DANCE 483

DANCE

www.istd.org www.DANCE-TEACHERS.org

Welcome to DANCE

It’s time for the ISTD’s Spring Programme – starting 3rd April the Programme heralds an exciting new season of CPD, which continues in July with the International Student & Teacher Summer School and Dancesport Congress. Then, in August, the Teachers’ Residential Summer School will be held in Chichester. The DANCE Extra section of this issue and istd.org are filled with details of international and UK courses, tutor training for the new DDE (see article on page 9), open days and much

In this issue we are celebrating boys in dance. Has the dance scene changed for boys since the 1980s era portrayed in the film Billy ? And how was it for Adam Cooper (who starred as the grown-up Billy Elliot in the iconic film) following his passion for dance growing up? Turn to pages 19 and 31 to find out more, and turn to page 61 for some great photos and feedback from the February Imperial Ballet Boys’ Day. Don’t miss our photos and reports throughout this issue from events such as Graduation, with a special celebration of the life and work of our Life President, Dame Beryl Grey, the Bursary Awards, Nurturing Talented

Next copy deadlines

Issue 484 (Sept–Dec 2018): Monday 4th June 2018 Issue 485 (Jan–Apr 2018): Monday 22nd October 2018

Cover Photograph: ISTD Graduation 2018. Photograph by Brian Slater.

ISTD Dance Examinations Board

Registered address: 22/26 Paul Street, London EC2A 4QE Tel: +44 (0)20 7377 1577

Young Dancers, the Malaysian Awards and much more.

The Society is looking forward to some inspirational new developments over the coming months, not least the development of a new ISTD Contemporary Dance Syllabus with Dr Ross McKim (page 26). We are delighted to be able to work with him to pass on his precious legacy and profound knowledge of contemporary dance technique. If you’re thinking about your own personal legacy, why not take advantage of Paula Day Solicitors’ free Will writing service for members during May 2018, which has been arranged by the Imperial Benevolent Fund. Turn to page 73 for more details.

Happy reading, and don’t forget to write in with your own photos, questions and stories.

Tamsin Moore, Editor

This issue celebrates boys in dance

Top left: Adam Cooper and Sarah Wildor, page 19

Middle left: Dame Beryl Grey, page 5

Left: Nurturing Talented Young Dancers, page 14

Below: Boys and Dance, page 31

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News & Features

5 News from Our Artistic Director

A letter to members from Ginny Brown 9 New Level 4 DDE

Louise Molton guides us through the new qualification 11 Library News

ISTD Librarian, Sarah, reviews some of the new books in our library 12 Exploring Dance Technique Announcing a new teaching resource for teachers of all genres

14 Two Great ISTD Events

Reports and photos from the Bursary Awards and advanced training at The Lowry 19 Adam Cooper and Sarah Wildor

An interview with our Imperial Classical Ballet Faculty patrons 22 Dame Beryl Grey A rare combination of qualities 26 Exciting New ISTD Contemporary Dance Syllabus

An interview with Dr Ross McKim 31 Boys and Dance

Taking the right steps 36 International News Photos from ISTD centres in Bahrain, Vietnam and Malaysia as well as reports

Events

40 ISTD Spring Programme 2018

A varied and exciting programme at Laine Theatre Arts

42 ISTD International Student and Teacher Summer School 2018

A week long residential summer school held in Spinello FC, Italy

43 Advance Your Teaching Skills Courses on specialised units of the DDP Level 6

44 ISTD Teacher’s Residential Summer School 2018

To be held at the Univeristy of Chichester

46 Peggy Spencer Legend Award

A new two-dance examination available for all dancesport genres

47 Dancesport Congress 2018

A weekend of lectures and workshops including the Pierre & Bill Irvine Trophy Competitions

Faculties

49 Cecchetti Classical Ballet

The Wales and West Awards, Scholars auditions 2018/19 and booking details for the 2018 Summer Schools

Launch of the new Grade Syllabus, 2018 Ruby Ginner Awards details and congratulations to Sonia Bond on her BEM

57 Classical Indian Dance Reports from a vibrant autumn 2017 59 Disco, Freestyle, Rock ‘n’ Roll Meet the new committee and information on up-coming events including Dance Exchange 2018

61 Imperial Classical Ballet

Feedback from a brilliant Boys’ Day, Primary Grades 1 and 2 Music, London Teacher’s Group and more

67 Latin American, Modern Ballroom & Sequence

An interview with Claire Thompson, Latin Magic 2018 details, Sequence Medalist Festival information and more

74 Modern Theatre

Jill Knight and Margaret Wilkins retire as well as details on the 2018 Janet Cram Awards

78 National Dance

In praise of Scottish traditions for Auld Lang Syne, Primary Class examination information, the Helen Wingrave Award and Grandison Clark Awards 2018

81 Tap Dance

Tap Challenge and reports from the Intermediate Tap official launch

People

84 New Staff

Profiles and photos of new ISTD staff and Customer Services news

85 Elizabeth Burville

Tributes to the respected Modern and Tap examiner, who sadly died this year 87 Exam Successes

Qualifications recorded at ISTD HQ over the past months

89 #DanceInspiration

Emma Boxall tells us about her love of Latin and Ballroom dance

91 Classified Adverts

The place to look for a teaching vacancy or dance school for sale

93 Directory

ISTD councils and committees, plus contact details for staff, faculty co-ordinators and global organisers

DANCE Extra

108 Courses and More

A section dedicated to ISTD examination dates, courses and contact details. Please note this section runs backwards from page 108.

“Gender sensitivity from us as teachers is essential if we are to welcome more boys into our schools. Otherwise, where will we find the next Billy Elliot?”

Chris Marlow

From Our Artistic Director

A letter to members from Ginny Brown

Dear Members, on 1st February, I was honoured to host a celebration of the life and work of Dame Beryl Grey, the ISTD’s Life President, at our annual Graduation Ceremony. Before an audience of recently qualified teachers, Dame Beryl recalled the inspiration she drew from those who taught her. From her first teacher, Madeline Sharp, to the historic figures of Ursula Moreton and Ninette de Valois, Dame Beryl remembered her teachers as elegant, compassionate, but also highly demanding – encouraging the young Beryl Grey to fulfil her potential. This led me to reflect on the privileged opportunity that dance teachers have to inspire, nurture and support the development of the next generation.

A common theme throughout the Ceremony was how knowledge, skill and a passion for dance is passed from teacher to student in an unbroken chain. Yet dance teaching can be a lonely profession, so my aspiration is that the ISTD should, similarly, serve to nurture, inspire and support your future development as the next generation of teachers in this chain.

A look at today’s society convinces me that opportunities to participate in dance are more important than ever – to address

concerns about the physical and mental health of the population and as an antidote to our increasingly online lives. We know that dance offers excellent opportunities for exercise, social interaction, individual expression and creativity. Yet opportunities to learn dance in school are sadly diminishing, meaning that many children and young people may lose the chance to discover the benefits of dance, unless teachers like you step into the breach.

When I joined the ISTD, I was struck by the unprecedented opportunities for dance teachers to advance their careers, in an industry that is traditionally renowned for career instability. From our initial teaching qualifications, members can progress onto a higher qualification, which in turn enables you to become a teacher trainer, examiner, or even to contribute to the future development of the Society by joining a faculty committee. We concluded the Graduation Ceremony by marking the achievements of three ISTD teachers, who have followed just such a path, with our prestigious Imperial Awards. Congratulations and heartfelt thanks for their

Knowledge, skill and a passion for dance is passed from teacher to student in an unbroken chain

Above: ISTD Artistic Director, Ginny Brown

loyal support go to: Shirley Agate-Proust, Theatre International Imperial Award winner; Karen King, Theatre Imperial Award winner; Monica Needham, Dancesport Imperial Award winner. Whatever your career aspirations, the ISTD is committed to supporting you in building a sustainable and rewarding career as a dance educator. Towards this end, I am delighted to announce that

the ISTD’s new financial bursaries are now open for application (see istd.org for further details). It is my sincere hope that these bursaries will help to reduce financial barriers for those on low incomes who wish to build a career in dance teaching. To find inspiration for your next step check out our forthcoming courses and events in DANCE Extra (page 108).

Many young people may lose the chance to discover the benefits of dance, unless teachers like you step into the breach

Images from the ISTD Graduation 2018

IMAGES BY BRIAN SLATER

The ISTD is committed to supporting you in building a sustainable and rewarding career

Far left: Kay Ball presenting the 2017 Imperial Theatre Award to Karen King.

Julie Tomkins presenting the Imperial Dancesport Award to Monica Needham

Right: This year’s Graduation included a special celebration of the life and work of Dame Beryl Grey

ISTD CEO, Hassan Khan and ISTD Life President, Dame Beryl Grey

IMAGES BY BRIAN SLATER

Paddy Hurlings, Anuradha Chaturvedi Seth; the first Classical Indian Dance DDP Graduate and Sujata Banerjee

Guest speaker, John Travis

Left: Monica Needham, recipient of the Imperial Dancesport Award

Kenneth Tharp and Kevin O’Hare

Shirley Agate-Proust celebrating with Andrew Hurst and Brenda Last

IMAGES BY BRIAN SLATER

The New Level 4 Diploma in Dance Education

Louise Molton’s guide to the new qualification

We are pleased to announce that the ISTD Council has approved a new Level 4 Diploma in Dance Education (DDE) for the Theatre genres for full delivery in the UK and EU from 1st September 2018. This initial teaching qualification will replace the current DDI and DDE route. The qualification will eventually be available worldwide, replacing the current Theatre Associates and Associate Diploma.

The Level 4 Diploma in Dance Education is an achievable and streamlined teaching qualification that provides student teachers with a clear pathway to becoming an ISTD qualified teacher. The qualification provides an excellent introduction to a career in teaching dance. The contextual nature of assessment will also ensure that student teachers are able to focus on developing practical skills and knowledge that meets the requirements to enter the teaching profession and develop a sustainable career.

The qualification consists of 5 units (120 credits):

• Unit 1: Preparing for Safe Teaching (15 credits at Level 3)

• Unit 2: Observing, Assisting and Teaching Practice (30 credits at Level 4)

• Unit 3: Vocational Graded Examination in Dance: Intermediate (28 credits at Level 3)

• Unit 4: Dance Practice (30 credits at Level 4)

• Unit 5: Social, Emotional and Cognitive Development (17 credits at Level 4)

Whilst these can be taken individually, they all link to one other to ensure a depth of knowledge that means the student teacher is thoroughly prepared for the studio and the start of their teaching journey.

The qualification can be achieved over two year’s part time or as part of full time vocational training, but is dependent on individual experience. Student teachers who have significant prior teaching experience may be able to apply for an exemption for some areas of the qualification or perhaps a unit itself. The full qualification is at Level 4 and provides a clear progression pathway either to Licentiate or the Level 6 Diploma in Dance Pedagogy.

In terms of support, tutor and student handbooks are currently being produced that will detail the units, delivery and assessment process. We are also developing an online management system that will enable materials and resources to be readily available for Approved Dance Centres, tutors and student teachers to access as and when they need.

The online learner management system known as ‘Totara’ will support the student teacher journey. Each Approved Dance Centre will have their own online area showing their live courses and student cohorts. The Approved Dance Centres will enrol their students onto the courses via the ISTD, enabling the students to have their own web pages where they can upload their work and track their progress. Approved Tutors will be enrolled by the Approved Dance Centre and linked to their students so that again they can see the units they teach and the students enrolled within those units.

Since April 2017 the ISTD has successfully used ‘Moodle’ to deliver the Level 6 Diploma in Dance Pedagogy and has also been used as a training tool for tutor courses. ‘Totara’ sits within the Moodle family. Most, if not all schools and colleges are using a Virtual Learning System of some kind to support learning in and

PHOTOS BY RACHEL CHERRY

outside the classroom. Diploma in Dance Education student teachers should find this quite intuitive and a useful tool to enrich their learning and assessment experience with use of their own mobile devices. Full training and an introduction to the system will follow in due course.

We would like to thank the panel members who have worked with Education & Training to devise an engaging and inspiring qualification for both the student teacher and the tutor, ensuring rigour, depth and challenge. The Level 4 DDE will mean our initial teaching qualification is current and progressive, encapsulating pedagogy and current teaching requirements to ensure that the ISTD produces and supports some of the best dance teachers of the next generation.

Interested in taking the new DDE?

Contact the Initial Qualifications Co-ordinator Gemma Bridge: gbridge@istd.org

Interested in becoming an Approved Dance Centre or Tutor?

Contact Cynthia Pease: customerservices@istd.org

Your Questions Answered...

How does the new DDE affect me as a student teacher?

If you are a student currently studying DDI you will be able to transfer your current qualifications into the New DDE. You will need to contact your Approved Dance Centre who will work with the ISTD to transfer this across. Following this transformation, you will then continue on the new pathway. If you have almost finished your current DDE qualification you can continue, but will need to fully complete your full qualification by 31st August 2018. Retakes are permissible from September to December 2018 but following this process the DDI and DDE will close for the UK and EU. You will not lose your qualification but will need to ensure that you have carried out this process.

How does the new DDE affect me as an Approved Dance Centre?

The new qualification will continue to be delivered via Approved Dance Centres (ADCs). ADCs and approved tutors will need to undertake a re-approval process in order to deliver the new qualification. Many dance centres have already completed this process but if you wish to continue to deliver the DDE you will need to ensure that you have completed the approval form as requested by Customer Services. If we do not hear from you we will assume that you no longer wish to be an Approved Dance Centre. Please note that re-approval will be provisional until the approved tutors have completed the required training for the new units.

How does the new DDE affect me as an Approved Tutor?

All approved tutors will also be required to attend training in order to prepare for delivering this new qualification to their student teachers. Those tutoring Units 2 and 4 are required to undertake all Tutor Training. Tutors who only tutor Unit 1 and/or 5 will be required to attend training only for the Unit(s) they tutor. These dates are currently published on our website and within this magazine on page 100. You have an option whether to attend the physical training dates or to access these on line using our Moodle platform. Please ensure that you liaise with your Approved Dance Centre in order to ensure that they are seeking re approval

NEW ONLINE TUTOR TRAINING

The ISTD is thrilled to announce that the new online tutor training for the DDE (formerly DDI/DDE) has now been launched for approved tutors. Visit www.istd.org/courses-and-training/tutor-training/ new-online-tutor-training for more information.

PHOTOS BY RACHEL CHERRY

Library News

ISTD Librarian, Sarah Jardine-Willoughby reports

New Books in the Library

Life in Motion: An unlikely ballerina

By Misty Copeland with Charisse Jones (Sphere 2017)

The book begins with a prologue chapter describing her day before her first performance as the Firebird at the Met. She was one of the few African American soloists at the American Ballet Theatre (ABT) and then became the first African American principal. The book is mainly chronological and the first chapter takes us back to the two-year-old Misty, and her life with her family. The first few chapters are about growing up with a large collection of siblings and half siblings and how she was introduced to dance. There were various tensions between Misty and her family about her ballet lessons and choice of career, which was misunderstood. She lived with her ballet teacher for a time, which later caused more conflict with her family.

Bandoneon: Working with Pina Bausch

By Raimund Hoghe/Ulli Weiss. Edited by Katalin Trencsenyi. Translated by Penny Black with an introduction by Katalin Trencsenyi (Oberon Books, 2016)

This is the first English language publication of Bandoneon –fur was kann Tango alles gut sein? First published in 1981. This is a translation of Raimund Hoghe’s original rehearsal diary, illustrated with photographs by Ulli Wiss. This book is a valuable documentary record of the creation of Bandoneon, and includes information about the actual production including childhood photographs of the cast, which were in the original programme. An interview with Raimund Hoghe is also included and biographical timeline for Pina Bausch.

Ballerina

Body: Dancing and eating your way to a leaner, stronger and more graceful you

Pina Bausch: Dance, dance, otherwise we are lost

By Marion Meyer. Translated by Penny Black (Oberon Books, 2017)

By

Misty Copeland with Charisse Jones (Sphere, 2017)

Movement and Dance Photography by Henry Leutwyler, Food Photography by Amy Roth

This book is divided into various parts: Mind; Motion; Meals and Mentors and is illustrated with beautiful photographs. As this is originally an American publication, US terminology for ingredients are used in the recipes and measurements are in cups. This book has a warning note disclaimer printed with the publication data on the back of the title page: “…it is recommended that before changing their diet or fitness regimes readers always consult a qualified medical specialist for individual advice and to ensure any conditions specific to the reader are addressed…”. This book follows in the tradition of diet and exercise books by dance personalities we have in the library – for example Deborah Bull’s Vitality Plan: Lose weight and stay in shape; and Darcy Bussell’s Pilates for Life

This is described as the first biography in English of Pina Bausch, focusing on her career and noting that she was a very private person. The first chapter describes her childhood and beginning to attend dance classes.

There are brief references to Pina Basuch’s personal life but this biography is an assessment of her professional life. This book is more than a biography as it includes a series of interviews with Tanztheater Wuppertal dancers, a biographical timeline and a list of works. It is lavishly illustrated with photographs, many in colour.

7377 1577 or email library@istd.org FIND US AT: ISTD Library, Imperial House, 22/26 Paul Street, London EC2A 4QE

Exploring Dance Technique

A day course for all teachers of all genres

The ISTD is delighted to announce a new teaching resource designed to develop technical self-awareness and self-motivation in dancers from a young age. This resource is delivered to teachers through a one-day course, with accompanying DVD and guidance notes. Initially developed by the Imperial Classical Ballet Faculty, these training exercises have proved invaluable to young dancers of all genres.

The first part of this course focuses on how to achieve correct posture and arm placing, including:

• Alignment of the spine

• Mobility of the spine

• Stabilisation of the spine with a focus on abdominal work

• Correct placing of the pelvis

• Support in the upper arms

• Control of the shoulders

• Correct placing of the scapulae

Below are some ideas for you to trial with your students.

To find the neutral pelvis

In the following exercise the floor gives the student a point of reference, something to work against, feeding back the ‘wrong’ position and the ‘right’ position of the pelvis. This creates a positive chain reaction through the body, allowing for correct placing of bone on top of bone like stacking Jenga blocks to create a stable tower on a secure foundation:

Lying on the back with the knees bent up parallel, feet flat on floor, hip width apart. Arms extended on floor just below shoulder level, palms down or up.

12 Tilt the pelvis, gently curving the spine (engage the gluteal muscles and feel the sacrum on the floor)

34 Return to neutral

56 Tilt the pelvis with a minimal movement (gently arching the spine)

78 Return to neutral Repeat as above

Essential teaching points:

• Allow the student to feel the ‘wrong’ positions of the pelvis with neutral being ‘correct’

• Abdominals should be engaged to support the back with hip bones level

To control the scapulae and open the shoulders Likewise the following exercise for controlling the scapulae with hands placed against a wall, allows the student to feel the incorrect position of the shoulder blades pinching in, and then how to develop the awareness of the correct position, opening and broadening the scapulae. Until accurate awareness/proprioception is developed, this exercise is more beneficial when practised with a partner who can give feedback regarding differences in stability/mobility in the scapulae.

Standing facing the wall, feet parallel, hands in line with front of shoulders, palms against wall with straight elbows. Lean into the wall, body in a diagonal line from the head to the heels.

12 Lean into the wall, drawing shoulder blades together, bending elbows in line with hands

34 Push the wall away, widening the shoulder blades to return to neutral

5–8 Repeat as above

1–4 Release hands from the wall as back releases into a ‘C’ shape with arms lowered

5–8 Spine lengthens as arms raise up parallel to shoulder level and are then repositioned on to the wall to repeat as required

Essential teaching points:

• Ensure minimal movement, holding the pelvis securely when leaning into the wall

• Abdominal muscles must be engaged to suppor t the spine

Above: Student deomstrating finding a neutral pelvis

IMAGES BY JAMES HUDSON

Above: Student demonstrating control of the scapulae and opening the shoulders

To develop the control of the scapulae

The above exercise can be developed with 4 point kneeling, raising the arm whilst maintaining correct position of the supporting shoulder blade. This builds strength and control while correct pelvic alignment is maintained. Students may find using their phones to film this action is a useful resource to assist their learning:

Four point kneeling position: spine lengthened, hands under shoulders, knees under hips, head in line with spine.

12 Lean into the floor, gently drawing shoulder blades together

34 Push the floor away, widening the shoulder blades to return to neutral

56 Release one arm above head

78 Return hand to the floor

1–8 Repeat as above with other arm

Repeat as required

Essential Teaching Point:

• Focus on control, maintaining placing of shoulder blades as arm is raised and avoid collapsing into the supporting arm

To develop and strengthen arm positions

Using pressure through the hands helps engage the arm and back muscles and creates energy to build support and develop arm placing:

Sitting on the floor with crossed legs or soles of feet together (frog position) or with legs straight out in front. Place palms of hands together opposite the navel with fingers pointing forwards and elbows bent and out to the side.

1–4 Press palms of hands together and release wrists, opening hands

5–8 Raise arms above the head

12 Open one arm to the side and return to above the head

34 Repeat with other arm

56 Open both arms to the side

78 Bring arms across to the front and place palms together Repeat as required

Essential Teaching Points:

• Encourage support and shape through the arms with the spine lifted and lengthened

• Be sure to keep the shoulders down as the palms press together

Above:

WANT TO LEARN MORE?

The course is a valuable resource for teachers, allowing them to explore and develop ideas to train correct placing and technique. Supported by a DVD and comprehensive notes, the practical aspects of achieving technique are explored in detail. These exercises are also an excellent way of including injured students in class.

The one day course covers:

• The development of correct technique

• How to train correct posture and alignment of the spine

• Exploration of the 4 p’s: posture, proprioception, pathways, placing

• How to achieve correct arm placing

• How to develop strength, control, balance and mobility

• How to develop use of the feet

• How to train turning action and co-ordination

• How to develop an understanding of biomechanics in relation to safe dance practice, relevant for all levels of teaching and teaching exams

• The development of ‘thinking dancers’, promoting selfawareness, self-correction and self-motivation

Within the five chapters there are three levels of study to train from an Introductory level through to Progressions 1 and 2, starting from the age of eight years to adults, and thus supporting differentiation within your teaching. The emphasis is on the practical training of the student with age appropriate language and imagery. As these exercises are safe they can be practised outside the studio, encouraging greater physical awareness, muscle memory, proprioception and self-learning.

To find a course near you turn to pages 108 or contact the Education & Training Department on +44 (0)20 7377 1577. Look out for training exercises for feet, stability, balance, turns and jumps in the next editions of DANCE magazine.

Demonstration of control of the scapulae

Above: Demonstration of how to develop and strengthen arm positions

two great ISTD events

Our Bursary Awards and advanced training at The

The prestigious ISTD Bursary Awards were held at The Lowry, Manchester, on 21st January 2018. The day also included student and teacher master classes and seminars taken by three leading vocational schools – The Royal Ballet School, The Hammond and The Lowry Centre for Advanced Training.

Teachers were treated to an up close and personal insight into the training methods of these three vocational schools. Techniques and training methods were shared, showing how students progress and develop as individual dancers. At the same time 62 students aged 9–16 years took part in three different master classes; jazz, ballet and contemporary.

A wonderful performance of the Bursary Awards followed in the Quays Theatre showing an excellent standard of dance from all the theatre faculties. During the adjudication of the

The Hammond School and The Lowry Centre for Advanced Training. The icing on the cake was the launch performance of the new Intermediate Tap Syllabus – a rare and spectacular insight into this new work.

The difficult decisions were made by adjudicators Pippa Moore (Premier Dancer with Northern Ballet), Sarah Baker (Head of Dance at LIPA) and Antonio Borriello (freelance teacher and performer) with Imogen Chambers winning the Junior Category, Junior Winner Teacher, Paula Dymock and Senior Winner, Emma Mardegan and Senior Winner Teacher, Susanna Planio. Many congratulations to all performers.

Overall it was a successful day to analyse training, learn from one another and to observe inspiring performances by young dancers of the future.

Lowry combined two superb events into one day

“I loved everything, and everyone there was so nice”

“It helped me learn new dance styles” Student feedback

My students were captivated watching the Bursary Awards. It inspired them

demonstrations were excellent and teachers enjoyed connecting with one another

IMAGES BY BRIAN SLATER

Adam Cooper Sarah Wildor &

Adam Cooper and Sarah Wildor married in 2000 and have two children. The talented couple, who were both principal dancers with The Royal Ballet have gone on to enjoy tremendously exciting careers in dance, theatre, choreography and teaching since their time at the Royal Opera House.

Among other things, Adam is of course well known for his performance in the role of Swan/Stranger in Matthew Bourne’s contemporary dance production of the ballet Swan Lake, a role that was also featured in the film Billy Elliot. Sarah has always been noted for her grace and personality as a dancer. In 2005 she played the role of Madame de Tourvel in a newly interpreted production of Les Liaisons Dangereuses, which was choreographed and co-directed by Adam, who also played the role of Viscomte de Valmont.

As patrons of the ISTD’s Imperial Classical Ballet Faculty, Adam and Sarah kindly agreed to answer a few questions for DANCE magazine:

What is the best thing about being patrons of the ISTD Imperial Classical Ballet Faculty?

Sarah: Personally, I enjoy watching the new wave of dancers coming through all the time. It’s a wonderful thing to still see an abundance of talent so prevalent within ISTD training.

Adam: I agree it’s great to see the future talent in this country, but also I like that I can give something back to an institution that gave me so much in my training and that I am proud to be a part of.

Did either of you take dance exams with the ISTD?

Sarah: Yes, I did many and I still have memories of how much I enjoyed the experience. I think that says a lot about my teacher, Pat Prime who instilled dedication and enjoyment in equal parts.

Adam: I did ballet and tap exams with the ISTD and loved them because they were equally about technique, musicality and performance.

We caught up with our Imperial Classical Ballet Faculty patrons

“I like that I can give something back to an institution that gave me so much in my training and that I am proud to be a part of”

Adam Cooper

“I always felt the ISTD gave me confidence in the way the examiners marked and gave advice.” Adam Cooper

Adam and Sarah in Les Liaisons Dangereuses

SATO HIDEMI

Why do you think exams are important?

Sarah: Exams give us an idea of levels and attainment. I think human beings like to have a goal to reach and certainly many people like to have a feel of where they sit compared to the general standards.

Adam: I agree, exams give students something to aim for whilst at them same time improving their level.

What do you think the ISTD offers that is special?

Sarah: The ISTD offers many special qualities, but what stands out for me is the delightful syllabus that shows a gradual and achievable progression that is age appropriate, and because the ISTD has so many faculties connected, it also offers fantastic alternative dance routes that can enhance one another.

Adam: I love the fact that the ISTD has such a range of styles and faculties that encompass the huge range of dance that is around. Also, I always felt the ISTD gave me confidence in the way the examiners marked and gave advice.

You met at The Royal Ballet. Was it love at first sight or a gradual realisation?

Sarah: Let’s just say, we properly noticed each other when we started rehearsing Sir Kenneth MacMillan’s Mayerling

Adam: I’d say it was certainly attraction at first sight, but from first seeing Sarah it took six years for us to get together!

How easy is it for you both to juggle work and family life with two pre-teen children?

Sarah: It isn’t! It’s a totally compromising life for the two of us and a desire to wear earplugs a lot.

Adam: Yeah, it’s not easy. I tend to spend a fair amount of time away from the family every year, which is really hard. I try when I’m away to face time every day and to come home as much as I can at weekends.

You have worked together on numerous occasions. Some couples would find this impossible. What’s your secret?

Sarah: Again, our secret seems to be respect and compromise. We share similar visions and ideals too, which strengthens our compatibility.

Adam: There’s no secret, we just try to listen and communicate in a respectful way, the same as we would with any other co-worker.

You have both worked with an array of world-famous choreographers. Do you have favourites?

Sarah: I will always have a soft spot for Sir Frederick Ashton and Sir Kenneth MacMillan, and of course my husband. I will never forget the solo he choreographed for me as Madame de Tourvel in Les Liaisons Dangereuses. He pushed me beyond what I thought I was capable of and I believe that is what makes the

best choreographers, the ones who give confidence in order to pull a dancer beyond what they think is their best.

Adam: Obviously I had great success with Matthew Bourne and that experience will always be special for me. I also loved working with Billy Forsythe, Andrew Wright and was lucky enough to have worked personally with Sir Kenneth Macmillan, which was incredible.

You both have experience of working on stage and screen, does either of you prefer one over the other?

Sarah: There will always be a theatrical place in my heart. It can’t be compared or replicated anywhere else. The sounds and smells of the theatre are very much rooted in my past identity.

“Because the ISTD has so many faculties connected, it offers fantastic dance routes that can enhance one another”

Sarah Wildor

Images: Adam and Sarah in rehearsal

RICHARD RODGERS

Screen is different; there is a detachment unlike Theatre, which is ‘right in the moment’.

Adam: Yes, theatre is my first love. In theatre you go on a different journey with an audience every performance, which it what makes it so addictive.

You are able to perform in both theatre and dancesport styles. Has your classical ballet training helped with this?

Sarah: Classical ballet helps you to really focus on emotion, strength and physicality. However, I think there are times when ballet can make a dancer feel restricted, because it is so hard technically. Tension and strain can overtake the dancer in order for the technical challenge to be achieved, so a good balance of release within ballet training should be important too.

Adam: I think ballet training helps with all dance as it gives you great elegance and strength.

Sarah, you have taught at The Royal Ballet School, Tring Park, the ISTD Junior and Senior Scholars and awards classes. You have also taught older dancers (over 55). What sort of teaching do you prefer and why?

If I am truly honest, I think my favourites are the 10 to 13 year olds; that’s a generalisation though. I enjoy this age group because they seem to be the most receptive and absorbent when it comes to sharing ideas and having a go at new challenges. This age group hasn’t yet moved into the teen inhibition phase and they still feel relatively open, creatively.

Adam, we have an article about boys and dance (page 31), and a report from the Imperial Classical Ballet Faculty’s recent Boys Day (page 61) in this issue. You were cast as the grown-up Billy Elliot in the famous film. Growing up, did you experience any difficulties in following your passion for dance?

I was really lucky that I had a brother who danced with me and that I could look up to. I also had parents who gave me full support and going to Arts Educational School at 11 was great because we were all doing it!

And what advice would you give to boys who want to dance?

I would say, believe in your passion for dance and enjoy sharing it with others.

How can we, as ISTD dance teachers, help to nurture and encourage boys in the dance studio, whatever the genre?

Sarah: This is such a cultural issue. Somewhere along the line, the masses have decided that boys in ballet should be labelled – a sad ignorance, unfortunately. Boys classes could really focus on strength and agility. Boys love to compete with each other (obviously a gentle competition). I know that dance is NOT a sport but perhaps even bridging the gap between sports and ballet would help young boys to find a connection or familiarity, with for example, football or rugby. Take some football tackling moves and give the movements some creative dance shape. Advertise the class to encourage boys to take a strengthening ballet class to improve their football skills.

It’s so complicated, but with so many cultural barriers still embedded in parts of our society, for now it may be better to cross the bridge via alternative methods and patch up the cultural mess gradually. It is noticeable that other countries have a real respect and pride in their male dancers, and we need to nurture the boys by building up their self esteem. Get creative and think outside of the box, because ballet won’t survive without boys.

Adam: I agree with all of that, well-said sweetheart! I also think there are so many forms of dance for boys to get involved with these days that the opportunity to introduce dance is much easier. The trick then, is to persuade boys to diversify into other forms. Separating boys classes that incorporate different styles of dance in one may also be a way forwards.

Interview by Tamsin Moore

Turn to page 31 for an insight into boys’ dance from former Director of Quality Assurance

“I did ballet and tap exams with the ISTD and loved them because they were equally about technique, musicality and performance” Adam Cooper

at UKA Dance, Chris Marlow.

Dame Beryl Grey A Rare Combination of Qualities

Dame Beryl Grey CH DBE DMus DLitt DEd FRSA, who celebrated her 90th birthday last year, remains a vital presence in the world of ballet. Behind the scenes, away from the glamour and excitement of the stage, she has long served on countless boards and committees, making an extraordinary contribution to the continuing development and good governance of

the arts; she was made a Dame in 1988, and holds five honorary doctoral degrees. In 1997 she was presented with the Queen Elizabeth II Coronation Award of the Royal Academy of Dance; and in February 2017, she received the De Valois Award for Outstanding Achievement at the Critics’ Circle National Dance Awards. Dame Beryl is the President of both English National Ballet and the British Ballet Organisation. She is a Vice-President of the Royal Academy of Dance, The Music Therapy Charity and the British and International Federation of Festivals. She is also the Chair of the Dance Professionals Fund (formerly the Royal Ballet Benevolent Fund), and a Patron of the Critics’ Circle National Dance Awards. Her exceptional services to dance were duly acknowledged in June 2017, when Dame Beryl was appointed to the Order of Companions of Honour in The Queen’s Birthday List.

Beryl Grey began life as Beryl Groom, her earliest recollection of dancing in public being when she was just four years old. Young Beryl displayed unusual dedication, working on her dancing before and after school from a very early age. At the age of 10, she was accepted to the Vic-Wells School on a full scholarship, where a despairing teacher soon declared to the director, Ninette de Valois, that she could not see how to instruct the child, who could already “do everything!’”

De Valois was a formidable figure, known to her dancers as ‘Madam’. Not given to dispensing praise lightly, she wrote in eleven year-old Beryl’s school report for the Michaelmas Term of 1938: “This student has all the gifts that it is possible to bestow on a young dancer. Her behaviour is above any reproach and she is remarkably unspoilt…. She should have a remarkable future.”

Left: Beryl Grey as Odette in Swan Lake, inscribed ‘Helsinki, 1954 [or 59]’. Photographer unknown. Photoprint from The Royal Ballet School Special

De Valois’ carefully laid plans to protect her young prodigy from the pressures of performing too soon were disrupted by the outbreak of World War Two. As a result, Beryl Grey was just 14 when she joined the Sadler’s Wells (later The Royal) Ballet in 1941. She famously danced her first Odette/Odile in Swan Lake on her 15th birthday, 11th June 1942, supported by Robert Helpmann. As he had done for Fonteyn, Helpmann coached Grey in partnering and characterisation for all her early principal roles, particularly for her debuts as Giselle in 1944, and Aurora two years later. In the Company’s signature post-war 1946 production of The Sleeping Beauty, Beryl Grey was to become The Royal Ballet’s definitive Lilac Fairy. She appeared in the role on the occasion of the grand re-opening of the Royal Opera House after the war, and on the Company’s legendary first night at the Metropolitan Opera House in New York in 1949.

Throughout a stellar career, Beryl Grey was acclaimed for her remarkable technique, quick intelligence, and the gracious warmth of her dancing. Her expansive personality reached over the footlights, and many people in the audience became her lifelong personal friends. With her unusually tall stature and extreme youth, Grey broke the mould of the English ballerina. She always remained intensely loyal to de Valois and her Company, where she began her career, but she also felt the need to assert her independence of mind and spirit, and to dance elsewhere. Her marriage in July 1950 to the renowned Swedish osteopath, Dr Sven Svenson, further widened her horizons, as did the arrival of their son, Ingvar, in 1954; the couple’s happy partnership was to last for almost 60 years, until Sven’s death at the age of 100.

In 1952 Grey secured de Valois’ permission to star in the first ‘stereoscopic’ ballet film The Black Swan (dir. Leonard Reeve). She also appeared as a Principal Guest Artist of the Royal Opera House, Stockholm in 1953 and 1955, finally leaving The Royal Ballet in 1957 to become the first English dancer to perform with the great Russian

Above: Beryl Grey among The Royal Ballet’s leading ballerinas for whom Frederick Ashton created roles in his celebratory Birthday Offering, the Royal Opera House, 5 May 1956. L–R: Svetlana Beriosova, Rowena Jackson, Elaine Fifield, Margot Fonteyn (centre), Nadia Nerina, Violetta Elvin, Beryl Grey. Photo: Roger Wood © Royal Opera House. By kind permission ROH Collections

Above: Beryl Grey as Odette in Le Lac des Cygnes [Swan Lake], undated. Photographer unknown. Print from The Royal Ballet School Special Collections

Above: Portrait of Beryl Grey as seen on the front cover of her autobiography For the Love of Dance, published by Oberon Books in London, 2017. Photographer unknown

companies of St Petersburg (then called Leningrad) and Moscow (1957–58). By now a celebrated guest artist around the world, Grey wrote unique accounts of performing and teaching in Russia and China: Red Curtain Up (Secker and Warburg, 1958) and Through the Bamboo Curtain (Collins, 1965). She was twice given the BBC’s much-coveted accolade of being cast away on a desert island, first in 1958, and again in 2002. On the second occasion she explained the source, not only of her passion for dance, but also her independence of thought: ‘Movement has to be something you feel, not something you are told to do – it has to come from within, you have to be convinced yourself of every movement you do – every movement must have a meaning.’

Beryl Grey’s first engagement with London Festival Ballet (now English National Ballet or ENB) was as a guest artist during the Company’s seasons of 1957 and 1958. In 1966 she took on the role of Director General of the affiliated Arts Educational School, and became a Governor of London Festival Ballet, becoming its Artistic Director from 1968 to 1979. She completely reinvigorated the Company, raising its standards of performance and production – most notably inviting Mary Skeaping to mount her authoritative version of Giselle in 1971, and Rudolf Nureyev to create his opulent Romeo & Juliet in 1977; both ballets remain pillars of the ENB repertoire.

Dame Beryl’s much-anticipated autobiography, aptly entitled For the

Love of Dance, was published last year (Oberon Books, 2017). While we can now enjoy her personal account of a truly remarkable career, perhaps those who saw her dance can best convey her special attributes on stage. Writing in 1955, Arnold Haskell observed Beryl Grey’s ‘rare combination of qualities’ as a dancer: ‘Her fine musicality has enabled her to use her extra height to extraordinary advantage; she phrases magnificently. Her technique is sure and completely unobtrusive. She has a warm and generous personality and far more temperament than the average English dancer.’ Ballet is a subtle, elusive art, and it is surely fitting to turn to a poet in conclusion; in 1952 the Poet Laureate, John Masefield, wrote a six-verse poem entitled ‘Miss Beryl Grey as The Prelude in Les Sylphides’. Here is the lovely third verse, in which Dame Beryl can still dance in our imaginations:

What is she thinking of, this floating flower?

Is she but keeping every nerve intent On movement strained to graces, and the air?

Is she withinly happy in her power, A thousand watchers making her aware

That they are hers, to govern by a hair, Hers to a heart, as to an angel sent?

Or is all faculty too tensely bent On this, the living instant in the hour?

1) Beryl Grey as the Lilac Fairy in the Sadler’s Wells Ballet’s 1946 production of The Sleeping Beauty at the Royal Opera House, Covent Garden. Photo: Mandinian© Victoria and Albert Museum, London. Postcard from The Royal Ballet School Special Collections

2) Beryl Grey in Léonide Massine’s Donald of the Burthens, a dramatic ballet made in 1951 for the Sadler’s Wells Ballet at the Royal Opera House, Covent Garden. Grey created the role of Death, costumed in modernist scarlet body tights. Photo: Baron. Postcard from The Royal Ballet School Special Collections

3) Beryl Grey backstage, tying the ribbons of her pointe shoes, undated. Photo: P A Reuter © PA Images. Photoprint from The Royal Ballet School Special Collections

Above: Portrait of Beryl Grey in around 1942; she had begun to dance major roles soon after joining the Sadler’s Wells Ballet Company in 1941. Photo: Gordon Anthony© Victoria and Albert Museum, London. Postcard from The Royal Ballet School Special Collections

Right: Dame Beryl Grey at the ISTD 2018 Graduation. See page 5 for more images from our Graduation

Dame Beryl said: “I was so touched by the great kindness shown to me by the ISTD in having arranged such a beautiful occasion celebrating my 90th birthday. The spoken tributes made me feel very humble as well as very spoilt by the Society, of which I am so proud and honoured to be Life President. I thank everyone so very much and in particular those who must have gone to such trouble to make it a ‘never to be forgotten’ day for me. Thank you, dear ISTD.”

Above: Dame Beryl Grey in 1985 with ISTD Council members, Anita Heyworth and Phrosso Phister

Above left: Dame Beryl Grey presenting Bill Irvine MBE with the 1986 Imperial Award at the 1987 ISTD dinner dance

Above: Dame Beryl Grey presenting Robert Harrold with the 1985 Imperial Award at the 1986 Congress

Exciting New ISTD Contemporary Dance Syllabus

We are proud to announce the development of a new ISTD Contemporary Dance Syllabus

by Dr Ross McKim

The ISTD is introducing a new syllabus. This is a special union between the Society and Dr Ross McKim, the well-known dancer, choreographer, philosopher and Artistic Director of the Rambert School (from 1985–2015) who has inspired generations of dancers across the globe. He is a hugely influential figure in modern dance and his approach is renowned for its grace, intelligence and beauty. His extensive knowledge of different ballet and contemporary techniques lead him to create his own unique way of moving and we are delighted to be able to work with him to pass on his precious legacy and profound knowledge of contemporary dance technique through this brand new syllabus.

Ross McKim MA PhD NBS (IDP) entered The Royal Ballet School in 1965 at the age of 16. Judged first in his class at the end of his first term, he was taken into The Royal Danish Ballet. He danced with The Royal Danish Ballet, The National Ballet of Canada and London Contemporary Dance Theatre as a principal dancer before performing for his own companies.

He founded Moving Visions in London in 1976, which was later known as English Dance Theatre. He set up Chamber Dance Theatre in Canada and moved it back to London. In 1985, he was appointed Director of Rambert School and re-established Moving Visions as a research vehicle. He has taught for all the major London professional schools and many companies.

Dr Ross now has a mission to share his legacy and profound knowledge of contemporary dance technique with young dancers worldwide in this exciting and exclusive new collaboration with the ISTD. We asked Ross a few questions about himself and his work:

When did you know dance was going to become your life’s work? My obsession with dance snuck up on me. The relationship has been a love/hate one. There is a lot for the young dancer to do. I hope that what I have done in dance does not mark out the border of my life’s work because I don’t feel I have done very much. Specifically, right now I am trying to write something that puts into words things dance has revealed to me. Through this I hope to make a better dance than those I have made so far.

What was it like dancing for The Royal Danish Ballet at just 17 years of age?

In a way I don’t know because I was still largely within the unconsciousness of childhood. I was aware of how good many of those dancers were and the high standard at which things were done. Everybody suspected that the work of the Royal Danish Ballet and its young director Flemming Flindt (who was very good to me) was among the best in the world.

I danced strange things; a witch in La Sylphide (the head witch was Neils Bjorn Larson) and the king in John Cranko’s Jeu De Cartes; also beautiful things like a hunter in Culberg’s MoonDeer But the dance experience I remember like it was last week came from doing classes. These were so well constructed and so well danced by those around me that one could not but absorb some

At Rambert I wanted everyone to feel appreciated for what they were and could be

Above and left: Ross McKim

of the excellence and the balletic good sense of it, or of what was in the air. I was learning what I could do and something of where ‘freedom’ in the art form gathered from people who danced as naturally as they breathed. Being in class with Erick Bruhn, Henning Kronstram, Niels Kehlit and Anna Laerkinson provided an unconscious infusion that only became manifest much later.

You also danced with the National Ballet of Canada and London Contemporary Dance Theatre. What were the main differences in your experience of these companies?

Canada was an apprenticeship in a number of ways. There were really excellent actor-dancers. This was evident through their wonderful Cranko production of Romeo and Juliet. Celia Franca, Lawrence Adams and Ives Cousineau, for example, were models of what an actor-dancer can be. Something important was also happening in the training of School and Company in Toronto. Eric Bruhn, perhaps the most perfect dancer of his day, and Betty Oliphant, Principal of the National Ballet School of Canada, were establishing something of a balletic national identity through a clarity, purity and understatement of technique. This was exemplified in the ballerina Karen Kain.

It (the 1960s) was a time of discovery in Toronto. There was profoundly original choreography going on. Down the street from the National Ballet, the Toronto Dance Theatre was experimenting with the inventions Martha Graham had invested in dance. I took contemporary dance classes there when I could after rehearsing all day with the National Ballet. Every summer break I did classes in near-by New York at the Graham Studio, and with Merce Cunningham (they were like movement workshops) and Erick Hawkins (classes were like philosophy lectures). I also did classes at American Ballet Theatre and the Joffrey Ballet.

Those of us around in the Toronto dance scene found a way. My first work was performed at a cheese and sherry party at a Unitarian Church. I also choreographed the biggest dance I ever got to make for the National Ballet Company in 1969. As is often the case much of the good work came from quite young people who never got the support, or were not tough enough to continue it through to fruition later. I lived within a clutch of choreographers who were all under 21.

In the London Contemporary Dance Theatre I worked, for a while, heart to heart with Robert Cohan, probably the only dance genius I have known. He has rightly been called a Guru. He is, as he has always been, flawed, enraging and gifted with a dangerously transformative wisdom. He is a doorway and pathway beyond it to the transcendent potential of dance.

What is your fondest memory from your 30 years of working as Artistic Director of Rambert?

Helping (maybe I helped) people become, at least artistically, more than they had been before, through dance. I was a youngish director, when I began; 35 and still performing a lot. The students discovered things as I did.

Though I had taught classes for say 10 years by that time, it was at Rambert that I learned to teach, or maybe to non-teach, or discover, how to help dancers and choreographers believe in themselves and so become their potential. It was a matter of establishing a creative atmosphere, in the dancers’ lives and dance experience; class and performance, in which everything felt right. I wanted everyone to feel appreciated for what they were and could be. I tried to allow them to feel perfectly safe.

And what was the biggest challenge in that role?

I took on a broken school in crisis. There had been three directors in three years. The students were, at first, very suspicious of me. I

This syllabus is largely about providing a bridge of knowledge and dance technical ability

Above: Sian Hopkins leading the Ross McKim Contemporary Class at ISTD Springboard 2017

How has your ballet training, and/or other forms of commercial dance practice, influenced your contemporary dance technique?

Very much – I have had teachers who were wonderful in different ways and left themselves inside of me. There was Grace MacDonald a passionate teacher in Vancouver who taught ballet, tap and acrobatics in one lesson. She choreographed the Vancouver Lions football team’s half-time entertainment. She was a martyr to dance. She gave me the sense that dance, even when covered with tinsel and sequins, could be serious in some profound way.

In ballet there was Katie Croften, who danced with Pavlova, and taught some essential Russian thing that had flight in it. There was Erick Bruhn, the great Danish dancer, who taught and demonstrated a magical centeredness. Also in ballet there was Stanley Williams (again Danish) who so influenced Balanchine’s New York City Ballet, smoking his pipe and mumbling wisdom as he taught in a lumberjack shirt.

In Jazz there was Matt Maddox with his quiet authority, perfect flow and taste. There was, from the television screen, on certain Sunday afternoon’s, the indirect teaching of Fred Astaire and Gene Kelly. Influences like these profoundly effected what came to me through contemporary dance teachers like Robert Cohan (probably the most important teacher alive), Bill Louther and Robert North.

the morning after a first night show. If I did I might not have spent so much time and energy teaching. This ordeal promised to the dancer-choreographer can be particularly vicious when you have your own company as I did for almost 10 years.

I did my fair share, as dancer, choreographer and director, of standing in the downstage centre spot light. However, I never felt without a grim sense of unnecessary mortal danger there.

Working as a teacher, working with those I taught, I could have a hand in creative transformation without much personal exposure. I could teach but also help, protect and support the young people in which transformation was taking place.

What drew you to the ISTD?

Suzanne Gielgud and Lady Anya Sainsbury. Last year they made a documentary film, The Gospel According to Ross McKim, which won some awards here, in the US and in Europe. The piece centred on my more than four decades of performance work, mostly for cathedrals, and my 30 years of teaching at Rambert School.

Suzanne and Anya encouraged me to believe that I had made myself capable of something that was more than me – this in spite of my age and Parkinson’s disease.

These two afflictions which I took, at first, as entirely negative, were, as if, given to cause me to work from a deeper,

Above: Ross McKim introducing his work to students and teachers at ISTD Springboard 2017

less self-orientated place. They caused me to sit still, become attentive and look more carefully.

At a meeting with Anya, supposed to be about promoting the documentary video, Suzanne suggested the notion of a syllabus. We began talking to the ISTD.

The creation of this syllabus came when it was time for me to more fully pass out of my struggle within my body and deal, formally and systematically, with the struggle of students. The documentary covered my aging, including as a dancer (in cathedrals), up to the summer of 2015. I saw it was time to stop performing.

Also, I was, without intention, developing disciples. Dancers were beginning to teach what I taught while I was loosing the strength to teach it on my own. The ISTD appears to be allowing or helping this process to fulfill itself.

What are the guiding principles of your training method?

That everyone can apply a spiral curriculum or ascending pattern to their artistic and probably to their personal lives. They should be allowed to do that.

What advice would you give to the teachers who will be teaching your contemporary dance technique?

We are trying to help students grasp their potential. We don’t need to point out, all that much, their errors and weaknesses as much as one might think. Dance is about what a person can hope to become, not what it is given to others to become. There is room for a great deal of diversity within the category of excellence.

How do you think working towards a dance examination can help students of contemporary dance?

At the stages or ages at which our syllabus works it seems to help to know what one is learning. It helps to be able think: “This is what I need to learn this day, this month and this year”.

Dance may be a mystery in that there are things that cannot be said about it. However, it is not a muddle. You need, in any system, style or genre of quality, to be clear what there is to know and accomplish, and the relative value of things.

This syllabus is largely about providing a bridge of knowledge and dance technical ability. It is not possible to introduce students to all the approaches of contemporary dance because it is highly developed, fractured and various. Nonetheless, it seems self-evident that we should, because we can, provide the bridging system to the technique in question. This, through grades or levels, the content of which is defined, will take students from a position at which they may have little or no experience in contemporary dance to one in which they are able to make the most of the sophisticated level of such training that the better professional schools provide.

What is your advice to young dancers who want a career in dance? Trust the technique and yourself. This work is not based on nothing, but on what has brought success. You are made to improve and fulfill yourself. It is innate in your nature to do that.

Interview by Tamsin Moore

We are trying to help students grasp their potential

Thursday 5th July 7.30pm £16 for students, £26 for all other tickets.

Friday 6th July 7.30pm &

Saturday 7th July 3pm & 7.30pm, £29 Stalls/Stalls Circle & Dress Circle, £26 for Upper Circle.

Towngate Theatre, Basildon.

Bright Lights Big City

Thursday 17th May 7.30pm.

Friday 18th May 7.30pm.

Ticket Price £22.

Kenneth More Theatre, Ilford.

Saturday 12th May 7.30pm

Ticket Price £22.

Kenneth More Theatre, Ilford.

BOYS + DANCE

Marlow

Do you recall the story of Billy Elliot, a working-class boy from a North East of England mining village who defied convention by preferring ballet to boxing? It’s a fictional tale, set in the mid 1980s, but it set me wondering – what’s life like today for boys who choose to dance, and what can we do, as a profession, to encourage more boys to follow in their footsteps?

And so, I’ve spent the last couple of years researching the experiences of 26 males, aged 8 to 18, who are learning to dance in private sector dance schools across the North of England. I observed them in their dance schools and with their family and friends; I also spoke with their parents, teachers and with some dance policymakers. What, then, did I find?

First and foremost, I learnt that cultural attitudes towards males who dance are complex, since different dance genres often provoke differing responses. For instance, Hip-Hop or Street are often thought of as ‘cool’ and ‘masculine’ genres for boys to do, whereas ‘uncool’ dance genres, such as Ballet or Latin-American, can often lead to

a ‘homosexual presumption’ according to my participants, some of whom reported being marginalised by their school peers as ‘gays’, ‘geeks’, ‘loners’ or ‘losers’. Unlike boys who opted for ‘cool’ dance styles, these ‘uncool’ boys were more likely to be bullied or stigmatised for partaking of a hobby still deemed by many as ‘feminine’.

As one boy, Ewan, aged 14, a ballet, tap and jazz dancer, told me: “Everyone thinks I’m gay ‘cos I dance. I’m not gay, and it wouldn’t matter if I was, but that’s not the point ‘cos my sexuality is irrelevant. I just love dancing …what’s wrong with that?”

This was a disappointing finding, especially in an era of supposed ‘inclusive masculinity’ and a ‘declining significance of homophobia’ according to sociologists Eric Anderson (2009) and Mark McCormack (2012), but it chimes with another related finding – that some heterosexual boys, fearful of being thought ‘feminine’ or ‘gay’, danced in secret, telling only close family and trusted friends they were attending dance school. Of the 26 boys interviewed, 14 began to dance in ‘secret’ (short-lived since word soon got out) but this desire for

TAKING THE RIGHT STEPS by Chris

If we want more males in our schools then we need to make this explicit and visible in our promotional materials

Above: ISTD Modern Theatre Dance Faculty, Janet Cram Awards Finals

Above left and below right: ISTD Modern Theatre Dance Faculty, Janet Cram Awards Finals 2017

Bottom left: ISTD Imperial Classical Ballet Boys’ Day 2018

Top right: ISTD Imperial Classical Ballet Junior Awards 2017

Clear information can help to dispel myths

secrecy wasn’t confined to heterosexual boys either. The fear of repercussions, ranging from mild ‘banter’ to physical assault was a constant theme in their narratives. As teachers, therefore, we should be mindful of these concerns, respecting pupil confidentiality by, for example, seeking permission before we publish names or images on our websites or in the local press. And of course, this applies equally to our female pupils too. How we safeguard our pupils from bullying is another pressing issue, especially since many boys reported ‘suffering in silence’, but better communication between dance teachers, pupils, parents and day schools is surely part of the solution.

Of course, attracting boys into our dance schools isn’t easy, but could we do more? Yes, according to Marc, age 10, who recalled: “My mum had to call the school to check if they accepted boys since we could only see pictures of girls on the website and there was no mention of boys at all”.

If we want more males in our schools then we need to make this explicit and visible in our promotional materials; images of girls in

pink leotards are not helpful in recruiting boys, so let’s consider how best to handle enquiries from boys or their parents and make our schools ‘boy friendly’ and inclusive. A quick trawl of dance school websites found a frequent lack of key information on uniform requirements, costs, changing facilities etc. Clear information can help dispel myths too; boys don’t need ballet tights for their first lesson, do they? Males in dance schools can feel isolated and marginalised, so why not consider a ‘buddy’ system for new boys (and girls) in your school to help them settle in? After all, it’s not just about recruiting boys, it’s also about retaining them.

Before starting the research, I wondered if boys wanted male teachers as role models, but found, perhaps surprisingly, that this wasn’t especially important to most boys. Gavin, aged 9, told me: “It would be nice to have a male teacher but I’d also want female teachers as well”, while Sam, aged 13, added, “I just want a good teacher. I’m not fussed if it’s male or female, I just want someone who can teach me well”. Unsurprisingly though, some boys reported that

Gender sensitivity, from us as teachers, is essential if we are to welcome more boys into our schools

ISTD Classical Greek Dance, Ruby Ginner

their teachers, most of whom were female, were often inexperienced in teaching boys, especially in the theatrical branches. For instance, Lucas, aged 13, recounted that: “I was the first male student in my school to reach the upper grades in ballet and so on. I remember my teacher had to buy new syllabuses for me, and then swot up on the male work. At that time, I started having private lessons because it was difficult for her to teach me in a mixed class with the girls.”

While boys reported being very happy in their dance schools, they were, nonetheless, sensitive to the language used by their teachers in class. Jordan, aged 16, spoke of his frustration when his teacher required, “floaty arms now, please”, commenting, “I don’t do floaty arms, and I don’t really know what they are anyway”. Another boy, Aden, aged 9, the sole male pupil in his school, reported that his teacher had taken “a long time” to stop prefacing her instructions with, “Now, girls …”. Overall then, the message from these boys was loud and clear – gender sensitivity, from us as teachers, is essential if we are to welcome more boys into our schools. Otherwise, where will we find the next Billy Elliot?

Chris Marlow

Author Biography

Chris Marlow is an experienced dance teacher, adjudicator and examiner. Formerly the Director of Quality Assurance at UKA Dance, Chris is now undertaking a PhD on dance and masculinity at Lancaster University. He can be contacted by email: c.marlow@lancaster.ac.uk

Top

Below

Above: ISTD Cecchetti Classical Ballet Barbara Geoghegan Awards 2017

left: ISTD Blackpool Grand Finals 2017

left: ISTD Cecchetti Classical Ballet Fewster Scholarship 2017

for those that love to

compete

Sunday 18th November 2018

Sadler’s Wells Theatre

For over twenty years, Mardi Gras have been creating exciting opportunities for young performers. The Mardi Gras Challenge is a truly thrilling dance and musical theatre competition, staged at the world-respected Sadler’s Wells Theatre in London. There will be a matinee competition for junior troupes and an evening competition for senior troupes.

Trophies will be given to the top winners on stage, at the end of each competition.  In addition to cash rewards for the overall first, second  and third place, there will also be a special prize from our Producer and an award for Best Costume & Make Up. Call to register your interest on 01992 522 222 and receive further information or email us via info@mardigrasdance.com

Call Mardi Gras on 01992 522 222 to discuss our other events, such as non-competitive shows. We would love to give you the opportunity to put your young students on the most famous stages in the world, including Her Majesty’s Theatre, indigo at the O2, the Royal Albert Hall and Disneyland® Paris. www.mardigrasdance.com

INTERNATIONAL

BAHRAIN BALLET CENTRE

Bahrain Ballet Centre is a small dance studio teaching the ISTD syllabus in the Kingdom of Bahrain in the Persian Gulf. They recently finished their annual production of Alice, pictured here.

Images of Bahrain Ballet Centre’s recent production of Alice

SAMANTHA VALE IN VIETNAM

In October 2017 Samantha Vale of DANCE HUB had the opportunity and honour to travel to Ho Chi Minh City in the beautiful country of Vietnam in Asia for a week as a Master Trainer in Street Dance for the ISTD. Her report follows.

I was fortunate enough to spend a jam-packed week hosted by AMPA-Asia Music and Performing Arts and Soul Academy in Vietnam. My training schedule was split between working with teacher trainers in Street Dance, the prospective young student teachers and Associate students (who were midway through studying towards achieving teaching status within the ISTD framework for Street Dance) and youth work with the most incredibly energetic and fun students.

As well as international delivery of the technical content of the course and genres within the qualification, I spent the time co-developing strategies and techniques with the teachers, examiners and students, taking into account the cultural differences and similarities that dance as a whole can bring to students and teachers.

As Street Dance is such an ever evolving, interpretative and expressive form of dance with blurred boundaries, it is important to develop the secure and solid foundation through technical

awareness, safe dance practice and how this is applied within the studio environment, while remaining authentic as well as understanding the cultural roots and historical importance behind the styles that rest in the nest of Street Dance. It is our responsibility as teachers to ensure these are understood rather than running and tripping before we learn to crawl, despite our students’ urges and self-belief.

Vietnam was a magical country and I only wish I had more time to take in the passion, history and soul that I was able to witness through the medium of dance and expression. I had the privilege of working with The Young Lyricist, the inspirational hand picked youth team showcasing the best of Vietnamese dance, who were invited to perform at Dance Proms 2017 and also The Lyricists, the senior dance team who blew me away with their passion, fire and energy for movement in all forms.

I would like to pay special thanks to Miss Teresa Hall, Betsye Moon Park and Alex Tu Nguyen. For more information on international training with Samantha Vale please contact ISTD HQ. To contact Samantha directly please see: www.dancehub.co.uk. Samantha Vale

JULIE TOMKINS IN MALAYSIA

Images of Julie Tomkins Exam Tour of Malaysia October and November 2017

Malaysian AWARDS 2017

In 2017 the three largest ISTD Theatre faculties joined forces to offer these prestigious awards in Ballet, Modern and Tap

The Awards were held at the Fonteyn Theatre, which is part of the Federal School of Ballet. The School was founded by Lee Lee Lan, who was Malaysia’s first ISTD Examiner in Ballet and Modern, and an Associate in Tap. The Awards were presented in her name and she was also present as Guest of Honour.

The weekend of 18th and 19th November was an opportunity to showcase the talent of the region’s young dancers and a chance for them to participate in a class with one of our esteemed ISTD examiners. Competitors came along from Japan, Singapore and Thailand as well as Malaysia. The ISTD also provided CPD courses either side of the awards.

Jackie Barnes, Modern Theatre Faculty lecturer and adjudicator, said: “I thoroughly enjoyed my experience in Kuala Lumpur. I was welcomed so generously by everyone and was thrilled to be a part of the Malaysian Awards, as both a teacher and adjudicator. Everyone was supportive of the competitors and I would like to thank the organisers for working so hard to make the event happen. I do hope that this will become a regular event for our society’s members in Asia.”

Mary Cooke, Imperial Classical Ballet Faculty lecturer and adjudicator, commented: “The Imperial Classical Ballet Awards are always a special occasion, so it was a privilege to conduct the Grade 1–4 classes. The children were truly delightful, with such a professional manner and attention to detail in all their work.”

Heather Rees, Tap Faculty lecturer and adjudicator wrote: “Malaysia is a country I have enjoyed visiting many times in the past. I was delighted, therefore, to have the opportunity to visit once again – and even more pleased

to find that it was to be part in the very first Tap Awards in that country. Having been involved as an adjudicator at the very first Modern Theatre Awards several years ago the return visit for the launch of the Tap Awards was an extra bonus. On this occasion I was to take the classes. The sections were divided by age rather than grade – thus each contained a mixture of levels. The content was choreographed to accommodate these different levels; the quick response of the young talented children in each section was extremely rewarding. Jackie Barnes was joined by Joseph Gonzales to adjudicate each section. His experienced eye, his apt comments and warm manner were an asset for the occasion. His original training was at Federal Academy with Mrs Li (Lee, Lee Lan).”

The ISTD Chair Sue Passmore and Artistic Director Ginny Brown attended the event and both were impressed by the standard of dancing and how impeccably behaved the children were. Aside from supporting the awards there was a chance to meet with participating teachers to discuss their needs and report on

PHOTOS BY ARIFF ARIS

exciting developments within the ISTD. It was a perfect chance to also reflect on the wonderful talent of the young dancers taking part.

The Awards were the largest to date, with 123 students participating. In light of this, the ISTD would like to especially thank the following Malaysian ISTD teachers who organised the events in liaison with the ISTD Business Development Manager Chelsea Franklin. A lot of time and effort went into making the Awards a success and the ISTD would like to express our extreme gratitude.

Malaysian ISTD Teachers:

Imperial Classical Ballet: Suraya Kamil, Principal of the Aurora School of Dance (KL)

Modern Theatre: Cyn Dee Too, Principal of Eximius School of Performing Arts and Alicia Hong, Principal of Creative Dance Academy (KL)

Tap: Clara Lim, Senior Resident Teacher at Dance Steps (KL)

The ISTD would also like to extend our special thanks to the following professionals without whom the event would have not been possible.

Adjudicators:

Carol Ainsworth, Former Ballet Mistress with the Singapore National Ballet

Celeste Frances Theunissen, Founder of the Celestar Studio of Performing Arts

Joseph Gonzalez, Founder/Artistic Director of ASK Dance Company

Guests of Honour: Lee Lee Lan, Principal of The Federal Academy of Dance Sunny Chan Hean Kee, President of The Dance Society of Malaysia

ISTD Lecturers/Adjudicators:

Jackie Barnes

Mary Cooke Theresa Hall Heather Rees Irela Strachan

For a full list of winners please visit: www.istd. org/news/malaysian-awards-2017-results

Images from the 2017 ISTD Malaysian Awards featuring Tap dance, Modern Theatre and Imperial Classical Ballet

Join the ISTD for a varied and exciting programme of courses in Imperial Classical Ballet, Modern Theatre, National and Tap Dance

SCHEDULE OF EVENTS

IMPERIAL CLASSICAL BALLET

Tuesday 3rd April 2018Advanced 2 Revisions and Vocational Vocabulary

Student Masterclasses 10:30 – 12:15 Grade 3/4 level | 13:00 – 14:45 Grades 5/6 | 15:00 – 17:00 Intermediate Foundation and Intermediate

Wednesday 4th April 2018Class exams for Grades 3, 4 and 5 (teachers' course)

Vocational classes at Intermediate and above (for students with teacher observation) 10:30 – 11:00 Warm-up | 11:15 – 13:00 Class | 14:00 – 15:00 Body Conditioning | 15:15 – 17:00 Pointe work and Repertoire

Thursday 5th April 2018Class exams for Grades 6,7 and 8 (teachers' course)

Training Ballet Technique (teachers' one day course)

TAP DANCE

Friday 6th April

Saturday 7th April

Sunday 8th April

New Intermediate (Day One)

Grade 5

New Intermediate Tap (Day Two)

New Intermediate Tap (Day One)

New Primary Class Examination and Teaching in Primary Schools

New Intermediate (Day Two)

New Intermediate (Day One)

Intermediate

Monday 9th April New Intermediate (Day Two)

Grade 6

NATIONAL DANCE

Sunday 8th April Intermediate MODERN THEATRE

Tuesday 10th April

Intermediate

Advanced 2 Revision Day 1

Wednesday 11th AprilBridging the Gap between Intermediate and Advanced 1 Advanced 2 Revision Day 2

Thursday 12th AprilAdvanced 1 Revision Day 1

Grade 6 Revision of Girls' work excluding amalgamations

Friday 13th April Advanced 1 Revision Day 2 Gold Jazz & Free Jazz

Monday 9th April Surrey First Aid Training

CPD

See page 100 for details of the Cecchetti courses being held at Westminister Kingsway College.

STUDENTS'

FIRST AID:

Members – £100

Provisional members/student teachers – £85 Non-members – £120

Advance Your Teaching Skills

These specialised units form part of the ISTD’s Level 6 Diploma in Dance Pedagogy. They are offered on a individual basis to allow our teachers to access regulated professional development opportunities and gain credits that can later contribute to advanced study.

UNIT 5A

Applied Dance Science

£770

UNIT 5B Social, Emotional and Cognitive Development

£770

UNIT 5C Choreography

£770

Lead by Erin Sanchez, the Healthier Dancer programme manger at One Dance UK and endorsed by Safe in Dance International. This unit will allow you to study the skills to understand, interpret and apply evidence from research in dance science and medicine.

Dates: 20th – 24th August 2018 Location: Middlesex University

Lead by Honorary Fellow of the British Association of Counselling and Psychotherapy, Julia Buckroyd. You will study material relevant to the social, emotional and cognitive development of children and adolescents.

Dates: 12th & 13th May, 9th & 10th June and 8th July 2018

Lead by professional dance practitioner and qualified dance movement therapist, Elizabeth Foster. You will study material to create dance in performance, education and community settings.

Dates: 6 day course – 6th, 7th, 8th April and 26th, 27th, 28th May 2018

FACULTY

• Non-syllabus courses including lectures on dancers’ mental and physical health during training and injury

• Special events, talks and lecture demonstrations in the on-site theatre

• ISTD training and qualification advice with Q&A sessions

• FREE early morning warm-ups, evening talks and workshops for residential delegates

• Social events to meet new friends and build your professional network

• Special welcome evenings on 5th and 12th August attended by Ar tistic Director Ginny Brown, faculty chairs, examiners, lecturers and ISTD staff

• Free delegate packs

The full timetable will be available on istd.org. Bookings open on Monday 26th March with special offers for early bird bookings. Please direct any queries to coursebookings@istd.org or +44 (0)20 7377 1577.

CECCHETTI CLASSICAL BALLET

Editorial Contact: Sharon Orme +44 (0)7551 159471 | Cecchetti@istd.org www.istd.org/cecchetti-classical-ballet

Wales and West Cecchetti Ballet Awards

This year’s Awards held on Sunday 11th February were well attended with 114 children participating from 9 dance schools

We were very fortunate to welcome Darius James, Artistic Director of Ballet Cymru, to adjudicate this year’s Wales and West Cecchetti Awards. Mr James came onto the stage after the Junior section and again after the Middles and Seniors had danced, to talk to the dancers and the audience and to present the awards. He congratulated all the dancers and his comments ensured that they all felt valued. He praised them for their hard work and understood that for some it was a new experience to dance on stage. Mr James advised all the dancers to demonstrate their joy of dance and to really express this to their audience. He stressed the importance of keeping the eye-line high and projecting outwards. He also advised the dancers to be mindful of fully stretching

their legs and feet, and of extending their line by using their upper body well, to ensure that their technique is sound.

Kathryn Lawrence presented the Junior work; Carol Goode, the Middle work and Jacqui Everson, the Senior work. After presenting the awards Mr James thanked Carol Goode and Jacqui Everson for organising the competition; Penny Hughes for accompanying the dancers so musically, and Linda Uruttia for preparing a delicious lunch. Mr James showed his appreciation of all involved in making this a positive and joyful experience for the children. Flowers and wine were presented to Penny Hughes and Darius James. Helen Dubovie Brown

WALES AND WEST CECCHETTI BALLET AWARDS 2018 RESULTS

JUNIOR SECTION

Winner: Ellie Young, Samantha Reed

Runner Up: Melody Chan, Kathryn Lawrence

Vacani Joy of Dance Award: Daisy Ellis, Samantha Reed

MIDDLE SECTION

Winner: Faith Sorlie-Pring, Fiona Bartlett

Runner Up: Molly Williams, Lesley Tipples

Musicality Award: Amelia Johnson, Jacqui Everson

SENIOR SECTION

Winner: Ruby Beard, Kathryn Lawrence

Runner Up: Neve Salisbury, Lesley Tipples

Musicality Award: Chloe Chan, Kathryn Lawrence

DIARY DATES

CECCHETTI CENTRE SUNDAYS

SPRING TERM

Sunday 22nd April 2018

Kingsway College, London. For further details please contact Sarah Wells on 07767 790970 or email: sarah@cecchetticentre.co.uk

CECCHETTI CENTRE EASTER COURSE

Tuesday 3rd April – Thursday 5th April, Westminster Kingsway College

Sunday 25th March 2018

Cecchetti Southern Area Awards at the Barn Theatre, Southwick, Sussex. For further details please contact the CSAA Organiser on 07583 143895 or email: pann.w@ hotmail.co.uk

CECCHETTI DAY

Sunday 15th April 2018

To be held at The Royal Ballet School, Covent Garden, London. We look forward to welcoming old and new colleagues to this prestigious venue for our annual celebration of Cecchetti work. For further details please contact Faculty Co-ordinator Sharon Orme. Email: Cecchetti@ istd.org Telephone: 07551 159471

Saturday 19th May 2018

Auditions for the Cecchetti Classical Ballet Scholars to be held at Arts Educational School, Chiswick. Please email Cecchetti@istd.org for an application form or send a stamped addressed envelope to Sharon Orme, Faculty Co-ordinator, Cecchetti Classical Ballet, 9 Sheppard Drive, Chelmsford CM2 6QE

SUMMER SCHOOLS

Saturday 21st – Thurs 26th July 2018

Cecchetti Summer School for Teachers is to be held at Elmhurst Ballet School, Birmingham. For full details please contact the Organiser, Christine Axon on 01204 841389 or email mcblhooper@ ntlworld.com

Saturday 21st – Thurs 26th July 2018

Cecchetti Summer School for Students is to be held at Elmhurst Ballet School, Birmingham. For full details please contact the Organiser, Linda Isaacs on 01702 473272 or email lindaisaacs@ yahoo.com

Saturday 28th July – Friday 3rd August 2018

Cecchetti Summer School for Young Dancers is to be held at Tring Park. For further information please contact the Organiser, Paris Brownlie Notley on 07518 818620 or email paris@parishelen.co.uk

Friday 17th August 2018

Cecchetti Course, Chichester University

Above: Cecchetti Summer School 2017

Cecchetti Scholars Auditions for entry 2018/19

We are approaching that time of year when we will be holding our annual auditions for the Cecchetti Scholarship Scheme.

The programme offers weekly classes, the aim being to compliment the training the student receives from their own teacher, with a view to strengthening technique, confidence and generally helping the student to reach their full potential.

In conjunction with the ballet classes we have developed a Pilates based body conditioning programme. This is constantly being monitored and changed to meet the needs of the students. At the end of the term we usually have something a bit different, a guest teacher for a repertoire or contemporary class and, of course, there is our performance at Cecchetti Day.

The audition date for entry for 2018/19 is Saturday 19th May and will be held at Arts Education School, Chiswick. In order to apply for a scholarship, a student must have passed Grade 4 or Standard 5 in any method, but be receiving their current training with a Cecchetti teacher. We are hoping that perhaps this year we may see more boys, at the audition. So please encourage any students, male and female, that you feel would benefit from the Scheme.

Thank you all for your continuing support.

Gillian Toogood

Cecchetti Scholars in class and performing on Cecchetti Day at The Royal Ballet School

PHOTOS BY ELAINE MAYSON

Cecchetti Summer Schools 2018

Teachers, students and young dancers, book now

The three annual Cecchetti Summer Schools are now taking bookings. The Cecchetti Summer School for Teachers and the Summer School for Students both take place at Elmhurst School for Dance, Birmingham, from 21st to 26th July 2018. The Young Dancers Course takes place at Tring Park School for the Performing Arts, Tring from 28th July to 3rd August 2018. These are great opportunities for you and/or your students to access excellent training opportunities, with experienced teaching faculties and all the facilities a vocational training school can provide.

If you have never attended a Summer School before, or if you are returning, Sharon Orme and any of our three course organisers will be happy to give you more information – their contact details are given in the Diary Dates section.

Awards for Teachers, Students and Young Dancers

The Cecchetti Trust is generously supporting a number of Scholarships and to further their Cecchetti studies through attendance at a Cecchetti Summer School in 2018. There are a range of Scholarships for Teachers studying at different levels and for talented students who would like to attend the Summer Schools for Students. Scholarships for Young Dancers are also available and are intended for those who are in particular need of financial support.

The details of all Awards available were published in the previous issue of DANCE and applications were invited by application form by 26th February 2018. If you missed this deadline, but would still like to be considered for an award (subject to availability) please send your application by 2nd May 2018

All applications require an application form – please contact Sharon Orme at cecchetti@istd.org or telephone 07551 159471 for a form stating clearly which Summer School you wish to apply for.

PHOTOS BY ELAINE MAYSON

Above: Summer School for Students

Summer School for Students

Above: Summer School for Young Dancers

Recreational | Vocational | Professional SUMMER SCHOOLS 2018

- N ow Bo oki ng

Full details of Summer Schools & application forms available from www.cecchetti.co.uk

Young Dancers’ Course

Saturday 28th July - Friday 3rd August 2018

Tring Park School for the Performing Arts, Hertfordshire

An exciting week of dance classes for boys and girls aged from 10 – 18 years who are studying any method of classical ballet. The course offers daily classes in Ballet with introductory lessons in, for example, Jazz, Contemporary, Classical Greek, Spanish, Character, Musical Theatre and Repertoire. Choreographic workshops result in a competition at the end of the week. The course is primarily fully residential, but a limited number of ‘Day Pupil’ places are available. The course is an ideal opportunity to meet new dance friends and enjoy the outstanding facilities of Tring Park School for the Performing Arts.

Contact: Paris Brownlie Notley Telephone: 07518 818620 Email: paris@parishelen.co.uk

Students’ Course

Saturday 21st July - Thursday 26th July 2018

Elmhurst Ballet School, Birmingham

A Summer School open to male and female students aged from 15 - 21 years at the start date of the course, currently studying in any classical ballet method at Advanced 1 or 2 levels. (Applicants who do not hold Intermediate or Advanced 1 qualifications but have appropriate experience of working at an Advanced level, may be accepted at the Organisers' discretion.) This intensive and stimulating course will include classes in Classical Ballet, Body Conditioning, Pas de Deux, Repertoire, Contemporary and Jazz. Faculty to include current and ex professional dancers from UK and International companies, with senior examiners of the Cecchetti Classical Ballet Faculty

Contact: Linda Isaacs Telephone: 01702 473272 Email: lindaisaacs52@yahoo.com

Teachers' Course

Saturday 21st July - Thursday 26th July 2018

Elmhurst Ballet School, Birmingham

A Summer School open to teachers, and students from the age of 18 years interested in teaching, offering an excellent professional development opportunity. The course will provide teachers with the opportunity to refresh and enhance their knowledge of teaching skills and syllabus in a relaxed and friendly atmosphere. Covering all aspects of the Cecchetti work, the course is intended both as an introduction to those who are discovering Cecchetti for the first time, as well as a vital CPD opportunity for experienced Cecchetti teachers. The programme offers essential learning for DDI - Fellowship, or for Vocational dance qualifications Intermediate – Diploma, as well as a range of stimulating lectures on approaches to teaching. Faculty to include current and ex professional dancers from UK and International companies, with senior examiners of the Cecchetti Classical Ballet Faculty.

Contact: Christine Axon Telephone: 01204 841389 Email: mcblhooper@ntlworld.com

Out and About with Classical Greek

Classical Greek at any age by Glynis Hall

Classical Greek dance has become a firm favourite within our school, enjoyed by a small number at regular classes and by many more at our summer schools. It came as something of a surprise, when I was approached by some of my very senior silver swans to ask if they could have a Greek dance taster class too. That was just the beginning, we now have a well attended weekly class, the youngest member of which is 75. They are fascinated by the background history and Greek legends, the life of Ruby Ginner and the early beginnings of Classical Greek dance we know today.

Ruby Ginner wanted a dance method suitable for all shapes and sizes and one suitable for the dancer at any age too. My seniors find that the exercises working in stages enables them to build on their abilities and adapt to an ageing body. The method of Classical Greek Dance is graded so that the work develops naturally with the student, layering new work on top of technique

already attained, in easy, sensible steps. Ruby Ginner’s aim was to ensure the body was well limbered and strengthened in a natural way to attain beauty of line, poise and agility. This is important and attainable through Greek dance at any age. We may not be attempting Bacchic or Pyrrhic for some time, but lyrical with the use of scarves and hoops, athletic and ball work are all a good and enjoyable way of dancing to keep moving and most importantly having fun and social time together. Long may we continue.

Ruby Ginner wanted a dance method suitable for all shapes, sizes and ages

Ruby Ginner Awards

CONGRATULATIONS TO SONIA BOND

Huge congratulations to Sonia Bond on being awarded the British Empire Medal (BEM) for Services to Dance. She has been an inspiration to so many young dancers, teachers and colleagues that have received enormous benefit from her passion and love of this art form. Passing on her expert knowledge and supporting and nurturing them so enthusiastically to great achievements. Her unbiased and all-inclusive attitude towards all the children and students she teaches and examines is amazing; encouraging them all to be the best they can whatever their ability.

Her leadership over a period of 12 years alone qualifies her for this award and on a personal note she has been an excellent mentor, who has guided me to move the CGDA forward and without her support and valued friendship I and the CGDA Committee would not be in the position we are today. She is most worthy of this honour and no one deserves it more.

Kay Ball

Please turn to page 84 to read more

Classical Greek Faculty Committee Elections

Election for the Classical Greek Faculty Committee opens this year. If you would like to be nominated or know of someone who should be nominated, please contact the ISTD Senior Administration Officer, Georgia Hussey (ext. 806), email: pa@istd.org. Those with Fellowship status only may apply. The deadline for applications is 1st May 2018

New Music Book

The comprehensive music book for Grade 6 and Vocational examinations is now ready and can be purchased from the ISTD shop.

Images from the Ruby Ginner Awards 2017

CLASSICAL INDIAN DANCE

A Vibrant Autumn

Editorial Contact: Shivangee Agrawal +44 (0)7719 996632 | sagrawal@istd.org www.istd.org/classical-indian-dance

Members up and down the country have been busy with school shows, festivals and performances

DARBAR FESTIVAL, 9th–12th November 2017

For the first ever time in its 12-year history, Darbar Festival joined forces with Sadler’s Wells to offer a spectacular programme of high quality Classical Indian dance. Curated by Akram Khan, audiences were treated to triple bills each night, featuring the latest works from the likes of Mavin Khoo, Mythili Prakash, Seeta Patel, Aditi Mangaldas and Dheerendra Tiwari. Akram spoke of inspiring the next generation of Classical Indian dancers, and shows were indeed well attended by young and old alike.

HEMANTIKA FESTIVAL, 13th–20th November 2017

Darbar was closely followed by Sujata Banerjee Dance Company’s Hemantika Festival, a huge week-long gathering of Kathak students from across the country. More than 120 students enjoyed the immersive experience of workshops, masterclasses and performances. Attendees had the rare pleasure of seeing the legendary maestro Pandit Birju Maharaj perform on stage and host the international arm of his India wide Kathak competition. There are plans to continue expanding the reach and appeal of Hemantika throughout Europe in the coming years.

Darbar Festival at Sadler’s Wells

Above: Sujata Banerjee’s Dance Company’s festival, Hemantika

SIMON RICHARDSON

REHMAT RAYATT

SAMAAGAMA, 25th November 2017

Chitraleka Dance Academy hosted their annual school showcase, Samaagama, on a scale that would cause many jaws to drop.Close to 300 students took to the stage at Bethel Convention Centre in Birmingham for a slick evening of performances by students from across the ISTD grade spectrum.

YUVA NARTAN, 25th November 2017

Nupur Arts Academy, an affiliate of the Curve Theatre, presented an exciting evening, diverse in both its dance forms and performers. Bharatanatyam, Kathak, Kuchipudi and Mohiniattam all shared the stage, with senior artists accompanied by upcoming British talent, bringing a memorable show to a Leicester audience.

VICHITRA, 26th November 2017

Srishti – Nina Rajarani Dance School held their annual school showcase to a packed audience at Harrow Arts Centre. “The students performed a range of ensemble pieces, demanding a variety of interactions with other dancers that tested them well beyond the immediate demands of solo Bharatanatyam technique, with impressive confidence and command,” commented Magdalen Gorringe, a PhD student at the University of Roehampton. The students were lucky enough to be accompanied by live music, giving dancers of all ages a taste of their future dance experience.

Above: Chitraleka Dance Academy’s annual show called Samaagana

IMAGES BY SHARAD BOLAR

Sujata Banerjee’s Dance Company’s festival, Hemantika

DISCO FREESTYLE ROCK ‘N’ ROLL

Editorial Contact: Penny Childs +44 (0)7900 741474 | Greek.DFR@istd.org www.istd.org/disco-freestyle-rock-n-roll

SUNDAY 16th SEPTEMBER 2018

DOORS OPEN AT 8.45AM

It’s our Pearl Anniversary – 30 years of DFR – and we are offering a special early bird booking price of £30 on registration and payments made before end June 2018.

A day of exciting and inspiring lectures for teachers covering all aspects of DFR work.

• Learn technique

• Routines to take back to your school

• Networking opportunities

Full details of the programme will be available on istd.org. Any enquiries to Penny Childs, Faculty Co-ordinator: Greek.DFR@istd.org

MEET THE NEW DFR COMMITTEE

Another change to the DFR Faculty saw the past Chair, Yvonne Taylor Hill and Rachel Wadey standing down after many years of loyal commitment and dedicated service, which the Society sincerely thanked them for.

At the first meeting of the new DFR Faculty in September, Hassan Khan CEO attended to see in the new Chair and Vice Chair. I feel honoured to announce that I am now the new DFR Faculty Chair and am delighted to say that I have the very capable Maria Howse and Nigel Kirk working alongside me as my joint Vice Chairs. Both are examiners and previous members of the Faculty, with many years of knowledge and experience.

I am equally pleased to announce the remainder of the committee are newly appointed: Michelle Arnell, and previous members Jonathan Reed and Julia Westlake. All are busy, working teachers and passionate about this Faculty and supported by our Faculty Co-ordinator, Penny Childs. Committee members’ profiles are available on istd.org.

I feel sure that together we will work as a great team, ensuring that all the genres under this Faculty and the legacy and wonderful work that Yvonne achieved will continue to develop further and that the future remains bright for Freestyle dance. On behalf of us all, we wish you continued success with your businesses and look forward to meeting you at one of our faculty events.

Paul Streatfield, Chair

Right: Introducing our new DFR Committee.

L–R: Jonathan Reed, Michelle Arnell, Julia Westlake, Maria Howse, Nigel Kirk and Paul Streatfield

National Grand Finals

SUNDAY 7TH OCTOBER 2018

The Guildford Spectrum

RETIRES

EVENTS COORDINATOR, PATSY GRAHAM,

It was on 4th April last year that the DFR Faculty received notice that our lovely Events Co-ordinator, Patsy Graham, was planning to retire at the end of the year. As you can imagine this was a shock and disappointing news for us as we have had the privilege of her amazing commitment to her many roles on the DFR Faculty for some 20 years, and knew that we could always rely on her expertise.

Many of you both in the UK and overseas have experienced her calm voice on the telephone when you had a query, along with her professionalism in following up any work that needed doing, knowing she would see it through to the end, especially through the busy autumn months of Dance Exchange and Grand Finals. She would do her utmost to see that as many dancers as possible could obtain tickets.

I know that our past Chair, Yvonne Taylor Hill was indebted to Patsy and would often sing her praises during Patsy’s many years as Faculty Co-ordinator. We honoured her long service to the Faculty both at committee level and at our Grand Finals event last October, which this photo shows, receiving flowers from Yvonne.

On behalf of everyone we’d like to wish Patsy the very best for the future and hope that her free time is now spent with family

DFR FACULTY AREA COMPETITION DATES 2018

Sunday 22nd April

East Anglia 1 – Clacton Julia Westlake – 07720 844619

Sunday 22nd April

East Anglia 2 – Sudbury Pat Lait – 07889 723358

Sunday 6th May

London/Kent – Gillingham Nicky Miles – eventsecretary1@ gmail.com

Sunday 10th June

Cambridge – Kelsey Kerridge Sports Centre Gail Henry – 07767 793499

Sunday 24th June

Wilts/West – Swindon –Oasis Centre Maria Howse – 07747 606501

Sunday 1st July

North 2 – Horbury Nigel Kirk – 07930 432097 Liz Young – 07872 169467

Sunday 8th July

Sussex/Surrey – Maidstone Jonathan Reed – 07721 050414

Sunday 9th September

Bucks/Berks/Middx –Spelthorne Leisure Centre, Staines Paul Streatfield – 07939 302106

Yvonne Taylor-Hill – 01494 874494

DIARY DATES

Sunday 16th September 2018

Dance Exchange

The Elgiva Theatre, Chesham

Sunday 7th October 2018

Grand Finals’ Day

The Guildford Spectrum

SET DANCES DVD 2018

To place an order please contact Penny Childs, DFR Faculty Co-ordinator. Email: Greek.DFR@istd.org

and friends and catching up on neglected interests. Your bright, shiny top hat will be missed Patsy!

Paul Streatfield, Chair

Above: Patsy Graham receiving flowers from Yvonne Taylor-Hill at Grand Finals 2017

IMPERIAL CLASSICAL BALLET

Editorial Contact: Julia Beattie

+44 (0)1788 899127 | beattie.ballet@gmail.com www.istd.org/imperial-classical-ballet

BOYS’ DAY

“Very hard work but definitely worth it. I really enjoyed yesterday and hope there are more days like this in the future.”

Alex Thorogood, age 16

“A very enjoyable day, super teachers, the repertoire was fantastic. A great opportunity for male dancers.”

Rupert Jones, age 14 (has attended this event for four years)

“Mr Ramsey was so good at giving little pointers and advice, it was great to meet and learn from him.”

Tyler Mallaby, age 12

“Tyler really enjoyed the experience of getting to learn from fellow male teachers, he doesn’t often get to have this experience so looks forward to attending this day.”

Parent/Guardian of Tyler Mallaby

Feedback from a successful day of Imperial Classical Ballet just for boys, at Laine Theatre Arts on

“My son Alexander had a fantastic day and found the day totally inspiring. To be in classes with all boys, taught by male role models was so encouraging and he wishes the boys at school would realise that dancing is for boys.”

Parent/Guardian of Alexander Robinson, age 11

“Charlie really enjoyed the day, it was his first time experiencing dance with so many other boys. He really liked the teachers and the choreography.”

Parent/Guardian of Charlie Sims, age 10

“Both my boys had an amazing day, it was their second time at the boys Ballet day. The location was great, studio space and changing rooms were all well equipped, all the staff where extremely helpful. Both my boys said their day was amazing and felt very inspired by the teachers and other dancers – the whole experience was fabulous!”

Parent/Guardian of Jammen and Soloman Ranvet, ages 9 and 10

“I loved the day, especially the ballet classes and I didn’t want the day to end.”

Elliot Steel, age 9

“It was so cool learning routines with choreographers from the West End. I had so much fun and would definitely love to do it again!”

Alfie Rogers, age 8

“Edward particularly enjoyed the ballet work and found it challenging.”

Parent/Guardian of Edward Foster, age 9

“Elliott had a fantastic day yesterday. It was well worth travelling down from Northampton to attend and he has been talking about all the different things he has learnt.”

Parent/Guardian of Elliot Steel, age 9

“Lyle had an absolutely fantastic time, he can’t wait to go to his dance classes on Wednesday to show what he’s learnt. He’s been very animated and we have re-lived the day several times already.”

Parent/Guardian of Lyle Whearty, age 9

Primary Grades 1 and 2 Music

Debbi Parks reports on the new CD recordings

Iwas delighted to be asked to re-record and embellish the Primary, Grade 1 and 2 Paul Stobart music for use in class and examinations (on those occasions when a pianist is not available). These two new CDs contain all of the music from the previous Primary Grades 1 and 2 CD with variations upon the set music (for example for repeating the barre exercises on the second side) and some fresh new pieces for unset work for adage and allegro, giving a further choice of time signatures and styles.

Whilst the existing syllabus music has been retained, some tracks have been lengthened and embellished to add variety and to allow for continuity in class and the exam where exercises are taken one at a time without the music stopping. For example, the Grade 2 Set Adage is now recorded twice. One of the tracks is as the original – played once for one dancer on one side, but additionally there is a version played three times continuously. This track has been slightly rearranged so that the ‘extra’ bar at the end has been omitted, allowing a more continuous and easy flow directly into the next candidate, as would be taken in the exam.

London Teachers’ Group

Rather than repeat the same melody three times, I have created variations on the melody to add variety and hopefully encourage musicality. The CDs also include all of the Set Dances and plenty of examples for the Music Section Clapping tests in Grade 1 and 2.

Building on Paul Stobart’s original and beautiful music, the variations I have created along with additional new melodies and longer tracks will hopefully enhance your weekly classes, and further inspire musicality in the dancers in much the same vein as the recent newly recorded CDs of Grades 3, 4, 5 and 6.

I hope you enjoy the music as much as I have loved recording it!

Debbi Parks

AllrightsofthemanufacturerandoftheownersoftheworksrecordedonthisCDarereserved.Unauthorised

Teaching of pointe work to Grade 6 and Intermediate Foundation pupils

As a member of the London Teachers’ Group it is always such a pleasure to be able to give some of my students the opportunity to attend a working class with me. I feel I get the best of both worlds: I am able to attend a well organised ‘intimate’ training session where questions and guidance are always included in the day’s format and I can observe my students’ natural reaction while being out of their normal class setting and comfort zone. We were very excited about attending the Teaching of Pointe Work. This type of training session is rare and for it to be tutored by Vivienne Saxton was the cherry on top of the cake.

Vivienne started the class with a very informal conversation to establish the students’ abilities, ask their ages and get them to introduce themselves. This helped to break the ice and relax them. Next the build-up and progression of pointe work was discussed, starting with examples of exercises to build core strength, increase mobility and strength in the legs and feet, and establish good port de bras and work on turnout.

The use of therabands and simple props that we would all have in a dance class were demonstrated; the vision of flying pieces of paper (to correct the échappé movement)

will stay with me forever and the students too, I’m sure. Once the pointe shoes were on, good practice was again discussed. The same aspects that I strive to practice with my students were being reiterated by such a profound teacher, which made me feel reassured and supported.

Examples of exercises that would establish a smooth progression from barre to centre work and from parallel to turnout was enthusiastically taught, with body faults, corrections and teaching tips offered along the way. The girls received individual correction and advice was given on shoe and body type. I know this made my students feel valued and important

The teachers were given question and answer time after the students left, which with such an icon of a mentor was invaluable. Offering advice and ideas to the other teachers in the group made me feel much supported in what can be a lonely and sometimes isolated position as a dance teacher. My students were ‘buzzing’ all the way home and I felt that I was too. It was a day that we will remember.

Beverley Warman-Johnston

ELIZABETH BAINES HEWITTAward

in association with the Gordon Edwards Charitable Trust and the Imperial Classical Ballet Faculty

13TH MAY 2018 AT LAINE THEATRE ARTS

Epsom, Surrey at 12.30pm

A discretionary prize of £1,000 may be awarded to a Ballet student who has been accepted by or who is already studying on an accredited Classical Ballet course at a vocational establishment of international repute.

Candidates must hold the Intermediate Certificate or higher of the Imperial Classical Ballet Faculty.

Age Limits

Minimum age limit for entry is 15 years on 1st September 2018.

The candidates will be required to take part in a class at Advanced level but are not required to show a dance. Previous winners of this award are NOT eligible to compete.

Entry Fee: £15.00

Closing date: Friday 20th April 2018

Please contact the Faculty Co-ordinator, Julia Beattie, for information: Tel: 01788 899127 Email: beattie.ballet@gmail.com

Diary Dates 2017/18

3rd/4th/5th April

Imperial Ballet Spring Programme at Laine Theatre Arts, Epsom

13th May

Baines Hewitt Award Class at Laine Theatre Arts, Epsom

13th – 17th August

Imperial Ballet Summer School at Chichester

23rd September

London Teachers Group Meeting

5th/6th/7th October

Imperial Ballet Examiners Annual CPD Meeting. Do not book exams for this weekend as attendance at this is mandatory for all examiners

28th October

Junior Ballet Awards at The Venue, Walton High, Milton Keynes

2nd December

London Teachers Group Meeting

Faculty Newsletter

A Faculty newsletter, Imperial Ballet Info, is published twice a year in August and February, to keep teachers up-to-date with courses, Faculty events, syllabus matters and general information.

This is available to teachers by email or post for the small fee of £5 annually. If you are interested in receiving this publication, please contact the Faculty Co-ordinator: Julia Beattie, email Imp.Nat@istd. org or tel 01788 899127.

LATIN AMERICAN MODERN BALLROOM SEQUENCE

Editorial Contact: Joanne Blackshaw +44 (0)7900 741473 | Latin.Ballroom@istd.org www.istd.org/latin-american

Editorial Contact: Malcolm Hill +44 (0)7772 199103 | hilldanceacademy@gmail.com www.istd.org/modern-ballroom

Editorial Contact: Diana Wykes +44 (0)7771 657556 | dianawykes6@gmail.com www.istd.org/sequence

TOCLAIRE THOMPSON

When and where did you start dancing?

I started dancing at my local dance school at three years old with Ballet. I loved it, and shortly after also joined classes in Ballroom, Latin, Disco Freestyle, and Sequence at five years old.

I’ve always taken lessons and classes in five Dancesport genres: Ballroom, Latin, Sequence, Disco Freestyle and Rock ’n’ Roll. And, since I was very little, I took ISTD examinations and entered competitions in all the styles. I always knew I wanted to teach and one day have my own studio, and so as soon as I was able I took my qualifications in all five genres both FDI, CDE and the Associate and Licentiate routes and started building my business.

Can you talk us through a typical day the studio?

My day starts early with a commute to get to a local primary school for 8am. I teach before school classes every day; and some of the schools extend into some of the curriculum time. I then travel to my studio where I teach a mixture of one-to-one lessons and group classes all day and evening, mostly for 10 hours a day, finishing around 10:30pm.

If I have any spaces in-between lessons I end up running round with the hoover, or tapping away on the Mac to get on with that never ending cycle of administration that constantly needs doing! At the same time I have other teachers representing my studio, by teaching in other schools, and group classes. I then arrive home at around 11:30pm ready to start all over again tomorrow. No two days are ever quite the same and this makes every day fun, interesting and jam packed full of dancing.

What inspires you to train hard and continue to develop yourself and your pupils?

I am motivated by the lessons I take to develop my dancing, and in turn by seeing the progression in my own pupils. Meeting and researching talented dancers and coaches in our industry also inspires me.

What has been the highlight of your career so far?

The highlight for me would be being able to build my classes to a point where I could purchase my own studio premises to allow me to expand and develop the sharing of my love of dance with lots of different people.

What has been your biggest challenge?

Probably my biggest challenge was having the confidence to start my school myself, and finding the ways to make things work. There are always a number of setbacks when trialing new ideas, but I think that the best way to overcome them is to learn from them, and let them be the driving force for finding what is right and how to make something successful. Now, 14 years on since that initial challenge, I have just over 270 students in my school. I have learnt a lot, and equally have a lot more to learn to continue to grow.

How do you keep up-to-date and inspire your pupils year by year?

I try to keep myself up-to-date with the latest news from the industry and constant changes and developments through my own training, congresses and watching events and clips online from recent major competitions. I think it’s

Malcolm Hill caught up with Claire Thompson after another successful year at her studio

I always knew I wanted to teach and have my own studio one day

Above: Clarie Thompson

important to always try to redevelop yourself in order to be the best you can be and to keep learning.

What does the year ahead hold for you and your multi-faculty dancesport studio?

Already this year I have opened a number of new classes, and taken on a lot of new pupils. So my plan for this year is to work hard to maintain the classes that I am now offering, and look to develop more of those pupils on to the road towards examinations and competitions.

MODERN BALLROOM DANCE FACULTY COMMITTEE ELECTIONS

Election for the Ballroom Faculty Committee opens this year. If you would like to be nominated or know of someone who should be nominated, please contact the ISTD Senior Administration Officer, Georgia Hussey (ext. 806), email: pa@istd.org. Those with Licentiate or Fellowship status only may apply. The deadline for applications is 1st May 2018.

I think the best way to overcome setbacks is to learn from them and let them be the driving force to make something successful

Right: Clarie Thompson at the 2017 Blackpool Grand Finals

COMPETITION DANCES

<< These competitions, with the exception of under 8yrs,

Under 12 years, 12–15 years, 16–34 years, 35–49 years and 50 years & over

<< These events (with the exception of Beginners and Under 8’s Classical Sequence) are two dance competitions. Ladies will compete with gentlemen, girls will compete with boys.

* Set sequence available from Katherine Costain

** For the Beginners events, competitors are not required to have taken an ISTD medal and beginners day dress, practice wear or Juvenile dress should be worn

Finals in either the new age group or the one in which they originally qualified but not both.

For example: A Juvenile qualifies in the Juvenile Three Dance event in January. They have their 12th birthday in March. In June they should dance in the Junior “Qualified” section. If they reach the final of this event then they can choose to dance in either category at Grand Finals.

PLEASE NOTE: In all events new technique will apply where applicable. Further Details from Sequence Co-ordinator Katherine Costain 07551 159 470. Scripts may be obtained from Martin and Sarah Bird at Brockbank Lane on 01295 262153

MEDALLIST COMPETITION DATES

Sunday 15th April 2018

Gillingham Adults and Children eventsecretary1@gmail.com

Sunday 22nd April 2018

Derbyshire Sequence only sequence.club@istd.org

Sunday 13th May 2018

Hemel Hempstead

Adult and Children Lower Grade eventsecretary1@gmail.com

Sunday 3rd June 2018

Burgess Hill Adult and Children caroline.fowle@btinternet.com

Sunday 10th June 2018

Long Eaton Sequence Medallist Festival sequence.club@istd.org

Sunday 17th June 2018

Ipswich

Adult and Children Mainly Lower Grades eventsecretary1@gmail.com

Sunday 1st July 2018

Gillingham Adult and Children eventsecretary1@gmail.com

Sunday 15th July 2018

Wakefield

Adult and Children karenbyrondance@live.co.uk

3rd and 4th November 2018

Blackpool Grand Finals Winter Gardens, Blackpool eventsecretary1@gmail.com

For details please contact: eventsecretary1@gmail.com

Dancesport Congress 2017

T he Fund offers support to deserving members and their dependents worldwide, whatever their age, who need help at certain times in their lives. If you need our help, or know of anyone who does, please get in touch.

Proud

“I love the fact that the ISTD has such a range of styles and faculties that encompass the huge range of dance that is around. Also, I always felt the ISTD gave me confidence in the way the examiners marked and gave advice.”

Adam Cooper

Read more from Adam Cooper and his partner Sarah Wildor on page 19. www.istd.org #LoveLearnTeachDance

Adam and Sarah in Les Liaisons Dangereuses

MODERN THEATRE

Jill Knight

Editorial Contact: Toni Ketterer

+44 (0)1255 852299 | istd@aspects.net www.istd.org/modern-theatre

A note of gratitude from the Modern Theatre Faculty upon her retirement

Ifirst remember seeing Jill Knight at Cecil Sharpe House in the 1970s. She was demonstrating the then new Advanced Tap syllabus as a Bush Davis student for Miss Daphne Peterson. In those days, we didn’t have Advanced 1 or Advanced 2. It was just the Advanced Syllabus, which represented the pinnacle of the Imperial Society’s vocational work.

Watching Jill was like watching a bullet dart across the floor. She was a tiny ball of energy that charmed the audience and brought the house down as she presented the Turning Sequence and whipped through a pirouette while we all held our breath, ‘one, two, three, four, FIVE!’ The crowd erupted and Jill just smiled her charming smile, which spoke volumes – she was having a ball. Similarly, Jill presented the Advanced Modern syllabus and she was, of course, equally stunning. As a young student watching the Bush senior students, I was inspired beyond belief. I can honestly say that Jill has been an inspiration ever since.

of movement has shaped so many of her student’s careers and given confidence to any teacher who has had the pleasure to attend her courses. Her sheer intelligence, logic and love of dance and the dancer has manifested itself in the endless documents she has written for teachers and examiners. Her tireless work on numerous committees has had an immense influence on the development of our teaching qualifications, the way we teach children, students and the way we create teachers.

I am grateful to have examined Associate, Licentiate and Fellowship candidates with her, which in itself has always been a masterclass on how to conduct the ultimate professional examination. I have also had the honour to be part of the same creative teams as Jill that have choreographed the Modern grades and the Advanced 2 Modern syllabi – a fitting development of Miss Peterson’s work ensuring that her legacy lives on through her students, who in turn have passed the baton to the next generation of students, teachers and examiners.

Some of my memories of Jill will always include her laugh. She is a self-confessed giggler and each time I see her giggle, I am transported back to the that fabulous day where she dazzled the audience with her endless pirouette and then just smiled – her eyes sparkling as though she were about to burst into a fit of giggles, just because she was having such fun.

On behalf of the Modern Theatre Faculty, I wish you a happy and well-deserved retirement. You have been a shining beacon for all who have been fortunate enough to work with you, and like all great teachers your influence is tangible. Thank you.

Tereza Theodoulou, Chair of the Modern Theatre Faculty

As Vice Chair for the Modern Theatre Faculty and a senior examiner for the Modern and Tap faculties, she has worked tirelessly to lead by example. Her level-headed outlook has encouraged past and present examiners to look for the essence of the dancer, to see the person behind the steps. Her innate musicality and ease

A TRIBUTE TO ELIZABETH BURVILLE FISTD

Please turn to page 85 where we have remembered the loved and respected Modern and Tap examiner, who sadly died on 1st January.

Like all great teachers her influence is tangible

Jill has worked tirelessly to lead by example

Margaret Wilkins Retires

Margaret (my Mum) has been involved with the ISTD both teaching and examining all her life, but has now decided to retire.

She started dancing lessons as a young girl in Kings Lynn and went on to train at Bush Davies, Romford under the guidance of Marjory Davies. Her teachers were Miss Daphne (Peterson) and Miss Joyce (Percy). Margaret then returned to Kings Lynn and started teaching for her old teacher, Barbara Hartree.

She soon met my Dad, got married, stopped teaching and produced my brother and me. When I was three she sent me to dancing lessons (as I was a very shy and uncoordinated toddler) and while talking to the Principal of the school revealed that she was a trained teacher. She was quickly employed and developed the Modern and Tap work. This is where she taught a young Francesca Waite, now Principal of the Guildhall School of Dancing in Norwich and an examiner herself.

Mum then went on to open her own school in Norwich, the Central School of Dancing, which she ran very successfully for about 20 years. During this time she continued her training and was appointed an ISTD examiner in 1982. The school went from strength to strength and was a feeding school for many of the professional colleges, including Bird, Bush, Conti, Laine and The Royal Ballet School, to name just a few. Many of her pupils went on to appear in numerous West End shows, such as Cats, Starlight Express, The Phantom of the Opera and The Producers

Margaret had Janet Cram winners, Imperial Ballet Award winners and Star Tap Award winners, including Warren Carlyle (ex Hewittson), who is now a choreographer of great repute in the USA. He is a Tony Award recipient and has recently choreographed Hello Dolly on Broadway.

My parents ‘retired’ in 1989 and went to live in Fuengirola, Spain, but Mum could not sit still so she opened a small dancing school there and over the next 15 years continued to send pupils over to colleges in England, including Lianne Northcott, who is currently working with Kylie Minogue and Robbie Williams.

Left: Margaret and her

encouraged them to continue training and pursue their careers.

In 2014, Mum and Dad returned to the UK where they settled in North Wales and after Dad passed away, Mum continued to examine in and around the area. However, she has now decided to retire and to enjoy her life in beautiful Wales.

So many of her pupils are involved in theatre. Zoe Telford is a very successful actress, seen recently in Death in Paradise. Many run their own successful schools. Charlotte Corbett took over The Central School in Norwich and others are teaching Yoga, Pilates and many forms of dance all over the world from New Zealand to San Francisco.

Margaret has given over 30 years of her life to the ISTD and has seen many changes to the Society and I hope that she will continue to enjoy following its progress through me. We all hope she may continue to enjoy many happy days living life at a slower pace.

Sarah

Wilkins

teachers

Modern Theatre Faculty Committee Elections

Election for the Modern Theatre Faculty Committee opens this year. If you would like to be nominated or know of someone who should be nominated, please contact the ISTD Senior Administration

Officer, Georgia Hussey (ext. 806), email: pa@istd.org. Those with Fellowship status only may apply. The deadline for applications is 1st May 2018.

She was always very encouraging to young

Above: Margaret and her supportive husband John

supportive husband John

2018 Janet Cram Awards

Hosted by the ISTD Modern Theatre Faculty

REGIONAL HEATS

APRIL 2018

The Edinburgh Academy, 42 Henderson Row,

Details and entry forms from Kerrie Bruce: MAY 2018

Benfleet, Essex SS7 1TW

Details and entry forms from ajbutcher67@gmail.com

SOUTH WESTERN HEAT, MAY 2018

The Bacon Theatre, Dean Close School, Shelburne Road, Cheltenham GL51 6HE

Details and entry forms from Andrea andreayeates@hotmail.com

SOUTHERN HEAT N SUNDAY 13TH MAY 2018

Magna Carta Arts Centre, Thorpe Road, Staines, Middlesex TW18 3HJ

Details and entry forms from Candi Trabucatti: candi_trabucatti@hotmail.com

Closing date for entries: Monday 16th April 2018

Schools will be allowed to enter eight pupils (this is to include branches’ and assistants’ pupils)

Juniors: 8yrs to 11yrs on 1st April 2018

Must have passed ISTD Grade 3 or 4 Modern and no higher.

Seniors: 11yrs to 14yrs on 1st April 2018 Must have passed ISTD Grade 4, 5 or 6 Modern and no higher.

Premier: 13yrs to 16yrs on 1st April 2018 Must have passed ISTD Grade 6, Intermediate Foundation, Intermediate Modern or Advanced 1 Modern and no higher.

The qualifying examination for Juniors and Seniors must have taken place between 1st October 2016 and 1st April 2018. The qualifying examination for Premiers must have taken place between 1st April 2016 and 1st April 2018. There will be no exceptions to this rule.

Competitors must have been trained at the ISTD school entering them, from the dates below unless written permission is given by the previous principal.

The Dane Bank Theatre, South Cheshire College, Dane Bank Avenue, Crewe CW2 8AB

Conroy-Jones: cathiconroyjones@hotmail.com

SCOTLAND: 2nd October 2017

SOUTH EAST: 9th October 2017

SOUTH WEST: 9th October 2017

NORTHERN: 9th October 2017

SOUTHERN: 16th October 2017

Please note that numbers are limited at each heat. Heats may be closed to applications before the advertised closing dates if classes are oversubscribed.

HEATS CLASS CONTENT

JUNIOR CLASS

Set Grade 4 Warm Up

Two unset sequences, which may include the following technical content:

SENIOR CLASS

Set Grade 6 Warm Up

Two unset sequences, which may include the following technical content:

• Single Pirouette at low level, inwards/outwards

• Side Kicks

• Front Kicks

• Any Dance Vocabulary Steps from Grades 5 amd 6

NO DANCES WILL BE SEEN AT THE HEATS

PREMIER CLASS

Free Warm Up

Two unset sequences, which may include the following technical content:

• Any Dance Vocabulary Steps from Intermediate Foundation and Intermediate

• Double Pirouette at high or low level, inwards/outwards

NO DANCES WILL BE SEEN AT THE HEATS

PHOTOS BY JAMES HUDSON

NATIONAL DANCE

In Praise of Scottish Traditions

For Auld Lang Syne

The Scottish dance has the tension and passion of that land: the harsh seas, which see the men risk their lives away from their loved ones; the crofter, farmer, forester and game keeper whose daily struggle is rewarded when dancing in the village hall; the soldiers of that land who suffered so much and yet danced their regi mental dance with love and held their colours true.

Dance is not a fancy or frivolous activity to the Scots, it is the essence of their land and history, their very being, the great lochs, mountains and glens. Above all dance is passion. The one dance and song that unites the entire world and that every nation sings is written by a Scot in the Scots tongue and it tells of friendship never forgotten, of loved ones gone but always in your heart, of family members lost but forever cherished: Robert Burns’ For Auld Lang Syne That is passion and love.

Few places have dances and tunes known the world over. But Strathspey are played and danced from White House balls to events at the Kremlin. No other land’s traditional dances have survived and evolved the world over like Scottish country dancing. A ceilidh will be taking place somewhere in the world now and every minute thereafter. People in China and Argentina will be rehearsing for Burns Night. Robert Burns’

Editorial Contact: Julia Beattie +44 (0)2380 452911 | beattie.ballet@gmail.com www.istd.org/national

greatest known work tells the tale of Tam seeing the devil playing the pipes and witches and warlocks dancing. Even in this moral tale, dancing is at the very heart of the poem, as dancing and music is in the soul of every Scot from Unst to Coldstream.

If you have never experienced a ceilidh you have yet to live, and if you have, did you notice there is no pretension, only equals in dance and fun. Most importantly all ages from 4 to 104 years are in attendance. There has already been tartan on the moon, although not taken there by Neil Armstrong, a descendant of the wild Armstrongs of Liddlesdale, who danced many a reel and jig at family parties and loved this dancing heritage. No, Alan MacBean took the tartan, who also knew the Scottish dancing scene. So if a Scot follows Armstrong and creates the first space colony, expect a Caledonian Society to be formed and a weekly dance to follow.

Robert French, Dumfrieshire Historical Scottish Researcher and Tour Guide

Dance is not a fancy or frivolous activity to the Scots, it is the essence of their land and history

NATIONAL PRIMARY CLASS EXAMINATION COURSE

AT LIVERPOOL

On a chilly December Sunday morning I set off to the new ‘Studio 2’ centre in Liverpool to attend the new Primary Class Examination Course for National Dance. On our arrival we were warmly greeted by Barbara Simons, who has worked hard to create the syllabus.

Once inside the studio, Miss Simons gave us a brief introduction on how the children should be entered for the exam, the aims of the syllabus and she reassured us we were about to have fun dancing as Primary pupils!

Rather than studying different countries, the syllabus is a general introduction to National Dance. It is excellent for youngsters, as it requires partner work, which develops the children’s spacial awareness of their fellow dancers. Partner work also gives pupils the opportunity to make new friends, with less confident children relying on the support of a partner to dance with.

The class is set out in the usual way with warm ups, step sequences, rhythm and ends with a very sweet short dance sequence, including mime and most children’s favourite, the use of props. The syllabus is set to tunes of recognisable nursery rhymes and had us all humming along as we skipped and galloped around the studio.

I am happy to report that recently I have taught some of the syllabus to our younger pupils and used the warm-ups for our Junior girls. They all thoroughly enjoyed the work and it was lovely to see smiling faces from start to finish. The content would be

suitable for Primary school children and would be beneficial to dance teachers who have no previous National Dance knowledge.

Special thanks to Miss Simons who delivered the work in a fun and enthusiastic manner. As always, her passion for imparting knowledge and her encouragement left us all feeling inspired.

Gail Hedges

PRIMARY CLASS EXAMINATION AND MUSIC AVAILABILITY

The

Above: Participants in Liverpool

TAP DANCE

Intermediate Tap Reports from the official launch

Editorial Contact: Helen Green +44 (0)1708 743663 | helen.green26@ntlworld.com www.istd.org/tap-dance

The New Intermediate Tap syllabus had its official launch at the Lowry Theatre on 21st January with the successful demonstration of the work, performed by students from Doreen Bird College and Laine Theatre Arts. The exercises and sequences were creatively choreographed by Heather Rees and Alison Forrester with dance sequences from Ruth Armstrong and Hannah Willcocks. The students from both colleges gave a polished performance resulting in such comments as: “fabulous demonstration”, “slick and polished”, “inspirational” and “wow factor”.

The syllabus is currently being spread around the UK regional areas as well as overseas with the many courses efficiently arranged by the Education & Training Department. Teachers are urged to look for the nearest course to their own venue.

By Fleur Stevenson

On a very cold, snowy day we all arrived at The Lowry, a fabulous venue, looking forward to another day full of inspirational teaching, competition and demonstrations. After watching three very interesting and contrasting classes from The Royal Ballet Junior Associates, The Lowry Centre for Advanced Training and finally The Hammond School, we were all in for a treat watching the Bursary Awards. Here we saw some real talent and beautiful artistic, sensitive performances.

The packed day concluded with a special performance of the highly anticipated New Intermediate Tap syllabus. Well… what can I say? Wow! We were treated to students from Bird and Laine presenting select elements of this fabulous new work in the most energetic, brilliantly choreographed and vibrant performance.

The work is creative, stylish, relevant and fabulous. The students will love learning it and it will certainly push and develop them all, ready to hold their own in this fast paced and ever- changing industry.

The students that danced were a sheer delight of sassy style, bags of energy and clean precise technique. This new work will take the ISTD Tap Faculty forwards and keep us at the top of our game both here in Britain and Internationally. I can’t wait to learn the rest of the syllabus and really get my teeth into teaching it. Thank you to all involved in producing this amazing work.

By Samuel Wright

Growing up with an ISTD training from a young age, it was naturally an honour to be asked to work towards launching the new Intermediate Tap syllabus this year. We started the rehearsals back in October 2017 with five dancers including myself from Bird College and five dancers from Laine Theatre Arts. Rehearsals were led by Heather Rees and Alison Forrester who created the syllabus. Also present were two fabulous members of the teaching team, Ruth Armstrong and Hannah Willcocks.

The work will push and develop students, ready to hold their own in this fast paced and ever-changing industry

Being trained in Tap and other genres from a young age in Portsmouth by Sarah Williams, Tap has always been my first love and getting to work with such inspirational members of the ISTD has been a dream come true. After competing and being successful in the Marjorie Davies Tap Awards and other ISTD events it has always been my ambition to work with the outstanding staff of the ISTD and to be part of such a large project and this has been an unforgettable experience.

The 20-minute launch consisted of a variety of chosen material from the new Intermediate Tap syllabus – technical exercises, drills,

dance sequences, combinations and everyone’s favourite a Shim Sham finale and bow. All the dancers were so happy to be part of the wonderful experience and make the creative team proud of us performing their work. Audience members approached us afterwards to congratulate the dancers and our outstanding tutors, and expressed excitement about the dancing that was produced.

The updated syllabus, choreographed by Heather Rees and Alison Forrester, is fantastic and great fun to perform. It not only touches on traditional aspects of the dance genre but also has elements of current styles of Tap making it diverse for the candidates to perform. The dance combinations are superb additions to the syllabus. Ruth Armstrong choreographed the Theatre Tap combination and Hannah Willcocks choreographed the Commercial Tap combination, both of whom are members of the Tap Faculty at Bird College.

The syllabus is brilliant and it has been a privilege to bring the work of these fabulous people to life.

PRESTON COLLEGE COURSES

At Preston College there was a full house for the Day 1 Tap Course. There was a warm atmosphere and great welcome from Andrew Hindley, running the course and some great reunions with the current teachers as well as some new faces. This was followed by a course on the Day 2 section of the Intermediate, on 25th February. The revision day – only for those who have already attended a Day 1 and a Day 2 courses – will be held at Preston College on 29th April. Many thanks to Andrew for his efficient and early organisation of these courses.

TAP FACULTY COMMITTEE ELECTIONS

Election for the Tap Dance Faculty Committee opens this year. If you would like to be nominated or know of someone who should be nominated, please contact the ISTD Senior Administration Officer, Georgia Hussey (ext. 806), email: pa@istd.org. Those with Fellowship status only may apply. The deadline for applications is 1st May 2018.

The syllabus is brilliant and it has been a privilege to bring the work to life

Above: Intermediate Tap demonstrations at the ISTD Bursary Awards

Preston College Tap Course

ISTD Staff

Amy Fraser Customer Service Officer

Amy is the newly appointed Customer Service Officer that works within the Quality Assurance & Customer Services department, processing result enquires and complaints. Growing up in Swindon she first took to dance at the age of two when she began ballet, and later went on to disco dancing for a number of years, earning awards through the ISTD.

She moved to Bristol as a young adult and during her time there spent several years working in administration within the banking sector and later on the charitable sector. She moved to London last summer and worked within Customer Service and Events for the Alzheimer’s Society before joining the ISTD in November.

Amy enjoys visiting new cities, going to art and photography exhibitions and seeing live music.

Nicole Cronin Membership Assistant

Nicole is the Membership Services Assistant answering queries and enrolling new members into the society. Nicole began her journey in dance in Ormskirk where she studied Modern, Tap, Jazz and Ballet. After completing her A-Levels she went on to pursue her passion for dance, embarking on three years of Dance Performance and Teacher Training at Merseyside Dance and Drama Centre. Whilst training at dance college, Nicole studied teaching in both Modern Theatre and Tap before moving on to teach numerous genres at Ormskirk School of Dance. Nicole also worked on competition routines, show work and exam preparation throughout her time as tutor.

For a full list of our staff at HQ and their contact details, please visit: www.istd.org/about-us/people/istd-hq or see our directory on page 93.

Customer Services News

We are delighted that Amy Fraser (above) has joined the Customer Services & Quality Assurance department in a newly created role. As Customer Services Officer, she will be responding to telephone calls and emails regarding complaints about teachers, examiners and the ISTD in general, as well as concerns about results and marking, from both teachers and parents. We have done this because we would like to offer a faster and more efficient service, at the time when we realise you need answers not just for yourself but for your students. We handled around 150 of these last year, which we recognise is 150 too many, but small in comparison to the number of examination sessions we hold and the number of members we have. Each one takes many hours of careful attention, research and response, and we believe that a dedicated member of staff will improve this service.

Amy will also be processing requests for ISTD certificates for DBS Disclosures. We are glad to welcome Amy into the post. Her email is afraser@istd.org, and her extension number is 848.

New Year’s Honours

We would like to congratulate Sonia Bond, who received the British Empire Medal (BEM) in The Queen’s New Years Honours list, along with other prominent figures from the world of dance (Darcey Bussell CBE – Dame Commander of the Order of the British Empire; Robert Ramdhanie – Member of the Order of the British Empire; Lucille de Zalduondo Briance – Member of the Order of the British Empire; Akosua Boakye-Nimo – Medallist of the Order of the British Empire; Benjamin Hammond – Medallist of the Order of the British Empire).

Sonia, who is a great believer in the power of dance to help children’s confidence, founded the ever-popular Epping Forest Dance Festival in 1994, which is still running to this day. She is joint Principle of the Buckhurst Hill & Woodford School of Dancing with her sister, Juliet FISTD. Her career spans several decades and includes an array of examining, choreographing and adjudicating several national competitions. Both of her daughters teach dancing and her granddaughters are now dancing too, with one at the Central Ballet School. Sonia says her mother also danced, so that’s four generations of dancers. Sonia is a Fellow and Examiner for the ISTD and was Chair of the Classical Greek Dance Faculty from 1994–2002, and Vice-Chair for three years.

A Tribute to Elizabeth Burville FISTD

A Word from the Modern Theatre and Tap Faculty Committees

Although we knew that Liz was unwell, it was still a dreadful shock when we heard that someone as young and vibrant as she was, had passed away. The last time I saw Liz was at the Bird graduation show last July. She looked as beautiful and glamorous as ever, which belied how unwell she actually was. Typically, Liz wanted to keep up-todate with everything theatrical and made a point of always attending her old college’s shows if she was able.

She was such an inspiration to so many people and her love for life was the driving force that pushed her to make the absolute most of every moment that she could. The photos of her are stunning, but apart from her immediate beauty, what draws you in is the kindness that radiates from her eyes. When I have mentioned Liz to anyone that knew her well, there is an instant recollection of personal stories that all have one thing in common – it is her giving nature that runs true in each person’s experience of Liz. She was a beautiful lady, inside and out and will be sadly missed by all who were fortunate enough to have known her.

At a recent examiners’ meeting, we promised to raise a glass of something ‘long and blond and bubbly’ in her memory. I think she would have been embarrassed by the analogy but in my mind she was exactly that – as elegant and stylish as a tall glass of effervescent champagne!

Our hearts go out to Stuart and the children. I hope that knowing just how much Liz meant to so many people will bring them comfort in the days to come. With much love from the Modern Theatre and Tap examiners and committees.

Tereza Theodoulou, Modern Theatre Faculty Chair (and Jackie Hayward, Tap Faculty Chair)

By Debbi Parks

Liz and I first became friends when I was booked to play for some ballet exams at her dance studio in Bexley in 1994 and on arriving found that we both had something in common – baby bumps! Our “babies” are now 23, and those 23 years have been a rollercoaster ride of exciting projects and events that have gone on to shape careers and futures in more ways than she could have imagined.

From her early days at Doreen Bird College, where Liz was Head Girl, she showed determined leadership qualities. After a varied performing career starting with Worzel Gummidge (the 1979 ITV

children’s television programme starring Jon Pertwee and Una Stubbs), dancing on cruise ships and in films, (Indiana Jones and the Temple of Doom), modelling and appearing yearly as panto fairy and choreographer at the Orchard Theatre. Liz became a Modern and Tap examiner for the ISTD and took over the running of a local dance school, owned by Margaret Ward, which at that time operated in a church hall. After acquiring premises in Bexley cricket ground, this went on to become the very successful Liz Burville Performing Arts Centre, where she taught ISTD Ballet, Modern and Tap as well as drama, musical theatre and many other associated subjects, winning many awards in both local and international dance competitions.

The school produced what can only be described as ‘epic’ biannual productions at the Orchard Theatre, Dartford , The Stag Theatre Sevenoaks and The Bob Hope Theatre, Eltham for many years. The scenery and prop making team headed by Doug Burville (Liz’s dad) excelled themselves year after year creating bigger and better sets including a full size drivable double decker red bus for Sizzling Summer Holiday. Live music was always part of the deal, and I spent many happy years in the pit (and on the top deck of the bus) as part of the band. These shows provided such valuable experience for her young students, a great many of whom are now enjoying varied careers in the industry, covering all genres from West End and touring MT, Hollywood movies, TV dramas, ballet, contemporary and commercial dance with ex-students recently playing leading roles in various Matthew Bourne productions, 42nd Street, Hamilton, Legally Blonde, Sherlock, Matilda, The Wizard of Oz, School of Rock to name but a few.

In 2000 the Dance Centre expanded to include part-time vocational students, and Liz’s small but select college, the Millenium

We remember the loved and respected Modern and Tap examiner, who sadly died on 1st January this year

Liz celebrating 25 years of the Liz Burville Performing Arts Centre

She was such an inspiration to so many people

Musical Theatre College was born, for which I was engaged as Musical Director. Our students were invited to pilot the then new Trinity College London ATCL in Musical Theatre Performance, and following their successes, we were both subsequently invited to join the Trinity College Drama examining panel to add music and dance specialism to the new MT and Performing Arts syllabi – a position which has taken us both to many far flung places around the world to examine all genres of performing arts.

Alongside the Dance Centre and MT College, Liz formed In the Wings Productions to enable selected talented students to gain further performing experience, often taking pantomimes and home grown musicals on tour around the country as far afield as the Edinburgh Festival. As well as the students and professional actors who performed with this company, the creative nature of the work gave fantastic opportunities to a team of directors, writers and composers, many of whom have also gone on to work at the top of their chosen fields. Her endeavours were always supported by an enthusiastic team of mums and dads sewing costumes, building and painting scenery and there was always a happy family atmosphere prevailing. For five years, under Liz’s leadership, the company produced original Christmas shows such as The Snow Queen, The Little Mermaid, Clara and The Nutcracker, The Sorcerer’s Apprentice, Thumbelina, Arabian Nights and Peter Pan – A Rock Fantasy for the Charles Cryer Theatre in Carshalton and the Secombe Theatre in Sutton. Over the years Liz was also responsible for running the Dartford Youth Theatre, Grow Your Own Show summer schools at the Mick Jagger Centre in Dartford, choregraphing fashion shows for John Lewis and all manner of educational projects in schools and the community, too numerous to mention.

As with all good teaching, the lessons learned are often far reaching and this can be seen in many of her former students and creative team who are now working successfully in the performing and teaching industry covering singing, dancing and acting right through to musical directing, choreographing, script writing and composing. This was Liz’s 30th year in the business and it would not be an exaggeration to say that a great many people owe their success and happiness to the generous opportunities that Liz gave them, not least me!

Liz battled cancer bravely. She always looked to the future with optimism, refusing to accept that she might not be here to enjoy it. Even in her last few weeks, despite constant pain she travelled to China to be on the judging panel for the Miss World Competition, and although she was not well enough to travel to Disneyland Paris with her troupe of dancers in October, they were awarded the Disney Grand Champions accolade. In the same week Liz was also the winner of the Anita Thompson Special Award at Kent Dance Challenge, the announcement of which had the entire

audience on their feet cheering – a fitting tribute to a truly gifted lady who gave her all for her students.

Liz always relished a challenge, and had an insatiable entrepreneurial spirit that never diminished quite literally right up until the last few days before she sadly passed away on 1st January 2018. She was always planning her next show, be it at her Studio Theatre in Bexley, Disneyland Paris, Hollywood or on a cruise liner in the Mediterranean, there was always a plan hatching (… for which she might just need some music composing…). She always had a flair for bringing people together, whether to get creative and “make a show”, to raise money for charity or just to party. Her infectious enthusiasm and spirit rubbed off on everyone who met her. Despite her full-on work ethic, Liz still found time for two talented children, several dogs, and a loving husband! We will all miss her very much.

By Jacqui Tapsell

I am both proud and honoured to share that Liz was a very good friend of mine, both in my professional and personal world. I had known Liz for over 30 years. She was a beautiful person and I will miss so much.

I would like to share my two sides of friendship with Liz. Firstly, the professional side: Liz inspired so many young performers in the world of dance and musical theatre. Her passion and commitment was always clear to see and a real pleasure to watch. Liz thrived on being busy and absolutely loved her work and that is why she was so good at it and successful. I am so sure we are going to see some great stars in the future, who started their performing arts journey trained by Liz. Secondly, she was a dear friend and we spent a number of times together being totally daft and silly, always laughing together and never taking life too seriously. Liz had a carefree attitude and her zest for life was truly contagious. Whenever our days together came to an end I always left her company with a spring in my step.

My promise to Liz is that I will continue to keep that ‘spring in my step’ in her honour. Thank you, Liz, for some of the best times shared – love you and miss you dearly.

Liz always relished a challenge and had an insatiable entrepreneurial spirit

Liz’s zest for life was truly contagious

Above: Liz Burville, Head Girl at Bird College, standing on the right of Pat Izen (or “Mrs I”)

EXAM SUCCESSES

We congratulate the following members of the Society who have achieved success in their teaching qualifications.

DIPLOMA IN DANCE EDUCATION LEVEL 4

IMPERIAL CLASSICAL BALLET

Italia Conti Arts Centre

Jacqueline Adu-Sarkodie Pirouette Academy of Dance

Emma Thompson

Anne Gale School of Dance Trudie Woolhead

MODERN THEATRE DANCE

Italia Conti Arts Centre

Jacqueline Adu-Sarkodie

Dance Lab Devon

Fiona Campbell Robyn Cummins

Ellite Studios

Deborah Ann Hoskins

Danscentre

Maxine Low Hamilton

The Linda Sweetzer

Teacher Training College

Rebecca Sandall

Inchicore College of Further Education

Hannah Troy Dance Academy South West Kimberley Dawn Tulloch

Dance Teachers Inc.

Samantha Underwood Chichester College Poppy Marie Wright

NATIONAL DANCE

Maureen Jeffery School of Dance Karolina Romaniszyn-Tong

TAP DANCE

Italia Conti Arts Centre (Guildford Site)

Jacqueline Adu-Sarkodie Guildhall School of Dancing Amie Blake

Dance Lab Devon

Fiona Campbell

Robyn Cummins

Dance Teachers Inc.

Samantha Underwood

DIPLOMA IN DANCE

PEDAGOGY LEVEL 6

IMPERIAL CLASSICAL BALLET

Nadine Brenton

MODERN THEATRE DANCE

Julie Bromage Adele Mason

ASSOCIATE

AUTHENTIC AND EMERGING DANCE

Marie Huguette Cupidon (Mauritius)

Stavros Latsias (Cyprus) Fadwa Nastas (Cyprus)

CECCHETTI CLASSICAL BALLET

Tone Karoline Stolsmo (Norway) Julia Stefanny Olsen (Norway)

COUNTRY AND WESTERN Siew Lan Pang (Singapore)

DISCO/FREESTYLE

Marilia Chorianopoulou (Greece)

Sotiria Florou (Greece)

Evangelia Kalavri (Greece)

Vasiliki Kokkovou (Greece)

Eleni Kyriakou (Greece) Tia Thorp (UK)

Alkmini Torrens (Greece)

Emma Watkins (UK)

IMPERIAL CLASSICAL BALLET

Alisha Ahmadi (Canada)

Phei Chen Liew (Malaysia)

Claire Glover (South Africa)

Yik Lin Liew (Malaysia)

Ana Roca Joglar (Mexico)

Sonia Yabo (South Africa)

LATIN AMERICAN DANCE

Zolt·n Bihari (UK)

Jorge F. Trumata (Malaysia)

Cha Hee Shin (South Korea)

Hyeon Joo Song (South Korea)

Emma Kempson (UK)

Ji-Yeon Kim (South Korea)

Lai Kwan Chan (UK)

Lai Kwan Hung (Hong Kong)

Alexandra Poulopoulou (Greece)

Polina Rays (Hong Kong)

Hau Shan Ho (Hong Kong)

Wai Shan Ivy Wany (Hong Kong)

Cindy Sin Yee Chung (Malaysia)

Jong Taek Choi (South Korea)

Leung Wing Cheung (Hong Kong)

Chung Yin Lau (Hong Kong)

MODERN BALLROOM

Peter Arnold (UK)

Stephen Arnold (UK)

Beverley Craig (UK)

Anthony Eggleston (UK)

Ga Eul Um (South Korea)

Judy Hsu (Hong Kong)

Lawrence James (UK)

Martin James Gould (UK)

Young Joo (South Korea)

Masahiro Kitagawa (South Korea)

Jeffrey L Ramiento (UK)

Po Ping Pat (UK)

Chan Soo Jee (South Korea)

Mi Sook Jang (South Korea)

Jong Taek Choi (South Korea)

Kin Wai Low (Singapore)

Chi Wan Leung (Hong Kong)

Jun Yong Song (South Korea)

Mi Young Lee (South Korea)

MODERN THEATRE DANCE

Alisha Ahmadi (Canada)

Loreto Cabrera-Lex (South Africa)

Shayla De Carvalho (South Africa)

Hui En Tang (Malaysia)

Jakita Evagllia Kapatos (South Africa)

Lillian Grant (Australia)

Bridget Green (Australia)

Roxanne Hughes (South Africa)

Robyn Jade Ivey (South Africa)

Kayla-Dee Knowles (South Africa)

Lara Kunz (South Africa)

Natasha Laing (South Africa)

Kai Min Chew (Malaysia)

Tamsyn-Leigh Potgieter (South Africa)

Peter Robert Viljoen (South Africa)

Casey Sawyer (Australia)

Lieze Schutte (South Africa)

Lauren Sturgess (South Africa)

Leoni Sullivan (New Zealand)

Joyce Sze Tynn Lee (Malaysia) Kelly Tan (Malaysia)

Lukho Tofile (South Africa) May Yen Loh (Malaysia)

ROCK ‘N’ ROLL

Michelle Arnell (UK)

STREET DANCE

Bethany Higgs (UK) Lauren Johnson (UK)

TAP DANCE

Isabella Bankovic (Australia) Ashleigh Bezzina (Australia)

Devin Butterworth (South Africa)

Loreto Cabrera-Lex (South Africa)

Shannon Dawn Hancock (South Africa)

Johanna Duguid (Canada) Meghan Jarvis (South Africa)

Liam Tamejen Gillespie (South Africa)

Tiffany Theresa Ramphul (South Africa) Alicia Ward (Canada)

ASSOCIATE DIPLOMA

IMPERIAL CLASSICAL BALLET

Lorraine Bennett (Australia)

Shannon Collard (Canada)

Melanie Dance Peck (Canada)

Sune-Lee Esch (South Africa)

Hoai Trang Luu (Vietnam)

Kerryn Van Der Merwe (South Africa)

MODERN THEATRE DANCE

Bronwyn Ellis (South Africa)

Sune-Lee Esch (South Africa)

Melisande October (South Africa) Kerryn Van Der Merwe (South Africa)

TAP DANCE

Kylie Ann Aliferis (Australia)

Robyn Jade Ivey (South Africa)

Francois Johan Wagener (South Africa)

Rebecca-Rose Reid (New Zealand)

FELLOWSHIP

CECCHETTI CLASSICAL BALLET

Jonathan Peter Payn (UK)

CLASSICAL SEQUENCE

David A Keal (UK)

IMPERIAL CLASSICAL BALLET

Kyla Gallant-Sova (UK) Frida Yosif (UK)

LATIN AMERICAN

Cindy Chui Fong Li (Hong Kong)

Marie Huguette Cupidon (Mauritius)

Lee Hwa-Sub (South Korea)

Chung Leung Chan (Hong Kong) Louise Sampson (UK)

Yuen Sheung Kwok (Hong Kong)

Tae Won Kim (South Korea)

MODERN BALLROOM

Philip Blackburn (UK)

Chung Leung Chan (Hong Kong) Yun Na Lee (South Korea)

MODERN THEATRE DANCE

Niki Biniari (Greece)

William Jones (South Africa) Natalie Potter (UK)

ROCK ‘N’ ROLL

Elizabeth Suzanne Hammond (UK)

TAP DANCE

Belinda Basu (UK)

Despina Kassartou (UK)

Meritxell Paradell (UK) Helen Parker (UK)

LICENTIATE

CECCHETTI CLASSICAL BALLET

Holly Unnuk (UK)

CLASSICAL GREEK DANCE

Glynis Hall (UK)

DISCO/FREESTYLE

Michail Elpidoforou (Greece)

Erin-Lea Murphy (UK) Isla Selley (UK)

IMPERIAL CLASSICAL BALLET

Johanna Grace Hadley (UK)

Carly Hall (UK)

Eun Kyung Yoo (Canada)

Francesca Rizzi (Italy)

LATIN AMERICAN

Nora Aznin Ridzwan (Malaysia)

Um Dong-Chan (South Korea)

Dao Er Lim (Malaysia)

Yu Jin Kim (South Korea)

Wing Kiu Tsang (Hong Kong)

Hang Ping Henry Tse (Hong Kong)

Jonnel Ramas (Malaysia)

Alice Sui-Ki Lui (Hong Kong)

Paulino Tabar Jr. (Malaysia)

Tyng Tyng Chan (Malaysia)

Chi Wan Leung (Hong Kong)

Joan Xiojuan Lee (UK)

Jia Yi Ng (Malaysia)

MODERN BALLROOM

Kwai Chun Connie So (Hong Kong)

Um Dong-Chan (South Korea)

Robinson Duco (Malaysia)

Ng Guan Teck (Singapore)

Mei Hung Minna Ng (Hong Kong)

Tat Kong Nelson Ng (Hong Kong)

Wong Lai Na (Hong Kong)

Felicity Margaret Jinu (Malaysia)

Joe Ming Kwan Cheung (Hong Kong)

Akiko Ueno (UK)

Suk Yee Christina Leung (Hong Kong)

Randell Lim Xiu Zhen (Malaysia)

MODERN THEATRE DANCE

Artemis Adami (Greece)

Sabrina Borzaga (Italy)

Marguerite Bredell (South Africa)

Kimberly Dixon (Canada)

Vicky Jarman (UK)

Sheahan Keinick (Canada)

Niki Melemeni (Greece)

Elizabeth Newton (UK)

Verity Penn (UK)

Joana Pinto (Portugal)

Nicola Stott (UK)

TAP DANCE

Elizabeth Constantine (UK)

Hannah Frances Gibson (UK)

Charis Holdsworth (UK)

Joe Kennedy (UK)

Natalie Lane (UK)

Charlotte Ormerod (UK)

Abigail Waite (UK)

VIENNESE WALTZ

MODERN BALLROOM

Camelia Devi Lasmana (Malaysia)

Russell Jian Liang Lim Malaysia

Zjen Thak Chua (Malaysia)

Sarah Till (UK)

Well done from all of us at the ISTD

Dance brings me joy and fulfilment and makes me feel as though I belong. After saying I would love to start dance classes at the age of four, my parents took me to my local Latin and Ballroom dance school. I can vividly remember getting in the car kicking and screaming. I refused to take part and sat with arms folded, staring at the ground. Of course, that didn’t last long and in no time I was up taking part, loving every minute of it. That day was the beginning of a lifelong commitment and love.

I danced Latin and Ballroom for 12 years, and competed in competitions including the British Juvenile and Junior Formation Team Championships in Blackpool, with my partner Tom. Whilst I was training in Latin and Ballroom I completed numerous ISTD exams. I studied dance at school at GCSE and A-Level and I knew that dance was what I wanted to continue with at university.

I went to Middlesex University and studied BA (Hons) Dance Performance and had the time of my life. It wasn’t always easy but I came out with a First Class degree and would do it all again if I could. Throughout my time at Middlesex I had the opportunity to develop my contemporary technique and trained daily in Release, Cunningham, Humphrey, Graham and Ballet.

Studying Dance Performance at Middlesex presented me with countless opportunities to learn and grow as a performer, choreographer, teacher, writer and ambassador. I had the chance to combine my knowledge as a performer and choreographer during the process of creating two new works. The collaborative process of creating a piece with my peers and a professional choreographer was thoroughly

enjoyable and enabled me to identify how I work best when creating choreography.

During my time at Middlesex I also took on the role of a Student Learning Assistant, for which I was required to mentor a group of first year dance students throughout their academic and general university life. This role developed my confidence and I discovered I had a keen interest in helping others, especially as I had been in their position previously. I feel extremely proud to have graduated from Middlesex University. I will be forever thankful for the life-long friends I’ve made and the help and support I received from my lecturers.

I am currently working at Trinity Laban Conservatoire of Music and Dance as the Dance Programme Support intern. So far I have had the chance to work with staff across the faculty departments, including Registry, Scheduling, Production, AV/ IT, Library and Marketing. This internship is enabling me to apply the skills I acquired during university to a professional role, whilst working alongside several established people in the dance field.

Plans for the future… is a big question to answer. Alongside my work at Laban I am exploring several avenues – dance writing, marketing and I am also in the initial stage of getting involved with a company who work on using physical activity to encourage people to achieve a higher state of consciousness – I’m taking every opportunity I can to get involved in order to figure out where I want to go and what I want to do. I’m learning to enjoy the process rather than being fixated on the outcome.

Emma Boxall

I’m learning to enjoy the process rather than being fixated on the outcome

I feel extremely proud to have graduated from Middlesex University

CLASSIFIEDS

DANCE SCHOOL ADMINISTRATOR VACANCY

South London Dance School is recruiting for a self-employed school administrator. Working days and times can be flexible. Must have excellent communication and organisational skills, plus very good attention to detail. Apply with CV and covering letter to info@ southlondondancestudios.co.uk

ISTD BALLET TEACHER REQUIRED – BUSHEY

ISTD Ballet teacher required for family friendly busy school in Bushey. Permanent post from September 2018 for Mondays and possibly more for enthusiastic dedicated teacher. Please reply to lorraineohanlon@hotmail.com

FREELANCE JAZZ AND ISTD MODERN & TAP TEACHER REQUIRED –NOTTINGHAMSHIRE

Busy and friendly dance school in Nottinghamshire is looking for a reliable, motivated and creative freelance Jazz teacher and/or ISTD qualified Modern and Tap teacher to join our hard working team. RAD or ISTD Ballet knowledge would be useful. Exciting opportunity to teach Jazz, Modern, Tap and Pre-school ballet for enthusiastic students of all ages 3–18yrs on Tuesdays and Saturdays (post can be split between teachers if necessary). An interest in choreography for regular performances would be advantageous. ISTD applicant would preferably hold DDI/DDE or be working towards. Good rates of pay, scope for more opportunities within the school. Position wanted for April 2018. Please submit CV with covering letter to Box number 66.

DANCE TEACHER REQUIRED –HERNE HILL

South London Dance School in Herne Hill is looking for an inspiring teacher who is an ‘all-rounder’ to choreograph and coach festival dances and hold workshop classes for our festival team on a Sunday (approx. six hours work). You do not need to be ISTD qualified for this position but need bags of energy and a great technical eye. Send CV to katie@ southlondondancestudios.co.uk

BALLET TEACHER REQUIRED –WOKING, SURREY

Permanent post for a Cecchetti/ ISTD/RAD qualified teacher to join our friendly, well established school on: Mondays at 2.00–7.30pm, Thursdays at 4.00–7.00pm, Fridays at 3.00–5.00pm and Saturday at 9.00am–2.00pm. Babies to Intermediate. Pianist and class assistant available for most classes. Ability to choreograph for shows and prepare for exams. Must be reliable, love working with children, punctual, committed. Car driver an advantage. Very good rates of pay. To apply for this vacancy please contact dianacremona@hotmail. com/info@cremonadance.com Tel: 0777 385 1795.

DDE/DDI QUALIFIED ISTD BALLET/MODERN TEACHER(S) REQUIRED – BRIGHTON

Established school. We are a friendly busy school looking for one or more teachers to take over from our current teacher who is relocating. Monday, Thursday and Friday afternoons/evenings to teach a variety of grades to exam level up to Grade 6, including Pre-School Ballet. Tap an advantage. Permanent position. Please email danceartstudio@ntlworld.com for more information.

DANCER TEACHERS REQUIRED – CHINA

The Conservatory of International Style and Cultural Arts (CISCA), is looking for full time teachers in a variety of dance genres. We have two schools; one in Beijing the other in Shanghai. We are looking for enthusiastic teachers to join our team, who are willing to teach a variety of age groups from children to adults. We offer a vocational and recreational stream to the school. Students have the opportunity to undertake examinations in Ballet, Tap and Modern, along with many opportunities for performances during the year. This is a salary paid job with accommodation and flights and visas. Teachers do not need to be able to speak Chinese as classes are all taught in English. For more information contact becky@ cisca.com.cn

FULL-TIME BALLET TEACHER FOR THE LEWIS FOUNDATION OF CLASSICAL BALLET –BANGALORE, INDIA

Friendly, confident full-time ballet teacher required for graded and vocational ISTD Imperial Ballet; ISTD, RAD or other equivalent qualification preferred. Salary dependent on qualification and experience. For more information and application please send your CV and cover letter to dev@tlfcb.org

DANCE SCHOOL FOR SALE –CHESHUNT

Well established dance studio, teaching ballroom and LatinAmerican. Purpose built studio with 19 metre x 10.75 metre sprung maple floor and licensed bar. Classes every weekday evening, plus social dance every Saturday evening. Private lessons at other times. Parking is available immediately outside. Leased from local council. “Goodwill” to be discussed. The dance studio is situated in Cheshunt, Hertfordshire, just north of Junction 25 of the M25. For more information please contact jennie.dickinson@ntlworld. com

Classified Advertising Rates

We offer text only advertising on three different platforms: DANCE Magazine, the ISTD website and our social media pages (Facebook and Twitter).

For placement on/in ONE of the above = £24.95

For placement on/in TWO of the above = £44.95

For placement on/in all THREE of the above = £54.95

Max word count – 150 words

Private Box Number Service: If you do not wish to publish your contact details you can request a private box number. This means that applicants will contact the ISTD marketing department first, then we will forward any enquiries to you. This is available on request free of charge.

IMPORTANT NOTES:

• If you choose to place job vacancy in DANCE magazine, please consider your application deadline and print dates to avoid disappointment.

• If you choose to place a job vacancy online please be aware we cannot produce live links.

For more classified adverts please visit www.istd.org/about-us/ classifieds/current-classified-ads

• If you choose to place a job vacancy on social media, please include the Facebook and Twitter handles (for example @ISTDdance) of your company should you wish to be mentioned/tagged.

• All classified adverts must be provided in writing via email. We cannot accept any bookings over the phone.

• Payment is required by card or BACs transfer before any advertising can be published.

Applicants for advertised positions should be aware that the ISTD takes no responsibility for the terms of any employment contract issued by a school or business, including any overseas, for which they should take legal advice as necessary. The ISTD cannot mediate in any employment dispute.

To book your classified advert, please email marketing@istd.org for a booking form.

DBE President

DIRECTORY

COUNCIL

Chair

Sue Passmore Vice Chair Erin Sanchez

Simon Adkins

Kay Ball

Julie Earnshaw

Christopher Hawkins Jeremy Kean Karen King

Annabelle Mannix Keith-Derrick Randolph Vivienne Saxton

Sho Shibata Chitra Sundaram Elisabeth Swan Julie Tomkins

FINANCE, GENERAL PURPOSES AND AUDIT COMMITTEE

Chair

Jeremy Kean Committee

Julie Earnshaw Sue Passmore Erin Sanchez Chitra Sundaram

NOMINATION AND REMUNERATION COMMITTEE

Chair Elisabeth Swan Committee

Simon Adkins Kay Ball

Sue Passmore Sho Shibata Julie Tomkins

GRAND COUNCIL

President

Dame Beryl Grey DBE, DMus, DLitt, DEd, FRSA

Kenneth Challinor

Robert Cohan CBE

Anthony Crickmay

Tudor Davies

Sir Anthony Dowell CBE

Mary-Jane Duckworth

Peter Eggleton

Barbara Fewster OBE

Lesley Garrett CBE

Barbara Grover

Robert Grover

Dr Stanley Ho Gr of OIH, Chev Leg

Anthony Hurley

Peter Kyle

Anthony van Laast

Betty Laine OBE

Lorna Lee

Anne Lingard

Gillian Lynne CBE

Sir John Manduell CBE

Professor N F Morris MD, FRCOG

Olive Newson

Dame Merle Park DBE

Linda Pilkington

Patricia Prime

Stephen Remington

Angela Rippon OBE

Michael Rose

Delia Sainsbury

Yvette Sargent

Michael Stylianos Doreen Wells, Marchioness of Londonderry Sir Peter Wright CBE, DMus (Lond), FBSM, DLitt (B’ham)

ISTD HQ

22/26 Paul Street

London EC2A 4QE

Main Tel: +44 (0)20 7377 1577 www.istd.org

Admin Fax: +44 (0)20 7655 8859

Education & Training Fax: +44 (0)20 7247 8309

Uk Examinations Fax: +44 (0)20 7655 8879

International Examinations Fax: +44 (0)20 7539 9262

EXECUTIVE OFFICE

Chief Executive Officer

Hassan Khan (ext. 805) hkhan@istd.org

Artistic Director

Ginny Brown (ext. 809) gbrown@istd.org

Artistic Projects Manager Michaela Ellis (ext. 807) mellis@istd.org

Senior Administration Officer Georgia Hussey (ext. 806) pa@istd.org HR Officer TBC

BUSINESS DEVELOPMENT & MEMBERSHIP SERVICES

Business Development & Membership Services Manager

Chelsea Franklin (ext. 804) cfranklin@istd.org

Membership Services Administrator Carl Bardsley (ext. 891) membership@istd.org

Membership Services Assistant Nicole Cronin (ext. 892) membership@istd.org

FINANCE & ADMINISTRATION DEPARTMENT

Finance Manager

Sintayehu Billat (ext. 851) sbillat@istd.org

Assistant Accountant Kazim Saglam (ext. 855) ksaglam@istd.org

Accounts Payable

(Maternity cover for Sarah Iriogbe) Chandni Patel (ext. 852) cpatel@istd.org

Accounts Receivable

Raeline Moody-Wyse (ext. 854) rmoodywyse@istd.org

Accounts Receivable Sandra Murdoch (ext. 850) smurdoch@istd.org

PROJECT, OPERATIONS & FACILITIES DEPARTMENT

IT Manager

Ledonson Lewis (ext. 817) llewis@istd.org

IT Assistant Shamar Brown shamarb@istd.org

ISTD HQ Receptionist

Laura Henderson (ext.800) receptionHQ@istd.org

ISTD HQ Facilities Manager Chris New (ext. 812) cnew@istd.org

UK EXAMINATIONS DEPARTMENT

Head of UK Examinations

Liz Wills (ext. 871) lwills@istd.org UK Examinations Manager

Danielle Wojtylo (ext. 878) daniellew@istd.org

Senior UK Examinations Officer

Amanda Adams (ext. 876) aadams@istd.org

Dancesport Examinations

Administrator (Timetables and reports)

Sarah Brown (ext. 880) sbrown@istd.org UK Centres Officer

Sadie Serridge (ext. 874) sserridge@istd.org UK Examinations Officer

Rosanna Whittle (ext. 875) rwhittle@istd.org UK Examinations Officer

Kerry Mian (ext.) kmian@istd.org UK Examinations Administrator

Alia Mehmood (ext. 873) aliam@istd.org

Dancesport Medals Administrator

Brian Sanders (ext. 890) bsanders@istd.org UK Examinations Administrator

Georgina Bell (ext. 879) gbell@istd.org UK Examinations Administrator Katy Beckett (ext 877) kbeckett@istd.org

INTERNATIONAL EXAMINATIONS DEPARTMENT

Head of International Exams

Robert Fox (ext. 860) rfox@istd.org

International Examinations Manager

Eve Drakouli (ext. 862) edrakouli@istd.org (Malta)

International Examinations Officer (Dancesport)

Julie Harries jharries@istd.org

International Examinations Officer

Cynthia Ize (ext. 868) cize@istd.org (Australia, Canada, New Zealand, USA) International Examinations Officer

Metaxia Ypsilanti (ext. 866) mypsilanti@istd.org (Cyprus and Greece)

Dame Beryl Grey

Hassan Khan Chief Executive

Sue Passmore Chair

Ginny Brown Artistic Director

International Examinations Officer

Stephanie Russo (ext. 864) SRusso@istd.org (Germany, Gibraltar, Mexico, Portugal, Spain, Kenya, South Africa)

International Examinations Officer Negin Vaziri (ext. 865) NVaziri@istd.org (Belgium, Italy, Luxembourg, Netherlands, Norway, Switzerland)

International Examinations Officer

Alex Batts (ext. 867) abatts@istd.org (Bahrain, Barbados, China, Hong Kong, Japan, Kuwait, Indonesia, India, Ireland, Macau, Malaysia, Qatar, Seychelles, Singapore, Saint Lucia, Taiwan, Thailand, Trinidad, United Arab Emirates, Vietnam)

International Examinations Administration Officer

James Smyth-Tyrell (ext. 861) jamesst@istd.org International Examinations

Administrator

Chelsea Fox (ext.863) cfox@istd.org

EDUCATION & TRAINING DEPARTMENT

Head of Education & Training Louise Molton (ext. 844) lmolton@istd.org

Professional Development Manager Melanie Curtis (ext. 833) mcurtis@istd.org

Professional Development Co-ordinator Georgina Winterborne (ext 835) gwinterborne@istd.org Education & Training Assistant TBC

International Professional Development Co-ordinator Valentina Grecchi (ext. 836) vgrecchi@istd.org

International Professional Development Assistant Megan Garner (ext. 831) mgarner@istd.org

Teacher Training Manager James Savva (ext. 837) jsavva@istd.org

Initial Qualifications Co-ordinator Gemma Bridge (ext. 834) gbridge@istd.org

Higher Qualifications Co-ordinator Kathryn Bye (ext. 837) kbye@istd.org

MARKETING & COMMUNICATIONS

DEPARTMENT

marketing@istd.org

Head of Marketing & Communications

James Scanlan (ext. 820) jscanlan@istd.org

Design & Publications Manager (Mon, Tues & Wed, working out of office)

Tamsin Moore tmoore@istd.org

In-House Graphic Designer Leanne Armstrong (ext. 821) larmstrong@istd.org

Marketing & Communications Officer

Katie Andrews (ext. 822) kandrews@istd.org

Online Marketing Officer (Tue & Wed only)

Birgit Diggins (ext. 823) bdiggins@istd.org Shop Manager

David Wood (ext. 810) sales@istd.org Shop Assistant

Simon Hidson (ext. 811) sales@istd.org Librarian (Mon & Thurs only)

Sarah Jardine-Willoughby (ext. 813) sjardine-willoughby@istd.org

CUSTOMER SERVICES & QUALITY ASSURANCE DEPARTMENT

csqa@istd.org

Head of Customer Services & Quality Assurance

Cynthia Pease (ext. 840) cpease@istd.org

Quality Assurance Manager Gemma Ward (ext. 841) gward@istd.org

Customer Services Officer

Amy Fraser (ext. 848) afraser@istd.org

Complaints & Result Enquiries –complaints@istd.org

Quality Assurance Officer (Dancesport & International Examinations and Additional Needs) Amy Williamson (ext. 846) awilliamson@istd.org

Applications for Reasonable Adjustments (ARA) – ara@istd.org Quality Assurance Assistant (Dancesport and International Examinations)

TBC

Quality Assurance Officer (UK Theatre Examinations)

Lloyd Ford (ext. 847) lford@istd.org

Quality Assurance Assistant (UK Theatre Examinations) TBC

Professional Qualifications Officer

Toyin Makanjuola (ext. 845) toyinm@istd.org Professional Qualifications Officer TBC

Professional Qualifications Assistant Luisa Amponsah (ext. 842) lamponsah@istd.org

Applications Support Analyst Matt Kudzio (ext. 849) questdev@istd.org

IMPERIAL DANCE & DANCESPORT FACULTIES

Chair

BOARD

Julie Tomkins Vice Chair

Christopher Hawkins

The Dancesport Faculties’ Board consists of two representatives from each of the Ballroom, Latin American, Sequence, Disco/Freestyle/Rock ‘n’ Roll and Club Dance Faculty Committees.

DISCO/FREESTYLE/ROCK ‘N’ ROLL FACULTY

Chair

Paul Streatfield Vice Chair

Maria Howse Nigel Kirk Committee Michelle Arnell Jonathan Reed Julia Westlake Faculty Co-ordinator Penny Childs

LATIN AMERICAN FACULTY Chair

Julie Tomkins Vice Chair Graham Oswick Committee Janet Clark Simon Cruwys Matthew Cutler Paul Killick

Crystal Main Faculty Co-ordinator Joanne Blackshaw

AUTHENTIC & EMERGING DANCE SUB-COMMITTEE

Suzanne Hammond Ralf Schiller Faculty Co-ordinator Charles Richman (also on Committee)

MODERN BALLROOM FACULTY

Chair

Christopher Hawkins Vice Chair Warren Boyce Committee Margaret Connon Malcolm Hill Vernon Kemp Anne Lingard (Invited Member) Ian de Souza Paula Goodyear Faculty Co-ordinator Joanne Blackshaw

SEQUENCE FACULTY

Chair Jill Bush Vice Chair Robert Aldred Committee Louise Aldred Louise Sampson Diana Wykes Faculty Co-ordinator Katherine Costain

IMPERIAL DANCE & THEATRE FACULTIES BOARD

Chair

Kay Ball Vice Chair Vivienne Saxton Cecchetti Ballet Catherine Hutchon Cara Drower Classical Greek Carol Vasko Fiona Sheehan

Classical Indian Dance

Sujata Banerjee Nina Rajarani Imperial Ballet

Judith Hockaday Modern Theatre Tereza Theodoulou Lyn Richardson National Dance Jacqueline Ferguson Barbara Simons Tap Dance Nick French Jackie Hayward

CECCHETTI SOCIETY CLASSICAL BALLET FACULTY

Chair Catherine Hutchon Vice Chair Kate Simmons Committee Cara Drower Linda Isaacs

Theresa Lungaro-Mifsud Sandra Powell Sarah Wells Faculty Co-ordinator Sharon Orme

CLASSICAL GREEK DANCE ASSOCIATION FACULTY

Chair Kay Ball Vice Chair Carol Vasko Committee Karen Collings Fiona Sheehan Amanda Wilkins Faculty Co-ordinator Penny Childs

CLASSICAL INDIAN DANCE FACULTY

Chair

Sujata Banerjee Vice Chair Nina Rajarani MBE Committee Chitraleka Bolar Pushkala Gopal Kiran Ratna Dr Swati Raut Chitra Sundaram Urja Thakore Faculty Co-ordinators Shivaangee Agrawal

IMPERIAL CLASSICAL BALLET FACULTY

Chair

Vivienne Saxton Vice Chair

Celia Johnson Committee Corraine Collins Jacqueline Gray Judith Hockaday Janet Marshall Helen Steggles Faculty Co-ordinator Julia Beattie

MODERN THEATRE DANCE FACULTY

Chair

Tereza Theodoulou Vice-Chair Lyn Richardson Committee

Jackie Barnes Katie Morea Gaynor Owen Cathy Stevens

Sarah Wilson Co-ordinator Toni Ketterer

NATIONAL DANCE FACULTY

Chair

Jacqueline Ferguson Vice-Chair

Barbara Simons Committee Heather Burns Cathi Conroy-Jones Jayne Wing Co-ordinator Julia Beattie

TAP DANCE FACULTY

Chair

Jackie Hayward Vice Chair Nick French Committee Carol Ball

Jason Di Mascio Alison Forrester Helen Green Heather Rees Faculty Co-ordinator Caroline Lavelle

DANCE RESEARCH COMMITTEE

Chair

Dr Susan Danby Committee Diana Scrivener Fiona Sheehan Co-ordinator and Committee Member Nicola Gaines

NATURAL MOVEMENT GROUP

Chair

Jean Kelly Committee

Jacqueline Ferguson Co-ordinator Jean Kelly

FACULTY CO-ORDINATORS

Disco/Freestyle/Rock ‘n’ Roll (DFR) Faculty

Penny Childs 14 Whitmore Close Bridgnorth WV16 4LR Tel: 07900 741474 Email: Greek.DFR@istd.org

Latin American Faculty

Joanne Blackshaw

51 Peartree Lane, Danbury, Essex CM3 4LS Tel: 07900 741473

Email: Latin.Ballroom@istd.org

Authentic & Emerging Dance Sub-Committee

Charles Richman 10 Howard Crescent Basildon Essex SS13 2AB Tel: 07956 957038 Email: harris20001@blueyonder.co.uk

Modern Ballroom Faculty

Joanne Blackshaw

51 Peartree Lane, Danbury, Essex CM3 4LS

Tel: 07900 741473 Email: Latin.Ballroom@istd.org

Sequence Faculty

Katherine Costain

22 Hatch Road, Lenham Maidstone Kent ME17 2HL

Tel: 07551 159470

Email: Sequence.Club@istd.org

Cecchetti Society Classical Ballet Faculty

Sharon Orme 9 Sheppard Drive Chelmsford Essex CM2 6QE Tel: 07551 159471 Email: Cecchetti@istd.org

Classical Greek Dance Association Faculty

Penny Childs 14 Whitmore Close Bridgnorth WV16 4LR Tel: 07900 741474 Email: Greek.DFR@istd.org

Classical Indian Dance Faculty Shivaangee Agrawal Email: sagrawal@istd.org

Imperial Classical Ballet Faculty

Julia Beattie

8 School Close, Braunston, Daventry Northants NN11 7JD

Tel/Fax: 01788 899127

Email: beattie.ballet@gmail.com

Modern Theatre Dance Faculty Toni Ketterer

29 Greenway, Frinton on Sea Essex CO13 9AL Tel: 01255 852299 Email: istd@aspects.net

National Dance Faculty Julia Beattie

8 School Close, Braunston, Daventry Northants NN11 7JD Tel/Fax: 01788 899127 Email: beattie.ballet@gmail.com

Tap Dance Faculty Caroline Lavelle Tel: 07900 741472 Email: Tap.lndian@istd.org

Dance Research Committee

Nicola Gaines

Ludwell House, Charing Kent TN27 0LS

Tel: 01233 712469 Fax: 01233 712768 Email: n.gainesarmitage@tiscali.co.uk

Natural Movement Group

Jean Kelly 26 Sence House, Welland Place St Mary’s Road Market Harborough Leics LE16 7GH

Tel: 01858 289546 Email: jftownsend@talktalk.net

ISTD INTERNATIONAL LIAISON OFFICERS

Australia

Bernadette Langshaw-Clark 71 Beethoven Street Seven Hills NSW 2147 Australia Tel: +61 2 96248308 Cell: +61 416 010 183 Email: istd.au@icloud.com

Mexico

Gail Clifford

Via Villa Florence 2-F Col.Jesus Del Monte Huixquilucan, Edo de Mexico CP 52763 Mexico Tel: +52 55 52473409 Cell: +52 (1) 55 25607289 Email: gailcliff45@gmail.com

South Africa

Delia Sainsbury 7 Perrault Road, Hout Bay Cape Town 7806 South Africa

Tel: +27 (0) 21 4184600 Cell: +27 (0) 83 556 7849 Email: wtschool@mweb.co.za

INTERNATIONAL THEATRE ORGANISERS

Malta

Cecchetti/Modern Theresa Lungaro-Mifsud 10 Santa Cruz Triq L-Irmigg Msida MSD 03 Malta

Tel/Fax: + (356) 21242465 Email: thedanceworkshop@ gmail.com

IMPERIAL DANCE & DANCESPORT ORGANISERS

Malaysia Imperial Dance and Dancesport Nelly Tsen

PJ Academy of Dancing S/B 56A Jalan SS2/61 Petaling Jaya 47300

Selangor Malaysia Tel: + (60) 3 78749522 Fax: + (60) 3 78773725

Thailand Imperial Dance and Dancesport Sittichai Preyadara 43/381 Silom-Surawong, Condominium Soi Anumanrajdhon Surawonge Road Bangkok 10500, Thailand

USA

Imperial Dance and Dancesport Wayne Crowder US ISTD President 120 Smith Acres Road Eden, NC 27288

Tel: + 00 (1) 336-623-4961 Email: sirtfied@gmail.com

Teaching Qualification Assessments

Regulated Teaching Qualifications

Below is the Teaching Qualifications Calendar for the current Diploma in Dance Instruction and Diploma in Dance Education until the end of 2018, to allow Approved Dance Centres to plan their delivery. Note that entry dates for Health and Safety and Lifespan Development examinations have been separated for EU and UK Approved Dance Centres because of the extra time potentially needed for translation of papers.

All fees and relevant work or information should be sent to the Professional Qualifications Assistant in the Customer Services & Quality Assurance Department, by the Approved Dance Centre with which the learner is registered, by the closing dates indicated.

MONTH DATE EVENT

Although the ISTD will make every effort to adhere to these dates, they are always subject to review and potential alteration.

Please note: This is for the existing Diploma in Dance Instruction and Diploma in Dance Education qualifications, to allow for the transition to all units of the new Diploma in Dance Education from September 2018.

The ISTD is also no longer accepting cheques. Please make payment via bank transfer, quoting your exam reference number or payment can be taken via credit/debit card to the Professional Qualifications Assistant.

April 2018 06/04/2018Dispatch of March Health & Safety, and Lifespan Development results

27/04/2018Closing date for EU entries for DDI U2 Health & Safety and DDE U3 Lifespan Development examinations

May 2018 04/05/2018Closing date for UK entries for DDI U2 Health & Safety and DDE U3 Lifespan Development examinations 04/05/2018Closing date for portfolio submission for Moderation and Standardisation 11/05/2018Closing date for submission for DDE U5 Contextual Study of Dance assignment – LAST FULL ENTRY

June 2018 07/06/2018DDI U2 Health & Safety in Dance examination – LAST FULL ENTRY 08/06/2018DDE U3 Lifespan Development examination – LAST FULL ENTRY 08/06/2018Dispatch of May portfolio results 29/06/2018Dispatch of May Contextual Study of Dance results

July 2018 06/07/2018Dispatch of June Health & Safety, and Lifespan Development results 06/07/2018Closing date for portfolio submission for Moderation and Standardisation

August 2018 17/08/2018Dispatch of July portfolio results

September 2018 07/09/2018Closing date for EU entries for DDI U2 Health & Safety and DDE U3 Lifespan Development examinations – RE-TAKES ONLY 14/09/2018Closing date for UK entries for DDI U2 Health & Safety and DDE U3 Lifespan Development examinations – RE-TAKES ONLY

October 2018 05/10/2018Closing date for portfolio submission for Moderation and Standardisation 06/10/2018Closing date for submission for DDE U5 Contextual Study of Dance assignment – RE-TAKES ONLY

18/10/2018DDI U2 Health & Safety in Dance Examination – RE-TAKES ONLY 19/10/2018DDE U3 Lifespan Development Examination – RE-TAKES ONLY

November 2018 09/11/2018Dispatch of October portfolio results 16/11/2018Dispatch of October Contextual Study of Dance results 19/11/2018Dispatch of September Health & Safety, and Lifespan Development results

December 2018 14/12/2018Closing date for portfolio submission for Moderation and Standardisation – ONLY AVAILABLE FOR LAST SUBMISSION OF DDI PORTFOLIOS

February 2019 01/02/2019Dispatch of December portfolio results

In addition, Approved Dance Centres may wish to be aware of the following target dates, which are subject to confirmation:

May 2018 01/05/2018First examinations of new DDE Unit 4 Dance Practice

August 2018 31/08/2018Last examinations of existing DDI and DDE Unit 4 Dance practice Units (NO FURTHER RE-TAKES)

Please note that results for each unit may be issued earlier than the dates given above if possible, but should be no later than the specified date. Results for the practical units (DDI unit 4 and DDE units 2 and 4) will be issued within 21 days of the examination date. Although the ISTD will make every effort to adhere to these dates, they are always subject to review and potential alteration.

Regional Representatives

Regional Representatives are an important link between ISTD HQ and our dance teachers throughout the UK. Representatives provide advice, support and information on upcoming ISTD teachers’ courses in your local area.

They are always happy to hear from nearby teachers, so please get in touch. You can email or call your Representative using the details provided below. For further information, visit www.istd. org/courses-and-training

AREA NAME ADDRESS CONTACT

Bristol Kathy Plaster Dance Academy South West, Dance Station, 344 Dance Centre, Alexandra Park, Fishponds, Bristol BS16 2BG

Derbyshire/ Leicestershire/ Northamptonshire

E: admin@dancestation.org.uk T: 01179 655 660

Jayne Wing 3 Cotton Close, Broughton, Astley, Leicester LE9 6NJ E: jayne_wing@me.com T: 07850 084 797

Devon Deborah Laws 7 The Mews, Moorhaven Village Nr Ivy Bridge, Devon

East Sussex Jackie Hutt 200 Harold Road, Hastings, East Sussex TN35 5NG

Essex Jessica Morgan-BealeThe Company Performing Arts, 105 Oxford Road, Clacton-on-Sea, Essex CO15 3TH

Gloucestershire/ Wiltshire Judith HockadayThe Judith Hockaday School of Dance and Drama, Bali-Hai, Prospect Place, Swindon, Wiltshire SN1 3LQ

E: deborahlaws08@gmail.com T: 07525 177 788

E: jackie_hutt@hotmail.com T: 01424 444 803

E: istdessex@gmail.com T: 07905 757 624

E: jhs.dance@yahoo.co.uk T: 01793 527 275

Guernsey Karen ThompsonPernera, Maladerie Road, St Sampsons, Guernsey, Channel Islands GY2 4RQ E: karen@kddance.co.uk T: 01481 242 568 / 07781 113 542

Hertfordshire Siobhan Chown10 Belsize Close, St Albans, Hertfordshire AL4 9YD E: info@dance-teachers.org.uk T: 01727 847 442

Jersey Janice Letty Maytrees, La Rue De L'Etoquet, St John, Jersey JE3 4AS E: janletty@hotmail.com T: 01534 862 686

Kent Charlotte HudsonThe Centre Performing Arts College, Rochester Dance Junction, 681 Maidstone Road, Rochester, Kent ME1 3QJ E: c.hudson@thecentrepac.com T: 01634 848 009

Manchester Pauline Gee 50 Moor Street, Shaw, Oldham, Lancashire OL2 7BD E: pauline@paulinegschoolofdance.com T: 01706 840 342

Merseyside Gaynor OwenUnit 10 Bemrose Industrial Park, Hanson Road, Liverpool L9 7BG

E: studio10@studiodance10.co.uk T: 0151 521 4188

Norwich Amy Jarrett School House, School Road, Colkirk, Fakeham NR21 7NW E: istdnorwich@gmail.com T: 07880 558 031

Preston Andrew HindleyDance Academy, Preston College, Fulwood, Preston PR2 8UR E: ahindley15td@yahoo.com T: 01772 225 614

Scotland (Central) Elizabeth HendersonCrown Mansions, 6 North Gardner Street, Glasgow, Strathclyde, Scotland G11 5BT

E: eahdance@googlemail.com T: 0141 339 8116

Scotland (Northern) Celia JohnsonCevidley Croft, Keig, Alford, Aberdeenshire, Scotland AB33 8BH E: cjfistd@btinternet.com T: 01975 562 521

Shropshire Nicola Carmichael-Phillips

9 Holyhead Road, Oakengates, Telford, Shropshire TF2 6DW E: carmichaeldance@gmail.com T: 01952 610 491 / 01952 619 155

South Coast Victoria Caine 10 Crabwood Road, Maybush, Southampton, Hampshire, SO16 9EZ E: istdscr@gmail.com T: 02380 170 828

South Wales Joan Williams8 Lon-Pen-Y-Coed, Sketty, Swansea West, Glamorgan SA2 0YE E: joanwilliamsstageschoolswansea@ gmail.com T: 01792 552 831/07967 294 420

West Midlands Joanna Brangwin Stephanie Brangwin 11 Blackroot Road, Sutton Coldfield, West Midlands B74 2QH E: info@bojanglesdance.co.uk T: 01213 552 293

Yorkshire Fleur StevensonPasture House, 1 Cottage Field, Bishop Burton, East Yorkshire HU17 8YE E: fleur@fleurelizabethacademy.co.uk T: 01964 550 996

International Courses and Summer Schools 2018

For further information on ISTD international courses, fees and booking forms please refer to www.istd.org/courses-and-training

GENRE COURSE TITLE

PORTUGAL

Imperial Classical Ballet

SPAIN

DATE

To register your interest in attending a course below, please email intcourses@istd.org or call +44 (0)20 7377 1577.

VENUE/REGION TIME

10th MarchBallet Art, Porto 14:00 – 20:00 New Advanced 2 Revisions for Girls 11th March 09:00 – 15:30

Training Ballet Technique

Tap Dance New Intermediate (Day 1 of 2) 14th April Escola de Dansa i Música Elisenda Tarragó, Barcelona 09:00 – 17:00 New Intermediate (Day 2 of 2) 15th April 09:00 – 17:00

IRELAND

Imperial Classical Ballet

CANADA

Training Ballet Technique (Half day) Grade Revisions (Half day) 29th April Dublin 09:00 – 17:00

Modern Theatre Advanced 2 (Day 1 of 2) 10th July Pro Arte Centre, North Vancouver09:00 – 17:00

Advanced 2 (Day 2 of 2) 11th July 09:00 – 17:00 Advanced 2 (Day 1 of 2) 17th July Simcoe Dance Academy Inc, Toronto09:00 – 17:00 Advanced 2 (Day 2 of 2) 18th July 09:00 – 17:00

Imperial Classical Ballet New Advanced 2 Revisions for Girls & Vocational Vocabulary 12th July Pro Arte Centre, North Vancouver09:00 – 17:00

Training Ballet Technique 13th July 09:00 – 17:00 New Advanced 2 Revisions for Girls & Vocational Vocabulary 15th July Simcoe Dance Academy Inc, Toronto09:00 – 17:00

Training Ballet Technique 16th July 09:00 – 17:00

Tap Dance New Intermediate (Day 1 of 2) 12th July Pro Arte Centre, North Vancouver09:00 – 17:00 New Intermediate (Day 2 of 2) 13th July 09:00 – 17:00 New Intermediate (Day 1 of 2) 15th July Simcoe Dance Academy Inc, Toronto09:00 – 17:00 New Intermediate (Day 2 of 2) 16th July 09:00 – 17:00

ITALY

Various Sportilia Summer School 14th – 21st July Sportilia, Spinello Various

MALTA

Modern Theatre

Advanced 1 (Day 1 of 3) 20th July TBA 09:00 – 17:00

Advanced 1 (Day 2 of 3) 21st July 09:00 – 17:00

Advanced 1 (Day 3 of 3) 22nd July 09:00 – 14:00

Student Class 22nd July 14:00 – 17:00

ISTD INTERNATIONAL COURSES & SUMMER SCHOOLS

The

Check out the most up-to-date information online at: www.istd.org/courses-and-training/ international-courses-and-summer-schools

SPRING PROGRAMME 2018 CONTINUED...

Grade 6 & Intermediate Foundation (syllabus requests), Teaching Methods & Awareness of Biomechanics at Grade 6 and Inter Foundation levels. Arrangement of Dances for Grade 6/Intermediate

3rd April

DDE Tutor Training

Intermediate (syllabus requests), Intermediate Pointe Work & Mens’ Work (set and unset enchainments within these sections), The Use of Rhythm & Voice to Enhance Teaching (Grade 6 – Intermediate), The Use of Appropriate Dance Rhythms to Enhance Technique & Quality of Movement

4th April Advanced 1 (syllabus requests), Advanced 1 Analysis of Movement (syllabus requests), Advanced 1 Mens’ Work, Class Planning and Structure 5th April

DDE Unit 5 – Social, Emotional and Cognitive Development (Times: 10.00–16.30)

10th April

DDE Unit 2 – Observing, Assisting and Teaching (Times: 10.00–16.30) 11th April

DDE Unit 1 – Preparing for Safe Teaching (Times: 10.00–16.30) 13th April

New DDE Tutor Training

We are pleased to advise that the new Level 4 teachiing qualification, the DDE, has been approved by the Council. The DDE will replace what is currently known as the DDI/DDE.

To support these changes, the Education & Training Department has organised a series of training courses geared towards helping Approved Tutors update to the new qualification.

COURSE FEE: £65 PER UNIT

GENRE COURSE TITLE

DDE Tutor Training

For further information or to book your place on a Tutor Training course, please contact gbridge@istd.org.

DATE / TIME VENUE / AREA

DDE Unit 1: Preparing for Safe Teaching 23rd March 2018 10:00 – 16:30

DDE Unit 5: Social, Emotional and Cognitive Development10th April 2018 10:00 – 16:30

DDE Unit 2: Observing, Assisting and Teaching

DDE Unit 1: Preparing for Safe Teaching

DDE Unit 2: Observing, Assisting and Teaching

Online courses for the DDE are also available allowing the freedom to complete the training at a time that suits existing commitments and a busy schedule.

COURSE FEE: £40 PER UNIT

GENRE COURSE TITLE

DDE Tutor Training

DDE Unit 1: Preparing for Safe Teaching

DDE Unit 2: Observing, Assisting and Teaching

DDE Unit 4: Dance Practice

11th April 2018 10:00 – 16:30

13th April 2018 10:00 – 16:30

2nd May 2018 10:00 – 16:30

The Engine Room, Runway East, 10 Fiinsbury Square EC2A 1AF

Laine Theatre Arts, Epsom KT17 1HH

Laine Theatre Arts, Epsom KT17 1HH

Laine Theatre Arts, Epsom KT17 1HH

The Engine Room, Runway East, 10 Fiinsbury Square EC2A 1AF

For further information or to book your place on an online Tutor Training course, please contact jsavva@istd.org

DATE / TIME

On or around the 7th of each month (starting Monday 7th May 2018)

On or around the 11th of each month (starting Monday 11th June 2018)

On the 5th of each month (already launched)

DDE Unit 5: Social, Emotional and Cognitive DevelopmentOn or around the 3rd of each month (starting Tuesday 3rd April 2018)

Cecchetti Classical Ballet at Westminster Kingsway College

Spring Programme 2018, UK

Join UK and international members for our Spring Programme 2018. Covering a wealth of syllabus work from our Imperial Classical Ballet, Tap, National, Modern Theatre, Classical Indian and Cecchetti faculties plus DDE Tutor Training.

Imperial Classical Ballet, Modern Theatre, Tap , Classical Indian, DDE and Non- Syllabus courses will take place at Laine Theatre Arts, East Street, Epsom KT17 1HH and will run from 10:30 – 17:30 unless otherwise noted.

Cecchetti courses will take place at Westminster Kingsway College, Kings Cross Centre, 211 Grays Inn Rd, London WC1X 8RA. Please be aware that Refresher courses are for teachers familiar with the work being presented and are not suitable for those wishing to learn the syllabus in-depth.

SYLLABUS COURSES PER DAY: MEMBERS £65/PROVISIONAL MEMBERS AND STUDENT TEACHERS £40/NON-MEMBERS £80 TEACHER OBSERVATION OF MASTERCLASSES PER DAY: MEMBERS £32.50/PROVISIONAL MEMBERS AND STUDENT TEACHERS £20/NON-MEMBERS £40 FIRST AID PER DAY: MEMBERS £100/PROVISIONAL

GENRE COURSE TITLE

Imperial Classical Ballet

MEMBERS &

STUDENT TEACHERS £85/NON-MEMBERS £120

Advanced 2 Revisions and Vocational Vocabulary

DATE

3rd April

Teachers’ Observation: A day of student masterclasses for Grades 3 and 4, 5 and 6, and Inter Foundation and Intermediate Level (10:30 – 17:00)* 3rd April

Class Examinations 3, 4 and 5 4th April

Teachers’ Observation: A day of student masterclasses for Intermediate and above inc. Pointe Work, Repertoire and Body Conditioning (10:30 – 17:00)* 4th April

Class Examinations 6, 7 and 8 5th April

The Training of Ballet Technique Course PLUS essential accompanying book and DVD for £50 5th April

The Training of Ballet Technique Course ONLY 5th April

*Student places also available. Teachers who bring three or more students qualify for a FREE place. Download a student booking form via www.istd.org/ courses-and-training

Tap Dance New Intermediate (Day 1 of 2) 6th April Grade 5 6th April New Intermediate (Day 2 of 2) 7th April New Intermediate (Day 1 of 2) 7th April New Intermediate (Day 2 of 2) 8th April New Intermediate (Day 1 of 2) 8th April New Intermediate (Day 2 of 2) 9th April Grade 6 9th April

National Dance New Primary Class Examination and Teaching Dance in Primary Schools*

7th April Intermediate 8th April

*Further information can be found on page 81

Modern Theatre Intermediate

10th April

Advanced 2 Refresher (Day 1 of 2) 10th April

Bridging the Gap Between Intermediate and Advanced 1 11th April

Advanced 2 Refresher (Day 2 of 2) 11th April

Advanced 1 Refresher (Day 1 of 2) 12th April

Grade 6 Refresher of Girls’ Work Excluding Amalgamations

12th April

Advanced 1 Refresher (Day 2 of 2) 13th April Gold Jazz and Free Jazz 13th April

Classical Indian Kathak – New Grade 5 & 6 and Grade Warm-Up Sequences

6th April

Tutor Course – Methodology, Movement Analysis and Bio Mechanics 12th April

Level 6 Diploma in Dance Pedagogy

The Level 6 Diploma in Dance Pedagogy (DDP) application deadline is 15th April 2018. Interviews will be held in May/June 2018 with the course starting in September 2018.

Below are specialised units that form part of the ISTD’s DDP. They are offered on an individual basis to allow our teachers to access regulated professional development opportunities and

GENRECOURSE TITLE

CPD UNIT 5A – Applied Dance Science with Erin Sanchez £770

CPD UNIT 5B – Social, Emotional and Cognitive Development with Julia Buckroyd £770

CPD UNIT 5C – Choreography with Liz Foster £770

Open Days

DATE

gain credits that can later contribute to advanced study. See page 43 for more information.

For an application pack or to ask a question, please contact the Education & Training Department on +44(0)20 7377 1577 or email higherqualifications@istd.org. Alternatively download a prospectus from the ISTD website at www.istd.org/courses-and-training

VENUE / AREA

5 day intensive course – 30 credits at Level 6 20th – 24th August 2018

5 day course – 30 credits at Level 6 12th, 13th May, 9th, 10th June and 8th July 2018

Middlesex University LONDON

TBC LONDON

6 day course – 30 credits at Level 6 6th, 7th, 8th April and 26th, 27th, 28th May 2018

Canada Water and Pineapple Dance Studios LONDON

Join the ISTD for open days aimed to introduce students and teachers to our initial and higher qualifications.

GENRECOURSE TITLE

CPD Student Open Day. Free event. Careers in Dance

CPD Birmingham Higher Qualifications Tutor Training in collaboration with DanceXchange

CPD Student Open Day. Free event. Careers in Dance

DATE / TIME

17th March 2018 11:30 – 18:00

For an application pack or to ask a question, please contact the Education & Training Department on +44(0)20 7377 1577 or email gbridge@istd.org

VENUE / AREA

The Place 17 Duke’s Rd, Kings Cross, WC1H 9PY LONDON

29th March 2018 12:30 – 17:30

NOTE: To book a place email anita@newdimensions-arts.com

8th April 2018 10:15 – 17:00

Birmingham Hippodrome, Thorp Street B5 4TB BIRMINGHAM

Swindon Dance, Regent Circus, Swindon SN1 1QF SWINDON

Non-Syllabus Training, UK

Our non-syllabus courses are open to teachers of all genres and no previous experience of the topic is required. Membership of the ISTD is not needed to book and attend.

Emergency First Aid at Work

Knowing what to do in a first aid situation is vitally important. Providing basic first aid and acting promptly could make all the difference to someone who is injured or taken ill.

To book onto the below courses or to ask a question, please contact the Education & Training Department on +44(0)20 7377 1577 or email coursebookings@istd.org. Alternatively, download a booking form from the ISTD website at www.istd.org/events

This one day training course is specially created for dance teachers and provides delegates with the necessary knowledge and skills needed to act safely and calmly in emergency situations.

KT17 1HH 10:30 – 17:30

Teaching Dance in Primary Schools

Want to learn techniques and approaches for teaching dance in a Primary School?

The ISTD is pleased to offer this one day course covering the new National Primary Class Examination Syllabus which is ideal for teaching in Primary Schools.

To help you get started, the course will also look at the particular knowledge and understanding required for teaching in a Primary School setting.

Delegates will learn:

• An overview of the primary school context, including an introduction to Arts Mark and the PE and School Sport Premium

• Strategies for managing large class sizes

• An introduction to the National Curriculum and how National can fulfil the dance requirements

• Teaching and learning in a school context – an introduction to the three stranded model of composing, performing and appreciating dance

The course is open to teachers of ANY genre and no previous knowledge of National Dance is necessary.

Primary Class Examination and Teaching Dance in Primary Schools

Syllabus Training, UK

In addition to our upcoming Spring Programme (above), the ISTD will be offering a range of teacher training courses throughout the UK, co-ordinated by ISTD HQ in Greater London and elsewhere by our team of voluntary Regional Representatives.

To book any of the below courses or to ask a question, contact the Education & Training Department on +44(0)20 7377 1577 or

email coursebookings@istd.org. Alternatively, download a booking form from the ISTD website at www.istd.org/courses-and-training

To request a course and to be kept informed of local training developments, contact your nearest Representative via the details listed on page 98.

REGIONAL COURSES: MEMBERS – £60 / PROVISIONAL MEMBERS AND STUDENT TEACHERS – £36 / NON-MEMBERS – £75

LONDON COURSES: MEMBERS – £65 / PROVISIONAL MEMBERS AND STUDENT TEACHERS – £40 / NON-MEMBERS – £80

GENRE DATE COURSE TITLEVENUE / AREA

TAP DANCE

11th MarchNew Intermediate (Day 2 of 2)

8th AprilNew Intermediate (Day 2 of 2)

22nd AprilNew Intermediate (Day 2 of 2)

22nd AprilNew Intermediate (Day 1 of 1)

29th AprilNew Intermediate Refresher

Savernake Street Social Hall, Savernake Street, Swindon SN1 3LZ WILTSHIRE

TIME

10:30 – 17:00

The Depot, 9 Holyhead Road, Telford, Shropshire TF2 6DW SHROPSHIRE 10:00 – 17:00

Pilands Wood Community Centre, Chamberlyane Road, Bursledon, Southampton, SO31 8DT SOUTH COAST

10:00 – 17:00

Gt Witchingham Village Hall, Hubbards Loke, Lenwade, NR9 5AZ NORFOLK 10:00 – 17:00

Preston’s College, Dance Academy, St Vincents Road, Preston PR2 8UR PRESTON 10:00 – 17:00

6th MayNew Intermediate (Day 2 of 2) Dance Factory, 142 Calder Street, G42 7QP GLASGOW 10:00 – 17:00

13th MayNew Intermediate (Day 2 of 2) Dance Station, Alexandra Park, Fishponds, BS16 2BG BRISTOL 10:00 – 17:00

20th MayNew Intermediate (Day 2 of 2) 3 Wiltel House, Upper St John Street, Lichfield, WS14 9DX WEST MIDLANDS 10:00 – 17:00

27th MayNew Intermediate (Day 2 of 2) Gt Witchingham Village Hall, Hubbards Loke, Lenwade, NR9 5AZ NORFOLK 10:00 – 17:00

10th JuneNew Intermediate Refresher Gt Witchingham Village Hall, Hubbards Loke, Lenwade, NR9 5AZ NORFOLK 10:00 – 17:00

24th JuneNew Intermediate Refresher Dance Factory, 142 Calder Street, G42 7QP GLASGOW 10:00 – 17:00

1st JulyNew Intermediate Refresher Coombeshead Academy, Coombeshead Road, Newton Abbot, TQ12 1PT DEVON 10:00 – 16:00

16th September New Intermediate Refresher Ellite Studios, The Dancer, 8 Peterson Road, Wakefield WF1 4EB YORKSHIRE 10:30 – 16:30

MODERN THEATRE

25th MarchGrades 1 – 6 Amalgamations Refresher

24th JuneGrades 5 and 6 Refresher

CLASSICAL GREEK DANCE

18th MayTechniques to Create Choreography for Competition Work

COMING SOON

The Company Performing Arts 105 Oxford Road, Clacton on Sea, Essex, CO15 3TH ESSEX

The Company Performing Arts 105 Oxford Road, Clacton on Sea, Essex, CO15 3TH ESSEX

JL Dance & Performing Arts Academy, Butterely Croft, Whiteley Road, Ripley DE5 3QL DERBYSHIRE

10:00 – 17:00

10:00 – 17:00

10:00 – 17:00

Teachers’ Residential Summer School at Chichester University from 6th – 17th August 2018. Keep an eye on the ISTD website and email bulletins for further information. If you have any

comments, suggestions or ideas for training, please let us know by getting in touch at coursebookings@istd.org or on +44(0)20 7377 1577. We look forward to hearing from you.

UK Exam News

PEAK PERIODS – UK EXAMS 2018/19

Spring 2018 11th March – 1st April 2019

Summer 2018 3rd June – 22nd July 2018

Autumn 2018 16th November 2018 – 22nd December 2018

Payment via Debit/Credit Card

We have introduced a new system for taking card payments. Since 1st March 2017 if you want to pay by debit/credit card, please call +44 (0)20 7377 1577. One of our team members will take your exam details and put you into an automated system where you will enter your card details using the keypad on your phone. The system is highly secure and will email you a receipt for the payment. There will be no additional charges for this service. Please do not send your card details along with the timetable.

Please note the ISTD is no longer accepting cheques. Please make payment via bank transfer, quoting your exam reference number or payment can be taken via credit/debit card as above.

Southampton Centre

VENUE

The Lowford Centre, Portsmouth Road, Bursledon, Southampton SO31 8ES.

NOTE FOR IMPERIAL BALLET EXAMS

The studio used for Imperial Ballet exams is a sprung wooden floor. We suggest damping shoes on a wet cloth, if the students aren’t used to the flooring. This is usually left inside the exam room.

APPLICATIONS

All completed applications and payments for the Southampton Centre must be submitted direct to Sadie Serridge at sserridge@ istd.org or Imperial House, 22/26 Paul Street, London, EC2A 4QE.

DATES

Please see right for examination dates and deadlines for receipt of applications. Please indicate on your application whether you will be requiring a CD Operator/Pianist for your entries. Applications should be downloaded from the website: www.istd.org/about-us/ documents/centre-exams--application-form-fees-and-timetablesheet-for-2017.

Should you have any queries regarding Southampton Centre examinations, please contact Sally Upton at southamptoncentre@ hotmail.co.uk

The Southampton Centre is designed to accommodate teachers entering grade and class examinations who have a total entry of under 3½ hours. Regretfully entries of more than this cannot be accepted.

SUMMER TERM 2018

FACULTYLEVELEXAMINATION DATESCLOSING DATE

Imperial Classical Ballet

Grades17th, 24th June, 1st, 8th July 2018 16th April 2018

Imperial Classical Ballet Vocational17th June 9th April 2018

Modern Theatre and Tap Dance Vocational and Grades 17th, 24th June, 1st, 8th July 9th April 2018

AUTUMN TERM 2018

FACULTYLEVELEXAMINATION DATESCLOSING DATE

Imperial Classical Ballet

Grades11th, 18th, 25th November 2018 16th September 2018

Imperial Classical Ballet Vocational11th November 201816th September 2018

Modern Theatre and Tap Dance Vocational and Grades 11th, 18th, 25th November 2018 16th September 2018

ISTD EXAMINATIONS

The ISTD conducts 250,000 assessments each year, including vocational, recreational and social dance exams for children, students, amateurs and professionals. Check out the most up-to-date examinations information online at: www.istd.org/examinations

London Centre

Examination Dates: Theatre Faculties

Please read the following notes carefully before submitting applications to the London Centre.

Special Notes for London Centre Candidates

Please note: teachers must provide their own music for Tap Grades 4 and 5, Popular Tap Tests, Tap Medals, Jazz Awards, Modern Advanced 1 and Advanced 2. Free music must be on either an iPod/MP3 player or the original CD. Copied CDs are not always reliable therefore unacceptable for exams.

Candidates taking exams at the London Centre, must be accompanied by one adult only.

SUMMER TERM 2018

LEVEL EXAMINATION DATES CLOSING DATE

Grades and Class Examinations

9th, 10th, 16th, 17th, 23rd, 24th June 2018 16th April 2018

Vocational Grades 26th May – 8th June 2018 (weekdays only) 16th April 2018

DDE (Unit 4)* and Licentiate/ Fellowship

26th May – 8th June 2018 (excluding 3rd June) 16th April 2018

Cecchetti Classical Ballet (All Levels) 29th, 30th June, 1st July 201816th April 2018

Classical Indian Dance (All Levels) 3rd June 2018 16th April 2018

AUTUMN TERM 2018

LEVEL EXAMINATION DATES CLOSING DATE

Grades and Class Examinations

3rd, 10th, 11th, 17th, 18th, 24th November 2018 16th September 2018

Vocational Grades 20th October – 2nd November 2018 (Weekdays only) 9th September 2018

DDE (Unit 4)* and Licentiate/ Fellowship

20th October – 2nd November 2018 9th September 2018

Cecchetti Classical Ballet (All Levels) 30th November – 2nd December 2018 16th September 2018

Classical Indian Dance (All Levels) 4th November 2018 16th September 2018

SPRING TERM 2019

LEVEL EXAMINATION DATES CLOSING DATE

Grades and Class Examinations

9th, 10th, 16th, 17th, 23rd, 24th, 31st March 2019 20th January 2019

Vocational Grades 28th Feb – 8th March 2019 (weekdays only) 13th January 2019

DDI & DDE (Unit 4)* and Licentiate/ Fellowship

28th Feb – 9th March 201913th January 2019

Cecchetti Classical Ballet (All Levels) 6th, 7th April 2019 20th January 2019

Classical Indian Dance (All Levels) 17th April 2019 20th January 2019

Examination Dates: Dancesport 2018

EXAMINATION DATES CLOSING DATE

3rd June 2018

13th May 2018

4th November 2018 8th October 2018

31st March 2019 10th March 2019

Dancesport applications to: ukdanceteachers@istd.org. Applications received after the advertised closing dates will only be accepted if there is space available or if a cancellation occurs. Telephone applications cannot be accepted.

The London Centre is designed to accommodate teachers entering grade and class examinations who have a total entry of under 3½ hours. Regretfully entries of more than this cannot be accepted.

Teachers may stipulate the reason for any impossible dates on their application form if necessary. We will attempt to allocate your examination accordingly, however, this cannot be guaranteed. With particular reference to Fellowship and Licentiate examinations, it is hoped that applicants will make themselves available for all the advertised dates.

CDs may be used for all Imperial Classical Ballet grades and class examinations. Please contact the Centre Examinations Administrator to verify dates for all National and Classical Greek exams.

DDE (UNIT 4)

Applications for the above exams can only be accepted with a covering note specifying why they cannot be entered at the Approved Dance Centre (ADC) with which they are registered.

Theatre applications should be downloaded from the website: www.istd.org/about-us/documents/centre-exams--applicationform-fees-and-timetable-sheet-for/. For queries regarding London Centre examinations please contact Sadie Serridge at ISTD HQ on extension 874 or email sserridge@istd.org.

REMINDER ABOUT POST 16 CANDIDATE ID CHECK

All Vocational and Professional level candidates (Intermediate Foundation and above) who are aged 16 years and over must provide an official form of photographic identification. The Post 16 Student ID Form can be downloaded from www.istd. org/about-us/documents/post-16-student-id-form-2014. This must be completed, signed by the teacher and handed to the examiner on the day of the exam. Results will not be processed if this is not supplied. Further information can be found on the ISTD website.

UK Exam Centre Dates

REGION GENRE & DATE ENTRIES TO TELEPHONE

Bolton Contact organiser Miss Christine Axon, 5 Oakwood Drive, Bolton, Lancashire BL1 5EE 01204 841389

Bournemouth Contact organiser Mrs M. Headford, 4 William Road, Queens Park, Bournemouth, Dorset BH7 7BA 01202 393032

Bristol Contact organiser Miss K. Plaster, 344 Dance Centre, Alexandra Park, Fishponds, Bristol BS16 2BG 0117 9655660

Chichester Centre Contact organiser Ms Samantha Watkins, Chichester College, Westgate Field, Chichester PO19 1SB 01243 786321 / 01243 782297

Derby Contact organiser Miss E. Leveaux, The Old Mill Studio, Lynton Street, Derby DE22 3RW 01332 371016

Devon / Southwest Contact organiser Mrs Deborah Bond, King Street Studios, King Street, Newton Abbot, Devon TQ12 2LG 01626 367010

Jersey / Guernsey Contact organiser Mrs Janice Du Val Letty, Maytrees, La Rue de L’Etoquet, St Johns, Jersey JE3 4AS 01534 862686

Liverpool 12/05/2018 – 13/05/2018 07/07/2018 Miss G. Owen, Unit 10, Bemrose House, Long Lane, Fazakerley, Liverpool L9 7BG. Please contact Miss Owen if teachers have any Imperial ballet entries.

London See 106 for details Sadie Serridge, Centre Examinations Administrator, ISTD, Imperial House, 22/26 Paul Street, London EC2A 4QE

01515214188 mddcstudio10@gmail.com studio10@studiodance10.co.uk

020 7377 1577 Extension 874

Manchester Contact HQ Exams Department 020 7377 1577

North Wales Contact organiser Miss Helen Barton, Mount Norris, Gors Avenue, Holyhead, Wales LL65 1PB 01407 769818

Scotland Cecchetti Centre

Contact organiser Mrs Maureen Christie, The Studio, 19 Westbourne Gardens, Glasgow G12 9UL 0141 3399637

Scotland Central Region 29/05/2018 – 11/06/2018Please download and complete a private exam application form. When applying please state the number of examining hours. The closing date for applications is 9th April 2018. All applications are to be sent directly to ISTD HQ or by email to sserridge@istd.org. Timetables together with payments must be received at HQ six weeks before the exam date.

020 7377 1577 Extension 874

Scotland Northern Contact organiser Miss Celia Johnson, Cevidley Croft, Keig, Alford, Aberdeenshire AB33 8BH 01975 562521

Southampton See page 105 Sally Upton, Southamptoncentre@hotmail.co.uk 07900 574718

West Midlands Centre Contact organiser Mrs Jo Brangwin, 11 Blackroot Road, Sutton Coldfield, West Midlands B74 2QH 01543 415354 / 07582 920427

Yorkshire Centre Contact organiser Miss Samantha Bell, ElliTe Studios, The Dancer, 8 Peterson Road, Wakefield WE1 4EB 0845 6525361 / 07908 808696

RACHEL CHERRY

EVENTS CALENDAR

April 2018

3rd–13th April

ISTD Spring Programme

Laine Theatre Arts, Surrey (And Westminster Kingsway College – Cecchetti only)

15th April

Cecchetti Day

The Royal Ballet School, Covent Garden

22nd April

Tap Challenge

The Hawth Theatre, Crawley

22nd April

Latin Magic Spirella Ballroom, Letchworth Garden City

22nd April

Inventive Dance Competition

West Park Leisure Centre, Derbyshire Sequence Dance

May 2018

13th May

Elizabeth Baines Hewitt Award

Laine Theatre Arts, Surrey

Imperial Classical Ballet

19th May

Cecchetti Classical Ballet Scholars Audition

Arts Educational Schools, London

June 2018

3rd June

Janet Cram Awards Finals

The Greenwood Theatre, London Modern Theatre Dance

3rd June

Launch of the New Classical Greek Dance Grade Syllabus

The Hawth Theatre, Crawley

10th June

Sequence Medallist Festival

West Park Leisure Centre, Derbyshire

July 2018

14th – 21st July 2018

ISTD International Italian Summer School Sportilia, Italy

22nd – 21st July 2018

ISTD Dancesport Congress Worthing Assembly Hall

21st – 26th July

Cecchetti Summer Schools for Teachers and Students

Elmhurst Ballet School, Birmingham

28th July – 3rd August

Cecchetti Summer School for Young Dancers

Tring Park School for the Performing Arts, Hertfordshire

August 2018

6th – 17th August

ISTD Residential Summer School University of Chichester September 2018

October 2018

7th October

DFR National Grand Finals Day

The Guildford Spectrum Disco, Freestyle and Rock’n’Roll

28th October

Junior Ballet Awards

The Venue, Milton Keynes Imperial Classical Ballet

November 2018

3rd – 4th November

Blackpool Grand Finals Winter Gardens, Blackpool Dancesport

11th November

Ruby Ginner Awards

The Venue, Milton Keynes Classical Greek Dance

25th November

Grandison Clark Awards

The Venue, Walton High National Dance

This calendar is designed for you to see major events at a glance. see the DANCE Extra section in this magazine for a full listing of courses. For more information, please check the Faculty pages, or contact the Faculty Co-ordinator. We believe this information to be correct at the time of going to print. All events can be subject to change.