear you ask ? Are you a studio who always chooses small local eisteddfods feeling your dancers are constantly being in the shadow of larger more hard core studios ? Do your kids often leave eisteddfods feeling like they didn’t do a good job when indeed for their ability and hours of training they were fantastic ? Then Australia’s Xtreme Dance Starz is the Competition for you ! What we do is have all studios both the Starz and Xtreme levels compete together in their categories, they are awarded in their categories (so at at times you can have a Starz level beat an Xtreme level) however when it comes to the Overall awards, this is where things are a little different. We will be awarding 1st places along with prize money to both the winner of the Starz and the winner of the Xtreme levels. No only do you double the studios heading home with winning trophies, but you have twice as many dancer’s feeling proud of their achievements on the day. On the flip side, Are you a large studio, a dancer who is a seasoned competition soloist, a studio who consistently takes home the top awards, then this Competition has you going against the best of the best for overall awards. You leave at the end of the day knowing that your competition was fierce, your judging was fair and your award was well earned. You also have the opportunity to compete against dancer’s who you may not have come across due to them coming from smaller studios, these dancer’s could be right on your heels and will give you the push to stay focused and committed to the hours you put into your craft. There is no downside to this format, only happy confident dancer’s who are being rewarded on their ability ! •
To top it off, there is NO ADMISSION FEE, so dancer’s can bring Mum, Dad, Grandparents, siblings and come and go throughout the day with absolutely no cost to the spectators.
WE OFFER: • • • • • • • • • •
Brand New Format with 2 levels of competition Always top class venues The very best of Industry Adjuducators Cash awards over both levels Special ‘Starz’ Awards, for choreography, costume, backstage awards and more Canteen facilities on site Good dressing rooms Fair and reasonable entry fees Video and photography on site NO ADMISSION FEE !!!!
Come see what we are all about, register today !!!!!
Jacqui Howard Head Adjudicator
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Events 1. DR ZHIVAGO
2. RIVERDANCE
Date: 12th April to the 15th May
Date: 18th March
Venue: Her Majestys Theatre, Melbourne
Venue: Sydney, Capitol Theatre, 12 Cambell Street, Haymarket
Tickets: from $60 to $141 approx. Book through ticketek.com n this explosive new musical romance based on Boris Pasternak’s 20th Century Russian masterpiece, Doctor Yurii Zhivago is a man divided against himself: on the one hand a dedicated husband, father and healer; on the other a poet, dreamer and sensualist. Reflecting his struggle the musical swirls around him in a panoramic portrait of a nation in upheaval, and tells a story at once epic and personal, funny and heartbreaking, impetuously romantic and bitingly political. The action sweeps breathlessly from the final glory days of Czarist Russia through the chaos and upheaval of the Russian Revolution into an unprecedented tyranny under a heartless new political regime. This powerful and moving love story will be directed by Broadway’s Des McAnuff (Jersey Boys, Big River) with music by Lucy Simon, lyrics by Michael Korie and Amy Powers and book by Michael Weller.
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Tickets: from $60 through Ticketmaster Online Marking the Farewell Tour in Australia, the original international phenomenon RIVERDANCE comes to Sydney and Melbourne. A thunderous celebration of Irish music, song and dance, RIVERDANCE has tapped its way onto the world stage since its inception in 1994, has thrilled more than 22 million people in over 300 venues worldwide throughout 32 countries across 4 continents, and has grossed over US$1.6 billion worldwide. Few shows have touched audiences like RIVERDANCE. The show focuses on the evolution of Irish dance and its similarities with, and influences on, other cultures. The phenomenon of RIVERDANCE draws on Irish traditions and combines the richness of the music with the magic and sensuality of the dance. RIVERDANCE features 31 performers including the remarkable Riverdance Irish Troupe, the cream of Irish musicians, and an impressive array of talents from around the globe.
3. DANCE MARATHON
4. MELBOURNE COMEDY FESTIVAL
5. Graeme Murphy’s Suite Synergy
6. LOVE NEVERDIES
Date: 26th March
Date: 30th March - 24th April
Date: from 23rd March
Venue: Regent Theatre, Melbourne
Venue: Arts House, Meat Market, North Melbourne
Venue: Melbourne Town Hall, 90 Swanston St, Melbourne
Venue: The Arts Centre, Melbourne and Lyric Theatre, Sydney
Tickets: from $60 to $145 at www.showbiz.com.au
Tickets: from $25 at the door
Tickets: from $45 at various outlets
Tickets: from $59 to $125 through theartscentre.com.au & ticketmaster.com.au
Now it’s your turn to dance.Come celebrate the end of the Massive with Dance Marathon. Dance the night away in this performance event based on the American dance marathons of the 1930s. It’s part theatre, part social experiment and essentially a dance contest in which you the audience can mix with stunning performers under the direction of floor judges and the ticking of the clock. Presented by Canada’s award winning interdisciplinary theatre collective, bluemouth inc. (who will give lessons for dances including the box step and lindy hop). Dance Marathon also features a live band, games, special guest stars, prizes and lots of breaks (thankfully). This is a night to remember - those with two left feet can simply sit back and watch the fancy footwork. Dance Marathon was commissioned through Fresh Ground at Harbourfront Centre, Toronoto, with support from the Canada Council for the Arts.
This coming Autumn looks totally foolish with the 2011 Melbourne International Comedy Festival rolling around again throughout March and April – the greatest comedy caper in the Southern Hemisphere. The Comedy Festival doesn’t come cheap on talent, but the tickets are. There’s even an extensive free program to suit the most fiscally challenged of punters. Great value laughs are dished out by the most popular of local comics and some very special international guests - from stand-up to theatre, music, film and even visual art. This year gets off to, not one, but two bangs, starting with The Gala and then followed with more celebrations at The Opening Night Allstars Speccy Comedy Supershow. Then the party just keeps on rolling with three and a half weeks’ worth of galactic-sized giggles courtesy of the funniest people in the universe.
MOD Dance Company’s first national tour premieries in Melbourne at the Arts Centre, State Theatre from 23rd to 26th March. In April, Sydney audiences will have the chance to witness the birth of a new era in Australian contemporary dance, when Mod Dance Company perform from 6 to 17 April at the Lyric Theatre, Star City. Suite Synergy is a dynamic creation by Australian dance icon and Chief Patron of Mod Dance Company, Graeme Murphy and is inspired by two of his most popular and critically acclaimed productions from the 1990s, Synergy with Synergy and Free Radicals. The first contemporary dance piece to be produced by Murphy in four years, Suite Synergy will feature eighteen exceptionally talented young dancers, accompanied by a pulsating percussion score performed live by four musicians. Suite Synergy will give audiences the opportunity to experience an artistic legend reinterpreting some of the greatest work of his career for the next exciting generation of Australian dance stars.
Date: from 29th May 2011
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.
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DANCEHUB
on tour
WHO HAVE DANCEHUB SUPPORTED SO FAR • • •
We are looking forward to supporting dance events, attending eisteddfods, meeting our retailers and promoting dance festivals in 2011.
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Keep visiting our website to find out where we are going, where we have been and who we have supported.
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Call us to chat about how we can assist you, your event, fundraising group, store or studio open day. Sometimes we can’t make every event, however we can still offer you promo items, magazines and more.
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By supporting Dancehub, you are supporting the dance industry.
• • • •
M: 0422 190 683 - P: 07 5476 9553 www.dancehub.com.au 42
Australian Dance Festival 2010 - Sydney Charla Tuncdoruk - ADPI Dancer (visit to Europe) Travers Ross and Nicole Lamb’s Utopian Dream Festival - Coffs Harbour (2011) Showcase 2011 - Gold Coast Sunshine Coast Conservatory of Dance Open Day - Jan 2011 JTV Dance Studio - offered magazines for fundraising team Sunshine Coast Zumbathon (fundriasing for Qld Flood victims - donated a rac n roll bag)
coming soon
Australian Dance and Performing Arts Expo (2011) Digression Dancewear (Mackay - Sept 2011) Several Eisteddfods across QLD/NSW Keren Leiman (supporting NY trip)
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Easy Steps
to use your Rac n Roll Dance Bag
Get organised for Eisteddfod Season this year
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$230* ium
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* 8 9 $1
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43 Email: advertise@dancehub.com.au Credit Cards Accepted
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