Dancehub Magazine - Issue 2 iPad version

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M A G A Z I N E

Choreography Copyright Law

Syllabus UPDATES

courses

with patrick studios

How to navigate the magazine.

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Welcome Welcome to the 2nd edition of the “Dancehub iPad Dance Magazine”.

Five weeks have passed since our first iPad magazine was launched and already we have had over 3,000 downloads of the Dancehub App from the App Store and have a readership base across 19 different countries.

First of all I’d like to thank the contributors who assist Dancehub by writing the articles you all love to read.

The photographers also do a wonderful job with their creative imagery.

Without your input, feedback and passion for dance this magazine would not be possible.

TAP FOR PUBLISHER DETAILS

TAP TO SEND US AN ARTICLE OR PHOTO

Thanks for inspiring us to create what we call the “peoples magazine”.

contents

SYLLABUS UPDATES

DANCE NEWS

REGULAR FEATURES

JUST FOR TEACHERS

DANCE GENRES

AROUND THE TRAPS

HEALTHY OPTIONS

DANCER: UNKNOWN PHOTOGRAPHER: NOAH POSNICK

contents SYLLABUS UPDATES

RAD are looking for examiners in the Asia/Pacific region.

Want to know more?

Find out where you can take the new ATOD teachers course.

glenn wood tap Tap dancers need the right shoes.

Find out what Glenn Wood recommends.

DANCER: UNKNOWN PHOTOGRAPHER: NOAH POSNICK

contents DANCE NEWS USA

Robert Battle takes the helm at Alvin Ailey.

Isha Shirvani extends her career in Bollywood.

UK

Cerebral Palsy sufferer selected as Billboard dancer.

We take a look at how dance is affecting the UK Olympics.

AUSTRALIA

Explore how indigenous dance has blended with ballet to form a new dance spectacular.

contents REGULAR FEATURES UP AND COMING

COPYRIGHT

ASK COLIN @ BEHIND BALLET

BEHIND THE SCENES

Dion Paraha has announced himself in the USA. Read about Dion’s rising star.

Australian Ballet’s leading dance author Colin Peasley answers your questions.

WIN TICKETS

We have some of the hottest tickets to give-away this issue. Enter our competition.

PRO FOCUS Freelance choreographer Ben Conquest serves up his dance delights for our readers.

CHORE’

Who really owns the copyright on a piece of choreography. Well, it depends!

Australian Ballet’s dancers give us an insight into their dietary and excercise regime.

contents JUST FOR TEACHERS KNOW YOUR CLIENTS

Do you really know your clients?

We take a look at software that can help you connect better.

DO’S AND DON’TS

Eistedfod etiquette is important to remember and pass on to your students..

INSURE YOUR STUDIO

Understanding Public Liability insurance is important when you run a studio.

STUDIO FLOORS

The floor we dance on is critical to a dancers output. A bad floor can cause injuries.

FMS IN DANCE

Understand Fundamental Movement Skills in Dance with Rachael Jefferson-Buchanan from the UK.

FREE MARKETING IDEAS

Take advantage of some ideas to boost your studios profile.

contents DANCE GENRES

CORE 4

TAP DANCE

What is Core 4 technique. We get the low-down on the 4 moves that make up the Popping/Locking genre.

Reece Hopkins offers some amazing techniques to help you improve your tap rhythm..

SALSA

BALLET

Where did Salsa originate and how do you take steps to dance it?

From rehearsal to performance.

Making the shift.

contents AROUND THE TRAPS

COMING EVENTS

SHOW REVIEWS

We’ve highlighted some of the major events you should consider attending around the globe.

What’s the difference between a good show and a great show.

AUDITION LISTING

COURSES

Royal Caribbean are now looking to fill singing and dancing positions across 24 cruise ships.

Patrick Studios Australia offer several Junior and Senior Full Time and Musical Theatre Courses.

contents HEALTHY OPTIONS KNEE PAIN

Lisa Howell from Perfect Form Physio covers knee pain and highlights some steps you can take to reduce it.

YOGA BENEFITS FOR DANCERS

By understanding the benefits of yoga, dancers can take a competitive advantage.

DANCERS FOOT PAIN Lisa Peresan explains how to manage foot pain and some techniques to reduce pain.

TIPS TO STAY COOL

Never under estimate your fluid intakes and avoid heat exhaustion.

Q Do choreographers hold copyright?

Does a choreographer who creates a dance routine, recording poses and lines in written form, enjoy copyright? If so, can I prevent a photographer taking pictures of me demonstrating these elements, if they have not sought my permission?

A: The short answer to both your questions is yes, with certain qualifications. Copyright subsists in an original dramatic work and it is expressly provided by statute that “dramatic work” includes a work of dance or mime. However, the two essential requirements are that the work must be “original” and must be recorded in some written or permanent form, such as notation or film. In the case of choreography, as with most other art forms, there can be few, if any, single movements which are wholly original but originality comes from the putting together and synchronisation of common place movements into an original composite whole and, in synchronising such movements, with the music or sound to which the choreography is related.

The second requirement is one of record. You ask if it is sufficient for a choreographer to record his work

Do choreographers hold copyright?

place movements into an original composite whole and, in synchronising such movements, with the music or sound to which the choreography is related.

The second requirement is one of record. You ask if it is sufficient for a choreographer to record his work “in written form”. In principle the answer is yes but the notation must be capable of being understood, not just by its creator but by other choreographers of reasonable competence.

There are certain well-known, standard methods of notation, such as the Laban or Benesh methods. It is, however, no use just scribbling incomprehensible lines and marks and comments on sheets of paper which no one but the person making the notes can understand or be made to understand.

Another method of recording choreography is by filming it but consent may be needed to such filming from performers, producer and/or theatre proprietor. This is likely to be readily forthcoming without payment if expressly limited to filming for archival or copyright record purposes only.

As to whether or not you can prevent a photographer taking pictures of you demonstrating choreography which you have created, it depends on the circumstances and in particular whether the photographer is taking still or moving pictures.

A performer’s rights are infringed by a person who without his consent makes, otherwise than for his private and domestic use, a film of the whole or any substantial part of a live performance of dance or mime. It is an infringement of the performer’s rights and does not depend upon the dance or mime being an original work protected by copyright. Note, however, that the infringement only applies if the film is made “otherwise than for the private and domestic use” of the person making it.

If the photography comprises stills or a film for the private and domestic use of the photographer then it depends on whether the photographer was a trepasser on the premises concerned or whether he had been admitted to the premises on condition that no photographs were allowed without permission, in which case he can arguably be prevented from continuing with his photography and may be made to have to deliver up the negatives and all copies to you on the basis that the law will not allow him to profit from his own wrongdoing.

In any event it may well be regarded as an invasion of your privacy - a fast developing area of the law which is by no means crystal clear at the present time. On the other hand if, for example, you choose to demonstrate your

Do choreographers hold copyright?

place movements into an original composite whole and, in synchronising such movements, with the music or sound to which the choreography is related.

The second requirement is one of record. You ask if it is sufficient for a choreographer to record his work “in written form�. In principle the answer is yes but the notation must be capable of being understood, not just by its creator but by other choreographers of reasonable competence. There are certain well-known, standard methods of notation, such as the Laban or Benesh methods. It is, however, no use just scribbling incomprehensible lines and marks and comments on sheets of paper which no one but the person

making the notes can understand or be made to understand.

Another method of recording choreography is by filming it but consent may be needed to such filming

from performers, producer and/or theatre proprietor.

This is likely to be readily forthcoming without payment if expressly limited to filming for archival or copyright record purposes only.

As to whether or not you can prevent a photographer taking pictures of you demonstrating choreography which you have created, it depends on the circumstances.

RAD EXAMINERS WANTED The Royal Academy of Dance is actively seeking to recruit eight potential RAD Examiners residing and working in the Asia Pacific area particularly in Australia and New Zealand to service its growing market in these countries.

Examining is an exciting opportunity to travel both in your own country and internationally. It can be demanding physically and mentally, but also extremely rewarding.

If you would like to be an RAD Examiner you will need to be a well presented professional who is discreet and impartial. You need to be competent in written English and fluent in spoken English.

You will also need to have proficient IT skills particularly in email and word processing.

You should have an in-depth knowledge of the Academy’s work and the potential to understand, demonstrate and apply the RAD Examination marking criteria and definitions as stated in the relevant specifications.

Sign up for Dance Proms 2012!

After the monumental success of last year’s event, showcasing 450 dancers at the Royal Albert Hall, Dance Proms is back on 4 November 2012.

Registration is now open until 20 May 2012. Don’t miss out on your opportunity to be part of the biggest, brightest and best dance event of the year!

TAP FOR RAD AUSTRALIA WEBSITE TAP FOR DANCE PROMS WEBSITE

glenn wood tap Tap dancing is a precision style of dance and therefore you need a precise pair of shoes in order to present your best work.

We want to create a clean crisp sound so we must have the correct plates and the correct shoes.

I like to use large flat plates that have the underside hollowed out for a few millimetres – various companies produce these types of plates. The soles of the shoes need to have another layer of leather added to them. The shoes themselves need to comfortable – avoid cheap ready set-up shoes. You’ll make a scratchy sound and end up having agonising blisters.

Attaching the plates – there is a defined art when attaching tap plates to your shoes. Don’t do it at home because you’re guaranteed to make an absolute mess of it. The plates need to be loose and create a rattle when the shoe is shaken.

Style of shoe – to tap dance properly and allow your ankles to be loose and relaxed as you execute your steps or routines you need FLAT shoes. I recommend lace up Oxford style for girls and boys. All the dance manufacturers produce them.

I know of only one company that produces excellent ready to wear tap shoes and only one bootmaker that knows how to attach the plates.

To find out more, email me: glenn@glennwoodtap.com

TEACHERS COURSE UPDATE

We were excited to release the new ATOD Teacher’s Course in April. Upon completion, trainees will hold a Certificate III in Community Activity Programs and be ready to sit their final practical examination for the ATOD Associate Teaching Qualification.

The course runs differently to the previous certificate, in that students are required to complete the course within a two year timeframe and will be required to hand in assessments by specific due dates.

Please see below for workshop dates in NSW, QLD and VIC. Enrolments must be finalised one week before the scheduled workshop for your state.

For more information and enrolment forms please email us.

REQUEST INFO

QUEENSLAND 28th April - Modules 1 and 2 Workshop (assessment to be completed by 25th June) 28th July - Modules 6 and 7 workshop (assessment to be completed by 25th August) NEW SOUTH WALES 29th April - Modules 1 and 2 Workshop (assessment to be completed by 26th June) 29th July - Modules 6 and 7 Workshop (assessment to be complete by 26th August) VICTORIA 5th May - Modules 1 and 2 Workshop (assessment to be completed by 29th June) 4th August - Modules 6 and 7 Workshop (assessment to be completed by 31st August)

Indigenous dance gets a ballet twist Indigenous storytelling through dance has been given a new twist with a collaboration between the Australian Ballet and the Bangarra Dance Theatre.

STEPHEN PAGE

Indigenous storytelling through dance has been given a new twist with a collaboration between the Australian Ballet and the Bangarra Dance Theatre.

In this production, classical ballet meets with the Indigenous dance form.

For Bangarra dancer Brett Simon, the combination of the two dance forms presents a challenging learning curve.

“Classical ballet is upright and you spend your time trying to look like you’re floating, but this is very earthy and you use your legs in a very different way,” he said.

But the challenge has its rewards.

“There are times [in the production when] you can’t pick out the Bangarra dancers or the ballet dancers because we’re working in sync,” said Mr Simon.

Robert Battle was only 14 when he and his classmates were taken to see a concert by Alvin Ailey American Dance Theater. It was there, in Miami, that he experienced his first live performance of Ailey’s signature gospel-driven piece, “Revelations.”

“I’d seen videotapes in class, but nothing prepared for that 3-D moment of live performance,” Battle recalls. “It was overwhelming. I grew up in the church and sang in the choir, so I knew so much about what I was hearing, but what I was seeing was totally new. It left an indelible impression, and I’m sure it’s why I’m here today in this position.”

“This position” is the artistic directorship of the internationally acclaimed Ailey troupe. Battle, 39, is only the third such leader in the company’s 54-year history, following Judith Jamison, who handpicked him as her successor, and Ailey himself, who died in 1989. When the company makes its 42d Celebrity Series of Boston appearance Thursday through April 29 at the Citi Wang Theatre, Battle will have been at the helm for almost 10 months. “So far, so good,” he says, quoting a recent New York Times review of the troupe.

Robert Battle (center) rehearses his work Takademe with Linda Celeste… (ANDREA MOHIN/THE NEW YORK TIMES)

Robert Battle looks within to lead Alvin Ailey American Dance Theater

Though Battle never performed in the company as Jamison did, his connection to the organization dates to 1991, when, after his freshman year at the Juilliard School, he began taking summer classes at the Ailey School. Over the years, he has choreographed nine works for the main Ailey company; Ailey II, its second company; and the Ailey School. He danced with David Parsons from 1994 to 2001, and in 2002 founded his own troupe, Battleworks Dance Company, which he disbanded

when he took the Ailey job.

way we can move forward. It’s Battle has stepped into one part of the cornerstone of the of the most important leader- company.” ship roles in the modern dance Battle is not about to turn the world, but he disputes those Ailey organization into a dance who might assume he is intim- museum, however. “It’s defiidated by the company’s illusnitely about fostering the next trious history. He considers his generation of choreographers, job a calling, and he has been especially African-American clear about his goals from the start. “I feel my mission is to choreographers, and to make honor the past, honor the sure that we continue to reintradition,” he said in a recent vent ourselves — past, present, phone interview from New future. . . . The direction of the York. “History is the anchor, company has to speak to our and honoring that is the only time.”

Dedicated to dance Isha Sharvani, who debuted on the big screen in the 2005 release Kisna, garnered her rave reviews for her dancing skills.

A trained dancer who combines yoga and gymnastics along with a multitude of dance forms, Isha has taken dance to another level and admits that her life is all about dance.

“I started taking formal training in dance when I was 13, which is quite late, considering that my mother is a renowned classical dancer and my father, a musician. Although it was late, I loved dancing. In fact, as a child, I would dance on tables and entertain guests at home.

It was only later in life that I realised dance was what I wanted to do all my life. In fact, I tour so much that I hardly have any friends.

But, since this is the life I chose, I have no regrets.”

Looking back at her big Bollywood debut, she reminisces, “Subhash Ghai, who wanted a choreographer for his movie Kisna, spotted me when he came to meet my mother and immediately offered me the role. I did a few films after Kisna, but soon realised that my true calling was dance.”

Her last Bollywood appearance was in Zoya Akhtar’s 2009 release, Luck By Chance, after which she has not done many films. “I need something that will challenge me in some way. I still get many offers and I am grateful for them, but since I constantly travel, my shows keep me very busy and am not in a position to accept them.”

She also had to turn down Kamal Hassan’s upcoming film Viswaroopam, as she would be touring for her dance shows. She was also part of the show, Kingdom of Dreams, which she counts as being a very good experience. “I would like to create and be part of shows that people enjoy, and would like

them to grow watching culture expressed in a contemporary way. Culture is part of who we are and all of us have personal identities.

Dance and music is what moves me and keeps me invigorated,”

Cerebral palsy dancer selected as billboard idol Jack Summers insists his cerebral palsy ‘I hope I’ve changed people’s perceptions – should not stop him impressing with his just because I’m in a chair doesn’t mean I can’t live my dreams,’ he said. dancefloor moves.

The 19-year-old, a winner at last year’s British Street Dance Championships, has now impressed star-spotters keen to showcase local London heroes.

One of those dreams was sharing a stage with dance troupe Blaze, after being picked to represent the London borough of Hillingdon by Adidas.

But Jack, from Ruislip in west London, revealed: ‘I have experienced some discrimination. My worst would be being turned down by dance schools because they didn’t have any facilities.’

The performance teamed him with two more stars in the making.

As a child, Genesis Lynea suffered the trauma of her parents’ divorce and a heart scare. She said: ‘I couldn’t handle it and He started dancing at the age of seven, ended up on a heart monitor.’ thinking it a good way to keep fit and to She has learnt to deal with it through her show people that his disability shouldn’t love of dance, specialising in a style dubbed stop him doing what he wanted to do. ‘krump’.

Fans of her moves include childhood friend Jessie J, who invited her to perform in her Do It Like A Dude video. Genesis, 22, from Wandsworth, said: ‘I felt like I was Wonderman then.’

Victoria Shulungu, 19, is another video star, dancing in promos for Giggs and The Chemical Brothers while working with her dance-group Unity.

The Dagenham student is delighted to see her local surroundings in the spotlight this summer. ‘I’m really happy it’s happening in east London,’ she said.

Top of the bill: Jack Summers is turning the tables on those who doubted him.

Britain to get dancing for the Olympics

SLIDE TEXT UP AND DOWN

Relive the best bits of our live, all-day webcast from Covent Garden on Friday 23 March, presented by George Lamb. In this afternoon session, we peek into rehearsals for The Prince of the Pagodas, talk to star dancer (and birthday girl) Marianela Núñez, watch Christopher Wheeldon rehearse Polyphonia, and duck out of the way of a sword fight from MacMillan’s version of Romeo and Juliet.

The wild world of freestyle dance These young dancers have fast moves, big hair and amazing outfits

has been left to flourish into its own surreal and awe-inspiring discipline.

Godmother of freestyle Anna Jones developed the dance form in the early 80s from the ashes of disco, which is why it’s often known as “disco dancing”.

A former Latin dance champion and ballerina, Jones introduced those styles to the mix, which other teachers have also incorporated as freestyle Barely heard of in the has expanded. mainstream, freestyle Swing open the doors of the Freestyle Dancing World Championships in Blackpool and there’s no real warning that you’re about to be overwhelmed by glitter and vibrant chaos. Covered in spray tan and makeup, these young dancers are wearing costumes ostentatious enough to make Lady Gaga feel dowdy.

Welcome to the world of freestyle dance.

Freestyle dancer Casie.

Photograph: Carrie Mckee

VISIT WEBSITE

Freestyle carries a significant social importance for the parents.

Every teacher has their own story about how freestyle has helped instil boys and girls with selfconfidence and even alleviate trauma caused by bullying.

Parents of students at West Belfast’s Illusion Dance School – who travelled to Blackpool for the championships – are grateful that, owing to the training and dedication involved, dancers are kept out of trouble and off the street.

When the dancers reach the judges, they launch into miniroutines, having only seconds to prove their ability in front of each one. It’s a furiously elegant collage of backflips and splits.

It’s obvious what is most important to the girls, though.

When asked what they enjoy most about freestyle, all of them list the makeup, hair and costumes. Many of them, just like miniature superheroes, say the act of dressing up plays a significant part in their shift of confidence. “I’m quite shy, but when I get on the dancefloor I feel different,” confessed one nine-year-old dancer from Wrexham.

Freestyle’s gladiatorial glamour is a product of the unique rules of these competitions. Given the limited time they have to impress the judges, sass and razzmatazz are key weapons in a dancer’s arsenal. As the mother of Premier Champion Orlaigh Burns says: “Costume and big hair are important for getting the attention of the judges.

The bigger, the more glitz and glam, the better.” Dance teacher Leanne Barkley adds: “Dancers might all be doing triple leg spins – sometimes a bit of attitude sets them apart.”

Though their attire – reminiscent of American beauty pageants – might be an easy target for criticism, the pride the children take in their dancing is formidable.

This is their world, and you had better be prepared to lose some teeth if you want to tell them how to run it.

The wild world of freestyle dance

The Latin influence is obvious – even taking to the dancefloor is an act of assertiveness.

With shoulders pulled right back, lower backs arched and ribcages out, dancers stand with confrontational poise as they wait for their cue. The second the music kicks in (hyper-fast, heartbattering techno), the tiniest dancers (some as young as four) bounce enthusiastically, while the older and more proficient among them charge around with the thunderous pace of gazelles.

UP AND COMING I’ m Dion Paraha, I’m a 16 year old dancer from the gold coast. I have been dancing for around 2 1/2 years.

VIDEO

Last year was my first time taking hip hop classes. My favourite style of dance is hip-hop although I tend to get carried away in all the dub-step dancing era.

My achievements in dance include performing on Young Talent Time as a contestant. I’ve also appeared on the 7pm Project on Channel Ten to help advertise for a dance competition. Last year I was in a dance crew (Ultimatum Dance Crew) from Prince Academy where we won World Supremacy Battlegrounds - 1st place in Australia for hip-hop and 7th place out of 12 other countries with over 20 crews in each division.

Our crew has also appeared on Channel 7 Saturday Disney and Channel 3 ABC. In my first year of dancing (2010) I was able to perform at the Gold Coast Titans home games in front of a large crowd.

My biggest achievement is that I’m becoming a better dancer, although i really did like the YTT and the Battlegrounds experience.

Too

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.

tall

for

ballet

Dear Colin,

I am a sixteen year old dancer, who has spend last 11 years of her life dancing, and in the future I want to be dancing with a ballet company, but unfortunately I’m 5’10″ on flat feet which makes a gigantic ballerina.

Would you say that my dreams of being in a ballet company are crushed and I should just forget about it? If there’s a chance, could you tell me what would be necessary to be part of a company?

Thanks, Kat Dear Kat, In 1962, when I first started dancing in a classical ballet company our tallest female dancer was around 5’5” and I think the tallest male dancer was 5’11” – our ballerinas Kathleen Gorham and Lucette Aldous barely reached 5’0”! But times have changed. Nutrition has improved and our lifestyles are much healthier. So these days our smallest female dancer is 5’2” and our tallest is 5’9½”! Incidentally our tallest male dancer is 6’5” tall and quite a few male students in the graduating class at The Australian Ballet School already equal him in height.

This is good news for you, Kat. Your height should not be a problem for you attaining your dream of becoming a professional dancer. Of course it is wise to realise that being very small or very tall means that you also have to be very good. So keep concentrating on your technique.

As further encouragement, you should know that there are some dance companies in the world that actually prefer their dancers to be tall. The New York City Ballet and Pacific North West Ballet in Seattle spring to mind.

Best wishes, Colin VIEW WEBSITE

N O I T I T E P M CO w o h s a e e s o t y a d o t s t e k c i t WIN

A CHORUS LINE 3 x A Reserve Doubles for FRIDAY 20 JULY at Capitol Theatre

NUTCRACKER ON ICE 3 x A Reserve Doubles for WEDNESDAY 6 JUNE at Capitol Theatre

ENTER

competition TAP TO READ TERMS AND CONDITIONS AND ENTRY REQUIREMENTS

OPERA WARRIORS 3 x A Reserve Doubles for THURSDAY 14 JUNE at the Opera Theatre, Sydney Opera House

Ben Conquest

Background

WHO

IS

Ben started his dance career at the Seaton Academy of Dance in the Sutherland Shire, NSW at the ripe old age of 14. Ben said, “Many people assume that great dancers start when they are very young, however recently we have seen amazing dancer begin their careers in their mid-teens”. Ben wasn’t always interested in dance, in fact, he played rugby for the Brighton Seagulls for sometime before dance caught his eye. He played rugby so he could hide his passion for dance. His mum was fantastic and supported his passion which drove him to succeed.

Ben was a child performer in the Australian Opera during a performance of “Hansel and Gretel” and during this performance his voice broke on stage. It was a cross road that paid off well as he moved onto the Newtown Performing Arts School and after a stint there studied with and befriended Matt Lee at Brent Street.

Ben has excelled with his RAD studies and achieved a High Distinction and went on to received his ARAD certification from London. At the age of 15 he tried out with the Australian Ballet School and was told he was to raw and to extend his dance with a full-time school. He joined Hallidays Dance Centre for 1 year to strengthen and build upon his technique. Australian Ballet asked Ben to re-audition and he was accepted where he got Honours for his work.

Ben graduated from Australian Ballet in 1999 and was later poached by Matz Skoog, then Artistic Director with Royal New Zealand Ballet where he danced as principal dancer from 2000 - 2004.

Ben holds a Bachelor in Communications, Advanced R.A.D qualifications with the Royal Academy of Dance in London and an Advanced Diploma in Dance.

Ben Conquest WHO

IS

Passionate about Ben is a true dancer and is totally passionate about his choreographic work.

Ben likes his work to tell a story and take the audience on a journey.

Inspired by Ben draws his inspiration from artists such as Mia Michaels (SYTYCD USA), The Upper Room and William Forsyth.

Likes and Dislikes Ben likes to break the traditional rules of dance and extend boundaries and dislikes unnecessary competitiveness. Ben operates as a freelance choreographer and has found his new home on the beautiful Sunshine Coast in Queensland.

MOVIE

DANCER: TEAGAN LO WE PHOTOGRAPHER: MI CHEL

LE GRACE HUNDER

SUBMIT MEDIA

Wanted

Awesome dance image s and video for this iPad Dance Magazine.

A question I often get asked by dance studio owners is “How can I connect better with my customers?”

I find that the majority of studio principals still use paper based newsletters to communicate with their dance parents, future clients or staff. With today’s technology it is easy, fast and smart to communicate digitally using email newsletters.

I use and recommend Mailchimp. It’s FREE for businesses who have 2000 or less customers. You can send up to 12000 newsletters out per month. So that’s 6 campaigns per month per person. You can even segment your recipients into groups like teachers, parents and students. This way your email campaign can be directed to your recipients and this provides a better response.

Even better, you can view reports on how each campaign went and save money by not printing reams of paper.

Want to know more?

Call +61 (7) 5476 9553 or 0422 190 683

FREE CONSULTATION

Article by Phil Reece DANCEHUB

factsheet

Public Liability

insurance

by Aon

Public Liability insurance covers you and your business for losses or damage a third party suffers (or claims to have suffered) as a result of your business activities.

In plain English this provides protection against legal and court costs (i.e. legal liability) in the event that someone is injured, or has their property damaged while you are providing a service to them. This type of insurance covers incidents that occur not only in your studio, but also at events you may produce in external locations.

Keep in mind that this type of insurance will only cover claims made by external parties and not those made by your own employees (you will require Employers

Liability insurance for this).

1. …and Products Liability?

This is usually included in your Public Liability policy and is important if you sell dance products or equipment to your customers. It will cover you for claims of bodily injury or property damage arising from the failure of goods sold or supplied by you through your practice.

2. Why do I need it?

In every line of work there is always the potential for something to go wrong – basically accidents happen and when they do, you or your business can be held liable.

Regardless of the size of your business, Public Liability claims can be incredibly costly, and even if you are not at fault, you

may still incur considerable legal costs while defending yourself.

Public Liability insurance is recommended for anyone running a business that generates revenue. Investing in a good policy can provide you with the peace of mind that your business will be protected regardless of what life throws at you.

3. Who is covered by my Public Liability insurance policy?

A Public Liability insurance policy should cover: • Your business, including any subsidiary companies, and • Your staff, including any principal, employee, director, partner or employee whilst they are acting within the scope of their duties.

factsheet

Public Liability

insurance

by Aon

4. Will a public liability insurance policy cover our performance/ special event?

Public Liability insurance will cover external events provided they are within the scope of your normal business activities. If you are unsure of whether an event is covered, please contact your insurance provider for further information or to arrange additional cover.

5. Examples of cases where Public Liability insurance would apply: 1. During a dance performance in your studio, an audience member trips on a piece of loose wire from a stereo. Public Liability insurance would cover your business if the individual claimed for injuries sustained as a result of an unsafe studio.

2. A pipe bursts in the cloak room where students store their bags during practice, damaging one student’s laptop computer beyond repair. Public Liability insurance would cover any claim by this student for damage. (Example may only apply if you are the property owner of the building).

6. How much cover do I need?

The most suitable level of cover will differ greatly depending on the type of business you run, so it is important to discuss your individual needs with a financial advisor or broker. As a starting point, Aon offers limits beginning at $2,000,000 with higher limits available up to $20,000,000.

Activity - a permanently installed sprung floor system based on a revolutionary triple ‘sandwich’ composite construction. Activity completely eliminates the need for metal springs and rubber pads and because it is a fully floating system with no fixings to the floor it can be laid on almost any surface without preparation. Shock-damped to avoid a ‘trampoline’ effect and combining area and point elasticity to offer identical characteristics across the whole floor, Activity is ideal for ballet, reducing injury risk and enhancing dancers’ performances.

VIDEO

• Sprung floor without any springs or rubber pads • A unique fully floating construction of semi-flexible panels supported on a cellular layer and covered with a Harlequin dance surface • ‘Area elasticity’ providing ‘give’ or flexion over the section where a performer lands • ‘Point elasticity’ offering compression at the point of contact • Limitation of flexing to avoid disturbing neighbouring performers • Elimination of excessive rebound, commonly termed the ‘trampoline effect’ • Uniform suspension across the whole floor eliminates ‘hard spots’ experienced with traditional wood floors • Consistent shock absorption dramatically reduces injury risk and enhances performance • Remarkably quiet in use due to high technology composite construction • Low maintenance costs

Fundamental Movement Skills (FMS) in Dance

By Rachael Jefferson-Buchanan Senior Lecturer in PE, Dance & Primary Professional Practice, Bath Spa University, UK

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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.

Dos and Dont’s for Competition By ejacobson

Straight from the judge’s table Top competition judges tell us what they love to see in competition - and what studios should avoid.

DO:

Pick appropriate music.

“Music should be something a dancer relates to. Seeing an 11-year-old emote to a song about reflection upon life or true love does not make sense. How are they expected to honestly relate to that?”

Take the time to cut your music properly.

“The biggest problem I see in music is sloppy editing. There are many music editing software programs available today that aren’t very expensive. With a good quality stereo system, music editing is quite simple.”

Choose appropriate costumes.

“Make sure your shoes are appropriate for the number. I saw a group do a Fosse-type number with jazz sneakers and it just didn’t work.”

“There was one group I remember who came out with push-up bras and lace panties. They were wearing men’s white shirts over them with jewels dripping down their chests. We disqualified the number because we felt the costumes were so inappropriate.”

Be creative in your choreography.

“I would say that 95 percent of the routines I judge all look the same—same over-used songs, same moves and no suggestion of a particular choreographer’s individual style. Choreograph around your strengths and then concentrate on style and originality for the rest.”

Dos and Dont’s for Competition By ejacobson

“Dance is an artistic form of communication; choreographers should know what feelings they are trying to communicate and/or what story they are trying to tell. The most interesting pieces are those where the choreography is music-specific, meaning the choreography makes use of the accents, lyrics and instrumentation that make that song unique.”

Expand your technique.

“You need to teach technique outside of the competition routine. I teach master classes at competitions where girls who were doing turns in second onstage can’t even do a simple plié chainé in class.”

“Dancers need to show both sides. So much choreography is geared toward the right side. It makes me wonder if the dancers can even do the left.”

Apply proper stage makeup.

“Eyelashes are a must! They really open up your face for us sitting in the back.”

“One mistake I see is the assumption that stage makeup is the same as street makeup, only thicker.

Because of stage lighting and the distance between the performer and the audience, highlight and shadow techniques differ from what you would use every day. I recommend consulting a makeup designer from a local theater company who can give each dancer tips as to how to best accentuate his or her features onstage.”

Use your props.

“The best way to utilize a prop is to use it as much as possible in the choreography. Also, be creative! Challenge yourself to see how many things you can do with that prop, then incorporate as many of those ideas as possible into your choreography.”

Take care of your dancers.

“I think curfews are important at overnight competitions in order to have your dancers at their peak. Make sure they get at least eight hours of sleep and bring food from home so they can stay nourished. When dancers are in multiple performances, they will get tired by the end of the day and it will show in their dancing.”

Dos and Dont’s for Competition By ejacobson

DON’T:

Use songs just because they’re popular.

“Beware of using the same music that everyone else uses. Even though Christina Aguilera’s ‘Car Wash’ and ‘Roxie’ from Chicago are great songs, judges and audiences get tired of hearing them over and over. With iTunes and internet search programs, the vast music world is at your fingertips. Find unique music that will make your number stand out.”

Borrow from cheerleading.

“Do not use cheer music remixes for a dance routine. I love a high-paced jazz number, but not with all the cheer sound effects.”

“I want to see a real, genuine smile rather than all the oohs and ahhs. The cuteness and forced emotion only take the dancers so far.”

Use props to distract from rough technique.

“There was one group that built a big bridge and it looked really cool with the girls on cables doing splits, but then I looked down at the dancers who were representing the water and it was all sloppy.”

Focus on tricks.

“So many competitors today think that more tricks mean higher points. Not so in my opinion. I always score higher a routine with less difficulty, but with clean technique, where you can see the choreographer’s vision and style.”

“When numbers are just a series of tricks, the tricks lose their luster and mean nothing. Pick a few tricks that you do well, incorporate them artistically into the choreography and they will stand out.”

Dos and Dont’s for Competition By ejacobson

Tolerate sloppy technique.

“Having a dancer do difficult technique before she is ready will only hurt her body and her dancing in the long run. I would rather see a girl do a single and hold it. That shows more technique than someone spinning around three times.”

“Dancers should execute movement that makes them look good. If a dancer’s fouetté turns or illusions are not impeccable, then she should definitely continue working on them in class.

These tricks should not be put into her solo.”

DON’T: Be risqué.

“I was judging a large teen hip-hop number. It started out great, but then the dancers did a move where they pulled down their oversized pants and exposed that they were wearing skimpy red thong-ish underwear while doing hip thrusts. It was vulgar and unnecessary for a dance competition full of children.”

Forget your competition etiquette!

“Do not stand in the wings and coach or count for your competitors. They either know the dance or they don’t.”

“Be 100 percent ready at the time you are supposed to compete. Although most companies will still let you go on if you are not ready, it is unprofessional.”

“There have been a couple of instances where a whole studio’s negative attitude was so horrible throughout the entire competition that I requested not to judge that particular city again if that studio was going to compete there.”

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Free dance school marketing ideas help dance schools to grow while still paying attention to the bottom line. A dance school teaches you how to dance but they are still a business. It costs money to run a school and the best way to bring in revenue is to increase the roster of students. Larger dance schools are capable of doing so much more than smaller schools because they have the funds. If you own a dance school and want to increase its size, marketing may be your answer.

Basic Areas for Free Dance School Marketing Ideas The best marketing plan is designed to gain recognition and attract new students. There are many specific ideas on how to carry this out but when looking for free marketing ideas, use these three basic concepts.

How Marketing Can Help Marketing is a tool used by every business and company worldwide. Dance schools should be no different. Marketing can accomplish many goals for a school and if used long-term, can help increase its size. Proper marketing can do the following: •

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•

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It educates potential students about the programs the school offers. This includes important information such as class dates and times, dance styles, tuition, size of the classes, and the number of instructors.

It spreads the word about your school to a wider audience.

It helps increase recognition in the dance field by gaining notice from other schools and instructors.

If conducted properly, marketing can even gain sponsorships from dance equipment retailers and companies for competitions.

Fundraisers: Fundraisers are a great way to raise money. With a fundraiser, you can use free materials or a service to earn money. Some of the best fundraisers include a car wash, bake sale (although you will have to buy the ingredients), and raffles.

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M e e r F Local Community Events: Your local community is one of the best sources for free marketing. Participating in local events is a good way to reach your target audience. Some good community events to get involved in are charity events, community fairs and parades, and seasonal events.

Online Social Media: The Internet has opened up a completely new avenue of marketing possibilities. With free social network sites such as Facebook and Twitter, you can build a network of friends and contacts to help support your dance school.

Some Free Marketing Strategies to Try There are tons of free dance school marketing ideas.

While marketing may seem easy to some, if you have never done it before it might seem daunting. The following are some ideas to market your dance school.

1. Create a website for your school. There are many free web-hosting providers that do not require monthly fees.

2. Offer discounts to new students for the first month.

3. Set up a booth at local events. This allows you to get some face-to-face time with the public and talk about the benefits of dance.

4. Sell tickets to a dance event. One of the best ways for a dance school to raise money is to hold a dance performance for the public.

5. Sell specialty items such as candles, cookies, and other candies. There are suppliers that will provide the product in exchange for some of the profits.

6. Hold a bake sale. This one is tricky because you do need ingredients. However, if you can get some of your dance members to donate the ingredients, then everything that you sell is profit.

7. Provide a service such as a car wash.

8. Create a page on a social network such as Facebook, Twitter, or MySpace.

9. Use a web banner to advertise on other dance sites. You can even link it to your website, thus increasing your online traffic.

10. Start a monthly newsletter, email it to current and new students.

What is core 4 technique ? Popping

bend. Wrist, elbow and shoulder is the 3 connecting join that form the 1st foundation of is made up by isolation of joints and muscles. With this in mind then you must try to arm wave. By bending the 3 joints in a rolling motion , it will from a basic arm waves. breakdown what it is and what to work on.

Isolation , angle and mind / music , each one Know the basic of the clicks technique will of these ideas makes up our core foundation greatly help in performing a clean hard wave. of teaching. The isolation will give you the hits and waves , Angles / Tutting will give Tutting / Angle you a good building ideas for dance and the Tutting is technique that is base from sets mind is the ability to put everything together of foundational moves and rule of angles. It with the music as a guild. start with working on keep a clean 90 degree angle with your elbow. Some of the foundation are Boxes, Out side tutting , inside tutPopping / Hitting Popping is a technique that uses the idea of ting and transformer. muscle contracting to produce a pop, hitting This technique is all effect. By working on relaxing and contract- about getting use to your comfort zone and then ing isolated muscle group, in time it builds a snapping effect that can look like a pop.

This technique is the foundation of popping dance and it mostly use to keep up with the expand to more of a rhythm of a song. This technique can also be free style mind set. use to control a robotic looking movement.

Joint Iso / Wave

Waving is a technique using the ideas of bending the joins one at a time to form a wave movement. The basic foundation of the arm wave is knowing the 1st 3 join to

Mind Set / Music

The last core technique is using your mind to move with the technique. This will be the answer for your “ why “ question.

A look at the origin of Salsa It is not only Cuban; nevertheless we must give credit to Cuba for the origin and ancestry of creation.

It is here where ContraDanze (Country Dance) of England/France, later called Danzón, which was brought by the French who fled from Haiti, begins to mix itself with Rhumbas of African origin (Guaguanco, Colombia, Yambú). Add Són of the Cuban people, which was a mixture of the Spanish troubadour (sonero) and the African drumbeats and flavora

and a partner dance flowered to the beat of the clave.

This syncretism also occurred in smaller degrees and with variations in other countries like the Dominican Republic, Colombia, Puerto Rico, among others. Bands of these countries took their music to Mexico City in the era of the famous films of that country (Perez Prado, most famous ...). Shortly after, a similar movement to New York occurred. In these two cities, more promotion and syncretism occurred and

more commercial music was generated because there was more investment.

New York created the term “Salsa”, but it did not create the dance. The term became popular as nickname to refer to a variety of different music, from several countries of Hispanic influence: Rhumba, Són Montuno, Guaracha, Mambo, Cha cha cha, Danzón, Són, Guguanco, Cubop, Guajira, Charanga, Cumbia, Plena, Bomba, Festejo, Merengue, among others. Many of these have

Article By: Jaime Andrés Pretell

maintained their individuality and many were mixed creating “Salsa”.

If you are listening to today’s Salsa, you are going to find the base of són, and you are going to hear Cumbia, and you are going to hear Guaracha. You will also hear some old Merengue, built-in the rhythm of different songs. You will hear many of the old styles

somewhere within the modern beats. Salsa varies from site to site. In New York, for example, new instrumentalization and extra percussion were added to some Colombian songs so that New Yorkers - that dance mambo “on the two” - can feel comfortable dancing to the rhythm and beat of the song, because the original arrangement is not one they easily recognize.

music of Cuba has evolved towards another new and equally flavorful sound.

Then, as a tree, Salsa has many roots and many branches, but one trunk that unites us all. The important thing is that Salsa is played throughout the Hispanic world and has received influences of many places within it. It is of all of us and it is a sample of our flexibility and evolution. If you think that a single place can take This is called “finishing”, the credit for the existence to enter the local market.

This “finish” does not occur of Salsa, you are wrong. And because the Colombian does if you think that one style of dance is better, imagine that not play Salsa, but the best dancer of a style, it does not play to the rhythm of the without his partner, goes to Puerto Rican/Post- dance with whomever he Cuban Salsa. I say can find, in a club where a Post-Cuban, different style predominates. because He wouldn’t look as good the as the locals. Each dancer is accustomed to dance his/her own style. None is better, only different. Viva la variedad, Viva la Salsa!

Join The fastest growing dance community on the planet !

In my experience over several years in teaching tap dance to all ages in many different cultures and of varying experience levels, I find a very common theme in Australia. When you change the way a step is done ‘normally’ and alter the rhythm whilst retaining the individual step or combination of steps, students can struggle to pick up choreography. It seems that for some reason that rhythm is not taught as predominantly as technique and style. There are several things that can be responsible for this, ranging from syllabus limitations to the individual teachers limitations, and lack of knowledge of the reality of the world of rhythm we all have available to us! We hear it in music everyday and most of us don’t even notice. We hear rhythm as we walk down the street, it’s in our head most of the time, and as I type this article I am making rhythm! The possibilities are endless!

What is ‘Normal?’

Normal may be different for any individual group or studio, and its due to the type of rhythms in an individual teachers style or choreography, or moulded by the syllabus the students use. I have taught many syllabi and also completed on in my own tap tuition.

As I have travelled and taught I am more convinced everyday that most have their limitations and not just minor ones. Normal is what we are taught, what an opinion tells us we have to do or should do. Unfortunately there are still some influential and respected figures that still share and, through their elevated status, impose personal opinions on studios and teachers.

Reece HOPKINS

Teaching Rhythm

When I first started teaching I had a ‘normal’ rhythmical style that inhabited my choreography. My natural tendency, which has got me into trouble in life, is to not stay with the same concept and push boundaries! But it worked well for me in Tap as I looked for ways to change the ‘normal’ simply because I was getting bored with myself. It started with tapping to different music, doing the same steps but making them sound different. I watched videos, learnt from tappers who had different rhythmical styles and merged them together and grabbed inspiration from them all.

‘Normal’ is just what our students are used to, and its not that its our fault as teachers, we are doing the best we can, but with the amount of free and accessible media available to us, there is a whole world for us to explore and use to inspire and break the ‘normal’ mould!

Why do students have only 1 or 2 dimensions in tap?

Whatever we have been taught, we will be limited by it. And its no different to the students we teach. I was limited by what my teachers taught me. I am in no way criticising my teachers in any way. If anything I’m thankful that they inspired me and allowed me to explore. Many teachers and studios try to keep things exclusive and discourage extra classes and outside workshops.

Many teachers I believe simply just don’t know what’s possible.

The reality is none of us will ever be ‘enough’ of a package to give our students everything, but we can give them the best shot by researching and growing ourselves, and encouraging them to do the same. Some syllabus curriculums do not teach time signature, basic rhythm patterns. Of those that do many are limited to waltz, foxtrot and some Latin music. While we are taught to dance to these, we are then not taught how to choreograph to them then re-teach them. How we make an 8-count combination of steps fit when we have a piece of music that does not have a flat 4/4 signature. So often there are dances that have steps that do not match or work with the music. There seems to be very little musicality or connection between the steps and the rhythm & feel of the music in a lot of cases.

Teaching Rhythm

Teaching Rhythm I am still shocked at the music being used today in syllabus curriculum. There is a lack of ‘new’ sounding music, modern and contemporary music that the younger generations can connect with.

It should be more readily combined with the traditional styles of music in exam work, and on stage. Some people use the term ‘street tap’ to describe the modern form of tap. Street tap isn’t any different from normal tap. It’s this funky or industrial version of tap that has got a little more interest back into tap. The fact ‘it’ has its own title further supports the claim that it is not seen as normal and needs to become merged with traditional tap. ‘It’ is an evolution of the style of tap and is wrongly seen as less technical.

The Consequences The consequences are that tap becomes repetitive in some cases. Then when students leave their studios and do outside classes, move on to full time or part time courses in dance, they become discouraged at the gap between them and their previously perceived standard. Tap can be done acapella, and to any piece of music with a beat. There’s an attraction to top-40 music. We might get sick of them being on radio but, its popular for a reason. Quirky alternative music is equally attractive for different reasons, but it’s this ‘no limits’ attitude that breeds creativity! If we stay within the mould, then we never change while the world around us continues to, and other styles of dance continue to.

Hip-hop has evolved so much over the years, just like hip-hop music has. We see ‘hip-hop styled’ dance done to so many varied styles of music. Tap does not, and should be no different!

How do you teach ‘Rhythm?’

This is the ultimate question.

Now that we have the inspiration, know that its possible, and we lose our fears of trying something different, how do I feed my students? There are so many fun and practical ways to start things off, and they can be added to your ‘normal.’

Rhythm variety is all we should aim to achieve, not a replacement for what we already have.

Find a video or something that inspires you. Choose a song that represents it.

Often I hear a song, like many of you do, and you just think, ‘I have got to dance to that!’ You start having visions and you cant sleep out of excitement of how this looks on stage. The next morning you get up feeling flat and less inspired.

My advice is, ignore the voices in your head, your heart drives the best creative works. Your head thinks, your heart dreams, they can be friends! Sure you may put together a piece that looks nothing like your vision, but that is no reason not to try! Go for it and have a go, it’s new for you and the students, and you should make no apologies for that. Your students will go where you go if you are confident and humble.

Practically I can give you some examples, but let yourself expand on them.

1. Listen to your piece of music. For example an R&B song has many facets of rhythm. a. The kick drum usually makes a consistent loop, very basic and repetitive - Consistent

b. The digital or acoustic snare, and effects within the basic kick loop mix the rhythm up and often change subtly and create opportunities to match or contrast our tap rhythms – Subtle Change c. The lyrics are the part of a song that are most often volatile, random and your opportunity to show some variety in choreography – Random 2. Combine elements of a song. For example, tap to the consistent beat at some point, then change and tap to the rhythms of the accompanying instruments or the pauses in the music, and then shift to the lyrical rhythm.

3. Don’t change from each element to the next on consistent counts each time. Don’t change on count ‘8’ then change to a new rhythm element on ‘1’ all the time. Fill in gaps and tap with, through, and on different parts of the music to your delight!

4. Don’t always finish steps on ‘8’ you can finish on any count and start a new step the following count or half count as long as there is a finish somewhere. Use Syncopation by accenting a normally weak beat or sound.

5. Do common steps but in a different way changing accents and where sounds happen within the bar to match a particular rhythm element in the music.

Find a video or something that inspires you. Choose a song that represents it. Often I hear a song, like many of you do, and you just think, ‘I have got to dance to that!’ You start having visions and you cant sleep out of excitement of how this looks on stage. The next morning you get up feeling flat and less inspired. My advice is, ignore the voices in your head, your heart drives the best creative works. Your head thinks, your heart dreams, they can be friends! Sure you may put together a piece that looks nothing like your vision, but that is no reason not to try! Go for it and have a go, it’s new for you and the students, and you should make no apologies for that. Your students will go where you go if you are confident and humble.

Practically I can give you some examples, but let yourself expand on them.

1. Listen to your piece of music. For example an R&B song has many facets of rhythm.

a. The kick drum usually makes a consistent loop, very basic and repetitive - Consistent b. The digital or acoustic snare, and effects within the basic kick loop mix the rhythm up and often change subtly and create opportunities to match or contrast our tap rhythms – Subtle Change c. The lyrics are the part of a song that are most often volatile, random and your opportunity to show some variety in choreography – Random

2. Combine elements of a song. For example, tap to the consistent beat at some point, then change and tap to the rhythms of the accompanying instruments or the pauses in the music, and then shift to the lyrical rhythm.

1. Don’t change from each element to the next on consistent counts each time.

Don’t change on count ‘8’ then change to a new rhythm element on ‘1’ all the time.

Fill in gaps and tap with, through, and on different parts of the music to your delight!

2. Don’t always finish steps on ‘8’ you can finish on any count and start a new step the following count or half count as long as there is a finish somewhere. Use Syncopation by accenting a normally weak beat or sound.

3. Do common steps but in a different way changing accents and where sounds happen within the bar to match a particular rhythm element in the music.

Simple Exercises Two really basic things you can do to introduce this before going head on into a full piece ready for competition or stage is to create a combination of desired length. Challenge yourself first to: 1. Keep the exact rhythm of the combination but change the accented sounds in the step.

2. Keep the exact same rhythm but change the steps being used in the combination.

3. Keep the exact same steps, but change the rhythm within the counts or even so they finish on an alternate count.

Finishing on count ‘7’ and having a break is effective, as is finishing on ‘and’ or ‘and 1’ or on any part of the count.

Following this, challenge your students to do the same, and be ready to demonstrate some of what you have come up with so they are able to understand the new concept.

Play Rhythm games: 1. Stand in a circle and clap a rhythm and get each student to tap out that rhythm with a step, or to create his or her own rhythm while clapping. Do this with and without music so that students learn to create rhythms that compliment the musical rhythm.

2. Create cannons of stamps in a circle with different rhythmical patterns and encourage students to get the rhythms as many times around the circle without breaking the pattern you create.

Rhythm is a resource for creativity and it can give you the edge for an effective and unique dance piece or combination.

From Rehearsal to Performance – Making the Shift.

By Elise May

you to deviate slightly from the original material whilst still maintaining the original quality and integrity of the piece. Being comfortable and feeling ownership of the movement you are The Rehearsal Process performing is very important Learning dance work for performance can be very different when dancing in front of to taking a technique class or learning a sequence of an audience. The audience movement. There are many things to consider depending on can be very perceptive and the performance circumstances and stylistic or thematic ideas any feelings of uneasiness or behind the work. awkwardness can be conveyed When learning repertoire or set choreography a dancer will through body language inevitably feel the importance of remaining true to the original and become obvious to the material, not only in the accuracy of the movement, but also in audience, so rehearsal is the the movement quality. If you are learning choreography that was best time to focus on finding created for another person or group it is also important to find your own unique pathway into ways to make that movement ‘sit well’ or feel natural on your the work. body. Finding ways to make that movement your own may allow Shifting all your hard work in the studio into the realm of performance can be quite a daunting task. Just like switching on the ignition and shifting up a gear, performances require an extra level of focus, commitment and stamina. In fact, performing can be one of the most grueling parts of being a dancer, but also one of the most rewarding.

From Rehearsal to Performance – Making the Shift.

If you are lucky enough to work with a choreographer to create a performance piece, the rehearsal or creation process will be a first hand opportunity to embody the intention and ideas of the choreographer. It is also a great time to experiment and try out different movement approaches and interpretations. The choreographer may respond to these variations by incorporating them into the piece or they may even spark new ideas and directions in the choreography. Finding out exactly what the choreographers’ ideas are for the piece may at first involve talking with them indepth about the look, feel, images, dynamics and themes that they envisage for the work. In some cases you may even need to conduct some of your own research to find out more about a particular theme or concept.

The Lead Up

Once a piece of choreography has been learned or shaped, a preparatory period will usually takes place to ensure that the dancer becomes well rehearsed and equipped with all the necessary tools to reach their performance peak by the time they arrive on stage. Having a rehearsal plan or rough timeline will help you make the best use of your available rehearsal time so that you don’t feel rushed towards the end.

It is equally important however not to reach your ‘peak’ too early. Jotting down some aspects of your performance that you would like to have accomplished by a particular date is great way of keeping track of your rehearsal process. Breaking your piece down into separate components can also prevent you from feeling overwhelmed by the overall complexity of a performance piece.

At the beginning of each rehearsal it is good to remind yourself of any notes or requests from the choreographer, teacher or rehearsal director from the previous rehearsal. This will keep those important corrections fresh in your mind as you work through the piece. As a general rule, the very first time you run your piece at the beginning of each rehearsal is an indication of how you would look in performance (if you were to enter the stage at that point in time). This is a good way of tracking your improvement. In other words, if you start with a ‘cold run’ each rehearsal and then spend the rest of the time ironing out the problem areas you will begin to notice improvements each time and the success of these runs will also indicate your readiness for performance. Things like stamina, movement accuracy and strength will improve significantly during this time. If you spend time outside of rehearsals, either visualising or thinking reflectively about your performance and the choreography you may also begin to notice greater shifts in your improvement throughout the preparation period. Some dancers find it helpful to keep a reflective diary or journal to help them focus on particular ideas or skills and analyse their own strengths and weaknesses.

From Rehearsal to Performance – Making the Shift.

As the preparation period progresses start to think about your performance quality. If you are being asked to convey a meaning, or a sense of character or narrative in your performance you need to build this into your rehearsal process. It will simply be too late if you leave it until the day of the performance. Now is the time to be exploring how your character would perform a particular task or movement, expose a raw emotion or gesture meaningfully to the audience. You may also like to experiment with creating specific images or metal pictures to recall whilst you are performing in order to help you access the right emotion or dramatic intention. Inviting some peers, family or friends to your final rehearsals is also a great way to get some feedback and help you transition into a performance mode prior to getting on stage. Once you know the movement inside out you can then free up your mind and start to concentrate on things like focus, eye-line, pace, pause, punctuation and projection. By dedicating time in rehearsal to these finer details, you may give yourself the performance edge that you are looking for.

The Performance

When the big day finally approaches, if you have taken active steps towards your own personal learning and growth as a performer throughout the rehearsal stages, you will arrive backstage feeling well prepared and confident. Nerves may still play their part, but you can be reassured that you have backed yourself up with a thorough knowledge of all aspects of your performance. The only thing left to do now is to prepare your body, breath deeply, focus your mind and get ready to enjoy the wonderful experience of performing for an audience.

Written by Elise May

Elise is a dancer with EDC (Expressions Dance Company).

EDC is touring ‘R & J’ to South Australia in May, and remounting their award winning ‘Where the Heart Is’ at the Queensland Performing Arts Complex (QPAC) Brisbane in August 2012. www.expressionsdancecompany.org.au

Be prepared to compensate These are definitely not How to avoid overheating and for extra losses if your recommended for junior ensure adequate child is overheating. athletes. fluid intake ● Remind children not to wait until they are thirsty before they start to drink!

By then they will already be starting to dehydrate and possibly overheating.

● Monitor drinks hygiene.

Encourage your child to adopt healthy habits when drinking from a shared bottle. It is preferred that kids get into the habit of taking their own bottle.

But if they forget, their lips should not touch any part of a shared bottle.

Teach them how

Running out of fuel is often not the main problem for dancers, but getting overheated is a very real possibility for active kids and will impair ● Discourage your their performance gymnasts or dancers ● Children should always from using carbonated have their own water bottle drinks before, during and on hand or in the team immediately after exercise drink crate, to sip from as they can upset the to squirt or use a chin during the performance stomach and reduce sipper bottle to get the and at breaks in class. their desire to drink. water into their mouth. ● Keep fluids cool – not (Bloating can be a problem ● Sports drinks are an a problem in winter - and and means they will get excellent source of energy have a mix of water and too full before they drink and fluid during and after flavoured drinks such as a sufficient volume.) activity. sports drink, or sports ● It is not suitable for But encourage your cordial, to encourage active children to be gymnasts or dancers to greater intake during and using high caffeine drinks drink flavoured fluids after activity. before, during or after through a straw to direct ● Fluid loss will vary from game to game depending on a child’s involvement in the action and the environmental conditions.

sport. Discourage intake the fluid to the back and of tea, coffee, cola drinks avoid swishing round the and the new age ‘energy’ mouth. drinks that contain large amounts of caffeine.

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KALEIDOSCOPE 15 Dancers - 2 Nights

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INTERFUSED QLD National Dance Company

The Old Museum Building 460 Gregory Tce, Spring Hill, QLD 402

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Patrick Studios Australia provides training for students seeking careers in the performing arts.

Our courses are intensive in nature and are run as a structured program. Admission is by audition only.

We also offer limited classes for students not enrolled in either the Fulltime or Elite programs: Elite Preparation – for children aspiring to join the Elite Squad Beginner & Creative Dance – for children aged 3-7 years Open Classes – for experienced dancers wishing to maintain their skills and technique Please refer to the Timetables section for applicable class times.

Casual classes are $17.00 each but may be purchased as a package. Please contact Reception for full details on (03) 9681-8856.

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AUDITION ROYAL CARIBBEAN INTERNATIONAL is holding fleet-wide auditions for all 24 vessels, offering itineraries all over the world. Auditions will be held in Sydney, Melbourne & Brisbane. Auditions are OPEN CALL (no appointment required), except for Melbourne singers (refer below). Bring CV & headshot.

SINGERS

Come prepared with your best 16-32 bars of 2 contrasting up-tempo pieces. The 1st piece should be a musical theatre number and the 2nd piece Contemporary, Pop/Rock or /R&B. Sheet music is required in the proper key. Singers will be taught a movement combination.

Vocal versatility a plus.

Any gender, aged 18 to 45 from Australia

DANCERS

We are casting versatile dancers with excellent technique in ballet and jazz. Flying and Tumbling skills a plus.

Any gender, aged 18 to 35.

Location: Victoria Payment details: SUBJECT TO ROLE

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yoga Tammy Pascoe Growing up with a love for dancing - I danced from the age of 4 until 16 in both Modern & Highland Dancing and went on to Choreograph & Manage Bowens first entry into the Central QLD regional Rock Eisteddfod taking out overall winning and most entertaining entry.

Tammy has experienced the value of Physical Yoga Practice for people such as Dancers that tend to be hyper flexible - Power Yoga is able to increase strength, stability and awareness so that flexibility is safe and supportive.

By using the awareness of the breath we are able to replace striving and pushing with acceptance and growth. Evidence has shown that we learn more effectively when we are relaxed and not stressed.

The Mindfulness that is cultivated through Yoga helps anyone weather they are an elite athlete, dancer or competitor to strengthen

Not only has Yoga helped heal my back, develop upper body strength, and how to breathe – it has taught me how to forgive, through learning how to let go of my story line but at the same time not be ashamed of it.

yoga Growing up with a love for dancing - I danced from the age of 4 until 16 in both Modern & Highland Dancing and went on to Choreograph & Manage Bowens first entry into the Central QLD regional Rock Eisteddfod taking out overall winning and most entertaining entry.

Tammy has experienced the value of Physical Yoga Practice for people such as Dancers that tend to be hyper flexible - Power Yoga is able to increase strength, stability and awareness so that flexibility is safe and supportive.

By using the awareness of the breath we are able to replace striving and pushing with acceptance and growth. Evidence has shown that we learn more effectively when we are relaxed and not stressed.

The Mindfulness that is cultivated through Yoga helps anyone weather they are an elite athlete, dancer or competitor to strengthen the qualities of mind that are most useful, positive & empowering (such as focus, acceptance and calmness) It helps us become aware of self talk that can ‘take us out’ not just on stage but in life.

Yoga also reduces the qualities of mind that are stress inducing and harmful; (such as self doubt, feelings of not being good enough) Such feelings & self chatter can interfere

with not only our ability to perform well, but it can effect our health and ability to be happy & content.

At times I have been my own worst critic and Yoga & Mindfulness Meditation has helped me to understand that perhaps Balance (not just in Dancing, Sport but in my life) may just mean being able to give yourself a rest from your own opinions.

For Dancers this can mean just having a break from constantly judging their own performance and comparing themselves to others in such a competative field.

Yoga cultivates the wisdom to enjoy what ever it is you are doing - rather than judging it:) Even just the practice of a 3 minute Breathing Space regularly in your day (before going on stage and performing) can mean the difference between happiness in a dancing career and heart ache.

The 3 Minute Breathing Space allows you to check in to what your Body is feeling in sensations, check in with your thoughts & emotions and simply breath and notice rather than react.

Visit our Blog to read the steps for a Breathing Space and stay tuned for our next audio on Yoga & Breathing warm up for dancers and post performance relaxation Body Scan.

Are you sick of being restricted, neglected and then expected to endure regardless? What about being dragged, stomped and kicked on a daily basis? The average person takes about 5210 – 7192 steps per day, according to a study done by Dr Catrine Tudor-Locke in 2004. The feet make up the foundation that enables us to stand, walk, run and dance and yet are one of the most neglected parts of our body. They are one of the primary shock absorbers in the body and because they are parallel to earth also take a large punishment from our arch nemesis – GRAVITY! 25% of the bones of your body are in your feet and the muscles that support the shape and function of the feet are related to adrenal glands and bladder. Problems with the feet can cause mechanical problems right through the body including the hip and knee but can refer right up to the neck, causing headache! Worse still, they can really affect your ability to dance well!

As well as making sure that you are wearing correctly fitting shoes that enable the bones of the feet to articulate in the manner that enables them to be at the most efficient, the following exercises will help to strengthen the intrinsic muscles of the feet. Strong feet enable better balance and control in all your dancing and ensure that nasty problems like, plantar fasciitis, and shin splints don’t happen to you!

ARTICLE BY LISA PERESAN - DJAZZEX

DOMING THE FOOT

Take your shoes and socks off so you can check your feet the first time. Sit comfortably with good posture. Flare your toes whilst keeping the feet on the floor. Press the toes into the floor aiming to lift the arch of your foot. You should try to keep your toes flat on the floor so that the part of the skin that is between the meaty pad of your toe and the ball of the foot touches the floor and make sure they don’t claw under. Also, aim to bring the ball of your foot closer to your heel, almost like you are trying to shorten your foot. Remember; don’t claw your toes as this can cause further problems.

Provided you can maintain good technique, keeping the toes lengthened whilst lifting the arch, progress by also doing the exercise standing, then standing on one leg, then standing on one leg in turn out.

This exercise will also really help budding ballerinas as it is important that the toes remain lengthened in the point shoe so that they are not standing on the knuckle of their toes but on the tip of toes.

THIS IMAGE: THE TOES ARE FLARED

THE DOMING EXCERCISE

with Lisa Howell Many dancers complain of knee pain and many find that despite having treatment the pain continues to return once they return to dancing. There are so many factors that contribute to knee pain and any effective treatment must capture all of these factors to ensure the pain does not reoccur. The following question I received and answered, from a Ballet Blog follower and Professional Male Classical dancer, may help to shed some light on knee pain you may be experiencing.

continue training. I am not willing - at all - to take a cortisone injection despite what I am sometimes told.

Last season I was with a modern company.

We had classical class each day of a very high quality but mostly the rep was using the legs in a greater variety of positions and less rigorously in turn out. Now I am in a classical company I have developed very similar pain on the right knee. It comes and goes but has stayed for a couple of months “Dear Lisa, now. I had an Os Trigonum operation on my right foot two years ago and recently at I have been quietly following you for years a sports hospital been tested for my foot and I am always pleased with the quality of information you are putting out there for us! stability, right foot being 4 times less stable than the left now. This is the cause of the I am in my second season as a professional dancer, first year in a big classical company in problem, right? Or is it a lack of true hip rotation, or weakness to the adductors, or all Europe and I have a question about knees! three?

When I am doing a large amount of work What kind of approach would you in turnout I become prone to developing recommend to help me fix this jumper’s knee - Inflammation to the inside of my patella tendon. I had this to my left problem? knee for quite some time at my professional I would be very interested in some discussion school in Europe (unfortunately the Russian and help from you on my body! You are training system has not caught up with the probably one of the best when it comes to rest of the world in what we now know as modern dance medicine!” a healthy way of teaching turn out) with a high level of discomfort, but was forced to

Answer You are definitely on the right track with your diagnosis of the causative factors of your knee pain. Recurrent irritation of the medial side of your Patella Tendon would indicate that there is most likely a valgus and/or rotational stress being placed on your knee during your training. This often comes about as a result of a combination of insufficient turnout strength for the desired aesthetic range, poor lateral stability of the hip en fondu (gluteus medius) and reduced control through the supporting foot (resulting in pronation of the mid and rear foot). VMO strength and coordination may or may not play a role, but I find that often when the alignment of the rest of the leg is corrected, the VMO firing begins working without too much other assistance.

pelvic control for dancers at your level can be found in our Dance Conditioning 2 book, available on The Ballet Blog.

I am not sure how much the Os Trigonum itself would have influenced the stability of the foot - but if there has been a large amount of instability in that foot, then this may have been a precursor to the Os getting inflamed. Alternatively, if the Os was blocking your range, the correct stabilisers of the ankle may not have been able to develop during your initial training. In addition, pain, whether from In regards to a rehab process for you, I would first inflammation or from the surgery itself can inhibit some of the stabilising muscles of the foot, so this be looking at the amount of passive range in the may be the culprit! All in all, now that all of those hips into external rotation, in multiple positions but most notably with the hip in neutral (as it would things have been removed – you do definitely need to work on the dynamic stability of that foot to be as a standing leg), in slight flexion (as when en fondu) and in full flexion (as in a grande plie). The help support the knee. Suggested exercises include using a wobble board or similar to perturb your proportional ranges between these would help me balance. Another good exercises is to practice guide you towards specific releases to improve the turning from parallel to turnout on one leg, while symmetry of your rotation from side to side. maintaining stability of the supporting foot (not I would also be looking at your fine control of rolling!). the deepest stabilisers of the spine (Transversus Abdominis, Pelvic Floor, Multifidus, Rotatories etc) I hope that this has helped clarify some of the as well as the cross sling stabilisers (especially your issues that you have been aware of and gives you lots of ideas for new exercises to try. Feel free to Anterior and Posterior Oblique Slings). let me know if you need me to explain anything Any Gluteus Medius strengthening should be further! focused on endurance in neutral, rather than repeated activation as many dancers try to do.

Further information on conditioning the core and

If you found this article interesting and would like to submit a question to be answered in the next Dancehub Magazine or on our website, please visit www.theballetblog.com

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