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AUSTRALIA AND NEW ZEALAND’S EDUCATIONAL DANCE MAGAZINE
ISSN 1838-2282 EDITION # 1, 2010 RRP Price $5.95 AUST $8.95 NZD
IMAGE | THINKSTOCK | 2010
A Summer School Scholarship with Jason Coleman’s Ministry of Dance. All you have to do is register as a dancer or dance business on www.dancehub.com.au between September 4th and October 31st 2010 and you will be entered into a draw to win! This awesome prize is valued at $550. A runner-up will win a Ministry of Dance Hoodie.
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Winners will be announced on the Dancehub website November 1st, 2010.
Register today, for your chance to win
www.dancehub.com.au
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Dance Education
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08 Using stories in primary dance education
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10 The Ausdance skill set of teaching dance 12 Secret Agents 17 The Commonwealth Society of teachers of dancing
Nutrition Advice
30 Nutrition with Natasha from Dancealicious 34 Dancer body types 35 Fueling the dancer
Health and Wellbeing
32 Beating Fatigue – Training Dance Fitness
Dance Professionalism 06 18 29 44
Alive Entertainment Classical Ballet with Robyn White Glenn Wood Tap Performance recording
Official Program
23 Australian Dance Festival
Careers
05 Preparing to dance with a plan B 14 Careers in dance 28 Little achievers
Events
36 Six Hot Events
Performance Review
38 LOcREaDo’s –Troubled
Question Time
21 Ask Colin 43 Quick 10 with Phillipe Whitana
Feature Article
39 Rebekah – African drum and dance camp instructor 40 Kat Risteka
Studio Focus
42 JTV Dance Academy
The Dance Shop
46 4 great dance products
Welcome Welcome to our very first edition of Dance Ed.
Editor | Philip Reece
Dance Ed is a national publication that focuses
advertise@dancehub.com.au
on dance education. We source information Art Director | Rikki Lancaster
to bringing you factual educational information
artwork@dancehub.com.au
and inspiring stories that will enhance the career prospects of dancers across Australia and New Zealand. In this edition we take a sneak peak at JTV Dance Academy, we review Locreado dance companies debut performance “Troubled” and
Directors | Philip & Jan Reece
Contributing Writers | Rachael Jefferson-Buchanan (NDTA UK), Sue Cottam (Freelance Writer for NDTA UK), Natasha Teys (Dancealicious), Dancehelp.com, Priscilla Clarkson, Melanie Fuller, Glenn Wood (Glenn
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highlight our Top 6 Must See Events that are set
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from dance experts across the world with a view
to rock the Australian dance community. Our feature story comes from Rebekah at Global Pulse Events. Find out how the West African Drum and
White (Queensland Ballet) and Ausdance Victoria. Contributing Photographers | David Barnes (Melbourne Dance
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Dance Camp will benefit underprivileged children in Africa.
Wood Tap), Carmel Evans (CSTD), Colin Peasley (Australian Ballet), Robyn
Dance Ed also talks to renowned health professionals about nutrition and
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avoiding fatigue and injury. We feature some gorgeous photography from
the like of David Barnes, Kimene, Belinda Wright and Aaron Couch. Dance Ed offer some great advice on careers in dance and what it takes to “make it”. If you’re a dance teacher your in for a treat, we have loads of ideas on how to jazz up your teaching and keep the little ones enthusiastic. We also chat with SYTYCD stars and ask them for advice on furthering your career
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in dance and the SYTYCD audition process.
Finally we focus on a “Little Achiever” - this issue it’s Britney from JTV Dance Academy in Qld. To celebrate our first edition we are giving away a summer school scholarship to Jason Coleman’s Ministry of Dance. Don’t miss out! Get your entries in quick! Last but not least no great magazine would be complete without shopping! Check out our shopping page - it’s got some great dance products.
Cheers and Enjoy.
Photography) - www.melbournedancephotography.com.au Aaron Crouch (Brisbane) - www.dancephoto.net.au Kimene Photography (Dance Portfolios) - www.danceportfolios.com.au Belinda Wright (BWP Studios) - www.bwpstudios.com.au Contributing Artists | Sally Dupliex Publishing | GT Print Pty Ltd, Kunda Park, Sunshine Coast QLD Subscriptions: 12 months (AUD $66 inc gst or NZD $88 inc gst) plus postage/freight. To subscribe email: subscribe@dancehub.com.au Dancewear Outlets/Dance Studios: Can purchase in packs of 50 at a wholesale rate to on-sell. To purchase under a wholesale agreement contact subscribe@dancehub.com.au
Preparing to Dance with a Plan B Young students driven by the overwhelming passion to become professional dancers inevitably consider moving into full-time dance training which may even involve moving away from home. Unfortunately, it is all too common for them to overlook the importance of completing their academic studies and acknowledge the need for a ‘Plan B’. This unique, dual-faceted course also
exhilarating and rewarding but is also
offers its students the many benefits of
relatively short and sees even the most
its close and long-standing association
successful professional dancers retired
with Queensland Ballet.
and facing life after dance by their
Company’s
mid to late thirties. There is incredibly
advanced supplementary training from
fierce competition for dance company
Queensland Ballet’s Artistic Staff has
contracts and commercial work in
seen many students travel the path from
Australia and always the possibility of
QDSE to the Company’s Professional
injury. So the reality is that students,
Year, on to Trainee and then full
and indeed parents, need to understand
Company Dancer.
the importance of being prepared and
currently nine QDSE graduates working
Sharing the
and
receiving
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facilities
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In fact, there are
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educated for the future.
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A career in dance is undeniably creative,
within Queensland Ballet’s ranks.
The Queensland Dance School of
Other graduates are dancing with
Excellence,
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The Australian Ballet, West Australian
years ago, has provided talented dance
Ballet, Bangarra Dance Theatre, ADT,
students in Years 11 and 12 with the
Dance
opportunity to pursue full-time dance
Ballet, English National Ballet, Scottish
training without forgoing face-to-face
Ballet and many other commercial
academic studies.
engagements
almost
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established
The school not
North,
Royal
both
New
Zealand
national
and
only aims to develop highly skilled,
internationally. QDSE is equally as proud
pre-professional level dancers but also
to have offered broad outcomes to its
enables them to achieve the academic
graduates who have pursued careers
levels required to gain tertiary entrance.
in
dance
medicine, QDSE Diploma of Dance students,
teaching, law,
administration,
choreography,
journalism, fitness
and
arts more.
enrolled as full-time members of Kelvin Grove State College, are eligible to
Auditions for QDSE attract students
receive
Certificate
from across Australia as well as from
of Education and an Overall Position
overseas and this year will be held on
(Tertiary
the
Sunday 31st October. For full details
They spend
and application forms please visit
the
Queensland
Entrance
Ranking)
completion of Year 12.
at
their mornings engaged in intensive
www.kelvingrovesc.eq.edu.au
dance training and afternoons hitting the books at school.
| By QDSE
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Performance: The more skills, tricks, abilities you have the wanted dancer of today. You need a competitive
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under your belt, the better equipped you will be to be
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Alive Entertainment’s ‘3 P Success Plan’ advantage in this industry as everyone in the industry is
already assumed to be good, its those that can do what
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the masses cant that stand out and have their success fast tracked, so never stop. One of the two simple
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responsibilities of a dancer is know your work, there are no short cuts in knowing something, you either know it
or you dont, and if you let it get to the stage before you decide to “know it” you’ll be lucky to booked again.
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Professionalism: The second responsibility of a dancer is to show up (on time), if your not there you cant do it, sounds silly, but since the responsibility list for dancers is so long (sarcasm) it therefore doesnt attract the most responsible of people.
Persistance: If you are doing all this, its only a matter of time. No matter your age (to a point), look, size (to a point) there is a job for everyone.
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Using stories in primary dance education Rachael Jefferson-Buchanan, Senior Lecturer in Dance and Ehysical Education, Bath Spa University learning, dance and stories still retain their distinctive nature
schools and they can be used in many different ways to
and value when they are taught in parallel. The use of words,
provoke ideas within the dance environment. In particular,
in the form of stories, poems, or rhymes, can thus be a rich
they provide a ready-made narrative structure for a
resource in the primary dance context, since dance is a widely
dance, from which the teacher might choose to build their
embracing subject that impinges upon many areas of learning.
learning outcomes in relation to a current classroom topic.
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Story books are highly accessible resources in primary
There is no limit to the possibilities for all types of learners
The benefits of using stories in the dance lesson are numerous, since dance is a physical art form through which
dissolving the boundaries between subjects and fostering Literacy through dance and dance through Literacy will help
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many young learners can explore their growing bodies and
in the primary dance lesson that centres on stories. Indeed,
their new-found technical skills and competencies. For some,
sprinkle some magic back int the world of primary teaching.
this might be their preferred way of expressing themselves,
For more information contact Rachel at r.jefferson-
their range of learning styles.
buchanan@bathspa.ac.uk
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while for others, dance can help them to expand and enrich
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By using stories in a dance context, primary teachers can integrate previous unconnected knowledge and initiate new
Ways to access stories though dance:
situations that will prompt interest and fresh enquiry. Stories
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Create the dance form from the text’s structure;
in the classroom environment can stimulate children’s
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Develop dance actions that are derived from specific word/phrases in the text;
imaginations, foster their curiosity, teach them about life •
Dance about a particular story character;
scaffold their acquisition of new words, ideas and concepts,
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Explore a character’s feelings through movement;
and help define a child’s world. However, by using dance as
•
Examine the relationships between the story
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issues and values, give them historical and cultural insights,
characters;
a story medium, children’s kinaesthetic horizons can also be broadened, giving them the opportunity to investigate and
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appropriate actions for them;
reinvestigate their physical selves in relation to the text and its contents.
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Focus upon the mood or atmosphere in the story;
In this way, A story can help to enhance a child’s artistic,
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Consider the historical, geographical or socio-cultural context of a story;
physical and creative capacities, so that their magical thinking and kinaesthetic potential are nurtured hand in hand.
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when they are danced. Similarly, some ‘ordinary’ dances,
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be investigated regularly at each stage of the primary curriculum, since it serves to broaden young children’s sensory experiences. Even though they readily become mutually enhancing vehicles that promote cross-curricular
Explore the qualities (strong, soft, linear) of certain objects, people, or landscapes;
when underpinned by a story can be brought alive. This symbiotic relationship between dance and stories should
Investigate the meaning or layers of meaning in the text;
Some ‘ordinary’ stories can become quite extraordinary
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Review the flora and fauna within the book and create
•
Investigate the rhythm or repetition of certain words, shapes, or colours.
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We all know that great teachers, and dance, changes lives. Most professional dancers, even those who seem to be performing all year round, supplement their incomes with teaching. It’s part of the professional bag of
providing quality information, instruction and resources,
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skills that we carry around and use throughout our careers in dance.
particularly within dance syllabus organisations. Generally,
differences in age, culture, aspiration, and apply up-to-date
teacher training is offered at certificate three or four level
teaching methods and styles.
Whilst many dancers learn teaching skills by observation and “on the job”, others prefer more formal training. In Australia there are numerous courses that train dancers
heart of this hands-on program. Through a range of activities we explore dance workplaces, plan and deliver lessons, develop units of work, trial a range of teaching strategies for different learning styles, choose appropriate themes for
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to become teachers of dance. Most are excellent at
Dance Teaching Methods | Dance Teaching Methods is the
with Universities and TAFEs providing further higher level
Safe Dance | The unit on Safe Dance teaching focuses on
a career beyond the studio.
how a teacher demonstrates and communicates information
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qualifications and degrees that equip a dance teacher for
about dancing safely. This includes studying basic anatomy and the principles of growth and physical development of
finances and other factors can limit long term engagement in
children and adolescents, as they relate to the dancers’
dance education training and many dance artists don’t wish
changing physiology. It also includes OH&S, understanding
to enrol in teaching degrees or long courses. Under these
and applying appropriate warm up and cool down, nutrition
circumstances, some dancers would prefer to undertake
and psychological factors that can impede or support the
more intensive quality dance teacher training which will equip
healthy development of a dancer.
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For many dance artists however, performance schedules,
them with the essential skills to do a good job. Ausdance, the peak body for Dance in Australia, and Ausdance Vic,
Ethical and Legal issues and Good Business Practice |
via its RTO and training arm, has responded to this need
Dance teaching involves respecting the rights of others and
by developing a nationally accredited vocational training
behaving in a way that is legal, ethical and reflects well on the
program called the Ausdance skill set for Teaching Dance
Dance Industry. No matter how much teaching you do, or who
which provides dancers with the skills to successfully teach
your students are you are obliged to understand and abide by
dance in community, recreation and social settings.
the law. The units also investigates duty of care, privacy issues, mandatory reporting, teacher student relationships, inclusive
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The Ausdance skill set for Teaching Dance has been
practices, OH&S, Workcover, superannuation, copyright and
developed as a hands-on program drawn from the findings
the legal requirements for working with children. We also look
of three benchmark reports commissioned and developed by
at managing confidential information, creating transparency
Ausdance and the dance sector: the Safe Dance Report, The
in business and practice and managing conflict. For further
Australian Guidelines for Dance Teachers and the Australian
information about the Ausdance skill set for Teaching Dance
Standards for Dance Teaching. The core of these reports and
contact your local Ausdance office or visit www.ausdance.
of the Ausdance skill set for Teaching Dance, reflect three key
org.au or contact Ausdance Victoria on 03 9417 1200 or visit
areas of learning:
www.victoriandancedirectory.com.au
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by Sue Cottam
Warming up & generating movement material |
and literature. Young people will have a fair understanding of
1. Start with high energy walking (following someone in a
the stories behind the actions but the main aim of this dance
busy street), Build up to jogging (the person you follow jumps
idea is not to create a narrative dance but to select exciting
onto a bus), Jogging on the stop (traffic lights), Stop and hide
positions and movements, then link them together to form a
with interesting freeze frame photo image (on surveillance
visually dramatic result which also involves facial expressions
camera CCTV). Repeat similar until all focussed and warm.
and emotions.
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Secret agents star in many popular TV programmes, films
2. Teacher uses narration, speaking over music playing
The dance ideas are based around the development of
quietly. The students move independently alongside the
choreographing, appreciating and performing a dance. These
teacher!s story telling eg “You are each a secret agent. You
three strands are used throughout.
are alone. It is dark. You are in a strange environment. You are being chased. You have to travel across dangerous terrain
Introduction | Open discussion with participants about
without being seen or heard. You start with your back against
favourite secret agent characters in books, films and
a wall. Your hands can feel the bricks. Your body is taut and
programmes. Outline the aim - to create an energetic, exciting
straight. Your head turns quickly to the left and right as you
dance which has an impact upon the audience.
hear a noise. You edge slowly along the wall and peer round
•
Resource ideas.
it to your right, once, twice. The coast is clear. You carefully
This is cult fiction - 28 TV and film classics
creep to a tree, go to a crawling position and, in slow motion,
Mission Impossible by Lalo Schifrin (is 5/4 time the more
go across the twiggy ground so as to make no noise. You
recent film soundtrack is in 4/4)
slide onto your stomach, moving forward, roll onto your back
James Bond by John Barry The Avengers by Laurie
and push yourself under a fence. Pull yourself up and peer
Johnson Orchestra
carefully over the wall. You see a movement and go for your
Shaft by Isaac Hayes
weapon. Sharply you point forwards then behind...”
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D. WHOLE CLASS taught sequence - Teacher allows students
personal square of floor space and choose favourite
to select particularly good movements from the work of their
movements from the warm up and/or create and develop
peers which they have observed. Learn these together, led by
own ideas. Ask them to link ideas fluently together to create
teacher, linking them together to make a phrase of movement
a short solo (eg 16 counts or 4 bars of music). Encourage the
which can be used in unison or canon, within or between the
use of different levels, speed and directions. Practise. Refine.
SOLO, DUO and GROUP work.
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Creating the dance | A. SOLO - Students work in a
progress.
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Half class watch half class to appreciate, share & evaluate
Forming the dance | Teacher works collaboratively with the students to link together the movement material into a
B. DUOS - Students work together to create a duo piece
complete dance eg
using appropriate movements of their choice which could use
A. students enter individually to perform their SOLO then
unison, mirror image ( contact work if they have already been
move to their DUO position
introduced to it). Encourage dynamic extremes of movement -
D. taught sequence repeated until all students are in DUO
high kicks, turns, jumps, combat moves. Again, give a specific
positions (this will create a natural canon effect) Freeze when
amount of counts or bars of music.
all in duo positions.
When ready pair up two duos to watch each other and give
B. Duo work. Then move to small groups.
constructive criticism.
D. Taught sequence as a small group C. Small group work.
C. SMALL GROUP - Use freeze frame, slow motion, high
D. Taught sequence in unison.
speed. Use each others! body shapes as obstacles to jump over, move around or through. Encourage action and reaction with fluency throughout. Each group watches another group to improve performance skills.
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Careers The Set Designer | Works With the choreographer to design set pieces. The sets provide a more specific atmosphere for the works and are often tools that enhance the movement itself.
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Creating and producing a dance performance is a collaborative effort. Many individuals are involved in coordinating all necessary elements of a production. An exploration of various dance related careers can help students develop an awareness and appreciation for the cooperation needed to produce a performance, as well as the variety of careers associated with dance. Here are some dance-related careers :
Artistic Career
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The Artistic Director | Sets the artistic vision and direction for a dance company. Often in a modern dance company, the artistic director is also the primary choreographer.
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The Choreographer | Creates and in some cases performs the dance pieces. Also, he/she teaches the movement style or repertory of the company. The Rehearsal Director | Helps the choreographer run and schedule rehearsals and also gives the choreographer artistic feedback or criticism.
The Dancer | Learns and performs the works. The dancer may have a lot or a little creative input when the dance is being made. Also, the dancer may teach the dance style or repertory. The Composer/Musician | Creates music to accompany the dance. The composer may collaborate with the choreographer on a new work or may have already written the score before the choreographer started making the dance.
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The Lighting Designer | Works with the choreographer to create an atmosphere of light. The lighting designer can create effects like color wash, silhouette, making the stage look outside, or inside, night, day or dusk. The Costume Designer | Works with the choreographer to design then construct clothes for the dancers to wear. This can add important elements of setting, or atmospheric texture and color. The Make-up Artist | Designs and applies make-up to the dancers. They can make a person look young or old, human or otherworldly.
The Wig/Hairstylist | Designs and creates wigs or hairstyles for the performer. The Dance Teacher | Teaches the technique of dancing. The technique may be specific like Vaganova ballet, Graham, or Cunningham or the technique may be a conglomeration of the teacher’s own style and others.
Therapeutic Support Careers A Dance Therapist | uses movement as a means of therapy for people with mental or emotional difficulties. Dance therapy can help people express themselves or release energy
rs In Dance Administrative Careers
The Dance Notator | Records the dances on paper much like music notation. The two main forms of dance notation are Laban and Benesh. These records are very useful when reconstructing older works.
The Ticket Seller | Is responsible for the front of house. They make reservations, sell tickets, and handle complementary tickets. They also are responsible for arranging standing room for or turning away people if a house is full.
Technical Careers The Production Manager | Coordinates the different aspects of the theatrical (as opposed to business) side of dance, such as lighting, set, costume and sound design. They can work for either the theater or the dance company.
A Researcher | Seeks out information about a variety of topics including grant requirements, performance venues and marketing ideas.
The Stage Manager | Calls the lighting and sound cues during the show, communicates between the performers, the technicians and the front of house staff and sometimes recommends adjustments to the staging.
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The Fund Raiser | Generates income for a dance company by writing grant applications to corporations and foundations, encouraging individual donations and organizing special events like benefit parties and auctions.
Public Relation personnel | Are responsible for promotion of the company. They do this either through marketing like making posters, flyers and websites or through media like newspapers, television and magazines.
Documentary Careers The Videographer | Films the dance both in performance and rehearsal. The video is used for documentation or promotional purposes.
Public Service Careers
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The Critic | Watches the dance performances then writes reviews for a newspaper or magazine describing and\or giving an opinion about the company or individual pieces.
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The Administrator | Organizes performance tours and outreach programs. Also, the administrator is responsible for overall financial, business and legal issues.
The Carpenter | Builds sets (not necessarily made of wood) for the dancers to dance in, on or around. This helps the dances have more specific settings or atmosphere.
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The Masseuse / Masseur | Massages the members of the dance company. A massage is great for both preventing injury and rehabilitating one. A masseuse\masseur can work for and travel with the company or work independent of the company.
The Photographer | Takes pictures of the company during the performance or dress rehearsal or in a studio. Usually the purpose for the pictures is for documentation, promotion, and in some cases personal, or office use.
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The Physical Therapist | Rehabilitates injured dancers. They may use a wide variety of techniques for example physical therapy, acupuncture, or massage.
Stage Hands | Raise the curtain, arrange the props and execute any technical elements required prior to and during the performance.
The Usher | Takes the tickets of the audience members and directs them to their seats. Many theaters will give the ushers free tickets to the performance. In the Classroom 1. Discuss the skills needed to perform these jobs and their impact on the performance. 2. Have students investigate a career of their choice by: • using the library or internet • visiting a local dance company or performing arts school • inviting a guest speaker to the class • taking a backstage tour of a theater; or • interviewing someone about their career
| By Lar Lubovitch lubovitch.org/index.html
The Electrician | Hangs and focuses the lights in the theater. The electrician also deals with the various sound and light wires and cables. And in some cases helps with the sets and/or curtains.
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It is readily recognised that not all students will become
people of all ages and cultures. Whether a recreational
professional dancers but the aim should be that every
dancer, a performer or the student working towards
student who is well taught and encouraged leaves a dance
professional qualifications and a career in teaching
studio with their own sense of achievement, poise and
dance, all share a love of dance and the challenge
personality. The success of the various syllabi offered by
of the pursuit of excellence. The C.S.T.D. is unique
the Society can be gauged by the fact that many graduates
amongst the great international dance societies,
have gone on to international success in the professional
providing an examination system covering all major
ranks in ballet, stage and musical theatre.
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Dance, like music is a universal language which unites
dance disciplines. The Society’s primary objective is to “encourage the art of dance”.
The Society had its beginnings in 1931 & 1933 respectively
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with the formation of firstly, the Victorian Society of Dancing and shortly after, The National Examination
high standards are internationally respected. Exams are
System. Both organisations were founded to raise the
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The C.S.T.D. is an authoritative examining body whose
offered not only in Australia but also in 9 of the South East
standard of dance. The later amalgamation of these two
Asian regions. Examinations are offered in Classical Ballet,
societies created the democratic society now known as the
Modern Jazz, Theatrical, Tap and Ballroom. The Society’s
Commonwealth Society of Teachers of Dancing. The affairs
philosophy of dance is that teachers and the examination
of the Society are managed by an Executive Committee
system should provide enjoyment, encouragement,
elected annually by the membership.
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education and expression through dance.
Examinations are conducted in all syllabi from beginners
Children particularly should enjoy learning to dance
to professional level including Teachers’ Certificates and
beyond just moving to music. A child who is stimulated
Teachers’ Diplomas. Students receive written reports and/
will learn more readily and perform better. Tuition by
or certificates, medals or trophies. There are five (5) levels
C.S.T.D. qualified teachers is formulated to achieve this.
of credit from pass to honours plus. As a member body of
Encouragement is an important element within dance.
the Australian Dancing Board (ADB), the C.S.T.D. has an
Whether in class, in an examination or on stage, it is
influential role in the administration of Ballroom Dancing in
important to encourage pupils to give of their best to
Australia.
the level of their own ability without being seen to be in competition with unrealistic standards.
In addition to its examining role the Society conducts competitions, Festivals, workshops and International
The educational aspect of dance cannot be overstressed.
Summer Schools in all states of Australia and in the various
Students need to understand what they are doing, how
overseas countries. The Festival in Victoria celebrated it’s
their bodies are working and to know dance terminology
73rd year in 2010.A dilemma often facing parents is the
and how the various elements can be joined together in
choice of a dance teacher for their children. The Society’s
different ways. Expression too is important, the aim is to
website has information titled “How to choose a dance
develop the personality and creativity of every student,
teacher” which may assist people in this task.
both through their own efforts and interaction with other students and their teachers.
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| By Robyn White
Robyn White was born in Townsville and received her early dance training in Mackay before becoming the first Queensland winner of The Australian Ballet Society’s bursary to the Australian Ballet School. She was one of the first graduates of the School to be offered a contract with John Cranko, then Artistic Director of the
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Stuttgart and Munich Ballet Companies.
predict whether a child aged between 11-14, no matter
Junior Extension Program, our Artistic Associate, Robyn
how promising, will be able to have a career in ballet. This
White, is often asked about careers in classical ballet. We
is because their instrument is the body, and at the time of
thought other young dancers, and their teachers and parents,
puberty the body undergoes profound change.
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Through her work with young dancers in Queensland Ballet’s
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would like to also share in Ms White’s professional knowledge,
and so over the next six weeks or so we will answer some of
Classical ballet requires a slight but strong body type with
the most frequently asked questions on this topic.
flexibility in specific areas. This type is necessary because the body is expected to achieve certain extreme and harmonious lines. It is also necessary because classical ballet involves a
child’s dreams of becoming a professional ballet dancer?
great deal of partnering which requires the female dancer to
Promising dance students are almost always ambitious and
be lifted into extreme positions by her partner.
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This week’s question: What is the best way to manage my
focused. The role of the family is to provide stability and balance. The view of Queensland Ballet’s Artistic Staff is that
Until the age of 16 or 17, the best approach is to enrol the child
common sense and a moderate approach is best for both
with a good dance teacher, supplementing that training with
the child and the family, and that careful consideration needs
extra activities such as master classes and summer schools,
to be given to what is going to be beneficial for the child in
while continuing full-time, face-to-face academic studies.
the long term because dance is not a career for life – the physical demands of the profession mean that most dancers retire before the age of 40, and many leave the profession much earlier. Queensland Ballet’s Artistic Associate, and Junior Extension Program Coordinator and teacher, Robyn White, answers common questions about young dancers thinking about a career in classical ballet. Here is part 2 of our 6-part series: How can I tell whether a career in classical ballet is a realistic prospect for my child? It is almost impossible to
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Dancer | Emily Mahon | Photographer | David Barnes | melbournedancephotography.com.au
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Photographer | Aaron Couch | dancephoto.net.au
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atAbehindballet.com sk Colin Want to know how to look after your pointe shoes, how to become a
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professional ballet dancer, or where the term ‘chookas’ came from? Colin Peasley, The Australian Ballet’s Artist in Residence, answers all your ballet questions. Visit behindballet.com to read the range of questions Colin
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has answered, and ask him your own! Hi Colin,
I’m an 18-year-old professionally trained dancer. I have just been accepted
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into a performing arts company, but I have taken three months off and start in one month. Do you have any tips for getting back into shape, especially
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in terms of flexibility? I am also coming back after having knee and back problems. What can I do to help this? Regards, Emma Blare Dear Emma,
I am surprised you have lost your flexibility but, no matter, both strength and
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flexibility can be regained. Because you’ve had problems with both your back and knees it is essential that you recommence training under the watchful eyes of a professional trainer. Until you know exactly what you can do, and what you shouldn’t do, it’s important that you have personal attention. The good news is that dancer’s bodies have muscle memories allowing us to spring back into full form very quickly. All the best,Colin
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Britney Reece | Sunshine Coast, QLD | Age 10
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Little
to arrive so he could select the final 16 dancers to perform
4 she commenced dancing on the Sunshine Coast in
at QPAC. When asked how she felt about this experience
Queensland. Britney entered a program that covered
she quoted, "It was an amazing experience. I got to meet
Tap, Ballet, Jazz, Song and Dance. Even though Britney
the beautiful ballet dancers from Paris, I received gifts from
didn't want to cover all genre's the teacher explained
the ballet company, had pointe shoes signed and wore
to both the parents and students that being an all round
incredible costumes during the 5 nights I performed. I think
dancer helped you further your career.
every young ballet dancer should be given the opportunity
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Britney asked to dance at the age of 3, By the age of
to go for these auditions".
Britney excelled at Ballet from a young age and enjoyed the end of year concerts. Britney started off as a shy girl
Russian Imperial Ballet | This year Britney, along with
with little or no confidence, however dance became a way
another 15 performers from her dance school were invited
of expressing herself and in time her confidence grew and
to perform with the Russian Imperial Ballet in their rendition
the performer arrived on stage. Britney did CSTD and RAD
of "The Nutcracker"at Caloundra Events Centre. The
exams between the ages of 5 and 9 in her former school.
Russian Imperial Ballet have included children from dance
When her ballet teacher moved to teach at another school
schools around Australia and New Zealand as part of their
she followed and took up the RAD exams plus ATOD and
national tour.
Glenwood Tap syllabuses. Australian Ballet | Last month Britney's ballet teacher put Paris Opera Ballet | Last year Britney turned 9 and
her forward to audition for a an Interstate Placement in the
auditioned to dance with The Paris Opera Ballet. She
Australian Ballet School. Britney said, "Fingers crossed I
auditioned with 130 children at QPAC in Brisbane and got
get in ..." Britney dances 6 nights a week and just wants to
through to the second round with another 29 dancers. She
keep performing on stage.
waited three weeks for the Master of the Paris Opera Ballet
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Glenn Wood Tap Consisting of 9 levels (beginner to professional) Glenn
GWT currently has 10 examiners Australia wide and
Wood Tap – the syllabus is comprehensive and user
conducts exams via video and the internet for international
friendly, designed for both teaching and evaluating tap
dancers. There are over 300 schools that enjoy teaching
dance. What sets it apart from other syllabi is that it is
the GWT syllabus - with many of those studios competing
founded on solid technique, whilst being fluid, relaxed
in the annual GWT Scholarship and participating in exams.
and enjoyable. Each level contains a complete programme
The GWT exam process is enjoyable and rewarding for both
of tap dance containing individual steps, combinations,
students and teachers.
performance quality routines, barre activities and turning technique. It’s a dynamic tap dance syllabus that is fun to
Goal setting is an important element in the learning and
teach and for the students to learn.
development process. Exams help enable students to
Glenn Wood Tap – the syllabus engenders a love and
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see the rewards of their hard work and provide them an acknowledgment of their achievements. All GWT examiners
appreciation of tap dance. Glenn Wood wrote the GWT syllabus after many years of teaching and adjudicating tap. He noticed that there was a need for a dynamic and exciting tap syllabus. After years of scribbling notes,
are professionals in tap dance - with extensive experience
as performers and entertainers, studio teachers and owners. Each exam is fun and exhilarating for the students. GWT exams provide students with the encouragement and enthusiasm to continue learning.
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tapping away and teaching many young dancers who have gone on to both win local and international competitions,
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Glenn launched Glenn Wood Tap – the syllabus in 2004.
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With Natasha
Natasha Teys is the director of Dance-a-licious, a dance-fitness studio in Surry Hills, Sydney. A dancer of 25 years, she is also a qualified nutritionist, personal trainer, group fitness instructor, Zumba instructor, and children’s dance & fitness coach. Dance-a-licious aims to make dance, fitness, and nutrition services available to all bodies, ages and abilities. Examples include:
when your dance career and body is on the line – energy
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Oily fish - salmon, herrings, sardines, tuna
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Nuts & seeds (preferably raw).
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Avocado
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Olive & canola oils
and muscle recovery. Getting your nutrition right and knowing your body, will help you perform at your best, fight fatigue, reduce injury, and eliminate disordered eating habits.
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As aspiring dancers, there are two key issues to address
A diet too low in fat can impair performance. A good measure of whether you need more ‘energy foods’ in your diet is
rehearsals, auditions and performances. On an average
fatigue. Learn to listen to your body and feed it more when
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Dancers need to consider their energy requirement for class,
necessary.
training day, it is recommended that female dancers consume
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45-50calories per kilogram (kg) of body weight, and male
Pre-class/rehearsal ‘energy food’ snack (1-2hrs prior
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Banana (1/2 – whole)
an energy balance (energy out = energy in). So, if you are
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2 x wholegrain toast with spread (honey/almond or nut
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dancers - 50-55calories/kg of body weight, in order to achieve a 48kg female dancer, your daily calorie intake would be
spread/vegemite/¼ - ½ avocado)
between 2,160-2,400cals or 9,028kJ – 10,032kJ*.
•
Dried fruit & raw nuts/seeds mix (1-2 handfuls)
How do I aid muscle recovery and perform at my best? 15-20% of your daily energy intake should be sourced from
be highly aerobic and interval-based in nature. In other words,
lean proteins including: chicken or turkey breast, fresh oily
dancers often use repetitive ‘bursts’ of explosive energy.
fish, lean red meat, soy products (e.g. tofu), beans and lentils.
For muscles to function explosively they require glycogen.
Proteins are important for muscle repair and recovery. Enjoy
Carbohydrates break down in the body to produce glucose
a complete meal - packed with lean protein, a complex
which is then stored in muscles as glycogen and used as a
carbohydrate and some good fats - post-class/rehearsal to
fuel for movement. The International Association for Dance
restore energy and aid muscle recovery.
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How do I meet my energy requirements?
There are many forms of dance. Most styles are considered to
Medicine and Science (IADMS) suggests that a dancer’s diet consist of 55-60% carbohydrates (mainly complex
Post-class/rehearsal meal (preferably within 1hr)
carbohydrates – wholegrain breads and cereals, pasta, rice,
small - medium bowl of roast chicken breast (remove skin),
most vegetables, and some fruits – bananas, apples, pears,
steamed/baked vegetables (1-1 ½ cups) with tomato-based
berries, melon fruits).
pasta, parmesan cheese sprinkled on top
At times when the body is continuously exercising for over
dancers to have a balance between ‘energy out and energy
20 minutes at a time, fatty acids may be used as a source
in’. Enjoy a variety of nutritious foods regularly, and stay well
of energy. Fats are stored in the muscle and adipose (fat)
hydrated throughout your busy dance schedule to give your
tissue as triglycerides – which are metabolised and used as
best performance, for life! Further information on serving sizes
fuel during endurance activities (i.e. long rehearsals). It is
and meals can be found on our website - www.dancealicious.
recommended that between 20-25% of your diet, be sourced
com.au . For a more personalised assessment please consult
through ‘good’ fats these being; mono-unsaturated and poly-
with a dietitian or health professional.
To maintain a healthy, lean, and fit body it is important for
unsaturated fats - particularly omega-3.
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Bio – Melanie Fuller M Phty, B Ex Sci, Adv Dip PA (Dance) is a Physiotherapist working at Pondera Physio & Pilates in Brisbane, Australia. She has a strong background in dance which aids her treatment of injuries sustained by dancers. Having dual qualifications in Exercise Science, Melanie is passionate about the aspects
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that contribute to dance related injury & developing strategies to reduce their occurrence. Fatigue is considered to be a major contributing factor to
products already consumed by working muscle. It makes sense that dancers with poor cardiovascular fitness cannot
fatigue can contribute when technique may decline, adding
maintain the same intensities for as long as those who are
stress to certain structures. If you are tired & not controlling
trained for the demands of the activity. Class tends to be the
turn out from the hip, compensation can occur at the
time of the day set to ‘train’ dancers. The traditional structure
foot. This poor posture places added stress on tendons &
of class focuses on skill development & aesthetic & perhaps
structures of the inside of the foot & ankle. Less commonly
neglects cardiovascular fitness as a possible limiting factor to
dance injuries are traumatic, such as rolling your ankle. A
performance.
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dance injury. Most dance injuries are of an overuse nature &
sprain of the outside ligaments of the ankle is a very common Findings have been cited in the Journal of Dance Medicine &
this type of injury by influencing your reaction time.
Science1 that the demands of class & rehearsal do not match
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acute or traumatic injury in dance. Fatigue may contribute to
that which is required in performance. Heart rates attained in
How do we beat fatigue? The important contributors to
performance have been found to be higher & maintained for
fatigue include cardiovascular fitness, nutrition, hydration,
longer than during rehearsal periods & class. Other research
recovery & environment just to name a few. Nutrition should
has shown that dancer’s fitness improved over a performance
include sufficient caloric intake & hydration, training schedules
season.2 This demonstrates that running the dance piece, as
should allow for adequate recovery & environmental
opposed to a stop/start approach to rehearsal may improve
conditions such as humidity should be considered. This article
fitness specific to what is required for the performance
will focus on training our cardiovascular fitness, specifically
season. An ideal scenario may be to adopt this practice prior
for the demands of dance as one way identified to reduce the
to the commencement of a season to ensure fitness has
effects of fatigue.
been developed by opening night. However, funding & artistic constraints may limit this as a possibility.
Let’s consider the physiology behind fatigue. Fatigue occurs
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when there is an inability to maintain the intensity required for
Supplemental training may reduce the deficit that exists
an activity. Fatigue can be related to a mismatch of energy &
between class & performance. Dancers could participate in
oxygen supplied to muscle cells or an accumulation of waste
cardiovascular training outside their usual dance activities.
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However, the mode chosen may not be as specific as
desired. The Rating of Perceived Exertion Scale is a commonly used & practical 15 point scale going from six to 20. Six is
individual’s heart rate may be chosen such as cycling, running
considered to be no perceived exertion & 20 to be the greatest
& swimming. Swimming is useful to train with out the loads
amount of exertion ever experienced. Exercising at these
of gravity on the body, however it could be said that this
intensity guidelines & of an interval nature for 20 to 40 minutes
form of training is not specific to dance being a land based
is considered to be specific to dance activities.1 A frequency
activity. Running has been considered to be quite impacting
of three times per week is cited in the literature1 to improve
& could contribute to other musculoskeletal concerns. Some
fitness & one to two sessions per week to maintain fitness
have concerns for developing muscle bulk when utilising
levels. This training should be introduced in a periodised
cycling, but if low resistance is selected & higher revolutions
fashion, where performance periods should consider training
maintained this will not be of concern.
of higher intensity & decreased time incorporating all aspects
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utilising dance to train fitness. Any activity that increases an
of a dancers day ie. class & rehearsal.
Dance activities tend to be high intensity, & intermittent in nature, meaning that both aerobic & anaerobic energy
Improving dancers’ cardiovascular fitness is considered to
systems are required. Improving individuals’ aerobic fitness
be one trainable factor to influence the effects of fatigue
will lead to less dependence on the anaerobic system which
on performance & injury. Consideration can be made to
utilises short supplies of energy, whereas the aerobic system
incorporate these training guidelines into class, to reduce
uses oxygen & energy of enduring supply. You can increase
the development of fatigue from the increased hours of
the specificity of training to dance by using interval training,
supplemental training. A trend exists today towards training
working at increased heart rates for three to six minutes at a
dancers as athletes, using the knowledge of sports sciences
time & lower heart rates for the same period of time on a one
whilst respecting the realm of this beautiful art form.
to one ratio.1 Heart rates of 90 to 95 percent of heart rate max have been cited in the literature1 specific to dance or 16 to 17 out of 20 on a Rating of Perceived Exertion Scale. An individual’s maximum heart rate can be roughly determined via the calculation, 220 minus age & working out the percentage
References Rafferty, S., (2010). Considerations for integrating fitness into dance training. Journal of Dance Medicine & Science. 14(2):45-49.Wyon, M., Redding, E. (2005). Physiological monitoring of cardiorespiratory adaptations during rehearsal and performance of contemporary dance. Journal of Strength & Conditioning Research. 19(3):611-614.
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Dancer body types
Every dancer is made up of genetics that determine their body type. Regardless of this body type, every person that loves to move and is willing to work hard, can dance. The so-called body structure police in the dance
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world are fading quickly (thanks to modern dance mainly). diet very balanced. Consistency is the key. The Endomorph
are employing dancers based on their talents over their
needs to work on a good cardio routine outside of dance
body type or looks. Dance is here to represent the soul
and needs to have a very lean diet with a lot of protein and
through the body – not to get carried away with the
vegetables.
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More and more choreographers and company owners
aesthetics of the body alone in our image-obsessed
Endomorphs | Tend to have a rounded body shape, holding
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culture. Your body type will certainly determine which
diet, exercise regimen and work load will work best for
weight around the stomach. They have a soft body but
your dancing. It is best to know which body type you
develop muscle easily. Endomorphs commonly have an
are so you can put it all into perspective as to remain
over active digestive system and have trouble loosing
ahead of the game. There are three body types, see
weight.The Endomorph needs to work on a good cardio
which one you fit into:
routine outside of dance and needs to have a very lean diet with a lot of protein and vegetables.
Ectomorphs | Generally Thin/delicate build with not a lot of fat on the body. They are usually, lanky, flat Chested and
No matter which type of body you have, you can be
lightly muscled. Ecdomorphs do not easily gain weight or
healthy, in shape and can look and dance great. Use your
muscle. Slouchy shoulders and posture problems are also
body type to your advantage and be the best you can be.
common. If you’re an Ectomorph, you most likely need
And if you still don’t have the perfect ballerina body? Then
more protein, need to concentrate on body alignment and
join the club! Just keep on dancing your heart out! It is
need to add weight bearing exercises to your routine.
you that we want to see represent the dance world. Real life people, flaws and all are beautiful to watch in all their
Mesomorph | Generally have well developed muscle and are of mature appearance. Mesamorphs lose and gain weight easily and have no problems developing muscle. They tend to have have good posture, thick skin and a hard body. A Mesomorph just needs to watch the fat and keep the
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dancing glory.
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To perform at their best, dancers need to be well fueled
for classes, rehearsals, and performances. This paper will
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present a strategy for obtaining the energy needed for dance training and the right balance of carbohydrate, fat, protein, micronutrients, and fluids.
One important challenge facing many dancers is ingesting
sufficient quantities of food to meet the energy demands of
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dance. The first step in planning a high performance diet is to be sure that the dancer is obtaining adequate caloric intake. The easiest rough estimate of how many calories a dancer requires during heavy training is 45-50 calories per kilogram of body weight for females and for a more accurate assessment, dancers should consult a dietitian. A low caloric intake will not only compromise energy availability, it can also lead to an under-ingestion of many micronutrients that could affect performance, growth and health. After calculating the number of calories needed, the next step is to estimate the necessary amount of carbohydrate, fat, and protein, the building blocks of the diets. More on this topic in the next issue. 50-55 calories per kilogram of body weight for males. AUTHOR | Priscilla Clarkson, PhD Š2003-2005 International Association for Dance Medicine and Science (IADMS)
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2.
4.
5.
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Events
1.
2. The Nutcracker
Date: Wednesday 22nd – Thursday 23rd September 2010 Venue: Judith Wright Centre of Contemporary Arts, Fortitude Valley. Tickets: Judith Wright Centre 07 3872 9000 or visit www. brisbanefestival.com.au
Date: Saturday 11th December – Saturday 18th December Venue: Lyric Theatre, Queensland Performing Arts Centre Tickets: 36 246 or www.qpac. com.au
Brisbane will witness the startling baptism of a new work by Natalie Weir when Expressions Dance Company presents an open rehearsal of First Ritual, a formidable dance creation about the rituals that define us - personal and shared, religious and secular. This exclusive insight into the creative process reveals how Natalie and EDC’s six incredible dancers develop a work from a rehearsal idea to a performance. Be the first to see work-in-progress before it goes overseas for development in China. In China it will become the first act in a work based on the two companies’ varied responses to the commonality of ritual across the globe.
At the Stahlbaum family’s Christmas celebrations, Drosselmeyer weaves his magic and conjures a cast of imaginative characters, including a Prince, a Snow Fairy, and festive dancers from all corners of the globe. Young Clara is swept into a fantasy dream world where toy soldiers come to life and snowflakes dance. At the Stahlbaum family’s Christmas celebrations, Drosselmeyer weaves his magic and conjures a cast of imaginative characters, including a Prince, a Snow Fairy, and festive dancers from all corners of the globe. Young Clara is swept into a fantasy dream world where toy soldiers come to life and snowflakes dance.
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1. First Ritual
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3.
5.
6.
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2.
4. Of Earth & Sky
5. Fame
6. Nowhere Fast
Date: Tuesday 16th – Sunday19th September Venue: Sydney Opera House Tickets: Bookings on 02 9250 7777 or sydneyoperahouse.com
Date: 24th September – 2nd October 2010 Venue: The Arts Centre, Playhouse Melbourne Tickets: www.bangarra.com.au
Date: From 9th October 2010 Venue: Capitol Theatre, Campbell Street, Haymarket Tickets: 1300 723 038 or ticketmaster.com.au
Date: Wednesday 29th September – Friday 1st October Venue: Dancenorth, Corner of Walker and Stanley Streets, Townsville CBD Tickets: 4772 2549 or dancenorth.com.au
A new high-energy production of FAME THE MUSICAL is coming to Sydney’s Capitol Theatre from October 9, directed and choreographed by So You Think You Can Dance’s Kelley Abbey. A classic of cinema, television and music theatre, FAME follows the story of a diverse group of students at New York City’s celebrated High School of the Performing Arts. This musical that inspired new generations to light up the sky like a flame is back!
Inspired from the photographic works of Gregory Crewdson, Nowhere Fast represents the loneliness of urban life and the struggle to communicate; a place where one finds themself watching others watch others to see if they’re on the right track. Fuelled by the power, strength and versatility of six dancers pushed to their emotional and physicals limits, Nowhere Fast presents individuals forced together to co-exist in a dead end. With Choreography by Ross McCormack you will not want to miss this amazing performance.
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3. Sutra
A new work by Belgian choreographer/dancer, Sidi Larbi Cherkaoui and monks from the Shaolin Temple. Performed by 17 monks, it is a fascinating exploration of the philosophy and faith behind the Shaolin tradition incorporating Buddhism and its relationship with the more forceful Kung-Fu. Having performed to over 70,000 people world-wide and receiving unanimous critical acclaim, Sutra has a striking set consisting of 21 boxes designed by Turner Prizewinning artist Antony Gormley.
Bangarra Dance Theatre’s presents a Stunning new Double Bill ‘of earth & sky’. A Contemporary Indigenous Theatrical Experience not to be missed. This performance is fueled with passion and is said to be an “exploration of spirituality, culture and the body... The real beauty of this production is that nothing is ham fisted or overdone. It seems as if each member of the production team appreciates the importance of subtlety and the value of creating enough space for an audience to contemplate. of earth & sky will make you think and make you feel. So make sure you see it” says The Age writer, Summer Tothill.
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REVIEW - LOcREaDO insurmountable adversity.
Dance Company’s debut Sydney
LOcREaDO’s is expertly qualified to
Performance of “TROUBLED’ – July
lead his burgeoning Contemporary
22-24th, 2010. It is sensational,
Dance Company to the professional
honest and exceptionally moving.
stage. He began his career
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and to triumph over seemingly
cannot say enough about LOcREaDO
understudying the role of ‘Simba’ in Disney’s ‘The Lion King’ touring
from meticulously rehearsed dancers
Australia, Shanghai and London’s
across NIDA’s Parade Theatres’
West End for over 4 years. In 2009,
Playhouse stage. Cutting-edge
Loredo became Top 9 Finalist for
choreography by Director Loredo
‘So You Think You Can Dance’ and
Malcolm engages the audience from
went on to play ‘The Spirit of Bob
first movement to final bow and leaves
Fosse’ in ‘Chicago the Musical’
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A powerhouse of energy exploding
the audience begging for more!
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“A force of heartfelt realism, with gut renching commitment from every person on that stage” - Jason Winters
Critics and audience members alike
touring Australia, Singapore and Hong Kong. Currently he undertakes the
Conceived from LOcREaDO’s own life
role of understudy for ‘Seaweed’ in
journey, his new show ‘TROUBLED’
‘Hairspray’ and continues corporate
takes the audience from the depths
work for top company labels such as
of his soul-destroying despair to
Colgate, Nokia and Smirnoff Black.
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the exhilarating heights of personal freedom and beyond. Born in
LoCreAdo Dance Company is now
Jamaica, LOcREaDO’s narrative
set to tour Melbourne, Brisbane
explores the sadness and difficulties
and NSW Central Coast venues
he and his best friend face in his
with TROUBLED and is looking for
native country. The audience is
corporate sponsorship to do so. For
led through a series of personally
all enquiries and upcoming show
traumatic experiences for both
details, visit www.locreado.com.au.
characters, underpinning the misery imposed on him and his loved ones
A quote from the talented Jason
through misunderstanding and
Winters after seeing TROUBLED- “A
disrespect by others.
force of heartfelt realism, with gut renching commitment from every
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The dance-based chronicle
person on that stage. I was moved,
explores the physical, emotional
and greatly impressed by such a
and psychological courage required
young and vibrant choreographer, and
to escape such personal suffering
his talented dancers!”
Early Bird: $680 Drum or Dance Early Bird Groups x 10 people (group Bookings must have group deposit)
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To register visit our website and email Rebekah DON’T MISS OUT BOOK NOW!!!! Early birds rates till the 13th of September only!!!! www.globalpulseevents.org
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Global Pulse Events presents our 15th Successful year to celebrate and stage another superb electrifying “Epizo Bungoura” west African Drumming and Dance Camp.
Sunday 3rd October 2010 – Saturday 9th October 2010 With final night Performance Party “Bundagen” Sanctuary Mid-North Coast N.S.W. Contact: Rebecca on 0413 663 315 rebekahzammitross@yahoo.com.au
very primal space using Earthy African
Saturday the 9th of October. Part
Choreographer & Events :
Rythyms....i take each student on a
of the proceeds of these events go
"I treat my body as a temple, not a day
journey, where we get in touch with
back into Sustanable Living Projects
goes past where i do not honour my
our own limits and fears, and learn
and buying Solar panels for under-
Vechile: My Body. Without a fine tuned
to EXTEND our selves through big
developed areas in Africa, To find out
Body, like a car, if its not well oiled &
powerful movements and breath-work.
more visit www.globalpulseevents.org
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Rebekah's Profile | Afro Dancer
greased...your not going to get far! In
African Dance, wether traditional or
Huge Spirit, which comes even more
Afro-Groove, is a powerful tool for
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this Body: Our True vehicle, resides a alive through Dance ,Movement and
expression, expansion, growth &
Music”.
understanding how to free our bodies
“When I teach I like to feel that i
and mind. African Dance unifies us as a tribe to feel Joy together!
inspire all my students. I impart my knowledge from a deep space as big
Rebekah has been teaching African
as the African continent! I tell each and
Dance & Afro Mooves & Grooves for
everyone, that Dance is like lighting a
over 20 years; and has studied with
candle or lighting a fire inside.....dance
master West African tutors les Ballets
FEEDS the SPIRIT that resides inside
National de la Cote Ivoire: YAO EBY
of us all... dance lights-up our lives so
and Guinean Master Abdoulaye EPIZO
that we feel exhuberance & joy. Dance
BANGOURA. She has been Staging
tones the Body, Dance enlivens the
an Annual event with African Masters
Spirit, Dance nurtures our Soul”.
from West Africa: in Drumming
Life is a dance of personal
Photo taken by Andrew Stewart of "Mesmereye"
& African Dancing on Bundagen
Contact Rebekah at
Sanctuary NSW.
GLOBAL PULSE EVENTS on: 0413 663 315
choreographies....Dance is LIFE in movement.....and i approach dance
This years camp is to be held be
in a wholistic sense...and start from a
held Sunday the 3rd of October till
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Bio - A trained triple threat in singing, dancing and acting, Kat is determined to make a name for herself both in Australia and internationally. With the incredible support of her single mum, Kat started dancing at the young age of three; dancing, singing and acting are the cornerstones for her dreams. She has just completed a full-time Performing Arts Course and now plans to build on that with her time in SYTYCD. are influenced by her style somewhat, although I’d like
Top 6 in Season Two’s famous SYTYCD Australia series
to think that I add my own flavour too. After SYTYCD I
on Network Ten. It’s late Monday night, long after all the
danced beside Kylie Minogue on Hey Hey it’s Saturday.
children have gone home, one lone dancer appears from
That was cool. She is a good dancer too.
the dance studio and not a hair is out of place. She’s still
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As most of you are probably aware Kat Risteska was in the
You are a strong Hip Hip dancer. How did you manage
the floor Kat.
the first few weeks on SYTYCD given you had to adapt
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bouncing from the routine she just crunched. Welcome to
to different styles of dance? I was thrown straight into contemporary in the first week so lucky I have had some
personality that magnetises you. She has a warm smile
training or I just don’t know if I would have gone as far
and openness that comes from a dancer with passion.
with the competition. I think everyone has some style that
Let’s face it, she has been dancing since the age of 3.
they are really good at but on a show like SYTYCD you
When asked about what led her to dance, she replied “I
have to be able to adapt to every style if you want to
was inspired by watching my brother when we use to take
excel in the competition.
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At the tender age of just 19, Kat oozes the kind of
him to dance class I would watch him through the crack
Teaching for me is about inspiring the upcoming
long to put me into classes”. In 2008 Kat was doing her
generation of dancers not just about teaching a routine.
full-time course at Brent Street Studios and had already
I do like dancing, teaching and Choreographing as each
started to diversify her skills and record music for an up
one of them satisfies a different part within me but
and coming album. If that wasn’t enough pressure for a
dancing and performing is where my heart is at. f I was
16 year old she also appeared in Home and Away and her
to describe Kat to you in one word it would be “Driven”.
first feature film “The Combination”.
At 19, she has realised that in this industry you have
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in the door and copy his steps. It didn’t take my mum
busy periods and quiet periods. It’s what you do during Kat had no intention of auditioning for SYTYCD. In fact,
the quiet periods that will determine what opportunities
she was up till 2am in the morning at a family function on
present themselves.
the day of the audition. Her dance friends convinced her to make a snap decision to audition. Her mum raced her
Keep working hard, teach classes, do workshops, look
down to the studios. At that point Kat had no idea what
for new work opportunities maybe like acting or singing
she was going to do, but she felt that deep down it was
and who knows – you could be Australia’s next superstar
the right things to do. Kat went on to say, “The music
…Half an hour has passed. Kat has recovered enough
started, Jason Coleman said “PLAY” and I improvised a
to hit the play button again. She disappears back into
routine I had never done before. The rest is history”. I
the studio to choreograph another routine for her next
heard a Christina Aguilera song earlier. Do you like her
workshop to the tune of “Not Myself Tonight”, by Christina
style of music and dance? Yes, absolutely. I would love
Aguilera.
to dance for Christina Aguilera, but who knows what the future holds. The songs I am writing and recording
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Photo | The Sunshine Coast Daily
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Studio Focus
The Curriculum | Training is available in Hip Hop, Jazz, Tap,
to provide students with the opportunity to learn a
Modern, Classical, Pilates, Singing, Ballet, Ballroom, Drama
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The School | The object of JTV Dance Academy is
high standard of dance and theatre skills in a friendly
& Theatrical, Acrobatics,Toddlers Rhythm & Movement,
atmosphere. Students are placed in classes according
A.T.O.D Syllabus andR.A.D Syllabus.
their ability. Classes are designed to build confidence and to encourage students to excel in skills of dance. We see
Studio Locations | Mountain Creek State High School
dancing as a kind of sport, to be enjoyed at whatever level
Campus, Lady Musgrave Drive, Mountain Creek
the student wish to participate. Chancellor Park Secondary College, The Principal | Joy Varga began teaching in 1982 at her
Sippy Downs Drive, Chancellor Park
own studio, which operated for nine years. Later Joy
P: 07 5444 1505
performed with artists like Jimmy Barnes & Jenny Morris,
F: 07 5444 1507
danced full time at Australia’s Wonderland, travelled
E: jtvdanceacademy@bigpond.com.au
around Europe & America with the Australian Cheer Squad,
W: www.jtvdance.com.au
performed with Cliff Richard at Wembley Stadium. Joy was also a main dancer in the Opening Ceremony of the Sydney Olympic Games. Fully qualified with Australian Teachers of Dance, Joy is a member of the Australian Association for Dance Education and a highly respected dancer, Choreographer and teacher.
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Quick 10 with Phillipe Witana Q4. Explain a day in the life of a contestant in SYTYCD? A day in the life of a ‘stytcd’ contestant is quite hectic. It starts very early morning and you dance for around 12hrs a day, then you have to rehearse soon as you get home to get a foot ahead on the following day... You dont get much time with choreographers so you have to utilise every
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moment..... It’s pretty much live , eat, breath dance..... Q5. What doors opened as a result of this exposure and what are you doing now? Since the show it has been non-stop gigs, workshops ect. I have been a dancer on the production of “Happy feet 2” for the past 2 months and
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have just secured a dance contract in monte carlo for the next 7 months, which I leave for in a few weeks..... So the exposure thru the shows and opened so many doors it’s
Q1. Congratulations Phillipe on reaching the Top 20 for
quite overwhelming.
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SYTYCD 2010 series. I was very impressed with your
Q6. If you could dance with anyone who would that be?
genres given your relevant lack of dance experience
If I could dance with anyone it would be with anyone who
compared to other contestants in the series. Please
wanted to dance! haha
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dance technique and ability to adapt to different dance
elaborate on this ? Going into the competition I trained
Q7. Who do you listen to on your I-Pod? My i-pod
ahead of me.... I took as many classes as I could to work
consists mostly of michael jackson, and all the motown
on technique and flexibility ect... and it definitely helped, I
classics.....
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as much as I could to prepare for what I thought was
really dont think I would have done as well had I not trained as much as I did....
Q8. As a dancer you need to also build a profile. How have you grown your profile? Landing specific jobs like
Q2. What inspired you at a late age to take up dancing
backing up “kylie minogue’ ‘happy feet 2’ ‘jessica mauboy’
and then enter the audition process for SYTYCD? I
has helped build my profile here, but it just came down to
had not intended to take up dancing at any specific time
auditions.... I still had to work for it like everyone else....
it really just happened when it was meant to.... I fell into the whole dance thing thru a few friends and as natural as
Q9. You like making films and were influenced by
walking it just took over from there...
Michael Jackson. What other influences have added value to your dancing?
Q3. Your dance strength is Hip Hop and you owned the
like experience has most certainly added value to my
stage when you did that genre, How did you feel about
dancing, it helps me enjoy it more and bring what I learn in
the other genres? What ones did you like and dislike
life to the dance floor.
and why? I had fun with every genre I was given because I love the challenge, I did set the record for doing the
Q10. Finally, what advice can you give to aspiring male
most contemporary dances in one season, so I should be
and female dancers looking to extend their career?
somewhat of a professional by now! haha.... I think I really
Advise to young dancers!!!! “dream big” anything is
enjoyed ballroom tho cos it let me venture into a different
possible but you have to believe it for yourself........
world I wasnt use to....
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Performance Recording Finding the right Video Company to produce the DVDs of your Dance concert can be quite a challenge. This month we look at some key questions and things to consider to get the best quality DVD of your concert at a reasonable price. Make sure you get some samples of their work, in particular
One of the complaints year after year of Concert DVDs is the
see if they have any examples of concerts from the venue
poor lighting; it’s just too dark. This can’t all be blamed on
you will have your concert at. First thing to consider
the Video Company. It is really important that you talk to your
is whether you will get a two-camera or one-camera
venue about lighting. You will need an even white light over
production. If you expect 50 or more DVD orders a two-
the whole stage, which stays constant, and the coloured
camera production should fall into a reasonable price range.
and flashing lights go over the top. If you can organise this,
Two Cameras means you will get close ups, which the
a good cameraman will produce some stunning footage of
Check if the company will offer a proof before the DVDs are copied so you can change any camera angles that don’t work. There are a lot of so-called professionals offering very poor quality DVDs. One of the questions to ask is are they
Finally how much? Most Concert DVDs are charged based on the number of orders, so the more you order the cheaper it becomes. Don’t just look at the price; look at what you get for that price. This isn’t exhaustive, but hopefully it will help on the road to getting the right company producing your
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using Professional Cameras. The standard camcorder will
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parents love and also the wide shots to see the whole dance. your concert.
Dance Concert Video. David Mezey is the Director of Alpha-
on Blu-Ray as well as DVD? With more and more HD TVs the
Omega Video and has 12 years of experience producing
quality difference will be noticeable straight away.
DVDs and Blu-rays of Dance Concerts.
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not cut it in the concert setting. Can they offer the Concert
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