DANCE 484

DANCE

DANCE SEP–DEC 2018

ISSUE 484

THE INTERNATIONAL QUARTERLY MAGAZINE OF THE ISTD DANCE EXAMINATIONS BOARD

DOCTOR DANCE

CHANCE TO DANCE

Interview with TV Dance Psychologist Peter Lovatt

The Royal Ballet’s flagship programme for young dancers

TAP CHALLENGE

BRONISLAVA NIJINSKA

Photos and feedback from an exciting day of Tap Dance

Jane Pritchard explores the career of this innovative dancer and choreographer

Jonny Labey

SEP–DEC 2018 Issue 484

We speak to the star of West End smash hit Strictly Ballroom the Musical

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“The creative industries are now the fastest growing sector of the UK economy” writes Ginny Brown, ISTD Artistic Director and Interim CEO. As highly qualified dance teachers our members play a key role in ensuring that the next generation can participate in and benefit from this growth, both now and in the future. Read more about recent creative initiatives such as the launch of our new Classical Greek dance grades, and the introduction of our new Contemporary dance syllabus in her letter to members on page 5.

The ISTD has been invited to partner The Royal Ballet Company in their Chance to Dance programme, designed to introduce talented children from less privileged backgrounds to ballet for the first time. See page 6 to read more. And if your students are starting to make choices about their futures in dance, please find a resource document to help get them started on page 27.

We have some exciting interviews in this issue, including with Jonny Labey who is currently starring in the West End hit Strictly Ballroom the Musical, Peter Lovatt, known in the media as ‘Doctor Dance’, and Janet Lewis MBE, founder and Director of the English Youth Ballet.

The pages of this issue are also packed with dance inspiration, from which top to wear to class (page 22) to stories from members (page 29). Don’t miss the photo reports from recent ISTD events such as Spring Programme (page 14), Tap Challenge (page 38) and the Janet Cram Awards Finals (page 66). And turn to page 33 for the second part of our Exploring Dance Technique series. We hope you enjoy this issue and please do write in with your #danceinspo.

Tamsin Moore, Editor

Janet Cram Awards Finals, page 66

DANCE Managing Editor James Scanlan Magazine Designer & Editor Tamsin Moore Editorial Assistant Katie Andrews Magazine Layout Tamsin Moore istd.org dance-teachers.org #LoveLearnTeachDance

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Email: marketing@istd.org Tel: +44 (0)20 7377 1577 Next copy deadlines Issue 485 (Jan–Apr 2019): Monday 22nd October 2018 Issue 486 (May–Aug 2019): Monday 28th January 2019 Cover photograph: Jonny Labey and Zizi Strallen in Strictly Ballroom the Musical. Photo by Johan Persson ISTD Dance Examinations Board Registered address: 22/26 Paul Street, London EC2A 4QE Tel: +44 (0)20 7377 1577

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DANCE ISSUE 484

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DANCE Contents

CONTENTS 6

News & Features 5 News from our Artistic Director A letter to members from Ginny Brown 6 Ballet is Good for the Soul Broadening access and changing perceptions with Chance to Dance 9 Library News A review of recent additions to the ISTD HQ Library 10 Jonny Labey An interview with the West End star of Strictly Ballroom the Musical 14 ISTD Spring Programme Feedback and photos from the 20 different lectures in a range of genres that took place over 11 days 16 Dance on the Mind An interview with TV dance psychologist, Peter Lovatt 19 A Taste of the Real Thing An interview with founder and Director of the English Youth Ballet (ENB), Janet Lewis MBE 22 Top of the Tops We’ve tried and tested a range of great dance tops, perfect for the new term 23 Win! ISTD members can enter to win a sixmonth supply of My Ballet Box, the new subscription box for dance lovers 24 There is Always Movement The V&A’s Jane Pritchard looks at the career of Bronislava Nijinska

27 Careers in Dance A handy resource for teachers, students and parents 29 #danceinspo Your stories, photos and inspiration 33 Exploring Dance Technique Part two of the teaching resource for teachers of all genres

Events 35 ISTD Graduation Ceremony 2019 Make a date for Thursday 21st February 36 Peggy Spencer Legend Award A two-dance examination available for amateurs in all dancesport genres until 31st December 2018 37 Nurturing Young Dancers Make a date in your diary for Sunday 20th January 2019 38 Tap Challenge Photo Spread Photos and feedback from this year’s exciting event

Faculties 42 Cecchetti Classical Ballet Southern Area Awards, Choreographic Competition, Cecchetti Day and examination updates 49 Classical Greek Dance Launch of the new dance grades, and make a date for the Ruby Ginner Awards and Classical Greek Dance Festival Finals 51 Classical Indian Dance Bursary Awards information, and new examiners are needed for the Faculty

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DANCE Contents

19 53 Disco, Freestyle, Rock ‘n’ Roll Make a date for Dance Exchange, and the National Grand Finals, plus a report from the Imperial Championships, and the new Set Dance DVD 57 Imperial Classical Ballet The Senior Awards in pictures, an Olivier Award for ISTD teacher Angela Allport, and make a date for A Boys’ Day and the Junior Awards 63 Latin American, Modern Ballroom and Sequence A report and photos from Latin Magic, and a notice and photos from the Sequence Faculty 65 Modern Theatre Dance Make a date for the Jazz and West End Workshops, plus a photo spread from the Janet Cram Awards Finals 2018 71 National Dance National Dance in Denmark, teaching in primary schools, and make a date for the Grandison Clark Awards on 25th November 2018

75 Tap Dance Tap Challenge, and the alternative Grade 4 turning step

People 76 New Staff Profiles and photos of new ISTD staff and a fond farewell to Liz Wills 77 Obituaries Tributes to Margaret Benson, Bernadette Langshaw-Clark, Jean Mason and Errol Pickford 78 Exam Successes Qualifications recorded at ISTD HQ over the past months 80 Classified Advertising The place to look for a teaching vacancy or dance school for sale

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DANCE Extra 96 Courses and More A section dedicated to ISTD examination dates, courses and contact details. Please note this section runs backwards

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DANCE News

NEWS From Our Artistic Director and Interim CEO A letter to members from Ginny Brown

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ollowing the departure of Hassan Khan, former CEO, on 6th March I agreed to take on responsibilities as CEO for an interim period, to ensure continuity of leadership. During this period I am working with the trustees, faculties and staff to identify areas for

The creative industries are now the fastest growing sector of the UK economy future development and to create a three-year plan to achieve sustained growth. One such area is creativity in dance teaching and training. With the creative industries now the fastest growing sector of the UK economy, dance teachers have an important role to play in ensuring that the next generation of young people are equipped with the skills they will need in the workplace of the future.

The value of creativity was clearly demonstrated in the launch of our new Classical Greek grades at the Hawth Theatre, Crawley on 3rd June. This cleverly designed presentation offered an excellent insight into the main themes of the syllabus and how skill and knowledge progress from one grade to the next.

Before joining the ISTD I had little knowledge of this genre, so this was a wonderful opportunity to become acquainted with its key concepts. When so much of dance training emphasises technical progression, it was refreshing to see a syllabus focused not only on technique but also on developing the dancer’s musicality, self-expression and creativity. These attributes are fundamental to all dance performance, so this work would be an ideal complement to other technical training as well as a rewarding end in its own right. With a stylish modern uniform, the new syllabus offers a fresh and current approach without losing the heritage and style associated with ISTD Classical Greek dance. I would like to extend warm congratulations to the syllabus developers, Carol Vasko and Fiona Sheehan, and to Kay Ball (Classical Greek Faculty Chair) who worked tirelessly to bring the new grades to fruition.

Recognising that creativity is an essential skill for all dancers, each level of our new Contemporary Dance syllabus will also include improvisation tasks, designed to develop the student’s

creative responses, and solos commissioned from practicing choreographers. We are looking forward to launching the Intermediate Foundation early in 2019, but in the meantime an exclusive introduction to this work is taking place at our Residential Summer School. Courses, led by the syllabus developer (Dr Ross McKim) and lecturers involved in trailing the work, are providing an introduction to the key concepts behind the syllabus, with Ross and me giving free evening talks on the Wednesdays of 8th and 15th August.

Creative approaches to teaching ballet are also at the heart of The Royal Ballet’s Chance to Dance Programme and I am proud to announce that the ISTD has been invited to partner The Royal Ballet Company as they roll out their newly designed programme across England. This is not only an excellent chance to introduce children to dance and ballet for the first time, but also a unique opportunity for selected private dance schools to develop their knowledge and skills in using creative teaching approaches to broaden access to ballet. Selected teachers will be offered training and mentor support from highly experienced Royal Ballet and Royal Ballet School practitioners in preparation for introducing ballet to children in local primary schools. For more on this exciting initiative see page 6.

If you would like to extend your creative teaching skills, then the Education & Training Department is scheduling a range of courses designed to do just that, such as Choreographic Strategies and Ideas for Festival and Show Dances taking (taking place on Sunday 12th August 2018). This course explores choreographic techniques and guides delegates through a choreographic process from exploring an initial idea to creating a successful dance.

Creativity is an essential skill for all dancers Finally, I am delighted to report that the ISTD is sponsor of the One Dance UK 2018 Outstanding Dance Programming Award. This recognises the best programmer or programming team in bringing dance to new audiences or diversifying the work they present. As increasing diversity and access to dance are central to the mission of the ISTD, it seems fitting that we should support this award. For more information, see the One Dance UK website (onedanceuk.org).

I wish you all a restful and refreshing summer break and very much enjoy seeing many of you at our Residential Summer School.

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DANCE News

Ballet is Good for the Soul: Broadening Access and Changing Perceptions

Established in 1991, Chance to Dance is the Royal Opera House’s longest-standing flagship programme providing access to ballet and its transforming benefits to primary school children, particularly to those from less privileged backgrounds.

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p to 100 talented and enthusiastic students can join the Chance to Dance programme each year, during which time they can enjoy a mix of Royal Ballet demonstrations, practical workshops, local classes and family days at the Royal Opera House, culminating in their own taking part in an inspirational annual performance alongside dancers from The Royal Ballet and accompanied by a live orchestra. The main aims of the programme are to develop self-confidence, self-discipline and self-belief in these young children, encouraging them to follow their dreams and fulfil their potential, both as a dancer and in life.

Having run successfully in Thurrock and the London Boroughs of Lambeth and Southwark, and now in its 27th year, the Chance to Dance programme is ready for the next chapter and expansion of areas – ultimately towards a national presence, but initially in Thurrock and the surrounding areas of Essex.

To do this, The Royal Ballet is seeking partnerships with ballet schools and dance education organisations in these local areas from September 2018. In the following article Ruby Wolk, Royal Opera House Ballet Learning and Participation Manager, shares some of the success stories and explains how to get involved.

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leven-year-old Lordess said she felt “confident and joyful” when she danced. She completed four years of ballet classes and performances as part of The Royal Ballet’s Chance to Dance programme in 2006 (the programme’s

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15th year). Lordess lives in south London, and her parents are from Ghana. Her mother explained that: “I never had an idea that she would do ballet. I was thinking I’d take her to do singing or street dance… I was thinking that ballet is not for black people.”

Meanwhile Isaac, who graduated from Chance to Dance in 2004 and now dances for Les Ballets de Monte-Carlo, admited: “Before Chance to Dance, I think I had the stereotypical image of a girl in a pink tutu and pointe shoes… I didn’t have a clue what ballet was.” Taken from the film made to celebrate 25 years of Chance to Dance (in 2016), these comments are typical of the challenging perceptions of ballet. The vision of Darryl Jaffray, Director of Education and Access at the Royal Opera House from 1987–2006, addressed these barriers to accessing the art form. She had heard comments from primary school teachers in inner-city London schools that ‘ballet isn’t really for these children’. With the strong belief that, “ballet is for everyone…ballet is the vehicle to open possibilities to people”, Chance to Dance was born in 1991 under the leadership of Jaffray.

Increasing access to ballet is not only about providing classes where there were none before. The multiple barriers to access are social, psychological and practical. As such, it’s also about providing an enabling environment for that child, via their family, school, peers and positive role models as well as the ethos and teaching practice of the class itself.

Chance to Dance provides

DANCE News

a creative environment in which to experience and explore ballet.

The belief is that the art form will be most accessible and relevant to the lives of children, from all kinds of backgrounds, via engagement with the emotional and dramatic intention behind the movement and how this drives forward the narrative. Whilst there is sometimes a binary perception of technique and artistry in ballet training at entry level, Chance to Dance seeks convergence between technique and creative engagement with ballet. From the very start of their ballet journey, children are encouraged to emotionally engage with the movement and develop artistry to enhance the technical ability. The aim is to open a world to participants, to encourage discovery through an embodied understanding of ballet.

By rooting the project in primary schools, Chance to Dance engages with children in an environment they are familiar with, bringing ballet to them (literally, with dancers from The Royal Ballet visiting schools to perform excerpts of the Company’s repertoire). Children take part in creative ballet workshops in schools and some continue with weekly classes. Each cycle of the project culminates in a performance at the Royal Opera House, alongside the professional dancers, in a specially made piece of choreography inspired by The Royal Ballet’s repertoire. Connecting to the artistry and repertoire of The Royal Ballet inspires imaginative engagement with ballet and can take a young dancer on a journey beyond themselves.

There is no doubt that Chance to Dance takes children and their families on an extraordinary journey. It changes perceptions and challenges stereotypes. As such, the programme nurtures the talent of children from diverse backgrounds, making strides towards better reflecting the rich culture of our society on stage.

But this is not where the positive impact of broadening access to this incredible art form ends. It also enables young people and their families to experience the enriching and potentially life-changing qualities that participation in ballet can provide. Lordess’ mother observed during her daughter’s time on Chance to Dance that, it’s not only about becoming a ‘ballerina’, but taking part in ballet classes also, “helps each child to know that some day you can become somebody that you want to become. It doesn’t matter

All the photographs are from the Chance to Dance Level 4 peformance of ‘Cygnet Lake’, choreographed by Sarah Dowling, Nathalie Harrison and the Chance to Dance practitioner team

Ballet offers participants the experience of being part of something bigger than themselves

Top far left: Royal Ballet dancer Annette Buvoli leading a warm-up in the studio Far left and above: Level 4 children in rehearsals at the Royal Opera House Left: The finale of ‘Cygnet Lake’, featuring Royal Ballet dancers (L-R) Leticia Dias, Annette Buvoli and Leo Dixon, with the Level 4 children

ALL PHOTOS: RACHEL CHERRY

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DANCE News

what your background is, if you put your mind to it, you can do what you want to do”.

There are some vital life lessons learnt, as Vernon, who graduated from the programme in 2007, points out: “Ballet has taught me that things can be challenging but also enjoyable. Even though things are hard, you need to have that dedication and perseverance to push on through and you’ll eventually achieve your goals.” Perhaps the most important lesson of all is highlighted by Dame Monica Mason, Director of The Royal Ballet 2002–2012: “When you talk to the parents, they all talk about how the children have had such an advantage in learning a discipline. How they discover what it’s like to be depended on”. Ballet, like other performing arts, offers participants the experience of being part of something bigger than themselves. It is a powerful experience to feel the responsibility of playing a part in the creation of something amazing, that you could not have created on your own. It promotes a sense of belonging and ownership. As Lordess’ father points out, ballet is “good for the soul”.

Twenty-seven years later, Chance to Dance is entering a new chapter, with the aim to build a national presence and be the catalyst for systemic change in who has access to ballet and the opportunity to train professionally. To create more opportunities for aspiring young dancers to engage in further training, The Royal Ballet will be working collaboratively with local and national dance education partners to model best practice in the creative teaching

The programme nurtures the talent of children from diverse backgrounds

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of ballet and establish more accessible pathways, especially for those who face difficulty accessing existing opportunities. The Royal Ballet is seeking partnerships with local ballet schools, initially in Thurrock and the surrounding areas of Essex from September 2018. To find out more or express an interest in being involved, email ruby.wolk@roh.org.uk.

Ruby Wolk Ballet Learning and Participation Manager, Royal Opera House All quotes taken from the Royal Opera House’s film that was made to celebrate 25 years of Chance to Dance.

The ISTD has been invited to partner The Royal Ballet Company as they roll out their newly designed Chance to Dance programme across England. This is not only an excellent chance to introduce children to dance and ballet for the first time, but also a unique opportunity for selected private dance schools to develop their knowledge and skills in using creative teaching approaches to broaden access to ballet. Selected teachers will be offered training and mentor support from highly experienced Royal Ballet and Royal Ballet School practitioners in preparation for introducing ballet to children in local primary schools.

Below: Some of the Level 4 boys during the performance of ‘Cygnet Lake’

DANCE News

Library News Sarah Jardine-Willoughby describes the latest additions to the ISTD Library Bakst des Ballets Russes à la haute couture.

Sous la Direction de Mathias Auclair, Sarah Barbedette et Stéphane Barsacq. Albin MichelBibliothèque Nationale de France.

This book accompanied an exhibition held at the Bibliothèque-musée de l’Opéra, Palais Garnier, in Paris, 22nd November 2016 – 4th March 2017. It contains essays by various different authors and is lavishly illustrated in colour. There are many examples of Bakst’s work in full colour or his black and white drawings.

Also there are many photographs of costumes and one of a dress by Karl Largerfeld for Chloé from 1994 shown next to a Nymph’s costume from L’Après-midi d’un faune. There is a still from a Charlie Chaplin film, Sunnyside 1919, that shows Chaplin dancing with various nymphs and which is a homage to L’Après-midi d’un faune. A chronology is included at the end of the book. Although the text is in French there is much to enjoy in this book, and it is a welcome addition to the ISTD Library.

chapter is devoted to a different aspect of his rich life, the chapters overlap. The first chapter, Finding a Footing, starts with Peter Wright at school at Bedales and desperate to start training as a dancer. He knew he would be starting his training late. While at Bedales he developed various other artistic interests, including pottery.

I was intrigued to discover he learnt to knit there and he writes: “Even now, some 80 years later, when my brain gets really scrambled I find that knitting complicated patterns is a way of relaxing.” As a knitter myself I emphasise with this. This chapter describes his struggle to become a dancer.

The second chapter is about meeting Dame Ninette De Valois and his later relationship with her. He devotes separate chapters to working with various choreographers/directors: John Cranko, Kenneth Macmillan and Frederick Ashton. I was interested to read the chapter on his career in television, which influenced some of his later work. Of course, he writes about his work as director of Sadler’s Wells Royal Ballet, from 1976, and about the move to Birmingham. I was interested to read the chapter Making a reputation – Giselle. Peter Wright was asked to stage Giselle by John Cranko for Stuttgart. I was pleased to note he studied Cyril Beaumont’s book, The Ballet called Giselle. He has continued to revise his Giselle and in subsequent productions reinstated the first act mime. After reading a description of Carlotta Grisi, the first Giselle, plunging Albrecht’s sword into her heart in Ivor Guest’s book on romantic ballet in England, he changed Giselle’s death to suicide. However, he has encountered resistance from some Giselles who refused to kill themselves. He wanted his production to work for modern audiences but, “be true to what the ballet’s creators had intended”.

He writes about his other productions of ballet classics including The Nutcracker for The Royal Ballet and its subsequent revisions. It is interesting to read about Sir Peter Wright’s varied career and you get a sense about the people he liked and those he didn’t.

Merce Cunningham: Common Time. Edited

by Fionn Meade and Joan Rothfuss. With contributions by Bruce Altshuler, Carlos Basualdo, Juliet Bellow, Philip Bither, Victoria Brooks, John Cage, Roger Copeland, Mary L. Coyne, Douglas Crimp, Merce Cunningham, Robert Ellis Dunn, Simone Forti, Danielle Goldman, Hiroko Ikegami, Kelly Kivland, Claudia La Rocco, Fionn Meade, Aram Moshayedi, Benjamin Piekut, David Vaughan. Walker Art Center, 2017.

Published on the occasion of the exhibition Merce Cunningham: Common Time, curated

by Fionn Meade and Philip Bither with Joan Rothfuss and Mary L. Coyne for the Walker Art Center, Minneapolis. The book is divided into various sections: collaborators, essays, interviews, chronology, artist texts, portfolios and a reference section. It is also lavishly illustrated and among the illustrations are many photographs. This book is a welcome addition to Cunningham studies.

ISTD

Wrights & Wrongs: My Life in Dance. Peter Wright with Paul Arrowsmith. Oberon Books Ltd 2016.

Peter Wright has concentrated on writing about his professional life, with only brief mentions about his family, although he acknowledges the support that his wife of 53 years always gave him, until her death in 2007. He has written a broadly chronological life. However, as each

The ISTD HQ Library is a unique resource that offers a wealth of material covering most dance disciplines and related subjects. We are open Mondays and Thursdays, 10.30am–3.30pm. Visitors must book in advance. For further information or to book an appointment please call us on +44 (0)20 7377 1577 or email library@istd.org. FIND US AT: ISTD Library, Imperial House, 22/26 Paul Street, London EC2A 4QE

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DANCE Features

Jonny Labey Meet the leading man of the West End smash hit Strictly Ballroom the Musical

You’re currently playing Scott Hastings in the West End triumph Strictly Ballroom the Musical, how are you enjoying the role?

It’s an absolute ‘pinch yourself’ situation. I’ve been training all my life and coming from Jersey, I probably saw a West End Show no more than twice growing up. So I never had any lead roles in mind and Strictly Ballroom came to me as a surprise. The role is far better than any other role I thought I would play. It’s perfect, he is such a complex character, an anti-hero.

For the first three quarters of the show the audience are loving and hating him. It’s really funny, and when his relationship with Fran evolves and develops we start to see his more sensitive, genuine, and lovable side. Obviously, the dancing and working with Drew McOnie, who’s just got such a momentum behind him at the moment, is really exciting too.

So let’s go back, you mentioned you were born and raised in Jersey, how did you become involved with dancing?

I first became involved in dancing when I was about five. My older sister Rachel was doing Tap classes and I was in the changing room bobbing along to the music so my mum thought I’d better start lessons. I kept dancing but my sister is now a midwife. I then started Modern, and then Street Dance, and eventually I looked into colleges. It just sort of grew from there. I always knew I wanted to be a performer. My parents were very supportive of it, and it just sort of happened organically.

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PHOTOS: JOHAN PERSSON

Zizi Strallen as Fran and Jonny Labey as Scott Hastings in ‘Strictly Ballroom the Musical’

DANCE Features

And from there you moved to England to study at Bird College?

Yes, I moved to England at 18, to Bird College, and studied the degree course.

I’m sure people reading this will have first become aware of you for your time spent in EastEnders. However, I first became aware of your dancing talents during the EastEnders Top Hat section of the 2015 Children in Need feature. It must have been nice to showcase your other talents to the nation?

That was such a small rehearsal and they click tracked it as well. I said to them: “I am actually a Tap dancer.” But they said it would be easier for TV if we just kept it click tracked. It was great fun. Also Bonnie Langford and I did a Strictly segment in the tube station that year, and now I’m working with her niece.

Your transition from being known mainly as an actor to that of a dancer was pretty quick. In less than six months from leaving EastEnders you, along with your now fiancé Chrissy Brooke, were being crowned the winners of ITV’s Dance, Dance, Dance. Tell us more about that transition.

Dance has been such a big part of my life. Growing up I was always sporty. I always had to be busy and do everything, having trained at college for three years, doing 8:30 ballet classes right the way through to doing my DDI Tap exam when I was in my first year. I really threw myself into it, it was dance, dance, and more dance.

Then I made a film called Soft Lad (Director Leon Lopez, 2015), which was a life changing experience and I found myself really interested in acting. The transition from that into EastEnders really changed things for me and I thought: “Is this the way things are going to go for me now?” I’d just been training at Dance College for so long and now it seemed that the acting was taking over. It was fine, but it was a strange shift. I did a very serious play about Rupert Brooke, a First World War poet at the end of the Edinburg Fringe Festival after that and then did another u-turn, straight back onto the dancing track.

I think I’ve learnt from that whole circle of experience never to let go of anything, and try to broaden your horizons without shutting any corridors to other parts of your life. In the UK schools are not as encouraging as in America, and combining musical theatre performance and acting is a bit taboo. I often felt I had to quieten down my musical theatre life and interests in order to do better in the acting side. Where I’ve actually ended up is in a role where I am acting and dancing together, so it’s perfect.

What was it like to be involved in Dance, Dance, Dance, learning new and varying styles of choreography each week then having to perform under pressurised conditions?

Dance, Dance, Dance was mad, it was crazy, and we loved every second of it. Obviously living, working and rehearsing every single minute was very full-on. Not necessarily in the early stages, because there were more couples and we actually learned the first three weeks of routines before we started filming, so that seemed pretty relaxed, but then when it started, and people started getting eliminated and we started learning a new number each week, the pressure started climbing. Anyway, it was fantastic, and dancing with Chrissy was such an amazing eye opener as we had not really seen each other dance, as I was doing EastEnders when we met.

The role is far better than any other role I thought I would play

Jonny Labey as Scott Hastings in ‘Strictly Ballroom the Musical’ DANCE ISSUE 484

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DANCE Features

The show was full of varying styles of dance. A personal favourite was your recreation of Michael and Janet Jackson’s Scream video, but your series-winning routine, Try by P!nk, was your stand-out performance. What was your own personal highlight?

My personal favourite was probably Try. I am not really a Michael Jackson fan. Growing up I was more into my bands, The Offspring or Café Empire, but I learnt a lot on that job about Jackson, his style and his music, and just that routine and that setting, it was very special and iconic. Every routine was different. They were special each week, and they would change it up and challenge us, and out of all the couples we were the ones that got the biggest variety.

It was great to be working with Galen Hooks, Shaun Niles, Josh Wharmby, Tina Landon, and the backing dancers were unbelievable.

They did every single dance of all the contestants, every single week. It was a lot of material, and they absolutely smashed it. It was a good team of people and everyone really got on well. It’s lovely when a job doesn’t feel like a job.

You quickly became poacher turned game keeper and within months of winning a dance based television competition you became a judge on one, BBC’s Taking the Next Step. That must have been slightly surreal to start with, being on the other side of the judging table?

I was approached by the team at the BBC, and it was a very interesting and exciting opportunity to see the next generation.

Since Dance, Dance, Dance I have been running workshops and doing classes all over the country. To see a lot of those students taking those classes come to audition for Taking the Next Step, and likewise, since Taking the Next Step and hosting a workshop where those kids are turning up, means that I get to check in with them and see their progress. It’s really inspiring where kids are these days. Any kids that I judge are far better than I was at that age. They are often mind blowing, and I feel the future of dance is really exciting and the acceptance of dance and art as a medium is much more open and encouraged.

Sometimes I sit in that seat and have to remind myself: “You’re how old?” They are doing dances that professionals graduating from college wouldn’t dare to dream of and some of these kids are 10 or 11 years old. So it’s all very exciting. I think it’s amazing that the show is giving these auditioning kids time on stage and screen, and I’ve got really excited for their futures and what’s going to come for them. I don’t know how I feel about them performing at a younger age though. I was always told to go and do my exams before going off to college.

I first became involved in dancing when I was about five

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Jonny Labey as Scott Hastings in ‘Strictly Ballroom the Musical’

PHOTOS: JOHAN PERSSON

Strictly Ballroom the Musical is showing at the Piccadilly Theatre. For ticket and performance details please visit strictlyballroomthemusical.com

DANCE Features

The cast of ‘Strictly Ballroom the Musical’

The show features routines set to 30 classic hits, what is your favourite routine and why?

My favourite routine is Perhaps Perhaps. It’s very stripped back and kicks in with a Rumba. The choreography is excellent.

Jonny Labey, La uren Stroud, W ill Young, Michelle Bisho p and Gary Wat son (L–R) in ‘Strictly Ballroom The Musical’

I was fortunate enough to be at some of the recording days for the show and unlike some other television shows, it was abundantly clear how positive the experience was for all the young dancers who took part. Did you consciously approach your role as a judge to nurture the contestants?

I’d never judged before. I was quite worried. Sometimes you can offer your opinion if it’s constructive, like you need to improve your technique or work on your performance and on telling the story. I think there’s no point in giving your opinion if it’s not constructive. Otherwise it can get a bit Simon Cowell and game showy, which this show isn’t, and which is really nice. We also had the production team saying to us, “two stars and a wish” to say, “you’re amazing at this, but you need to work on that, keep going”. If the show gets re-commissioned a lot of kids will return and it will be interesting to see if they have listened, where they are at, and how they do.

So, back to Strictly Ballroom the Musical, I’ve heard it’s a demanding show. How are you managing the eight performances a week?

I’ve never done a show running as long as this. Matt Cardle (who recently took over from Will Young) sings all the songs and for us it’s acting and dancing all the way through. It’s probably the most challenging and demanding show I have ever done. It’s good, I lap it up every night, and the audiences are getting better.

Do you think your versatility has helped with the fusion of styles of choreography?

The choreography is a unique mix of styles (with elements of Quick Step, Tango, Contemporary, Hip Hop as well as rigid argumentative choreographic styles, plus lots of lifts and physical theatre). It covers everything, and set pieces for dancers are all different. Time After Time is beautifully staged, where the ballroom dancers are always present, and it always gets a strong cheer and applause.

Were you a fan of the Strictly Ballroom film?

I didn’t know the film. I watched it on Netflix and I remember thinking that this is an incredible part. Then Chrissy auditioned and got it, and luckily, five months later I was offered the role.

The critical reaction to the show has been “totally glorious” to quote The Independent, but were you nervous recreating something so well known and loved by so many dance fans?

Transitioning film to theatre is always a worry, like with Les Misérables. I was thinking I hope they don’t ruin it, and then the film opened with this amazing sea bounded backdrop, which you can’t do in theatre. Luckily with Strictly Ballroom the truth is within the story, which can be transitioned and played just as effectively on stage. The characters and situations are very real, so whether they are done on film or in the theatre I don’t think really matters.

What was the best piece of advice you received as a young dancer?

The best advice I received was that even if you go wrong, go wrong with commitment, and make it look like everyone else is wrong.

What one piece of advice would you give to a young dancer?

Do everything and all of it, all at the same time! I always found my passion for dance very much grew over time. It’s sometimes less about your ability or what you can do to impress someone and more about your attitude and your approach; always be professional and nice to work with – people don’t realise just how far that can get them.

Interview by James Scanlan DANCE ISSUE 484

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DANCE News

ISTD SPRING E M M A R P RO G T

he Teatre Faculty Spring Programme was held at Laine Theatre Arts in Epsom this year from 3rd–13th April. This was very well received by all members with some excellent feedback, with 100% stating they would recommend their course to others.

150 teachers attended 20 different lectures in a range of genres over 11 days. In addition to this, 43 students attended the Imperial Classical Ballet masterclasses, with an opportunity for teachers to observe Grade 3 to Intermediate and gain a valuable insight into training and the development of technique.

Teacher feedback from the Spring Programme requested more courses to be delivered and over a longer period of days. This is really positive that teachers and students want to actively continue to develop their learning through syllabus work, masterclasses and creative work.

Within Education & Training we continue to plan CPD and are looking to expand our training further so that you can access more online as well as physically in the studio throughout the country.

The 2018 Residential Summer School at Chichester University, has 75 different classes on offer and is exceptionally well received by teachers. There will also be CPD in October half term in London as well as a full regional programme running again from September.

If you have any requests or would like to discuss any training that is not currently being offered, please do not hesitate to contact us in the Education &Training Department.

Louise Molton

Fantastically interactive class The Training of Ballet Technique

14 DANCE ISSUE 484

DANCE News

Ideas on how to teach, how to improve artistically and musically Teacher observation

It was fun and challenging Intermediate Tap

Excellent knowledge and delivery, covered all syllabus and technique

Sharing ideas with the other teachers National Primary

Intermediate Modern

DANCE ISSUE 484

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DANCE Features

Peter Lovatt is a Reader in Psychology at the University of Hertfordshire. Before starting on an academic career Peter was a professional dancer. As a TV dance psychologist he has appeared on many popular shows, including Strictly Come Dancing: It Takes Two and The Graham Norton Show.

MIND DANCE on the

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DANCE Features

DANCING You are a dance psychologist – what is that? must be capable of doing the same with the A dance psychologist studies dance and dancers written word. When I was in my early twenties, I used the way I learnt to dance as a framework from a psychological perspective, and does so PERFORM ING for learning how to read. using scientific methods. Dance psychologists VOCATION AL address questions such as ‘Are humans born to dance?’ ‘Why does dancing have an impact Do you think dance could help others with similar on a person’s self-esteem?’ ‘How do dancers reading difficulties? remember such long movement sequences?’

Yes. There are some reading programmes, aimed T MOVEMEN and ‘Why does dancing make us better problem at young children, which use dance as a vehicle SELF-ESTE for learning to read, such as the Basic Reading solvers?’ Dance psychologists are curious about EM the social, biological, cognitive and Through Dance Programme. I PSYCHOLO GY CE N A developmental aspects of being a believe programmes such as this D TO BORN could be extended to help people dancer, of teaching dancers and of G LEARNIN watching dance. of all ages tackle the complexities of the written word.

You are currently Reader and Principal Lecturer in Psychology You were Senior Research Fellow at at the University of Hertfordshire Cambridge University from 1998 to where you run the Dance 2000. What was the main focus of Psychology Lab. What does the your work during this time?

Lab do?

At Cambridge University I was carrying out research looking The Dance Psychology Lab is at how humans learn multiple currently engaged in a programme of research looking at the effect of languages, such as French, Italian, dancing on people with Parkinson’s English etc. It occurred to me that disease. We have seen through dance is a form of language too and previous studies that when people it was at that point that I wanted with Parkinson’s dance it can lead to understand how humans learn to a significant, and clinically different dance ‘languages’. relevant, reduction in some of their symptoms. This is extraordinary, Before studying the psychology especially as Parkinson’s is a of dance you were a professional neurodegenerative disorder. We dancer, having trained in dance are currently looking at the rhythm and musical theatre at the and timing abilities of people with Guildford School of Acting. Had and without Parkinson’s to try to you done any ISTD dance exams understand what it is about moving while you were learning to dance? to different rhythmic patterns While training I took ISTD that changes the symptoms of vocational grades in Tap, Ballet, Parkinson’s. The Dance Psychology Modern Theatre Dance and National. I loved the Cecchetti Lab is also engaged in several other syllabus, which was taught by research projects.

Angela Hardcastle, and I even attended the ISTD Cecchetti On BBC Radio 4’s Saturday Live programme in February this year Teacher’s Summer School about EXAMS you said dance helped you learn 10 years ago (though, for the T E C H NIQUE to read – can you explain how? record, I haven’t touched a glass of Pimm’s since).

Because I had severe reading difficulties I thought SION PROGRES I was stupid and therefore incapable of learning Do you think dance exams are helpful to those learning dance? And if so, why? anything as complex as the written word. Dancing C O N FIDENCE made me realise that I could already learn and I think dance exams are extremely helpful in introducing some dancers to appropriate communicate highly complex patterns. Dancing gave me the confidence to apply myself to technique, providing clear learning objectives ENT ACHIEVEM reading. It made me realise that I was not stupid that are nicely staged for progression, and can (which is a huge barrier to learning). If I could help people to build confidence and have a sense OBJECTIV ES learn, remember, and understand the subtle of achievement. However, there will be some nuances of a piece of dance then, I thought, I people who want to learn to dance but don’t S N PATTER

Dance is one of the most important, and innate, of all human behaviours

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DANCE Features

want to be put through potentially stressful dance exams. We know that being judged can cause an increase in levels of cortisol in dancers, the stress hormone.

You combined the study of dance and psychology in 2008 and since then your work has been reported on TV, radio and in the press, where you have become known as ‘Doctor Dance’. What was it that started this chain of events?

The Daily Telegraph heard about my research and published a piece on it.

This article sparked an interest and I was invited onto lots of TV and radio shows to talk about the psychology of dance. I was on a couple of TV shows, one of which was The Graham Norton Show, where I was referred to either as the ‘Doctor of Dance’ or as ‘Doctor Dance’.

The name ‘Doctor Dance’ stuck and since then it has become something of a stage name.

understand the impact of having mirrors in the studio and of the potential consequences of wearing a leotard in class. It can increase awareness of the issues around teaching people who have a wide range of emotional and cognitive disorders. It can help with thinking about improvisation and the role and use of marking movements on a dancer’s ability to be emotionally expressive during performances. It can help teachers think about choreography and about the importance of sleep in learning to dance. Dancer’s brains become different from the brains of non-dancers, and dance teaching and practice play a central role in a dancer’s neurological development.

I think dance exams can help people to build confidence and have a sense of achievement

As a TV dance psychologist you’ve appeared on many popular shows, including Strictly Come Dancing: It Takes Two, The Alan Titchmarsh Show and Big Brother’s Bit on the Side. Did you have any idea that studying dance psychology might lead you into this media career?

Absolutely not! As a professional dancer I loved performing but as an academic research psychologist I didn’t think I’d ever get the chance to perform again. However, by combining dance and academic psychology I now get the chance to work with dancers and choreographers and to make new theatre and TV shows. For example, I’m currently touring the UK with a show called Boogie on the Brain and in 2016 I went out to Los Angeles to film a pilot for a new TV show about how dancing can make people happier.

I am also very excited about a current TV project, which will involve working with a very famous ex-ballerina (sorry, but I’m not allowed to tell you her name) on the relationship between dance and mood.

If you could give one piece of advice to your younger dancer self, what would it be?

Remember that dance is one of the most important, and innate, of all human behaviours, and that if anyone ever criticises you for dancing, or tries to stop or prevent you from dancing, then it is that person who needs to change.

Interview by Tamsin Moore CLICK You can catch up with Peter’s talks on TEDx Talks on YouTube where he explains in a fun and accessible way how dancing is a fundamental part of who we are and can have a huge impact on

Can dance psychology help working dance teachers? And if so, how?

Yes, dance psychology can help working dance teachers. Having an understanding of the psychology of dancers, and the dance environment, can help dance teachers to optimise the effectiveness of their training. For example, dance psychology can help teachers understand why some dancers learn faster or slower than others, why some people want and need to receive corrections while other people crumble when they receive corrections. It can help 18 DANCE ISSUE 484

ALL PHOTOS OF PETER BY ALICIA CLARKE

Having an understanding of the psychology of dancers, and the dance environment, can help dance teachers to optimise the effectiveness of their training

our ability to learn. Peter’s book, Dance Psychology, is a great place to start your learning journey if you’re interested in finding out more. It is available at peterlovatt.com and in all good bookshops.

DANCE Features

A Taste of the

Real

An interview with Janet Lewis MBE, founder and Director of the English Youth Ballet

Thing

Ballet Etudes

T

he English Youth Ballet (EYB) presents full-length classical ballets in the regional theatres of England, Scotland and Wales, bringing opportunity to young dancers outside London to perform within a professional setting. Now in its 20th year EYB is a highly successful youth dance company.

What was your main goal in launching EYB back in 1998?

I wanted to give young dancers a performing opportunity in classical ballet. We try to complement what the ballet schools do, and to take it further because it’s a performing art. When I was young my dance teacher kept the balance between technique, exam work and performance. She married them together extremely well, so we came out with both technique and performance ability.

Students probably get a chance to do a school performance, but they don’t usually get a chance to take things a step further and work alongside professionals. Really we treat them as if they are in a ballet company, although they are young. So they get a real taste of what it’s like in the ballet profession. The other goal is redressing the balance between London and the regions. There is often so much more opportunity for young people in London.

“One of our goals is redressing the balance between London and the regions” Janet Lewis MBE

Were you surprised by how successful it was?

Yes. I tested it out with Theatre Manager John White at the Octagon Theatre in Yeovil, Somerset, where EYB performed its first production (The Nutcracker). I’d said I’d like to give more performance opportunities to regional children and John said: “Well, we do this with musicals. We have professionals in the lead and we use the local talent to do the backup. So why don’t we try it with ballet and see how it works?” We put adverts out in the various local ballet schools to notify them about the auditions and the response was incredible, people seemed to want it.

This year EYB productions are taking place in Buxton, Carlisle, Crawley, Norwich, Nottingham, Shrewsbury and Wimbledon.

Why these?

As we’ve been going 20 years we’ve built up some regular venues where we return every two years, for example Nottingham, Norwich and Wolverhampton. Other venues we re-visit every three or even four years. And then there are the new venues to break new ground, such as Carlisle this year. The idea is to cover the UK so there are more opportunities for more children.

Finance can be a huge challenge for the arts. What are the main sources of funding for the EYB? We don’t get any government funding. We run a performance course for the young dancers and it works a bit like a vocational school (although we are not a school) where they pay a small audition fee and then the parents pay for the course, which includes technique, choreography and performance. That budget from the parents, if you’ve got a big cast, goes towards paying EYB personnel who do the teaching and performing. The company also takes a share of profits from the theatre box office. The usual split is 70% to the company and 30% to the theatre. The EYB is a professional company with 25 personnel including dancers and DANCE ISSUE 484

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Coppélia Act 1

technical and administrative staff, who all have to be paid. New productions cost about £60,000 so we do try to save extra fees from the box office after we’ve paid the bills to go to back into investing in the organisation.

pianist), a symbolic version of The Firebird and contributions from the dancers themselves. It gives them a change, explores them artistically and gives them a chance to choreograph, especially some more modern pieces.

The most recent addition to the EYB repertoire, Cinderella in Hollywood is being performed in Crawley, Norwich, Nottingham and Shrewsbury this year. Please tell us more.

The premiere is at the Theatre Royal in Norwich. It’s quite an undertaking. I decided I wasn’t going to do anything that had been done before and I wasn’t keen on the Prokofiev music because it’s quite dark for young people. Also, we’ve done two tragedies, Giselle and Swan Lake. I decided I wanted to do something a bit lighter so I thought we’d set it in Hollywood on the inspiration of Prince Rainier marrying Grace Kelly. In the modern day, to my good fortune, Prince Harry has married Meghan Markle. Young people might not know who Prince Rainier and Grace Kelly were but they certainly know who Prince Harry and Meghan Markle are. It’s set in the 1950s and uses the lighter Shostakovich music, which seems to lend itself quite well, I thought.

You have about 100 places in each production. Can you give a rough estimate of how many ballet students audition for these?

It varies according to the area. We’ve just done the Nottingham audition and we had 300. When we went to Northern Ireland we had 400. An average is between 150 and 200. It’s amazingly popular.

Ballet Virtuoso is a company made up of EYB’s eight professional dancers, which performs a programme suited to smaller theatres.

How and why did Ballet Virtuoso come about?

It’s an antidote to the classics and a chance for our professional dancers to choreograph and dance some different styles. Before I did this I had a company called Lewis London Ballet that toured theatres with 10 dancers, so it’s a bit like that. We present ballets like Gershwin, Chopin’s Variations (elegant dancing with a live

How easy is it to find practice venues?

My marketing and publicity manager researches various local schools. We always choose a school that has three or four appropriate spaces, and we have three or four rehearsals going on at the same time, with a very carefully worked-out schedule.

The ballet is taught in bits, then at the end of each day we put it all together and the children see how it evolves. We have 11 6-hour sessions in total over weekends and school holidays, so the children don’t have to have time off school. They must be able to do their schoolwork too.

“Dance examinations are definitely of benefit” Janet Lewis MBE

The Nutcracker Finale

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DANCE Features

About the English Youth Ballet (EYB) The Company uses dancers aged 8–18, chosen by audition.

Scholarships are available, see englishyouthballet.co.uk. The EYB focuses on the regions of the UK to stage full scale classical ballets fronted by six professional

dancers. There are seven ballets in the EYB’s repertoire: Giselle, Sleeping Beauty, Coppélia, Nutcracker, Swan Lake, Ballet Etudes and Cinderella in Hollywood. The EYB has achieved sell-out performances at every venue in which the Company has performed.

Youth Dance Companies There are many youth dance companies that can give young dancers performing experience across the UK and internationally.

For example the following are in the UK: Activate’s Youth Dance Company (Portrait), Artistry Youth Dance, Bristol Russian Youth

Ballet Company, ENBYouthCo (English National Ballet Youth Company), National Youth Ballet of Great Britain (see issue 482 of DANCE), National Youth Dance Company (NYDC) at Sadler’s Wells, National Youth Dance Company of Scotland, Shift dance company at The Place, and Trinity Laban Youth Dance Company.

Swan Lake Act 2

How do local dance schools and ballet students get to hear about productions coming up in their region?

My marketing manager does a big send-out to local ballet schools.

We have audition notices that go up well in advance. It is well publicised to the teachers and dance organisations. Students who gain a place on an EYB production benefit from professional classes and choreography built around their talents.

Do you ever liaise with ISTD teachers?

I do speak to all the ballet teachers that have taken part in a production. They are invited for a drink in the interval. On one of these occasions in Darlington I met a young ISTD examiner.

Apparently I’d taught her at Bush Davies School years ago. She said: “You were very tough, you shouted in the class ‘you’ve got to earn a living at this, why don’t you get on with it.’ So, I went and did that, and now I’m an ISTD examiner.” I was delighted.

About a third of students in our productions are ISTD trained.

My daughter was brought up with the ISTD at her ballet school and did all the exams. Her teacher was very good. I like the ISTD because they’ve got the 11 faculties. My daughter found it very beneficial to have Tap, Modern, National and Ballet under one roof, and my granddaughter has taken a similar route. She’s at the London Studio Centre and is very good at all the disciplines.

Do you think dance exams are of benefit and if so why?

Exams are definitely of benefit. They are very useful to measure a standard, to develop progress and work on technique. But I think they should be taken alongside performing, as I think you have to experience the other side. I did my teaching exams after I left the Festival Ballet and I’ve done a lot of teaching in vocational schools.

Many past EYB students have gained places in vocational ballet schools and become professional dancers. Are there any EYB alumni who really stand out for you?

The parents let us know how they are doing. A lot of them start at age 8 and then if you return to a place you see them again

two years later age 10, then 12, then 14 and so on. There are two alumni that come to mind. Cordelia Braithwaite is a leading dancer with Matthew Bourne. And Kevin Emerton is a First Artist of The Royal Ballet. And there are others. I have about seven girls and two or three boys who I pick to do solos. I usually have at least four teenage girls who are strong en pointe and I usually find that those four girls get to a vocational training school. I think it proves that the performance side has really helped them. And certainly the feedback from the parents is positive, including for the boys, having learnt a lot from the male teachers. It’s very rewarding.

Before running ballet companies, you enjoyed a distinguished career as a dancer with The Royal Ballet and danced principal roles with London Festival Ballet (now English National Ballet).

What are your favourite memories from that time?

At The Royal Ballet it was working in the same productions as Dame Margot Fonteyn, without a doubt. It was a phenomenal lesson to watch her work, and to be on stage when she performed. She performed ‘larger than life’ because she said it had to carry right to the top of the gallery at the Opera House and it did.

Later on she guested with the Festival Ballet and I worked with her quite closely because by then I was doing solo roles like the Lilac Fairy and the Queen in The Sleeping Beauty. I went from one to the other. I actually played her mother at 25, when she was 48, which was a bit of a joke but she made me believe she was 16 the way she acted the role. It was extraordinary seeing her in the different roles – she seemed to become the part both dramatically and musically.

At the Festival Ballet it was a wonderful life. We toured the world and it was very exciting. I was chosen after six months in the company to dance a principal part in the Balanchine ballet Bourrée Fantasque because it happened to suit me and I was tall.

I danced that right the way through for 10 years. It was a part that Balanchine’s first wife Tanaquil LeClerq originally danced, partnered by Jerome Robbins in New York.

Interview by Tamsin Moore

New Wimbledon Theatre: Ballet Virtuoso 21st–22nd August; Swan Lake 24th–25th August. EYB auditions for Giselle, Stoke-on-Trent, 26th November. Email: misslewis@englishyouthballet.co.uk DANCE ISSUE 484

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DANCE Features

Why not top up your tops for the new term with one of these suggestions, tried and tested for DANCE by Rebecca Dalby

of the Tops

CHAYKRA BALANCE TOP

BLOCH AILEY TOP

The Balance top from new brand chaYkra is a winner. Versatile, on-trend and perfect for layering. It is 100% organic cotton that feels soft but yet substantial, which helps to keep its ‘boxy’ shape whist moving. Because of its shape, it keeps you cool throughout the highest intensity of workouts. Available from chaykra.com

This black loose fitting top is extremely comfortable, made from lovely soft fabric and cooling mesh sections. The top is smart and styled and makes quite a statement. I would recommend you buy a size larger than you normally do if you want it to be ‘loose’ fitting. Available from dancewearcentral.co.uk

TIKIBOO WHITE MARBLE SIGNATURE FLOWY VEST TOP The Tikiboo racer back top is extremely light and airy. The fit is baggy and loose, which feels good during dancing, teaching or exercising. You could even tie it to one side for a different look. The light grey colour is particularly complimentary alongside say a pair of bold design leggings.

Available from tikiboo.co.uk 22 DANCE ISSUE 484

ILU FIT WEAR OVERSIZED DANCE SWEAT ILU’s white jumper is simply elegant. A stunning neckline combined with breathable, soft cotton, this is a firm favourite. It is particularly versatile in white, and the logo on the back gives some detail in a discrete way. Available from ilufitwear.com

DANCE Features

SPORTS BRAS The Dansez Elite sports bra is made from a breathable silky fabric that feels comfortable against the skin and looks good whether worn on its own or layered underneath other tops. The bright splash of colour gives it an eye-catching design.

It is perhaps not the most supportive around the bust area for high impact jumping movements, but perfect for teaching and more technique-based classes. Available from dancewearcentral.co.uk If you’re after a sports bra that can handle high impact the Editor of DANCE recommends the Anita Active Maximum Support DynamiXstar Racerback Sports Bra (inset left). It’s very easy to get on and off compared with some other racer back bras and the back looks great under any design of top. It washes well too – an all round winner. Visit anita.com to find the nearest store.

BOODY BAMBOO BLACK SHORT SLEEVED TOP It was a pleasure to wear the Boody bamboo top both for teaching and as a base layer off duty. Despite it essentially being a tight fitting, three-quarter length sleeve top, it is extremely comfortable, which is down to the bamboo fabric. It is difficult to find a top this style that fits well and feels so comfortable. The scoop neck design (there are others) is flattering and gives a bonus nod to the traditional leotard neckline. Available from boody.co.uk

off 20% r e yw ar fo

Bood e magazin th DANCE till 13 readers with 2 r e 018, Decemb 2 NCE 0 code: DA

Win ISTD members can enter to win a sixmonth supply of My Ballet Box, the new subscription box for dance lovers Simply email marketing@istd.org by 13th December 2018 with your name, address and ISTD membership number.

Each month subscribers are sent between three and five beautifully packaged surprises, including a new leotard each season. There is also an option to subscribe to a quarterly box instead. Some products can be personalised to subscribers’ sizes and preferences. Products are sourced from a combination of established brands and up-and-coming designers in order to provide unique and exciting products in every box. Go to myballetbox.co.uk or follow @myballetbox on Instagram.

Terms and Conditions: Entry to all competitions is free. Only one entry per person per competition will be eligible.

No cash alternatives are available and the prizes are not transferable. Entry in the competition implies acceptance of these rules. We reserve the right to amend these rules at any time. The decision of the ISTD judge is final and no correspondence will be entered into.

Feature compiled by Tamsin Moore

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DANCE Features

There is Always

Movement Frederick Ashton constantly acknowledged his debt to Bronislava Nijinska

Jane Pritchard looks at the career of Bronislava Nijinska

B

ronislava Nijinska was a great choreographer. She may only be remembered for a handful of her creations but with Les Noces (1923) set to Igor Stravinsky’s remarkable score, and simply designed under Nijinska’s own guidance by Natalia Goncharova, she created one of the masterpieces of 20th century ballet. Although her work for Serge Diaghilev as a dancer (1909–14 and 1921–25), and as the Ballets Russes’ choreographer (1921–26) is well documented, her work elsewhere is not. The fact that she created her own companies and worked for periods with companies as varied as the Ballet of the Theatre Colon in Argentina and the short-lived, touring Polish Ballet (1937–38) has left her career poorly documented, so that it becomes a surprise just how many ballets she created. Nijinska complicates her story further by re-working many of her creations for different dancers in companies of different sizes, often having her ballets being redesigned.

Nijinska’s heavily edited autobiography was published in 1981.

But, frustratingly, it only documents her life up to 1914. This is indicative of the attitude that the most interesting point about Bronislava was that she was Vaslav Nijinsky’s sister and muse.

While accepting that their sibling relationship was important, Nijinska’s later career is every bit as interesting as the early years and this short article, inspired by a lunchtime lecture at the Victoria and Albert Museum, focuses on Nijinska’s career away from Diaghilev’s Ballets Russes.

Choreographically it is true that Nijinska learnt a great deal from her brother. It was Vaslav who encouraged her to improve and make her own the role she created as the fleet-footed Papillon in Mikhail Fokine’s Le Carnaval (1910). It was on Nijinska’s body that her brother experimented with poses and steps for his ground-breaking ballets L’Après-midi d’un faune (1912), Jeux and Le Sacre du printemps (1913). It is likely Nijinska also learnt a great deal about choreography and management when she helped

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Travis Kemp, Guy Massey, Anton Dolin and Alicia Markova in Les Biches, MarkovaDolin Company

DANCE Features

Bronislava Nijinska in The Sleeping Princess

ALL PICTURES: V&A IMAGES

her brother with what proved to be a disastrous season at the Palace Theatre, London, in 1914. Here the management wanted to stage Nijinsky’s greatest ‘hits’ from the Diaghilev seasons but the Nijinsky siblings must have been aware that if they staged those ballets in the original choreography they would have been sued. It was therefore necessary to create new versions of Les Sylphides and Le Spectre de la rose as well as Carnival and the Polovtsian Dances from Prince Igor. All had their scores freshly arranged and new settings.

After the failure in London Nijinska, her husband and daughter returned to Russia where they remained during the War and early years of the Revolution, a period that would see the birth of a son and Nijinska’s separation from her first husband. In Russia Nijinska needed to create her own accessible dances – La Poupée, a doll solo to music by Anatol Liadov, danced on point, and Autumn Song, a free movement, barefoot dance to music by Tchaikovsky – to perform at the popular Narodny Dom in Petrograd. Both solos would be adapted for later performances in the West. She then began her more experimental choreography in Kiev where she established her Ecole de Mouvement. Her choreographic sketches created during the early Revolution and experiments with willing students (some of whom would later join her in the West) provided the foundation of her choreographic career.

In 1921 Nijinska returned to the West hoping to collaborate on experiments with her brother as she was unaware that he had been institutionalised. Diaghilev invited her to help mount The Sleeping Princess in London and her four subsequent years working with the Ballets Russes established her international profile and provided her with good resources. However, Nijinska was always her own person, preferring to leave the Ballets Russes in 1925 to choreograph at the Paris Opéra and establish a chamber company of her own. This small group toured England in the summer of 1925

with a programme of largely original choreography all designed by constructivist artist Alexandra Exter. It is possible that the variations from Les Sylphides and Polovtsian Dances from Prince Igor had their origins in the 1914 Palace programme. The tour of English seaside towns and spas does not appear to have been successful in commercial terms. Nevertheless, it is extraordinary to think that it was regional theatres, not those in London, at which the most avant garde choreography and designs were being presented and the tour reached places at which even Anna Pavlova’s company never danced.

After presenting some of her new programme in Paris, Nijinska became ballet-mistress at the Colon in Argentina, a theatre she returned to on several occasions, reworking and sometimes expanding her productions. But her next creative venture was choreographing eight ballets for Ida Rubinstein’s Company. These included Maurice Ravel’s Bolero and La Valse, Stravinsky’s Le Baiser de la fée and La Bien-aimée arranged by Darius Milhaud. One of the young dancers who was stimulated by working with her was Frederick Ashton who constantly acknowledged his debt to her.

She revealed the potential of new choreography while he was still a novice.

The 1930s began for Nijinska with the creation of Paysage enfantin for Olga Spessivtzeva at the London Coliseum and through the decade Nijinska choreographed for her own companies and various Ballets Russes groups. She was also invited to Hollywood to choreograph Max Reinhardt’s film of A Midsummer Night’s Dream although ballerina Nini Theilade (who had performed in Reinhardt’s stage production) was responsible for her own role as lead fairy.

For the first half of 1937 Nijinska became Ballet Mistress for the Markova-Dolin Ballet touring the UK. It should be recalled that Dolin had been very much Nijinska’s protégé at the Ballets Russes in the 1920s. For Dolin and Markova she revived Les Biches in which Markova was particularly impressive as the enigmatic “modern young woman par excellence”. Nijinska also reworked

Bronislava Nijinska in the 1930s

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her romantic ballet The Beloved (La Bien-aimée) the central pas de deux of which was described by Lionel Bradley as “pure poetry”. After six months improving standards at the Markova-Dolin Ballet, Nijinska became involved with the establishment of the Polish Ballet, a nationalist endeavour for which all the ballets were created to scores by Polish composers. It was not particularly well received when it presented a Christmas season at the Royal Opera House, Covent Garden, but the neo-classical, Chopin Concerto, exemplified Nijinska’s achievement in presenting, as Amanda Thom Woodson has shown, “emotional texture which transcends literal meaning”.

At the outbreak of the Second World War Nijinska closed-up her house in Paris and moved to the USA, making California her home for the last three decades of her life. She continued to teach and choreograph, notably creating productions for [American] Ballet Theatre and the de Cuevas companies. In the 1950s Nijinska disappeared from the international scene until 1964 when Frederick Ashton as Artistic Director of The Royal Ballet was, as he said, privileged to invite her to mount Les Biches and Les Noces.

Dolin has written that he prompted Ashton to make the invitation and it is significant that these two danseurs, who acknowledged their debt to Nijinska were key to the restoration of her position in the pantheon of great choreographers.

Movement was important in Nijinska’s choreography. She famously noted people should not “be misled by pictures. My ballets are not static”, and many dancers commented on the stamina her choreography demanded. Despite her achievements Nijinska had a challenging personal life moving between Russia, France and the USA with her son being killed in a car crash in 1935. Her deafness (a result of bombing during the Revolution) and isolation that went with it meant that she was usually supported as she mounted ballets by her second husband and later her daughter, Irina. She was a notoriously hard taskmaster but she achieved the results required and continues to be admired by choreographers, dancers and the discerning public.

Jane Pritchard, Curator of Dance, Victoria and Albert Museum

Bronislava Nijinska as the Humming Bird Fairy in The Sleeping Princess

Bronislava Nijinska was a notoriously hard taskmaster

DANCE News

Careers in Dance This is the time of the year when many students are starting to make choices for the future and to explore their options. Please find a resource document below that may be useful for you to give to your students or parents to start them off on that research and support that process.

Dear Students The old question that is presented to you at school when you can hardly decide what to have for lunch let alone career choices is: ‘So what do you intend to do with your dance?’

There is so much that you can do with dance – the question is where to start…. There is no right or wrong pathway just one that sometimes can wind and meander depending on who you meet or what you do on the way. What is certain is that the creative arts industry is one of the largest growing industries in the UK and generates £91.8bn a year to the UK economy.

The former Secretary of State for Digital, Culture, Media and Sport, Karen Bradley said: “Britain’s creative industries play an essential role shaping how we are seen around the world, but as these new statistics show they are also a vital part of the economy. The sector is now one of our fastest growing industries and continues to outperform the wider UK economy. This is a testament to the talent and drive of its workforce and we are working closely with them to make sure this fantastic success continues.” (Published 29th November 2017, press release – creative industries’ record contribution to UK – gov.uk) Whilst the dance profession remains highly competitive there are many avenues to branch into. A dance career must be one of the only ones where the second question you are asked is: ‘What is your back-up plan?’

Yes, you need to be realistic, injuries/body type/changing circumstances can prevent progression and not all trained dancers are going to become professional within their field. It’s tough on every level and can bring heartache and pain but then so can many other vocations. You are working for many, many years so choose something you love, know your strengths and weaknesses and get as well qualified as you can and dive into dance.

ROUTES AND OPTIONS You can qualify as a teacher with the ISTD and become a self-employed dance teacher. Some newly qualified teachers often work for another experienced teacher before taking the leap of purchasing or running their own school.

The ISTD offers very clear progression routes that enable you to become well qualified as a teacher.

Initial Teacher Training – Level 4 Diploma in Dance Education – takes two years part time – successful completion enables you to apply for full membership of the ISTD, to enter children for exams and advertise yourself as a qualified ISTD teacher. You can take this qualification with an Approved Dance Centre near to you.

Progression – successful completion means you can now progress and apply for the Level 6 DDP, or Licentiate, then Fellowship. Licentiate means that you can you can link with Initial Teacher Training and can apply to become one of our Approved Tutors and continue to share your teaching knowledge.

The highest qualification is Fellowship and enables you to apply to become an ISTD examiner.

Higher Teacher Training – Level 6 Diploma in Dance Pedagogy – can be taken part time over two years or unit by unit to build up CPD – successful completion of the qualification allows members to apply for Qualified Teacher and Learning Skills (QTLS) through professional formation – enabling you to work within the state and FE sector as a salaried teacher.

Progression – following successful completion, if you would like to continue studying you can now progress and apply for the MA at Middlesex University for example.

Continued overleaf...

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DANCE News

Careers in Dance

cont.

You can also opt to study dance at conservatoires, vocational schools, universities and colleges. You can study a professional diploma or degree. The best way of getting to know what route might suit you is to go to as many open days as possible. Open days very often allow you to do a class, look around the venue, talk to tutors and really get a feel for the content of the course. The ISTD offers a number of open days in collaboration with Centres for Advanced Training in London, Birmingham or Swindon and also Middlesex University. Look on our website for our next series of open days. You can also find links to open days through UCAS ucas.com/ucas/events/find/type/open-day Everybody is different and you must be certain that you feel happy and know that you could learn and make good progress within that environment. Don’t rely on a critique from your friend.

You can start early by researching universities through UCAS. The sooner you do this the better as it is a good reference tool to start making a search: digital.ucas.com/search Which University, university.which.co.uk is a good website to compare what universities have to offer. You can simply put ‘dance’ into the search and find out about the student satisfaction and the percentage of candidates that receive an offer from that university.

The Council for Dance, Drama and Musical Theatre (CDMT) can give you detailed information about accredited schools and colleges as well as advise about funding and DADAs (Dance and Drama Awards) cdmt.org.uk/about-us The ISTD’s DANCE magazine, The Dancing Times and The Stage newspaper all advertise schools and colleges and make good reference points for you to go on to google prospectuses and explore further information.

To find out more about careers in dance, One Dance UK have some good information about job roles and the type of work this includes: onedanceuk.org/wp-content/uploads/2017/02/Careers-Guide-Digital-version.pdf Dance is constantly moving and changing, as are all the arts, and it is important to remember that you can also change and adapt your career too. You don’t need a backup plan you just need to be flexible, realistic and adapt to the changing world out there. Do thorough research, talk to your teachers and explore options. Employers need creative people. It won’t just happen.

Dance requires hard work and absolute commitment, but it can be a joy and privilege to work within this vocation.

Your perfect job role may not even be created yet – it might be waiting for you to do that.

If you have any further questions on pathways or career routes please do not hesitate to call us at the ISTD in the Education & Training Department on +44 (0)20 7377 1577. We are happy to support you.

Louise Molton, Head of Education & Training

Do thorough research, talk to your teachers and explore options ISTD Spring Programme 2018

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DANCE #danceInspo

#danceinspo Your stories, photos and inspiration ON BOYS + DANCE It was an interesting article on boys and dance by Chris Marlow in the last issue of DANCE magazine (page 31, issue 483). My perspective is that of an older male taking up dance. With no formal dance background at all I took up ballet at the age of 57 with Dance Projection in Chelmsford and have since passed ISTD exams standard 5 and standard 6, and appeared in their end of year show six times on stage at the Civic Theatre, dancing ballet.

I took up ballet at the age of 57 and have since passed ISTD exams to standard 6 A lot of what was said in the article about the experience in class resonates with me – despite my teachers being sensitive and me not being shy about expressing my views, even in class!

I think I’ve heard everything that can be thrown at a male dancer, subtly and unintentionally as well as with brute force.

Learning ballet has given me physical and mental challenges I’m old enough and ugly enough to take it all and I’m proud of what I’ve achieved. But for a boy negotiating puberty it must be really hard to take.

If you want quotes from even well meaning acquaintances I’ll give you one conversation: “Where do you get your tights?” I answered: “I bought them online”. Their reply: “Good idea, it saves you having to go to a shop and ask for them”.

My grandson is three and has started ballet classes. There are two other boys in his class. He loves it and watches me avidly when I practice at home. My daughter took him to our local dance shop where the window is often filled with pink tutus and nothing for boys. When she asked for him to be fitted for ballet shoes the assistant, disbelieving, asked her: “Are you sure you don’t mean tap shoes?”

David Chapman performing on stage last year DANCE ISSUE 484

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DANCE #danceInspo

HOW FRIENDSHIPS IN DANCE ENDURE Everyone reading this magazine will know the benefits of dancing. I wanted to share with you my experience in what I know to be one of the most gratifying things about dancing, which is the friendships that can be made and how these friendships, once established, can last all our lives.

I’m very proud to have been taught by Peggy Spencer and to have been part of her All Girls Latin Formation Team and to have had Peggy as our mentor and teacher. What a fabulous time we had, competing, appearing on television and dancing at Blackpool.

One of the most gratifying things about dancing is the friendships that last all our lives David Chapman in the dance studio

I hope my grandson has the strength of character to keep doing what he obviously loves.

Strength of character is the first quality required of a young male ballet dancer.

Learning ballet has given me physical and mental challenges of a kind I had never experienced before, and such enormous pleasure too.

I am eternally grateful to my dance teachers Heidi Speakman and Gemma Hall and my only regret is that it took so long for dance to become part of my life.

David Chapman

My only regret is that it took so long for dance to become part of my life

We have known each other from the age of 6 and are now are in our 50s. We are not just friends; we are a family. We laugh and reminisce and although we may have changed outwardly, sadly in looks and figures, we are still the same girls we always were. When we are together the years just fade away.

Sadly, two of our ‘girls’ have been diagnosed with advanced cancer, which has shocked us all. We travelled many miles so that we could be together and to raise money for the Royal Marsden Hospital. None of us know what the future holds. All that I can say with absolute certainty is that we will live the rest of our lives step-by-step together, just as we had danced as one body, in total formation all those years ago.

Nothing can change the bond we have, with each other and with our beloved Peggy Spencer (1920–2016).

Alison Harris

Left: Alison Harris and her friends in dance

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DANCE #danceInspo

An interview with...

CLAIRE TABRAHAM, FOUNDER OF AWARDWINNING EASTBOURNE DANCE SPACE What was your main aim in creating Eastbourne Dance Space (EDS), and have you achieved your initial goals?

When I moved to Eastbourne in the summer of 2014, I did some research to see what dance opportunities there were in the area.

There were many dance schools for children, but fewer options for adults. I had worked for many years at Woking Dance Space, an established non-profit making community dance studio in Surrey, and my colleagues there kindly agreed to me setting up EDS as a ‘sister’ studio. I feel very passionately that dance can be for everyone and has a hugely positive impact on the physical and psychological wellbeing of participants, so I wanted to create an inclusive, welcoming, nurturing environment for people of all ages, body shapes and abilities to come and experience those benefits.

How easy/difficult was it to establish Eastbourne Dance Space in January 2015?

Our first classes were held in a rented studio in town with just a few participants. Word spread via social media, word of mouth and a poster and leaflet campaign and the classes grew very quickly in size. The welcome that we extend to people is important – it takes real courage to come and try something new and we feel it is important to put people at ease so that they know they are in a safe, inclusive space where they can learn something new without judgement. In this way we have been able to create a fabulous community of people who feel encouraged and in turn encourage one another. Fortunately, people kept on coming, so we soon needed to find a bigger space to dance in.

Dance graduate Claire Christou quickly joined you. How has your working partnership developed?

Claire C responded to my advert searching for another teacher to deliver classes and we hit it off straight away. We have the same ethos and passion about dance for all, and very quickly became friends as well as colleagues. We have brought our complementary skills together to help the studio grow and flourish.

You deliver classes in ballet, pointe, tap, jazz and contemporary, as well as Dance for Parkinson’s – is that correct?

We deliver classes in ballet, pointe, tap, jazz and contemporary, at different levels to suit different ability and experience levels. We have some dancers who had danced before and wanted to get back to it, and others had never had the opportunity but always wanted to, so we offer beginners, improvers, intermediate and advanced classes in many of the genres.

We also offer Dance for Parkinson’s classes. I trained in this with People Dancing (online study followed by a fantastic course delivered by People Dancing with ENB and Mark Morris Dance Group). There is increasing evidence to show that dance can really benefit people living with Parkinson’s Disease in terms of fluency of movement, expression, inclusion and interaction. As an inclusive studio it felt important that we pursue these classes and further extend the benefits of dance to a new group of people.

You are Eastbourne’s only dance studio for adult dancers. Have you found a great need in the area?

Many of the local children’s dance schools offer a class or two for adults, but we have found that adults really respond to having

Dance can be for everyone and has a positive impact on physical and psychological wellbeing

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DANCE #danceInspo

We have been fortunate enough to have been recorded talking about the benefits of dance for BBC Radio 4’s Listening Project Claire Tabrah

am, EDS Foun

der

u

Claire Christo

a dedicated organisation catering only for them. In addition to classes we offer workshops with visiting professionals, theatre and cinema trips and performance opportunities. Real friendships have been forged. Our first show was a sell-out and we had over a hundred adults performing. It really gave people confidence, not just in dancing, but in other areas of their lives, too.

You are both experienced, qualified ISTD teacher-trained practitioners. Did you enjoy doing your ISTD qualifications?

We both really enjoyed studying for our ISTD teaching qualifications.

It was hard work studying part time whilst teaching and looking after young families, but we felt it was really important to have formal qualifications to provide us with the firm foundations necessary to help people understand the technical aspects of dance and enable people to learn and improve their technique and artistry in a safe environment.

How have your ISTD teaching qualifications helped you with Eastbourne Dance Space?

The ISTD teaching qualifications are so well designed in terms of ensuring understanding of all aspects of the progression of the grades and, as we teach almost entirely free work to our adult classes, has meant that we have the knowledge and understanding to safely develop free work to suit each class, and translate the movements to suit each individual’s needs.

The ISTD’s CPD courses are also a valuable resource to teachers – Claire C and I both attended the excellent Inclusive Dance Practice course delivered by Stopgap Dance Company, which really complemented our work.

The Gift of Ballet Education for Disadvantaged Children in Malaysia About a year ago a friend organised a charity event at an orphanage where I noticed the big groups of children living there. I got in touch with the orphanage management and suggested providing free ballet classes to young disadvantaged

children. A meeting at the orphanage followed and two girls joined our new Le Cygne pre-ballet programme and we are delighted that they enjoyed it. I believe that one of the gifts of ballet is that children learn focus and discipline.

Through training, the girls will reap the rewards of good posture, poise and self-confidence. Our teacher Ms Hoi Cheng Sim, dance graduate

Do you think dance examinations are important?

Claire C and I both teach ISTD syllabus classes to children for other dance schools, which is an equally important area of our work. Having danced my way through ballet, tap and modern exams since the age of three, I know how important the experience is for children. Having qualified teachers lead them through learning the syllabus work, choreographing dances for them, helping them to progress in a safe and encouraging environment gives children such confidence and a sense of achievement. It is a privilege to see them improve and both Claire C and I carry our inclusive, encouraging ethos through to our children’s classes. We realise that not all of them will go on to be professional dancers or teachers, but the discipline, commitment and physical and mental benefits to them will last and we can only hope that they will carry that with them into adulthood.

The studio has gone from strength to strength and is an established not-for-profit community dance organisation.

What are your plans for the future?

In our first few years we have been fortunate enough to have been recorded talking about the benefits of dance for BBC Radio 4’s Listening Project, had our story published on People Dancing’s website and won the Eastbourne and District Community Awards Arts Award of the Year 2018. We have recently appointed an ‘ensemble’ of trustees to help progress the studio, and at some point we would love to have our own dance studio.

With increasing numbers of dancers, we are also hoping to extend our timetable and inclusivity by adding in more classes and to grow our Dance for Parkinson’s classes. However, this relies on there being enough hours in the day and space in the timetable, which is difficult, but a great problem to have.

Interview by Tamsin Moore

from the renowned ASWARA, and our corporate programme co-sponsor, Tee Intellectual Property Sdn Bhd found the programme extremely rewarding. We hope to be able to continue teaching the children and nurturing tomorrow’s dancers. To get involved or for more information please contact Denise Lee, enquiry@lecygneballet.com.

Denise Lee

Do you have #danceinspo to share? Please email tmoore@istd.org 32 DANCE ISSUE 484

DANCE News

Exploring Dance Technique A day course for teachers of all genres, part two

I

n the first article in DANCE (edition 483) ideas were explored for training correct posture and port de bras. The second article focuses on: • Developing correct weight transference • Training balance and line • Developing strength • Correct placing • Use of imagery and resources to assist learning, including the DVD that accompanies the Course Below are some ideas to trial with your students.

TO HELP DEVELOP AWARENESS OF CORRECT WEIGHT TRANSFERENCE Encourage the students to flex the foot after basic movements, such as a battements tendus, ronds de jambe à terre or chassés, which begins to build a self-awareness of successful weight transference.

It can also encourage greater extension through the back of the leg in arabesque. The use of imagery can help students maintain correct posture and alignment especially if working without the aid of mirrors.

The image of a capital L can be effective when teaching movements such as transference of weight to the side. Any movement where the supporting side must maintain length with the pelvis in neutral and the hip bones level, so from shoulder socket to hip socket and hip bone to hip bone, creates an invisible capital L. It can also help to use the hands to “feel” the connection between the ribcage and pelvis, placing one hand on the supporting side of the ribcage and the other hand on the opposite hipbone.

This use of imagery can be revisited in many movements such as pirouettes with the repetition of the same image reinforcing the awareness throughout training.

Pictures of adage lines can be useful to show the students, giving them an image of what they are aiming to achieve, but it is important, as with use of language, that the images are age/ standard appropriate. The DVD that accompanies this Course is a useful resource to show in class with age appropriate images of lines of legs en l’air.

Facing barre, feet in 1st position (Ländler) 1 Dégagé right leg à la seconde 2 Lower heel into demi-plié in 2nd, bringing weight central 3 Transfer weight on to right leg, dégagé left 4 Hold position 56 Lift leg to 2nd position en l’air (start at glissé height and gradually increase) 78 Lower leg to dégagé in 2nd and close back to 1st position 1–8 Repeat on other side

Repeat all Essential Teaching Points: • Ensure weight is over supporting leg, avoiding taking leg too high until strength is developed Repeat above exercise in the centre • With a partner or hands on waist or one hand on lowest rib of supporting side, the other on working hip, palms facing the floor (Swing 4/4) Essential Teaching Points: • Maintain a level hip line and control of turnout

Above: Exercise 1 to left

Essential Teaching Points: • To develop weight transference, encouraging extension through the back of the leg and avoid lifting the leg on the flexion • Use imagery, such as five toes in the sand to prevent ‘rolling’

ALL PHOTOS: JAMES HUDSON

Facing barre, feet in 1st position (Lyrical 3/4) 1–4 2 battements tendus à la seconde closing in 1st position Dégagé right leg to 2nd 5 6 Flex foot 7 Stretch foot à terre 8 Close back to 1st position 9–16 Repeat with left foot

Repeat all

Above: Exercise 2 below

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DANCE News

Facing barre, a leg length away, feet in 3rd position, R ft devant, bras bas (Lyrical 4/4) 1 Dégagé right leg devant, arms to en avant 2 Demi-plié in 4th position 3 Transfer the weight en avant to dégagé derrière, placing both hands on to the barre 4 Raise the leg en l’air to 45° 5 Flex the working foot 6 Stretch the working foot 7 Step back on left to dégagé devant, arms to en avant 8 Close right foot 3rd position devant 1–8 Repeat all with same leg

Pause to change legs and repeat on other side Essential Teaching Points: • Focus on extending the back of the knee on the flexion

TO DEVELOP STRENGTH IN THE BACK Floor exercises can be included as follows: Lying on the front, legs extended and parallel, feet relaxed, elbows bent to sides with palms down on floor, forehead resting on backs of hands (3/4 Waltz) 1&a2 Raise the upper back, keeping head in line

3&a4 5–8 12 34 5–8

Lower down Repeat as above Raise the upper back with hands on forehead Lower to floor Sit back on the heels with body forwards and forehead rested on hands on floor

Essential Teaching Points: • Be sure to engage the abdominals, avoiding lifting the body too high • Aim to only engage the muscles of the upper back • Lying as in Exercise above with elbows bent at 90° level with shoulders, palms on floor (3/4 Waltz) • Repeat exercise as above with hands and elbows lifting off floor at 90° on counts 12 Lying as in Exercise above with elbows bent at 90° level with shoulders, palms on floor (3/4 Waltz) 1–8 Repeat first 8 counts as above 12 Lift hands and upper body from floor 34 Take arms to above head 56 Arms and body return to floor 78 Sit back on heels, resting body forwards

Exercise 3 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 coordination • 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.

FOR MORE INFORMATION please contact the Education & Training Department on +44 (0)20 7377 1577.

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DANCE Events

Ceremony

GRADUATION 2019

Thursday 21st February Milton Court Concert Hall, The Barbican, London

The ISTD is proud to announce the date for the 2019 graduation ceremony, celebrating the achievements of those who have gained a full teaching qualification in 2018.

EARLY BIRD OFFERS AVAILABLE

Contact Gemma Bridge at gbridge@istd.org for more information DANCE ISSUE 484

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DANCE Events

Peggy Spencer Legend Award

In honour of past ISTD President, Peggy Spencer MBE A new, two-dance examination available for all dancesport genres, at all ages and abilities (amateurs only)

Available for entry until 31st December 2018 For more information, please contact your faculty’s examinations department #LoveLearnTeachDance 36 DANCE ISSUE 484

www.istd.org

+44(0)20 7377 1577

A

Burs ry wards Masterclasses

SAVE THE DATE Sunday 20th January 2019 Join the ISTD’s Theatre Faculties for a day of student masterclasses and observation/spectator classes for teachers, all led by dance industry professionals.

Followed in the evening by the Bursary Awards.

The Place, Kings Cross, London

Watch talented ISTD dancers, of all theatre genres, compete for the coveted Bursary Awards before a panel of industry experts.

Contact coursebookings@istd.org ISTD.org

#LoveLearnTeachDance

DANCE News

Feedback and photos from this exciting event, which was held on Sunday 22nd April at the Hawth Theatre

“What a fantastic day, the students were so responsive and gave it their all�

Eilidh Ross, Teacher

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DANCE News

“It was an amazing experience and I loved every second of it. The atmosphere was great and everyone was brilliant” Daniel Sontar, Senior Section

“Thrilling technical standard with proper emphasis on performance and artistry” Graeme Henderson, Adjudicator

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“Today has been amazing, creative and a great opportunity. I can’t wait for the next time” Pollie Jackson, Junior Section

“In the end we chose our winners as if we were casting a show – the perfect mix of technique, style and showmanship” Alan Burkitt, Adjudicator

Tap Challenge results were published online after the event: istd.org/news/star-tapchallenge-results-2018

DANCE News

“Being the youngest wasn’t the easiest but I loved it and the whole experience boosted my confidence so much. Well done everyone” Sophie Cox, Premier Section

Ruth Armstrong, Teacher

ALL PHOTOS: FISHARD PRODUCTIONS

“A true celebration of Tap and its new emerging talent”

“I have loved every single minute of it” Leah Pugh, Senior Section

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cecchetti awards 2018.qxp_Layout 1 21/06/2018 18:53 Page 1

Cecchetti Classical Ballet Awards

Lilian Baylis Studio, Sadler’s Wells, London EC1R 4TN

1st & 2nd December 2018

The UK Cecchetti Classical Ballet Awards 2018 brings together in one high profile event the Cecchetti Mabel Ryan Awards and, for students, the Vocational Awards.

Saturday 1st December

Lower Junior, Junior and Middle Mabel Ryan Awards (Afternoon)

Sunday 2nd December Senior Mabel Ryan Awards (Morning) Vocational Awards including the Fewster Cecchetti and Barbara Geoghegan Awards Classes (Morning) Solos (Afternoon)

Further information about each of these awards, entry details, application forms can be found at www.cecchetti.co.uk/competitionsawards Tel: +44 (0)1832 272981 Tickets on sale from 22nd October 2018 from Sadler’s Wells Box Office Tel: 0207 863 8000 www.sadlerswells.com N.B. Transaction fee applies: £3 for telephone bookings and £1.95 for online bookings. No charge in person at Ticket Office

Closing dates for entries: 20th October 2018

www.cecchetti.co.uk

DANCE Cecchetti

CECCHETTI CLASSICAL BALLET

Cecchetti Southern Area Awards A full auditorium enhanced the atmosphere at the 36th annual Awards

T

his event, founded by the late Molly Caulder, was organised by Penelope Walker and Mechele Lefkaridi, with the wonderful support of teachers, families and helpers, who all generously gave their time to support the Awards. A full auditorium enhanced the atmosphere on 25th March 2018 in the Barn Theatre, West Sussex, as Mechele Lefkaridi gave a warm welcome and introduced Linda Isaacs as the Adjudicator for the Junior Section and the pianist Liz Hewson. There were 43 children in this category for 7–8 year olds, dancing a solo set dance called Seeking. During her adjudication Linda Isaacs was most encouraging and told the young dancers that they were all winners simply for entering, working hard and performing well. Her choice of winner was given to the young dancer who she felt really told the story in her solo.

The Upper Middle Section for 11–13 year olds followed. The class work was presented

by Hayley Cheneler and adjudicated by Alison Jenner, with Linda Isaacs adjudicating the Molly Caulder Award for the Joy of Dance. Alison Jenner gave these competitors helpful and encouraging advice with emphasis on good footwork in jumps.

Following lunch it was the turn of the Lower Middle Group consisting of 32 candidates of 9–10 year olds. The work was again presented

by Hayley Cheneler and adjudicated by Alison Jenner, with Linda Isaacs deciding the Vacani Award for the Joy of Dance. Both adjudicators

gave sympathetic and helpful comments, particularly regarding the position of the arms in 3rd arabesque, which should be extended but not stiff and overstretched.

The Senior Section for 14–16 year olds concluded the day and the work was presented

by Sandra Powell. This particularly strong section was a joy to watch and gave both adjudicators a difficult task. Alison Jenner judged the main award and Linda Isaacs the Barbara Geoghegan Cup for Musicality. The competitors from the Lower Middle Award were able to watch this section and were obviously interested in seeing how they could progress in future.

All the sections were expertly accompanied

by Liz Hewson who showed her usual sensitivity, which is so important in helping bring out the best in the young dancers.

I am sure Enrico Cecchetti would be happy to know that, thanks to talented young dancers and their encouraging teachers, his legacy continues down through the generations. Everyone had a very enjoyable day and the 2019 awards are eagerly awaited, set for Sunday 17th March at the same venue.

Mary Hepworth-Taylor

Results: The results were posted online after the event. To view this listing please visit: istd.org/news/ cecchetti-southern-area-awards-2018

CECCHETTI CHOREOGRAPHIC COMPETITION 2018

See reports over the page

CHRIS BOYCE

PHOTOS: ELAINE MAYSON

Richard Glasstone Cup winners

Above: Area Award winners performing at Cecchetti Day (from top to bottom): Wales & West Middle winner; Wales & West Senior winner; Southern Area Award Upper Middle winner; Southern Area Award Lower Middle winner

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DANCE Cecchetti

Cecchetti Choreographic Competition 2018 Feedback from a well-attended and heart-warming day of dance From Glynis Hall On Sunday 11th March, I had the pleasure of attending the Cecchetti Choreographic Competition at Cecil Sharp House in London. Despite the wet and cold weather, transport difficulties and it being Mother’s Day, it was well attended by competitors and spectators alike. The two adjudicators, Christina Blackburn for Choreography and Mike Silk for Musicality, were stunned by the standards achieved by the young dancers. To quote their comments: “it was truly a privilege to watch”; “universal excellence”; “compelling emotions and spiritually uplifting”.

Personally, I thoroughly enjoyed the day and the superb organisation made it run smoothly and efficiently. The competitors behaved beautifully and each and every one supported and encouraged their fellow dancers. The musical choices inspired some compelling choreography, whether it was based on comedy or storytelling, contemporary ideas or classical ballet. Their involvement in the theme showed maturity of thought and produced sincere performances. The large space was well covered by even the youngest dancers, with good patterning and placing within the space.

All the competitors supported and encouraged their fellow dancers

CHRIS BOYCE

The adjudicators were stunned by the standards achieved

The Middle Section produced excellent work and diverse themes from a circus ringmaster, a butterfly and an artist, through to more abstract themes in the duets and well thought-out groups featuring statues, cavemen and a diner. An incredibly mature and technically excellent quartet, La Lune et le Soleil, especially caught my eye.

The Senior Section leaned more towards contemporary dance and strong emotions set to powerful, complex musical arrangements. Here my attention was caught by a very well thought-out and produced group, Out Damned Spot. The effective entrance in character set the scene and was completed by a similar exit. All the dancers held the theme and it developed to a strong finish.

This was a truly excellent day and I am sure, along with many others, I will long remember two little frolicking rabbits in the Junior Duet section. Their charm and sincerity captured my heart.

Let us keep encouraging our young choreographers to take part and give huge thanks to the organisers for providing a competition of this calibre to showcase their work.

Jane Worsle

y Cup winne

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DANCE Cecchetti

From Renée Cohen From the very first Junior Section dance I had a feeling that this year the standard was going to be high, and thought to myself that the adjudicators, Christina Blackburn and Mike Silk, would have a very difficult time judging the section.

It was wonderful to see how excited and confident the children were. There was a variety of music that was well edited to suit the dances. Some of the dances by the young choreographers were simple but very effective, while others were very expressive. It was a great pleasure to watch this section and whilst my personal favourite was Little Red Rabbit, I was pleased that I did not have to adjudicate with so many lovely dances to choose from.

It was wonderful to see how excited and confident the children were Results: The results were posted online after the event. To view this listing please visit: istd.org/news/ cecchetti-choreographic-competition-2018

Cecchetti Day 2018 This year’s eagerly anticipated Cecchetti Day took place at The Royal Ballet School

ELAINE MAYSON

Scholars Class 2

‘Royal Washing’ by Lucy Pohl was performed by the Cecchetti scholars and brought the house down!

T

he 15th April got off to a particularly engaging start with the Artistic Director of London Children’s Ballet, Lucille Briance MBE, introducing The Royal Ballet’s Erico Montes with the demonstration rehearsal of the choreography for his ballet,The Secret Garden. This was danced to a specially commissioned score

by Artem Vassiliev, excellently played by Mark Webster. It was a great pleasure to see Erico’s warm rapport with his young dancers and to witness their responses to his thoroughly professional instructions.

This item was followed by a demonstration of selected exercises from the Advanced 2 Cecchetti examination syllabus, presented by

Kate Simmons with four of her KS Dance students, accompanied at the piano by Jonathan Gait. Whilst it was interesting to see the inclusion of several new barre exercises, arranged by Diane van Schoor, I am pleased that the emphasis on these relatively complex sequences will not be at the expense of the traditional Cecchetti work, with its key elements of simple repetition inherent in exercises such as battements frappés, that remain the heart and cornerstone of the Cecchetti work.

During the break for a delicious lunch and a welcome glass of wine, several teachers took the opportunity to view a small exhibition of material relating to the historical development of DANCE ISSUE 484

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DANCE Cecchetti

Right: Gail Myburgh, Chair of the Cecchetti Society of Southern Africa and of the CICB, with Catherine Hutchon, ISTD Cecchetti Faculty Chair

46 DANCE ISSUE 484

Darcey Bussell coaching Beatriz Stix-Brunell and Nicol Edmonds

PHOTOS: ELAINE MAYSON

the Cecchetti Manual, for which an explanatory document was included in each teacher’s individual folder.

A selection of performances by winners of Cecchetti 2017–18 competitions and awards was sympathetically accompanied by Liz Hewson.

It was then followed by two ballets performed by the Cecchetti scholars: Elemental Synergy, choreographed by Melanie Bull to a score by Jacob Shea, and Royal Washing by Lucy Pohl, which brought the house down!

At the Cecchetti Society annual meeting Catherine Hutchon, Faculty Chair, welcomed all guests including ISTD colleagues Sue Passmore, Chair of Council, Ginny Brown, Artistic Director and Interim Chief Executive Officer, and Kay Ball, Chair of Theatre Faculty Board. This special day is only made possible by the generous support of The Cecchetti Trust and thanks were extended to Elisabeth Swan, Chairman of the Trust. Catherine warmly thanked retiring examiners Viccy Chappell and Susan Handy for their valuable work over many years and presented Dorry Langenberg from the Netherlands with a Long Service Award.

She also welcomed European representatives Johane Casabene, Theresa Lungaro-Mifsud and Thérèse Oswald and Gail Myburgh, Chair of the CICB and Chair of the Ceccchetti Society Southern Africa (CSSA). The CSSA was established in 1928 and congratulations were extended to all CSSA members for their 90th anniversary in May. The day was brought to a superb conclusion by Dame Monica Mason and Dame Darcey Bussell coaching Royal Ballet artists Mayara Magri, Beatriz Stix-Brunell and Nicol Edmonds in excerpts from Sir Kenneth MacMillan’s wonderfully inventive Elite Syncopations with Scott Joplin’s delightful music, splendidly played by Michael Pansters.

A remark made by Dame Monica about the correct use of the arms to assist the ease of épaulement and Dame Darcey’s emphasis on the dancer’s directions in space struck me initially as quintessentially Cecchetti; but on reflection shouldn’t they also be fundamental to all good classical ballet training?

Richard Glasstone

London Children’s Ballet demonstration

Scholars Class 1

Dame Darcey Bussell & Richard Glasstone

DANCE Cecchetti

PHOTOS: ELAINE MAYSON

Dame Monica Mason & Dame Darcey Bussell

DIARY DATES 2018 CECCHETTI CENTRE SUNDAYS, AUTUMN TERM Sunday 16th September 2018 Sunday 4th November 2018 Sunday 27th January 2019 Sunday 24th March 2019 Kingsway College, London

TANYA BAYONA AWARDS Sunday 7th October 2018 To be held in Malta CECCHETTI CHILDREN’S AWARDS Sunday 11th November 2018 Kingsway College, London

CECCHETTI CLASSICAL BALLET AWARDS WEEKEND Saturday 1st – Sunday 2nd December 2018 Lilian Baylis Studio, Sadler’s Wells, London. Saturday: Lower Junior, Junior and Middle Mabel Ryan Awards. Sunday: Senior Mabel Ryan and Vocational Awards. The Teachers’ Pack containing the work and dances is available to buy.

WALES & WEST AWARDS Sunday 10th February 2019 Congress Theatre, Cwmbran CECCHETTI CHOREOGRAPHIC COMPETITION Sunday 10th March 2019 Cecil Sharp House, London NW1 7AY. Open to students aged 7–18, solos, duets, trios and groups CECCHETTI SOUTHERN AREA AWARDS Sunday 17th March 2019 The Barn Theatre, Southwick, Sussex For further details please contact cecchetti@istd.org

Examination Updates Optional Use of Recorded Music for the Cecchetti Children’s Grade and Class Examinations The optional use of recorded music for the Children’s Grade and Class Examinations will be introduced from October 2018. New recordings of the Grade music for use in examinations have been especially produced, without exercise title announcements, for the smooth running of the examination. We are very delighted that Liz Hewson is the pianist for Grades 1–4 and David Smith for Grades 5 and 6, and that Alison Jenner and Jessica Clarke have voiced the introductions. My thanks also to Sandra Powell, Gillian Toogood, Susan Handy and the Faculty Committee, who have given their time generously to this work.

The new Grade music recordings have music specifically for unset enchainêments from Grades 3–6, but the examiner may ask also for any allegro track from the preceding Grades. For example, an examiner setting an unset enchainêment in Grade 3 might request an allegro track from Grade 1, or at Grade 5 level may request an allegro track from Grade 4. Therefore if you wish to use recorded music in an examination, you must use the new recordings, either as CDs or as a digital download. These will be sold through the ISTD shop and details will be published on the shop site as soon as available.

A sound system capable of playing CDs or a digital download at a volume suitable for the venue must be provided. Music system operators must not be teachers, assistant teachers or other candidates in the session, or their parents, and should be seated at a discreet distance from the examiner.

In class examinations the teacher will select their own music for the examination, apart from music for the improvisation section. Music for improvisations will be provided by the Examiner on CD, and a CD player must be available for this section of the examination.

The Faculty Committee hopes that, wherever possible, teachers will continue to use pianists as no recording, however good, can replace the interaction of the dancers with a musician playing live for them and we need to continue to support our many excellent ballet accompanists. Please note that all other examinations from Intermediate Foundation and above and teaching examinations will continue to be undertaken with a pianist.

Cecchetti Advanced 2 Syllabus Revisions At the time of going to press the revisions to the Advanced 2 Syllabus have been completed and the production of the resources to support the revised syllabus undertaken. This includes a re-print of the syllabus notes and the music manuscript music book with additional music and also a new recording of the music with John Taggart as the pianist.

Further information about training courses and the date from which the new syllabus can be examined will be circulated to teachers. If you have any queries regarding this examination please contact Sharon Orme, Faculty Co-ordinator in the first instance, email: Cecchetti@istd.org; tel: +44(0) 7551 159471.

Catherine Hutchon Chair, Cecchetti Society Classical Ballet Faculty

Mayara Magri DANCE ISSUE 484

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KATHARINA NIKELSKI Class of 2018 The Royal Ballet Aud Jebsen Young Dancers Programme

START YOUR JOURNEY All applicants are offered an audition. royalballetschool.org.uk/apply REGISTERED CHARITY NO: 214364

© Royal Ballet School/Johan Persson

Applications to our full-time Dancers’ Courses as well as Mid, Senior and Advanced Associates open online on 26 September 2018.

DANCE Classical Greek Dance

CLASSICAL GREEK DANCE

Launch of the New Classical Greek Dance Grades

S

unday 3rd June was a bright sunny day, which was reflected in the mood of those arriving for the launch of our New Grades syllabus. The Hawth Theatre, Crawley was full of teachers, students and adjudicators eagerly awaiting the new work.

Carol Vasko and Fiona Sheehan who had developed the work presented alongside the Faculty Chair, Kay Ball. Before revealing the new syllabus, homage was paid to the pioneering work of Ruby Ginner who’s fascination with the Ancient Greek world still inspires us today. The essence of Ginner’s work is the promotion of creativity and expression through a system of technical training that is accessible to all physiques.

The new grades have been developed to cater more directly to the dance student of today with a more clearly structured examination format throughout. Space is still provided for expressive and artistic communication through movement. The presentation made clear that this is an ‘examination’ syllabus, and teachers should prepare their students through extensive exploration of the movement vocabulary in order to develop physical versatility and a broad range of creative skills.

In order to give equal attention to each part of the body to be trained Ginner’s logic of grouping training exercises has been adopted, ensuring a balanced approach to safe dance practice.

Both the Music section and Nature Rhythms have been retained, which helps to encourage and develop individuality, self-expression and musicality.

The pupils from Kilburn Dance Studio and Mayhew School of Dance must be congratulated. Demonstrating after a busy week recording for the DVD, their unending enthusiasm for these new grades really showed through. Indeed during the Q and A session at the end of the presentation they spoke of how much they enjoyed the new format and sequences.

Excitement for the new work continued over tea and cakes.

Teachers, students and adjudicators are all looking forward to the impact it will make within their schools and beyond. This was a truly successful afternoon showcasing the importance of Classical Greek to the dancer of today and ensuring the next generation are as inspired as those of us who have gone before.

Penny Childs

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DANCE Classical Greek Dance

ate d e th e v Sa

ISTD

Ruby Ginner

Awards 11th November 2018

At The Venue, Milton Keynes

Entry forms and information from Faculty Co-ordinator Penny Childs:

classicalgreek@istd.org

CLASSICAL GREEK DANCE FESTIVAL

Finals

Sunday 12th May 2019 Gordon Craig Theatre, Stevenage Contact the Faculty Co-ordinator Penny Childs for details:

classicalgreek@istd.org 50 DANCE ISSUE 484

DANCE Classical Indian Dance

CLASSICAL INDIAN DANCE

The CIDF Selects Students for Bursary Awards The Classical Indian Dance Faculty (CIDF) will select two talented students from across the genres of Bharatanatyam and Kathak to represent the Faculty at the ISTD Bursary Awards in January 2019.

The selection will take place on 23rd September 2018, where shortlisted candidates will perform in front of a panel of judges. The two students who are selected to represent the Faculty will be announced on the CIDF Bulletin and Facebook page.

New Examiners for the Classical Indian Dance Faculty The ISTD is seeking to appoint new examiners for the Classical Indian Dance Faculty.

Applicants should request an application form from Gemma Ward at the ISTD. Email: gward@istd.org Closing date for applications: 1st September 2018

Bursary Awards 2018

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ISTD A4 Autumn 2018_June 2018 03/07/2018 11:29 Page 1

Specialist professional pathways EDUCATING QUALITY PERFORMERS FOR THE PROFESSION Online applications for 2019 entry close 31 January. Video audition available for overseas students.

www.londonstudiocentre.org tel 020 7837 7741

DANCE DFR

DISCO FREESTYLE ROCK ‘N’ ROLL

2018

PROGRAMME

R E B M E T P E S SUNDAY 16 th

A day of inspiring lectures...

8.45 DOORS OPEN 9.15 Warm Up, Georgia Hussey 9.30 Rock ‘n’ Roll Syllabus Review, Maria Howse 10.00 Street Styles – Routines, Samantha Vale and Lara McCabe 10.45 Creating the Connection, Amy Lewis 11.15 Making the Grade, Yvonne Taylor-Hill 11.45 Gold Star Freestyle, Laura Rampton 12.15 Party Through the Years, Michelle Arnell 12.45 LUNCH years 13.30 Business Lecture, Louise Molton of dfr 14.00 Easy Street, Isla Selley and Holly Penny 14.30 Guest Lecturer, Richard Marcel 15.15 Slow Work, Katie Welch 15.45 Cool Down, Georgia Hussey 16.00 Launch of Set Dance DVD 2019, Paul Streatfield Collection of Set Dance DVD and CPD certificates

16.30 FINISH

30

PROFESSIONALS ONLY ISTD Members: £36 ISTD Student Teachers and Non-ISTD Professionals: £46 • On-site cafe available or bring your own lunch • Members will be permitted to record lectures (no official DVD) • Easy parking on site • Nearest train station: Chesham

BOOK YOUR PLACE...

ISTD Education & Training Department coursebookings@istd.org +44 (0)20 7377 1577

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DANCE DFR

THE ISTD DFR FACULTY PRESENTS

National Grand Finals DFR

30

th

ARY

ANNIVERS

SUNDAY 7th OCTOBER 2018 Set Dance & Rock‘n’Roll Finals

The Guildford Spectrum, The Parkway, Guildford GU1 1UP Special performance and supporting events to celebrate our 30th year Doors open 9:00am • Banner Parade 9:30am • First round 9:45am • Ticket price £15

Imperial Championships Report

A

fter a week of snow and ice, we beat the odds and the Imperial Championships went ahead. So on a cold morning on 4th March, not letting the weather affect their journeys, people gathered to fill the venue. An exciting day of solos, pairs, slow pairs and Rock ‘n’ Roll, including the Imperial Rock ‘n’ Roll Championship, lay ahead.

It was a colourful display of costumes, with brilliant presentation from the dancers, wonderful floor craft and a smoothly run day.

Watching the Championship freestyle solo spots was a real treat,

with some fantastically executed dance moves performed with attitude. The prestigious Imperial Rock ‘n’ Roll Championship this year was won by Jacob Jones and Lyla Stavrakas, trained by Donna White. A great variety of Rock ‘n’ Roll was shown throughout the day, danced at a high standard and the judges had tough decisions to make. Thanks go to Paul Streatfield and the DFR Faculty Committee for organising such an excellent day enjoyed by all.

Michelle Arnell

The ISTD is Seeking to Appoint New Examiners for the DFR Faculty Applicants may be based in the UK or Europe and must hold the Fellowship qualification in both Disco Freestyle and Rock ’n’ Roll.

Application forms should be requested from Gemma Ward at the ISTD – gward@istd.org Closing date for applicants: 31st December 2018 Interview and Examiner assessment dates TBC

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DANCE DFR

S R E H C TEA D

???

n IST a u o y e r A ELLOW F r o E T A I LICENT

e e t t i m m Co y t l u c a F The DFR

The ISTD is inviting teachers to choreograph a Set Dance routine for consideration for the 2020 selection

INTERESTED?

1. Submit a routine of your choosing 2. Specify age range and level 3. Demonstrate routine to music 4. Then repeat broken down facing and again backing the camera

5. Any complicated arm actions should be broken down further

6. Submit routine on DVD and check

compatibility on a standard DVD player

7. Send clearly labelled DVD in boarded

envelope to Penny Childs, DFR Faculty Co-ordinator by 31st January 2019.

Address: 14 Whitmore Close, Bridgnorth WV16 4LR

If successful, written notes will be required. The DFR Faculty reserves the right to decide suitability.

NEW

now available 2019 SELECTION

Contact the Faculty Co-ordinator for details of how to purchase your Set Dances 2019 DVD: dfr@istd.org A limited number of DVDs from previous years may still be available and make an excellent resource for class and examination work.

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THE PLACE TO BE! Audition dates for entry September 2019

• Saturday 17th November 2018 • Thursday 6th December 2018 • Saturday 19th January 2019 • Saturday 9th February 2019 • Thursday 21st February 2019 • Friday 22nd February 2019 (boys audition day)

• Monday 25th March 2019 (boys audition day)

• Tuesday 26th March 2019 • Wednesday 27th March 2019 • Thursday 28th March 2019 • Friday 29th March 2019 Please note all dates are subject to change. The closing date for receipt of completed application forms for all courses for entry September 2019 is Friday 25th January 2019

Forthcoming Events H Open Days 8th and 9th November 2018

Our Courses H BA(Hons) Musical Theatre (Dance)

H Musical Theatre 3 Year Course

H Dance Theatre 3 Year Course

H Pre-Vocational 1 Year Course

Find Out More

Call: 01375 672053 Visit: www.performerscollege.co.uk performerscollege @performers_coll /performerscollege Performers College is accredited by the Council for Dance, Drama and Musical Theatre.

DANCE Imperial Classical Ballet

IMPERIAL CLASSICAL BALLET

THE SENIOR AWARDS IN PICTURES

T

ALL SENIOR AWARDS PHOTOS: JAMES HUDSON

he rescheduled* Imperial Classical Ballet Senior Awards took place on 20th May 2018 at Bird College in Kent. Congratulations to all winners and to everyone who took part. The results were published online after the event: istd.org/news/ imperial-classical-ballet-senior-awards-2018-results

*The decision was taken to reschedule the Awards due to the adverse weather conditions across the UK in March.

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DANCE Imperial Classical Ballet

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DANCE Imperial Classical Ballet

Everyone taking part greatly enjoyed the superb Awards at Bird College

Pictured on this page are prize winners with adjudicators Ginny Brown, Lai-Sheung Chan, Bill Glassman, Brenda Garratt Glassman, and Sarah Wildor

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DANCE Imperial Classical Ballet

Olivier Award for ISTD Teacher

C

ongratulations to ISTD teacher and examiner, Angela Allport, upon receiving her "Be Inspired Champion 2018" Olivier Award. Angela was one of the four winners to receive the award this year.

Angela said: “My award is in recognition of my 45 years of dedication to inspire people in dance and the performing arts. I hadn't quite realised how many hundreds of lives I had touched until it was broken down for me. The ISTD has featured in my life for a very long time and has helped me to become the teacher that I am today. I am thrilled and honoured to receive the Award and I also feel very blessed and privileged to have been able to do a job that I love.” Ginny Brown, ISTD Artistic Director & Interim CEO, commented: “It is heartening to see one of our dance teachers honoured in this way”.

Faculty Newsletter A Faculty newsletter, Imperial Ballet Info, is published twice a year in August and February, available

to teachers by email or post for £5 annually. To subscribe, please contact the Faculty Co-ordinator, Julia Beattie on: imperialballet@ istd.org, or: 01788 899127.

Diary Dates

London Teachers’ Group meeting dates are as follows:

IMPERIAL BALLET EXAMINERS ANNUAL CPD MEETING 5th/6th/7th October 2018 Please do not book exams for this weekend, as attendance at this is mandatory for all examiners.

JUNIOR BALLET AWARDS 28th October 2018 The Venue, Walton High, Milton Keynes. See page 61.

BOYS’ DANCE DAY 3rd February 2019 See below.

FLOOR BARRE 23rd September 2018 Venue Anthony Clifford Studios, Romford. Teachers’ own pupils of Grade 5, 6 & Inter Foundation will be welcome to attend. Lecturer – Clare Freeman Sargeant IMAGINATIVE TEACHING STRATEGIES 2nd December 2018 Anthony Clifford Studios, Romford.

Teachers’ own pupils of Grades 2 & 3 level will be welcome to attend.

Lecturer – Corraine Collins

London Teachers’ Group The London Teachers’ Group meets three times a year between September and the following January. Lectures start at 10.30 and finish at 13.00 approximately. Fees: subscription for all three lectures – £45; visitors for one lecture – £20; children taking part in classes – £3.

Meeting dates are listed on the right.

Boys’ Day

We welcome all teachers, student teachers and non-members.

Teachers are welcome to bring their own pupils to take part in appropriate classes, please pre-book places to avoid overcrowding.

Contact the Faculty Co-ordinator for bookings and enquiries, Julia Beattie on 01788 899127, or imperialballet@istd.org.

ISTD Imperial Classical Ballet Faculty Present

A

Sunday 3 February 2019 rd

A day of classes for your male pupils given by specialist male teachers Laine Theatre Arts, Epsom 10.30am – 4.30pm Boys of 8 years and above, both experienced and inexperienced in ballet, are welcome £30.00 per pupil Closing date 14th January 2019 TO BOOK Please contact the Faculty Co-ordinator, Julia Beattie 8 School Close, Braunston, Daventry, Northants NN11 7JD 01788 899127 | imperialballet@istd.org

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DANCE Imperial Classical Ballet

ISTD Imperial Classical Ballet

Junior

Awards Sunday 28th October 2018

THE VENUE, WALTON HIGH Fyfield Barrow, Milton Keynes MK7 7WH FOR PUPILS: Grade 1/Class Examination 1 Grade 2/Class Examination 2

Candidate entries

Teachers are permitted to enter up to 6 candidates in each Grade/Standard

Age limits

Grade 1/Standard 1 candidates must be 9 years or under on 1st September 2018 Grade 2/Standard 2 candidates must be 10 years or under on 1st September 2018

Closing date for entries: Monday 24th September 2018

Please contact Julia Beattie: imperialballet@istd.org DANCE ISSUE 484

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The 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.

To make a donation or leave a bequest in your will, please visit: www.ibfund.net

DANCE Latin, Modern & Ballroom

LATIN AMERICAN

MODERN BALLROOM

SEQUENCE

LATIN Magic

L

ooking at the programme of lectures, we all knew we were in for a superb day on 22nd April 2018. This year’s format was different from previous years in that the length of each lecture allowed for the choreography to be taught in its basic form, developed for the higher-level dancer, and for the attendees to practice what they had learnt with assistance from the lecturer.

After a welcome message from our Dancesport Faculty Chair, Julie Tomkins, this year’s Latin Magic got underway.

Latin Magic was a wonderful day of fabulous lectures The first lecture of the day was by a recently appointed ISTD examiner, Angela Cobley, partnered by James Montgomery, giving us the Cha Cha Cha. Angela taught transferable choreography in a confident manner, which expressed her teaching experience. The choreography was taught in its basic form and then developed effectively into a more advanced style.

Samba was the next lecture by Nick Kelly and Cheyenne Russell, producing very current choreography. Their vast experience and depth of knowledge was evident in this, their first ISTD lecture, which was well structured and taught with clarity. It started with standard rhythms and then developed into alternative rhythms, which gave the dance a more competitive feel.

The last lecture before lunch was from a master in his field, Graham Oswick, beautifully assisted by Cara Stubbington,

Graham Oswick & Cara Stubbington

presenting Rumba.

As always, Graham gave an inspirational and informative lecture about leading your partner through awareness and use of his body. This was a masterclass with invaluable knowledge, which could be used throughout the Rumba.

Wow, what a treat we had after lunch. Paul Marcel ably assisted by his lovely wife Wendy gave us the new dance craze to hit the UK, Salsa Choke. This lecture represented the Authentic and Emerging Rhythms Sub-Committee and the dance originated in Columbia in 2008. Taught with fun and enthusiasm, this certainly energised us all.

More first time lecturers for the ISTD, Daniel Power and Victoria Holmes presented Paso Doble with great detail and enthusiasm.

The choreography comprised of syllabus figures with alternative timing. The main elements of Paso Doble were clearly executed and their passion for getting the fundamentals across to their audience was evident.

The final lecture of the day was everybody’s favourite Matthew Cutler, partnered by the lovely Nicole. Great choreography enhanced

by Matthew’s infectious personality and humour. He stressed the importance of correct Jive action and fundamentals with special reference to flick ball changes and chasses. Basic skills will develop into quality dancing. This was a superb way to end a wonderful day of fabulous lectures.

Teresa Jay

Nick Kelly & Cheyenne Russell

Angela Cobley & James Montgomery

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DANCE Latin, Modern & Ballroom

Dorset Da y

of

Sequence There will b e a day of Sequence competition s with Ballr oom and Latin Ameri can for med allists on Sunday 9th December 2018 in Dorset. A full program me of events will be available fr o m the Faculty Co -ordinator, K atherine Costain: 0 7551 1594 70.

Sequence News

Adjudicators of the Sequence Inventive Dance Competition, which was held on 22nd April 2018. L to R: Muriel Aldren, Michael Habergham, Michelle Webster, Vernon Kemp and Diana Wykes

64 DANCE ISSUE 484

Top: Paul and Wendy Marcel at Latin Magic

Above: Daniel Power and Victoria Holmes at Latin Magic

, allist Festival equence Med S e th at rs inne ne 2018 Junior prize w ld on 10th Ju which was he

DANCE Modern Theatre

MODERN THEATRE

Workshops THE ISTD MODERN THEATRE FACULTY PRESENTS

Jazz

+

A day of ...

West End

For children and students aged 8 – 18 years

Sunday 18th November 2018 10.00am Bird College Alma Road, Sidcup, Kent DA14 4ED

Limited numbers Prior booking essential

Participants:

£20.00

For booking forms please contact: modern@istd.org

To book please contact: Modern@istd.org DANCE ISSUE 484

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DANCE Janet Cram Awards Finals

Janet Cram

AWARDS FINALS 2018 The Modern Theatre Faculty would like to say well done to all competitors who took part in this year’s Finals on Sunday 3rd June 2018 at The Greenwood Theatre

T

he Finals were even more special this year because they were attended by three generations of Janet Cram’s family. The superb organisation was a credit to Cathy Stevens, Jackie Barnes and their team of helpers. As Jackie said at the end of the day: “To be part of a day full of the joy of dance, is a privilege.” I couldn’t agree more.

There are many competitions that take place all over the country but the Janet Cram competition has always stood for quality and is a testament to the work of ISTD teachers. This year was no exception, as adjudicator Katie Morea told the audience: “The stage was full of hard work, talent and dedication.”

This was very evident during the three inspiring classes taken by Jessica Morgan-Beale, Jodie Clark and Anthony Cranwell. Andre Weller (Junior Boys winner) said after his class: “It was a really fun experience, I gained a lot.” I am in total agreement with him.

I have been attending for over 30 years and I still come away inspired and excited for the future of dance.

Karen King

RESULTS The results were published online after the event: istd.org/news/moderntheatre-janet-cramawards-2018-results

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DANCE Janet Cram Awards Finals

The Janet Cram competition has always stood for quality and is a testament to the work of ISTD teachers

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DANCE Janet Cram Awards Finals

The stage was full of hard work, talent and dedication

68 DANCE ISSUE 484

DANCE Janet Cram Awards Finals

To be part of a day full of the joy of dance is a privilege

It was a really fun experience, I gained a lot

I have been attending for over 30 years and I still come away inspired and excited for the future of dance

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Diploma in Theatre Performance

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Diploma in Performance and Teaching Studies

A unique course combining intensive vocational training in dance or musical theatre and the I.S.T.D. teaching qualificationals DDE and DDP. Please visit www.thecentrepac.com for further details of all our courses

PROFESSIONAL PRACTICAL TRAINING withGUARANTEED INDIVIDUAL ATTENTION

The Centre - Perfoming Arts College The Studios, 75 Campbell Road Maidstone, Kent. ME15 6PY t: 01634 848009 e: dance@thecentrepac.com w: www.thecentrepac.com

ISTD 2018 MEMBERSHIP RENEWALS Renew your membership now at:

istd.org/membership Membership fees and further information can be found online.

#LoveLearnTeachDance

REMINDER

DANCE National Dance

NATIONAL DANCE

National Dance in Denmark

D

ancing is very popular in Denmark. Every village and small town has its own folk dance group, while larger cities like Copenhagen may have several. The style of Danish dancing is rather gentle, never flamboyant but always very neat and controlled. The dances have a social quality and people enjoy performing them together. There are many different steps and nearly 2,000 different dances. A large number of these are figure dances in which there are many figures – turs, each one separated by a repeated chorus. So a Totur was originally a dance with two figures and a Firetur was a dance with four figures.

Every village and small town has its own folk dance group People of all ages dance ‘just for fun’ and many dancers make their own folk costumes, taking care to choose the correct style for the place from which their families originated. These costumes take many weeks, even months, of hard work to make as they are often hand sewn with hand woven fabrics and handmade lace. No short cuts are allowed – every detail must be historically correct, even to the knitted socks and stockings.

If you decide to make a Danish costume try to copy your chosen style very carefully and, especially, to use the correct colours and the most suitable materials available. Try to give the costume

weight – folk materials are thick and heavy. Remember that originally they were designed to keep out the cold. Most of all, wear your costume with pride. After all it is an historical costume, not just fancy dress.

Customs There are some Danish customs that are especially fun for young people. One of the first of the year is Carnival, which takes place in February, just before Lent. This is the time of the Cat King and Queen when the children, dressed in fancy dress, gather round to ‘beat the barrel’. The barrel is filled with sweets and everyone armed with sticks hits it as hard as possible. The person who finally breaks it and releases the sweets, which represent the spirit of the cat, is crowned King or Queen of the festivities.

Midsummer’s Eve is a special celebration and every place has its bonfire. If the town or village is on the coast the bonfire is built on the beach and in many places it is possible to go from one fire to another along the sands. When seen from the sea the fires look like a necklace of twinkling lights. Each fire has a rag doll witch, complete with a broom, on the top. It is believed in the old days that on Midsummer’s Eve the witches flew off the Harz Mountains in Germany to dance with the devil. Special songs are sung, often composed for the occasion and people dance around the fire while the smaller children cook their bread. Each child is given a ball of dough, which they put on the end of a long stick.

Romo Black blouse with small red or pink flowers and green spots or leaves; red bodice edged with green; silver buttons; red skirt; dark blue and green checked apron; neckscarf of patterned silk in shades of pink and red; headscarf of plaid cotton in dark green, blue and burgundy; black shoes.

Ostsjaelland (East Zealand) Green jacket with lighter green pattern and silver buttons over waistcoat in same material or in red and green stripes with silver buttons; white shirt; white or fawn knee breeches; white stockings; black clogs; brown woollen cap edged with red and red tassel; red and green checked bow tie.

Rosnaes Red woollen cap; striped coat and waistcoat in red, dark blue and either white or yellow; silver buttons; cream or light yellow knee breeches; white stockings with red and white, or red and blue striped garters; black or dark brown clogs.

Skovshoved Bright green skirt edged with red; white apron over-checked with either dark blue or red; black blouse with white spots; white shawl embroidered with red flowers and green leaves; white bonnet-shaped headdress; straw coloured basked with fish.

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They then sit round their own small fire and bake the bread by holding it over the fire. Usually rather black and smoky, it is eaten and enjoyed by the young cooks.

Christmas is a special time for children. Presents are heaped under the Christmas tree and on Christmas Eve the family circle the tree singing Christmas songs. After presents have been opened everyone sits down to a special supper but not before putting a bowl of porridge in the attic for the Nisse man – the household spirit found in every Danish home. The Nisse man is a helpful spirit but can be easily offended, so the children make sure that he has his Christmas supper before they settle down to their own feast.

One of the dishes served is almond porridge in which a whole almond is hidden. The lucky person who finds this will have good fortune for the coming year.

New Year is welcomed with fireworks and, as midnight tolls out the old year, the whole country explodes in a blaze of coloured lights and deafening noise, thus ensuring that all evil spirits are frightened away and the New Year, still only a baby, will arrive safe and sound.

Heather Burns Making a Carnival Wand These wands are carried by all Danish children at Carnival Time.

Many are home-made and the sweet shop windows look like forests with dozens of different coloured wands.

Materials Required • Several twigs of small branches approximately 75cm long (use Birch twigs if possible because they are straight) • Gold or silver spray paint • Gold or silver string • Shiny coloured paper or foil • Narrow florists ribbon (the sort which can be made to curl) • A selection of sweets and chocolates • A small toy • An eye mask (very often a cat or a clown) • A carnival blower or whistle

Method 1. Spray the twigs with either gold or silver paint 2. When completely dry tie the branches with either gold or silver string leaving long ends hanging down 3. With scissors run the blade sharply down the ends to make them curl into ringlets 4. Wrap the sweets and chocolates in brightly coloured paper or foil and attach them to the branches (In Denmark the sweets are usually marzipan covered in chocolate) 5. Fasten on a small toy and a carnival blower or whistle and finally the eye mask and your wand is complete.

Happy Carnival!

Samso Shawl and bonnet of black with pale pink and deep pink flowers and green leaves; white lace frill round face; bright blue bodice with small pattern of green leaves; bow round waist of black with overcheck in pale pink and dark pink, or cyclamen and pale mauve; skirt of black (this has an embroidered band of cyclamen flowers, which is hidden by the apron in front); apron of patterned silk in burgundy or cyclamen; black shoes.

Home made, decorated carnival wand of Birch twigs, carried by Danish children at Carnival time

Falster Black top hat; dark blue jacket with silver buttons; black bow tie; white or light grey trousers; white stockings; black shoes with silver buckles.

Images reproduced with kind permission of Nigel Jaffé, who was the original author along with his late wife Margaret Dixon-Phillip.

There are some Danish customs that are especially fun for young people

Teaching in Primary Schools Two teachers report on teaching dance in primary schools and the ISTD’s Spring Programme course on introducing the new National Primary Class Examination From Vanessa Pesci We were very fortunate to be taught the entirety of this new syllabus by Barbara Simons, who was responsible for writing this new examination. Not only was her delivery very clear but it was also heartening to hear that her emphasis was on encouraging us to find the ‘fun’ in the content, to inspire our young dancers. As a teacher who has not previously been involved with the National

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Faculty this was a brilliant introduction and I am certainly looking forward to teaching this within my Key Stage1 lessons.

The afternoon session was led by Pippa Cobbing, Ballet teacher and Primary Steps Programme Manager at The Royal Ballet School.

She led a very interesting workshop on teaching within the primary school setting. Areas of focus were how to adapt teaching across differing year groups, managing challenging behaviours and classroom strategies. Her passion for making dance accessible

DANCE National Dance

within the curriculum was obvious and as a teacher who is already delivering dance in many curriculum settings I have certainly got lots of fresh ideas to take back to my schools.

This was a thoroughly enjoyable day and I would definitely recommend keeping a look out for similar workshops being hosted by the National Faculty.

The course has given me a clearer understanding of how best to approach schools to encourage greater dance participation

The afternoon was then spent with Pippa Cobbing who explained the complexities of The Royal Ballet School outreach programme, how schools and dance teachers can work together towards building an inclusive and greater focus on dance and finishing by taking us through a practical introductory dance lesson for six year olds. Lastly we had the opportunity to plan a lesson based on that lesson structure, which was very useful to take away.

It was a busy day, but the course overall was a well balanced mix of practical and theoretical learning that has given me plenty of ideas for primary dance classes as well as a clearer understanding of how best to approach schools to encourage greater dance participation. I’d certainly attend another one.

From Claire Targonski As a student teacher, studying DDE Modern, I was looking forward to doing some National dancing again and learning about how best to work dance into Primary schools. I wasn’t disappointed.

Barbara Simons was an enthusiastic teacher who took us through the new syllabus, explaining how best to work with primary school age children and what had driven the changes to the syllabus. We spent the morning having fun galloping, clapping and dancing in groups and getting creative with rhythm. We had the opportunity to review the syllabus as a whole, courtesy of four volunteers performing it from start to finish.

Left: The first set of Primary Class Examination candidates in January 2018 at the Kilburn School

GRANDISON CLARK

Awards 25th November 2018

The Venue, Walton High

Fyfield Barrow, Milton Keynes MK7 7WH Classes for Solos, Duets, Trios, Quartets and Groups at various age levels The closing date for entries is Monday 1st October 2018 Please contact Julia Beattie for entry forms national@istd.org 01788 899127

ISTD DANCE ISSUE 484

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ISTD

PROUD TO BE SEEN PROUD TO BE ISTD Register yourself now at DANCE-TEACHERS.ORG and #beISTD

DANCE Tap Dance

TAP DANCE Please turn to page 38 for the picture spread from this year’s Star Tap Challenge, which was held on Sunday 22nd April at the Hawth Theatre. The results were published online after the event: istd.org/news/ istd-news/star-tap-challengeresults-2018 Premier winners

Senior winners

The Alternative Grade 4 Turning Step

T

his is a reminder that there is an alternative Grade 4 turning step, which can be presented as an alternative to the original one. Also the turning steps in both grades 4 and 5 should now be prepared on both sides. This article is repeated from page 77 of issue 480 of DANCE due to popular demand for this information.

CD: MEMPHIS THE MUSICAL; TRACK TITLE: UNDERGROUND Commence LDF, travelling in circle around the studio to end in LDB. Making 3 turns travelling across front of studio heading towards RDF. VARIATION A 1&2&3&4 (even) spring R, shuffle L, hop step, pick up hop (first turn) 5 6& &8. step R, heel R, step L, heel L, step R (second turn) 1 2 step L, step R making a turn (third turn), 3 4 5. step L behind R, step R to side, stamp L fwd facing the outside of the circle 6& &8. chugs, RLRL VARIATION B 1&2&3&4 (even) spring R, shuffle L, hop step, pick up hop (first turn) 5 6& &8. step R, heel R, step L, heel L, step R (second turn) 1 2 step L, step R making a turn (third turn),

Senior Class participants and Adjudicators Graeme Henderson, Marti Webb and Carol Ball

3 4 5. step L behind R, step R to side, stamp L fwd facing the outside of the circle _ _ &8. chugs, RL VARIATION A 1&2&3&4 (even) spring R, shuffle L, hop step, pick up hop (first turn) 5 6& &8. step R, heel R, step L, heel L, step R (second turn) 1 2 step L, step R making a turn (third turn), 3 4 5. step L behind R, step R to side, stamp L fwd facing the outside of the circle 6& &8. chugs, RLRL BREAK - - &3&. miss 2 beats, stamp R, stamp L into parallel facing front, clap 5&&a6&&a7&- heel beat L, 4 beat paddle R, 4 beat paddleL, fwd brush R 1& &3 back tap R, step R, heel beat R, heel beat L 4& n6n7 ball beat R ball beat L, flam R x2

Intermediate Tap The old Intermediate Tap can be taken until the end of December 2019. This also applies to Licentiate and Fellowship. The new Intermediate Tap becomes optional in September 2018 and compulsory in January 2020.

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PEOPLE Staff News Michaela Ellis

Georgia Hussey

Artistic Projects Manager

Personal Assistant to the CEO and Artistic Director

Michaela joins the ISTD in a new role as Artistic Projects Manager and will be pushing new projects and initiatives forward for the organisation. Alongside this, Michaela is also Rehearsal Director for Shoreditch Youth Dance/Smikle Project.

As Rehearsal Director, she has worked closely with Lee Smikle on number if national and international projects and exchanges and has had the opportunity to work with choreographers such as Jamal Bakbur, Mafalda Deville and John Ross.

Michaela’s career to date has focussed specifically on dance for young people and has included project management roles at English National Ballet and The Royal Ballet School as well as teaching on Trinity Laban’s Youth Programme. As Project Producer at English National Ballet, Michaela led a number of large sale performance projects, working with school students through to professional dancers. She was responsible for managing the youth company, ENBYouthCo, and devised a number of new initiatives including a schools’ workshop and resource pack programme related to Akram Kahn’s Giselle which initially engaged with 30 secondary schools in Manchester before being rolled out in London and Havering.

Michaela studied at The BRIT School and Lewisham College before gaining her BA Honours in Dance Theatre from Trinity Laban.

Megan Garner International Professional Development Assistant Megan began her dance training at the age of two at Gina Van Dyke Stage School where she learnt Ballet, Tap, Modern and Freestyle. At the age of 14 she gained a place on the Centre for Advanced Training Scheme and trained in ballet and contemporary dance at Trinity Laban for four years. In 2012, she was selected as Head Girl for her school and sixth form, based in Surrey. She continued her studies at the University of Chichester where she achieved a BA Hons degree in Dance. Megan regularly volunteers for various charities and community fundraising events, as well as volunteering with the Ballet Boyz inclusive dance programme. Having volunteered across the world, Megan discovered a passion for Africa whilst travelling and has worked with the charity African Vision Malawi over the past seven years.

Georgia joined the ISTD in January 2018 as the PA to the CEO and Artistic Director and has enjoyed getting to know members of the faculties as well as Council trustees and staff at Headquarters.

Georgia teaches at Pixie Lott’s Italia Conti Associate School, ACS Dance Centre and Aspire School of Dance in her free time.

Georgia began her dance training at the age of three at Anthony Clifford Studios (ACS Dance Centre), studying and gaining ISTD exams in Imperial Ballet, Tap, Modern Theatre, Disco Freestyle, Modern Ballroom and Latin American. Georgia followed her passion for teaching and went on to study teaching qualifications with the ISTD in Imperial Ballet, Tap, Modern Theatre and Disco Freestyle. She is currently studying for her Licentiate Disco Freestyle and Tap DDE.

Negin Vaziri International Examinations Officer Negin Vaziri Joined the ISTD one year ago with over 10 years of experience in successful management of high-profile events and exhibitions. One example was an event she organized in the Piazza San Marco (St Mark’s Square, Venice) in 2009 with two Nobel Peace Prize winners, which was well attended and widely picked up in the press. Negin is a respected guest speaker who has given talks on women’s rights and human rights.

She is also a multimedia artist and curator. She has exhibited as an artist since 1998 bringing her exhibitions and solo shows to prestigious galleries and museums in, among other cities, London, New York, San Francisco, Strasbourg and Venice.

Negin is mainly known for her complex performances on the theme of human and women’s rights, created from poems and presented in multiple installations with photographs, musical compositions and dance choreography, all being made and directed by her. She hosted and presented group exhibitions at the Venice Biennale in both 2015 and 2017 for over 120 London based artists.

These shows were in addition to her other Biennale exhibitions spanning four years for Patrick Mimran and Paul Arden while working with the former as Executive Art Director of his Venice gallery. It was these exhibitions and collaborations with such influential figures that opened up a new way for Negin to see contemporary art.

AND WE BID A FOND FAREWELL TO LIZ WILLS

I

n June we said a very fond farewell to the outgoing Head of UK Exams, Liz Wills. Liz spent more than 24 years working for the ISTD and was a respected colleague and friend to members, examiners and staff during that time. She oversaw in excess of 100,000 exam sessions for more than three million candidates,

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and was presented with the 2010 Imperial Theatre Award. Liz would like to thank everyone who sent her cards and good wishes.

Taking over from her, as Head of UK Exams is Melanie Curtis, who previously worked as the Professional Development Manager in the Education & Training Department.

DANCE People

Obituaries MARGARET BENSON From Rhona Firth

My first meeting with Miss Benson was when, as students of Gaynor Owen, we had classes with her at the Hammond School, Chester and were amazed by her enviable facility and reassured by her warmth and knowledge.

When I became an examiner she was both encouraging and supportive and we shared many happy journeys to and from Chester, where we both lived. These seemed to fly by as we put the world to rights and exchanged family news. We even managed to board the wrong train on one occasion – too much talking.

I know that Margaret made significant contributions to the development of syllabi, but she rarely spoke about herself and just quietly got on with the job. I admired her integrity as an examiner and the kindness she showed to candidates. She taught me that, whatever the result, it was our job to allow them to do their best by being pleasant.

Paddy Hurlings and I visited Margaret a couple of times recently and were amazed at her strength of character and the love of dance that still shone through. I feel blessed to have known her and, like many others, will miss her.

From Gaynor Owen Margaret was a very sincere and hard-working teacher who demanded the highest standards from her pupils, teaching with great care and meticulous detail. We as students were lucky to have her as our mentor at the Hammond School in Chester.

I became a junior student whilst still at school and studied every evening and all day Saturday.

Miss Benson was the only teacher for Modern and Tap and there were many teachers of Classical Ballet on the staff. I was one of Miss Benson’s first entries for Modern and Tap Grades in 1951. This was followed with Tap medals and later the Modern and Tap grades were divided into separate categories.

Margaret had an infectious sense of humour and she loved to chat after classes.

Upon leaving school I became a full time dance student and Miss Benson was a very popular teacher. Margaret also taught with Mary Archbutt of Altringham and she assisted and demonstrated the Modern syllabi at the ISTD annual Summer Congress, which was held at the Victoria Halls in Holborn and also at the Teachers Summer School, which was held at ‘Lillishall’.

Margaret’s dance attire was always immaculate and her very good taste in colours complimented her well-tailored Jaeger outfits. Always ready for a joke and a quick giggle. Her personality was unforgettable.

She was a wonderful and dedicated teacher who gave her life to dance and the training of her students. God Bless.

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BERNADETTE LANGSHAW-CLARK It is with great sadness that we learnt of the untimely passing of our Australia and New Zealand Liaison Officer, Bernadette Langshaw-Clark in Sydney on Sunday 17th June 2018.

Bernadette was a major influence on so many dancers and teachers in Australia. She was a devout supporter of the ISTD, examining for nearly 20 years, and was awarded the International Imperial Theatre Award in 2016.

The next edition of DANCE will have a full tribute to Bernadette.

JEAN MASON (NÉE BERG) From Anne Lingard

I knew Jean Berg (later Mason) for over 70 years, although latterly we were not so much in contact and only met at Congress.

I first met Jean at the local Dancing School, which used to have a Saturday practice night in Maidstone. I was still at school and, if pocket money would allow, used to attend these functions. A short amalgamation of figures in one dance was taught in the middle of the evening and the teacher in charge was partnered by this dark haired, dynamic girl named Jean.

As time went on and I became more involved with dancing, Jean partnered by her then boyfriend, with myself and my boyfriend, used to go to various events as a foursome in Jean’s boyfriend’s car. Cars were very rare at that time of course, being so soon after the war and we had many happy days out together at the Kent Coast and countryside and I got to know Jean very well.

Jean then eventually married Bill and moved to Reading, where she went to the Molly Richardson School and continued her training, taking her professional qualifications there. Bill was working as a school teacher and it was at that time that both of their daughters were born. I went to stay with them whilst they lived there.

Then they all came back to Kent, to Broadstairs, where Jean started to teach and she met Gillian Page. Together they started up the Page Mason School of Dance, Gillian with theatre dance and Jean with ballroom. I did examine for them a couple of times.

Jean taught right up until a short time before she passed away and was ever an enthusiastic and committed teacher.

ERROL PICKFORD Errol was a former Royal Ballet Principal, who passed away in June of this year aged 51. Originally from Perth, Australia, Errol trained as a gymnast before moving to the UK, training with the Hammond School and at The Royal Ballet School. He joined The Royal Ballet in 1984, and was promoted to Soloist two years later.

He became First Soloist in 1989 and Principal in 1991.

Leaving The Royal Ballet in 1997, Errol continued his celebrated career as a Principal with Western Australian Ballet. Upon retiring he taught at various vocational schools including London Studio Centre, Arts Educational School Tring, Bird College and, since 2008, Elmhurst Ballet School, where he was Senior Ballet Teacher and Head of Graduate Placement and International Links.

Errol leaves behind a wife, Olivia, and daughter Polly. We wish to express our deepest condolences to them and to Errol’s family, friends, colleagues and students.

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DANCE People

EXAM SUCCESSES We congratulate the following members of the Society who have achieved success in their qualifications as recorded by HQ.

Associate Disco Freestyle Robbyn Birnie (UK) Eva Campbell (UK) Alex Forster (UK) Ellie Hawes (UK) Ellena Holme (UK) Aikaterini Koukouli (Greece) Charlotte Sturmey (UK) Hayley White (UK) Imperial Classical Ballet BrontĂŤ Hansen (Canada) Rashaad Isa Baksh (Trinidad & Tobago) Priya Pollard (Trinidad & Tobago) Cassia Slager (Canada) Latin American Stephen Arnold (UK) Sergiy Bondarenko (UK) Justyna Gazda (UK) Tomasz Gazda (UK) Adam Kent (UK) Mathilde Thiebault (UK)

Modern Ballroom Helina Chin Lee (Trinidad & Tobago) Lester Gerald Marin (Trinidad & Tobago) Sarah Lee (UK) Feddy Malcolm Williams (Trinidad & Tobago) Yasmin Priestnall (UK) Michelle Sherry-Ann Hernandez (Trinidad & Tobago)

Licentiate

Fellowship

Disco Freestyle Eve Graham (UK) Michelle Postlethwaite (UK) Dexi Rowland (UK)

Disco Freestyle Victoria Cesar (UK)

Street Dance Huw Elwyn Richards (UK) Alex Forster (UK) Lydia Thompson (UK) Emma Victoria MacDonald (UK) Ashleigh White (UK)

Latin American Ting Fung Choi (Hong Kong) Hung Cheong Ma (Hong Kong) Sui Jun Tu (Hong Kong) Kam Man Chong (Hong Kong)

Imperial Classical Ballet Yuki Hosokawa (Japan) Janine Konczak (Canada)

Associate Diploma

Modern Ballroom Georgia Charles-McIntyre (Trinidad & Tobago) Artur Dabrowski (UK) Claire Haine (UK) Nicholas Kelly (UK)

Modern Theatre Debra Arlette (Canada)

Modern Ballroom Viennese Waltz Shu Shing Poon (Hong Kong)

Tap Dance Megan Doig (Canada) Lexie Ingoldsby (Canada)

Modern Theatre Jenna Rushton (UK)

Imperial Classical Ballet Lisa Johannsen-Sawamura (Japan) Jade Pritchard (UK) Modern Ballroom Sergio Brillhante (UK) Elaine Hills (UK) Ivana Ostrowski (UK) Hau Shan Michel Wang (Hong Kong) Sui Yin Victor Yeung (Hong Kong) Sze Ying Yau (Hong Kong) Modern Ballroom Viennese Waltz Cheung Leung Chan (Hong Kong) Sze Ying Yau (Hong Kong) Sui Yin Victor Yeung (Hong Kong) Due to integration of old and new examinations and learner record systems, DDI and DDE successes are not currently available for publication, but will be included in the next edition of DANCE.

National Dance Kristie Seeley (UK)

Well done from all of us at the ISTD DANCE ISSUE 484

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DANCE People

CLASSIFIEDS TAP & MODERN TEACHER REQUIRED – KINGSTON

MODERN / STREET TEACHER REQUIRED – BRIGHTON

Qualified ISTD Tap & Modern teacher required to join our team on Saturdays 9am–3pm. Our school is based in Kingston, Surrey; close to the train station. Candidate must be able to enter children for exams up to a high standard. To apply please send your CV to danceforce@icloud. com

ISTD Modern / Street dance teacher required in Brighton (musical theatre would be an asset) on Tuesday & Wednesday evenings to commence in September. There is an opportunity for a confident & enthusiastic teacher to grow and enhance an already long established school alongside a strong Ballet and Tap technique already in place, days and hours are open for negotiation. Please contact Denise Ponsonby info@ alexandradance.co.uk or call 01273 565881 / 07428772369.

ISTD TAP & MODERN TEACHER REQUIRED – WEST SUSSEX The Gielgud Academy is looking for a new ISTD modern and tap teacher holding their licentiate or fellowship to join our exciting faculty team in September 2018.

He/she will be required for teaching the vocational grades each Saturday at our thriving school in West Sussex. Good rates of pay and additional optional opportunities to choreograph for high profile shows.

For more information see www. gielgud.com and email admin@ gielgudacademy.co.uk

TEACHING POSITION(S) AT SOUTH LONDON DANCE SCHOOL IN HERNE HILL, SEPTEMBER START We have positions available for inspiring and enthusiastic tap / modern & ballet teachers on a Tuesday & Wednesday evening to teach Grades 3–intermediate, adult tap, body conditioning &

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private lessons for festivals. You do not have to be fully qualified at this stage but willing to learn the work & keen on the challenge of being a team member in a very busy, fast paced school with high standards. It may be possible to split the roles so do apply if you are only available on one of the days and / or specialise in one genre infosouthlondondanceschool@ gmail.com

ISTD TAP AND MODERN TEACHER REQUIRED IN SOUTHWEST LONDON Looking for an ISTD qualified, experienced, and energetic teacher to enter children for exams and enjoy the freedom of choreography.

We are a happy friendly school and would like somebody reliable and diligent. Excellent remuneration.

Contemporary an asset but not essential. Performance related bonuses available. Please contact BOX NUMBER 67 with your name and contact details to apply.

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extra

General Data Protection Regulations

W

e are sure by now that you will know that we all have to be compliant with the new General Data Protection Regulations which came into effect on 25th May 2018.

This law is an implementation of new EU regulations, and teachers in the EU must similarly meet their own local requirements.

That means that we have been preparing by reviewing all our data, where it is held and why, deleting anything we considered not necessary to hold, and contacting you about your mailing preferences. We have now written a new Privacy Policy, which is available by clicking on the link at the bottom of the front page on the ISTD website – see istd.org/privacy-policy The ISTD is committed to protecting teachers and their students’ privacy. As a data controller the ISTD has a lawful basis under GDPR to collect and process data, using legitimate interest, contract, and consent as necessary for each type of data and activity. The legitimate interest is in the delivery and awarding of qualifications and assessments, and the processing of candidate data including name and date of birth is necessary to achieve that purpose. This is called ‘personal data’. Of course, that means that teachers also become data controllers, because you must collect the personal data from your students, or otherwise they will not be able to enter for examinations, but we do not need their individual consent to hold and process this data.

The ISTD is committed to protecting teachers and their students’ privacy However, if they need to provide medical or other health information (which you might also need for normal classes), for applications for reasonable adjustments or for entry on a residential course, then we must have their consent to receive and hold that information. This is because it is one of the types of ‘sensitive data’ identified in the Regulations, which must only be held for as long as necessary for the processing of the event and any subsequent queries are completed, and then securely destroyed. The consent must be from the candidate or from their parent or guardian if they are under 16. Without that, we will not process the application under any circumstances.

As ethnicity is also sensitive data, we have decided to no longer collect this information from candidates, so that we do not have to obtain their individual consent. We have removed this from forms, and have deleted the information from all past candidates’ records on recent systems which remain accessible.

This means we do not require you to collect it or to enter it on new PIN requests from QUEST.

All forms which require consent have been amended, and those which collect personal data, have all been updated with the privacy notice, which refers the reader to the extended Privacy Policy.

GDPR gives everyone the right to see what data is held about them, to withhold consent for its use, and if necessary, ask for it to be deleted. It is no longer acceptable that by not replying, or not ticking a box, that consent is given – it must now be positive ‘opt in’ consent.

SO WHAT DO TEACHERS NEED TO DO? You must be GDPR compliant to pass data to us, which means we will need your confirmation that you are, and we are currently looking at simple ways for you to confirm this and us to record it.

Please look at the Information Commissioner’s Office website: ico.org.uk/for-organisations This has lots of helpful guidance and checklists which help to understand what you need to know and do, and you will need to write your own privacy policy using this information.

Please be careful about your use of CCTV, which was already covered under previous regulations and has been reported to us – you must not record in private areas, and must not record conversations, and you must display notices if you are using it, then delete tapes.

The ICO recognises the impact this is having on many businesses regardless of size, but equally, regardless of size or legal status, we must all comply.

We have had many requests for individual guidance and assistance, but we are unable to advise individual schools or teachers for legal reasons, and you should contact the ICO with any queries.

QUEST – New Web-Based Examinations System Many teachers will now be aware that we have been working internally since April, using a new web-based system in which teachers can apply directly online for examinations, add candidates and timetables and pay fees, with examiners directly entering results and from which report sheets are directly issued. This will ultimately ensure that we have a reliable, secure and efficient system with which to improve our service to teachers.

We have been, and continue to roll this out in stages for teachers and examiners for both Theatre and Dancesport, throughout the UK and now internationally in a phased way.

We are pleased with the initial reactions despite it being a busy time, and would like to thank teachers during this roll-out period for their patience and understanding during a period of change for all; and to say that all the staff in the Examinations Departments and Quality Assurance Department are here to support them with any queries they may have.

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Letters SAMANTHA VALE IN SOUTH AFRICA

I

n February 2018 I had the privilege to visit the beautiful country of South Africa for a Street Dance mini tour, delivering Associate and Student Teacher training in Johannesburg and Cape Town. It was an inspiring, exciting (albeit very humid) trip and I am personally thankful that I managed to take a long shower in Johannesburg before reaching draught stricken Cape Town.

I was met with open arms in Johannesburg by Claire Petra, the local organiser of the first training course held at Kelly Boates’ Art of Movement studio where we were hosted for three days. This course was an intimate group where we also had some great discussions on the history of hip hop and the influence Africa and cultural oppression had on the expression of social dance.

I left Johanessburg with achy legs, new friends and a full heart, I also had the opportunity to explore the salsa scene one evening where we had a chance to put our freestyle skills into practice.

On to Cape Town and a different vibe altogether. Starting with a midnight dance-off with the hotel staff in the busy lobby and being introduced to some traditional African dance forms.

The next course hosted at The Waterfont Theatre School, South Africa’s leading full time performing arts institution, run by the wonderful Delia Sainsbury. Her faculty of talented and passionate teachers, beautiful facilities and holistic ethos made it very clear to understand why The Waterfront Theatre School is so prestigious and at the forefront of training professionals in the arts. A busier three days with a jam packed studio and more regular changes of clothes. The students on the course were a mixture of the college students, local teachers in the area and existing college teachers, giving us a wide variety of experience to learn from.

Another night of Salsa was had in Cape Town at the famous Paradiso Academy, again with a different atmosphere from Johannesburg, infusing Funk with Latin, providing opportunity for me to once again be the student.

I thoroughly enjoyed my time in South Africa and it reminded me of the uniqueness, passion and sense of belonging that dance gives us space to explore. The dance students of South Africa truly danced with their hearts and souls.

Dance has been such a big part of my life Turn to page 10 to read the full interview with Jonny Labey

JOHAN PERSSON

The cast of ‘Strictly Ballroom the Musical’

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DIRECTORY COUNCIL

Dame Beryl Grey DBE President

Chair Sue Passmore Vice Chair Erin Sanchez Annabelle Mannix Chitra Sundaram Christopher Hawkins Elisabeth Swan Jeremy Kean Julie Tomkins Karen King Kay Ball Keith-Derrick Randolph Sho Shibata Simon Adkins Vivienne Saxton

Sue Passmore Chair

FINANCE, GENERAL PURPOSES AND AUDIT COMMITTEE Chair Jeremy Kean Committee Chitra Sundaram Erin Sanchez Sue Passmore NOMINATION AND REMUNERATION COMMITTEE

Ginny Brown Artistic Director & Interim CEO

Chair Elisabeth Swan Committee Julie Tomkins Kay Ball Sho Shibata Simon Adkins Sue Passmore GRAND COUNCIL President Dame Beryl Grey DBE, DMus, DLitt, DEd, FRSA Angela Rippon OBE Anne Lingard (invited committee member) Anthony Crickmay Anthony Hurley Anthony Van Laast Barbara Fewster OBE Barbara Grover Betty Laine OBE Dame Merle Park Delia Sainsbury Doreen Wells, Marchioness of Londonderry Dr Stanley Ho Gr of OIH, Chev Leg Kenneth Challinor Lesley Garratt CBE Linda Pilkington Lorna Lee Mary-Jane Duckworth Michael Rose Michael Stylianos Olive Newson Patricia Prime Peter Eggleton Peter Kyle Professor N F Morris MD FRCOG Robert Cohan CBE Robert Grover Rt Hon Sir Gerald Kaufman, MP Sir Anthony Dowell CBE

Sir John Manduell CBE Sir Peter Wright CBE, DMus (Lond), FBSM, DLitt (B’ham) Stephen Rimington Tudor Davies Yvette Sargent 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 Artistic Director & Interim Chief Executive Officer Ginny Brown (ext. 809) gbrown@istd.org Interim Finance & Operations Director Maureen Cole-Burns (ext. 805) maureencb@istd.org Artistic Projects Manager Michaela Ellis (ext. 807) mellis@istd.org Personal Assistant to the CEO and Artistic Director Georgia Hussey (ext. 806) pa@istd.org HR Manager Roza Kobel (ext. 816) hr@istd.org BUSINESS DEVELOPMENT & MEMBERSHIP SERVICES Membership Services & Business Development Manager Chelsea Franklin (ext. 804) cfranklin@istd.org Membership CRM Analyst 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) TBC Accounts Receivable Raeline Moody-Wyse (ext. 854) rmoodywyse@istd.org Accounts Receivable Sandra Murdoch (ext. 850) smurdoch@istd.org

PROJECT, OPERATIONS & FACILITIES DEPARTMENT IT Assistant Shamar Brown shamarb@istd.org ISTD HQ Receptionist (Mon-Wed) Laura Henderson (ext. 800) receptionHQ@istd.org ISTD HQ Receptionist (Thu-Fri) Katie Barrett (ext. 800) receptionHQ@istd.org ISTD HQ Facilities Manager Chris New (ext. 812) cnew@istd.org UK EXAMINATIONS DEPARTMENT Head of UK Examinations Melanie Curtis (ext. 871) mcurtis@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 kmian@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 kbeckett@istd.org INTERNATIONAL EXAMINATIONS DEPARTMENT Head of International Exams Janne Karkkainen (ext. 860) jkarkkainen@istd.org International Examinations Manager Eve Drakouli (ext. 862) edrakouli@istd.org International Examinations Officer Alex Batts (ext. 867) abatts@istd.org Europe – Ireland, Portugal; Asia – China [mainland, Hong Kong, Macau], India, Indonesia, Japan, Malaysia, Singapore, Taiwan, Thailand, Vietnam; Middle East – Bahrain, Kuwait, Qatar, United Arab Emirates; Caribbean – Barbados, Saint Lucia, Trinidad; Africa – Seychelles

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International Examinations Officer Ylvi Jara (ext. 864) yjara@istd.org Europe – Spain, Gibraltar; Central America – Mexico; Africa – Kenya, South Africa International Examinations Officer Yannis Malavakis (ext. 866) ymalavakis@istd.org Europe – Cyprus, Greece International Examinations Officer Stephanie Russo (ext. 864) srusso@istd.org North America – Canada, USA; Oceania – Australia, New Zealand International Examinations Officer Negin Vaziri (ext. 865) nvaziri@istd.org Europe – Belgium, Italy, Luxemburg, Netherlands, Switzerland International Examinations Officer Chelsea Fox (ext. 863) cfox@istd.org Dancesport: All countries; Theatre: Europe – Germany, Malta, Norway International Examinations Administration Officer James Smyth-Tyrell (ext. 861) jamesst@istd.org International Examinations Administrator Zoe Richard (ext. 863) zrichard@istd.org EDUCATION & TRAINING DEPARTMENT Head of Education & Training Louise Molton (ext. 844) lmolton@istd.org Professional Development and Events Manager Mavis Saba (ext. 833) msaba@istd.org Professional Development Co-ordinator Georgina Winterborne (ext 835) gwinterborne@istd.org Professional Development Assistant Joely Stevens jstevens@istd.org International Professional Development Co-ordinator Valentina Grecchi (ext. 836) vgrecchi@istd.org International Professional Development Assistant Megan Garner (ext. 831) mgarner@istd.org Digital Learning Manager James Savva (ext. 838) 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

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In-House Graphic Designer TBC Marketing & Communications Officer Katie Andrews (ext. 822) kandrews@istd.org Online Marketing Officer (Tue & Wed only) Birgit Diggins 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 Service 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 Quality Assurance Assistant (Dancesport and International Examinations) Jasmine Lambert (ext. 826) Applications for Reasonable Adjustments (ARA) ara@istd.org Quality Assurance Officer (UK Theatre Examinations) Lloyd Ford (ext. 847) lford@istd.org Quality Assurance Assistant (UK Theatre Examinations) Tolu Alabi (ext. 843) talabi@istd.org Professional Qualifications Manager TBC Professional Qualifications Officer TBC Professional Qualifications Assistant Briar Luff (ext. 842) bluff@istd.org Quest Applications Analyst Matt Kudzio (ext. 849) questdev@istd.org IMPERIAL DANCE & DANCESPORT FACULTIES BOARD Chair 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

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 Julie Tomkins Vice Chair Graham Oswick Committee Janet Clark Simon Cruwys Matthew Cutler Paul Killick Crystal Main Michelle Postlethwaite (co-opted) Faculty Co-ordinator Joanne Blackshaw

Chair Catherine Hutchon Vice Chair Kate Simmons Committee Cara Drower Linda Isaacs Theresa Lungaro-Mifsud Sandra Powell Sarah Wells Faculty Co-ordinator Sharon Orme

AUTHENTIC & EMERGING DANCE SUB-COMMITTEE

CLASSICAL GREEK DANCE ASSOCIATION FACULTY

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

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

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

The committee listing was correct at the time of going to press. However, committee elections take place in the autumn. Updated listings will be available on istd.org.

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

The committee listing was correct at the time of going to press. However, committee elections take place in the autumn. Updated listings will be available on istd.org.

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-ordinator Shivaangee Agrawal

The committee listing was correct at the time of going to press. However, committee elections take place in the autumn. Updated listings will be available on istd.org.

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

DANCE

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

The committee listing was correct at the time of going to press. However, committee elections take place in the autumn. Updated listings will be available on istd.org.

NATIONAL DANCE FACULTY

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

Chair Jacqueline Ferguson Vice-Chair Barbara Simons Committee Heather Burns Cathi Conroy-Jones Co-ordinator Julia Beattie

FACULTY CO-ORDINATORS

TAP DANCE FACULTY

Latin American Faculty Joanne Blackshaw 51 Peartree Lane, Danbury, Essex CM3 4LS Tel: 07900 741473 Email: latin@istd.org

Chair Jackie Hayward Vice Chair Nick French Committee Carol Ball Jason Di Mascio Alison Forrester Helen Green Heather Rees Faculty Co-ordinator Caroline Lavelle

The committee listing was correct at the time of going to press. However, committee elections take place in the autumn. Updated listings will be available on istd.org.

Disco/Freestyle/Rock ‘n’ Roll (DFR) Faculty Penny Childs 14 Whitmore Close Bridgnorth WV16 4LR Tel: 07900 741474 Email: dfr@istd.org

Authentic & Emerging Dance Sub-Committee Charles Richman 10 Howard Crescent Basildon Essex SS13 2AB Tel: 07956 957038 Email: charlesr@istd.org Modern Ballroom Faculty Joanne Blackshaw 51 Peartree Lane, Danbury, Essex CM3 4LS Tel: 07900 741473 Email: ballroom@istd.org

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ISTD INTERNATIONAL LIAISON OFFICERS

Sequence Faculty Katherine Costain Tel: 07551 159470 Email: sequence@istd.org Cecchetti Society Classical Ballet Faculty Sharon Orme Tel: 07551 159471 Email: cecchetti@istd.org Classical Greek Dance Association Faculty Penny Childs 14 Whitmore Close Bridgnorth WV16 4LR Tel: 07900 741474 Email: classicalgreek@istd.org Classical Indian Dance Faculty Shivaangee Agrawal Email: classicalindian@istd.org Imperial Classical Ballet Faculty Julia Beattie 8 School Close, Braunston, Daventry Northants NN11 7JD Tel/Fax: 01788 899127 Email: imperialballet@istd.org Modern Theatre Dance Faculty Toni Ketterer 29 Greenway, Frinton on Sea Essex CO13 9AL Tel: 01255 852299 Email: modern@istd.org National Dance Faculty Julia Beattie 8 School Close, Braunston, Daventry Northants NN11 7JD Tel/Fax: 01788 899127 Email: national@istd.org

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 HISTORICAL AFFILIATION South Africa The Cecchetti Society of Southern Africa, National and International Secretary, Eileen Philips Tel: 27 11 782 0677 Email: cecchetti@yebo.co.za

Tap Dance Faculty Caroline Lavelle Email: tap@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

istd.org/about-us/people For the most up-to-date staff, council, committee and organiser listings please visit the ISTD website.

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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.

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 no longer accepts cheques. Please make payment via bank transfer, quoting your exam reference number, or payment can be taken via credit/debit card by the Professional Qualifications Assistant.

MONTH

DATE

EVENT

August 2018

17/08/2018

Dispatch of July portfolio results

September

07/09/2018

Closing date for EU entries for DDI U2 Health & Safety and DDE U3 Lifespan Development examinations – RE-TAKES ONLY

14/09/2018

Closing date for UK entries for DDI U2 Health & Safety and DDE U3 Lifespan Development examinations – RE-TAKES ONLY

05/10/2018

Closing date for portfolio submission for Moderation and Standardisation

06/10/2018

Closing date for submission for DDE U5 Contextual Study of Dance assignment – RE-TAKES ONLY

18/10/2018

DDI U2 Health & Safety in Dance Examination – RE-TAKES ONLY

19/10/2018

DDE U3 Lifespan Development Examination – RE-TAKES ONLY

November

09/11/2018

Dispatch of October portfolio results

2018

16/11/2018

Dispatch of October Contextual Study of Dance results

19/11/2018

Dispatch of September Health & Safety, and Lifespan Development results

14/12/2018

Closing date for portfolio submission for Moderation and Standardisation – ONLY AVAILABLE FOR LAST SUBMISSION OF DDI PORTFOLIOS

01/02/2019

Dispatch of December portfolio results

2018 October 2018

December 2018 February 2019

In addition, Approved Dance Centres may wish to be aware of the following target dates, which are subject to confirmation: August 2018

31/08/2018

Last 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.

ISTD Spring Programme 2018

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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 istd.org/courses-and-training.

It is with regret that Pauline Gee and Samantha Greenwood have decided to step down from their roles as Manchester Regional Representative and Manchester Exam Centre Organiser, and Janice Letty as Jersey Regional Representative and Exam Centre Organiser.

We would like to take this opportunity to thank them all for their hard work and for supporting the ISTD and our Manchester and

Jersey members for many years. We would also like to announce that Karen Thompson will now be the Regional Representative for both Guernsey and Jersey members. We are now looking for a new Exam Centre Organiser for Guernsey/Jersey.

The ISTD is seeking...

A Regional Representative and Exam Centre Organiser for Manchester and an Exam Centre Organiser for Guernsey/Jersey to help organise CPD courses and exams for our members and students. If you would like to be more involved with the ISTD and are interested in promoting training and CPD, please contact the Education & Training Department for more details: coursebookings@istd.org or 020 7377 1577.

AREA

NAME

ADDRESS

CONTACT

Bristol

Kathy Plaster

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

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

Derbyshire/ Leicestershire/ Northamptonshire

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

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

East Sussex

Jackie Hutt

200 Harold Road, Hastings, East Sussex TN35 5NG

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

Essex

Jessica Morgan-Beale

The Company Performing Arts, 105 Oxford Road, Clacton-on-Sea, Essex CO15 3TH

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

Gloucestershire/ Wiltshire

Judith Hockaday

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

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

Guernsey/Jersey

Karen Thompson

Pernera, Maladerie Road, St Sampsons, Guernsey, Channel Islands GY2 4RQ

E: karen@kddance.co.uk T: 01481 242 568 / 07781 113 542

Hertfordshire

Siobhan Chown

10 Belsize Close, St Albans, Hertfordshire AL4 9YD

E: info@dance-teachers.org.uk T: 01727 847 442

Kent

Charlotte Hudson

The Centre Performing Arts College, Rochester Dance Junction, 681 Maidstone Road, Rochester, Kent ME1 3QJ

E: c.hudson@thecentrepac.com T: 01634 848 009

Manchester

This post is vacant. For more details see above and contact: coursebookings@istd.org or 020 7377 1577

Merseyside

Gaynor Owen

Unit 10 Bemrose Industrial Park, Hanson Road, Liverpool L9 7BG

E: gaynorowenjames@gmail.com 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 Hindley

Dance Academy, Preston College, Fulwood, Preston PR2 8UR

E: ahindley15td@yahoo.com T: 01772 225 614

Scotland (Central)

Elizabeth Henderson

Crown Mansions, 6 North Gardner Street, Glasgow, Strathclyde, Scotland G11 5BT

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

Scotland (Northern)

Celia Johnson

Cevidley Croft, Keig, Alford, Aberdeenshire, Scotland AB33 8BH

E: cjfistd@btinternet.com T: 01975 562 521

South Wales

Joan Williams

8 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

3 Wiltell Estate, Upper St John St, Lichfield, Staffordshire WS14 9ET

E: info@bojanglesdance.co.uk T: 01543 425354

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

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

VIETNAM Street Dance

Associate Training (Day 1 of 3)

27th August 2018

Associate Training (Day 2 of 3)

28th August 2018

Asia Music & Performing Arts Academy, Ho Chi Minh City

09:00 – 15:30 09:00 – 18:30

Associate Training (Day 3 of 3)

29th August 2018

09:00 – 18:30

Student Teacher Training (Day 1 of 3)

28th August 2018

09:00 – 18:30

Student Teacher Training (Day 2 of 3)

29th August 2018

09:00 – 18:30

Student Teacher Training (Day 3 of 3)

30th August 2018

09:00 – 15:30

Student Class – 7–10 years

28th August 2018

16:30 – 17:15

Student Class – 11–13 years

28th August 2018

17:30 – 18:30

Student Class – 14–16 years

29th August 2018

16:30 – 17:30

Student Class – 17+ years

29th August 2018

17:30 – 18:30

Student Teacher Training (Day 1 of 3)

27th October 2018

NORTHERN IRELAND Street Dance

Student Teacher Training (Day 2 of 3)

28th October 2018

Student Teacher Training (Day 3 of 3)

29th October 2018

Lagan Valley LeisurePLex, Lisburn

09:00 – 15:30 09:00 – 18:30 09:00 – 18:30

Associate Training (Day 1 of 3)

28th October 2018

09:00 – 18:30

Associate Training (Day 2 of 3)

29th October 2018

09:00 – 18:30

Associate Training (Day 3 of 3)

30th October 2018

09:00 – 15:30

Student Class – 7–10 years

28th October 2018

16:30 – 17:15

Student Class – 11–13 years

28th October 2018

17:30 – 18:30

Student Class – 14–16 years

29th October 2018

16:30 – 17:30

Student Class – 17+ years

29th October 2018

17:30 – 18:30

Tap

New Intermediate (Day 1 of 2)

October half term

New Intermediate (Day 2 of 2)

09:00 – 17:00

Modern Theatre

Teaching the Modern Techniques (2 days)

09:00 – 17:00

MEXICO Mexico City

09:00 – 17:00

SOUTH AFRICA Modern Theatre Tap

Content to be set

27–29th November 2018

Waterfront School, Cape Town

New Intermediate Tap (Day 1)

30th November 2018

New Intermediate Tap (Day 2)

1st December 2018

The Art of Movement, Emmarentia

09:00 – 17:00

Waterfront School, Cape Town

09:00 – 17:00

New Intermediate Tap (Day 1)

3rd December 2018

New Intermediate Tap (Day 2)

4th December 2018

09:00 – 17:00 09:00 – 17:00 09:00 – 17:00

International

COURSES

The ISTD offers a broad range of teaching qualifications, professional development services and opportunities for further learning.

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Level 6 Diploma in Dance Pedagogy The initial application deadline for the Level 6 in Dance Diploma has now closed. We are, however, accepting applications from those who might be interested in taking individual units in order to develop their CPD. The deadline for applications is 10th September.

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 gain credits that can later contribute to advanced study. 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 istd.org/level6-ddp.

GENRE

COURSE TITLE

DATE

VENUE / AREA

CPD

Unit 4A – Teaching Classical Ballet Technique

October 2018, February and May 2019

London TBC

Unit 4C – Teaching Dance in Education and Community Settings

October 2018, February and May 2019

London TBC

Open Days Join the ISTD for open days aimed to introduce students and teachers to our initial and higher qualifications.

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.

COURSE TITLE

DATE / TIME

Dance Careers and Progression Options

November 2018

Dance Careers and Progression Options

April 2019

Dance Careers and Progression Options

August 2019

New DDE Tutor Training DDE tutor training is currently underway and many tutors have completed their training requirements in order to be ready for the launch of the Diploma in Dance Education in September 2018. There are still opportunities to complete online training, and there are some physical sessions too. Please note we are currently training Approved Tutors only and will announce when this process is open to ‘new’ tutors wishing to teach the initial teaching qualification.

In order to support the online process further we have some ‘clinic’ times when we can be available to answer specific e-learning queries that you may have.

DDE ONLINE TUTOR TRAINING

E-learning clinic times are as follows: Mondays: 10:00 – 12:00 Tuesdays: 14:30 – 16:30 Wednesdays: 13:30 – 15:30 Thursdays: 15:00 – 17:00 Fridays: 09:30 – 11:30 For further information or to book your place on a physical Tutor Training session, please contact gbridge@istd.org.

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

COURSE FEE: £40 PER UNIT

DDE UNIT

DATES

BOOKING FORM/S TO DOWNLOAD

DDE Unit 1 Preparing for Safe Teaching

On or around the 28th of each month

ONLINE Tutor Training Unit 1 – Booking Form (Editable Word)

DDE Unit 2 Observing, Assisting and Teaching

On or around the 18th of each month

ONLINE Tutor Training Unit 2 – Booking Form (Editable Word)

DDE Unit 4 Dance Practice

On or around the 5th of each month

ONLINE Tutor Training Unit 4 – Booking Form (Editable Word)

DDE Unit 5 Social, Emotional and Cognitive Development

On or around the 30th of each month

ONLINE Tutor Training Unit 5 – Booking Form (Editable Word)

DDE PHYSICAL TUTOR TRAINING

COURSE FEE: £80 PER UNIT

COURSE TITLE

DATE / TIME

VENUE / AREA

Unit 1 with SIDI

Wednesday 15th August 09.45 – 17.30

Chichester University

Unit 2 with Jill Knight

Thursday 9th August 09.45 – 17.30

Chichester University

Unit 5 with Sho Botham

Friday 10th August 09.45 – 17.30

Chichester University

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L A I T N E D I S E S’ R R E H C A E T D IST 018 2 L O O H C S SUMMER HESTER IC H C F O Y IT UNIVERS

Our Residential Summer School is open to teachers of all genres.

Membership of the ISTD is not needed to book and attend. Please note attendance on refresher courses is limited to teachers with prior knowledge/experience of the syllabus only.

LECTURER

GENRE AND COURSE TITLE

6th August

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 istd.org/events.

LECTURER

GENRE AND COURSE TITLE

10th August

Alison Forrester

TAP – New Intermediate Day 1 SOLD OUT

Nick French

TAP – Advanced 1

Helen Green

TAP – Grade 5 & 6 Refresher

Heather Rees

TAP – New Intermediate Refresher

Elaine Mansfield

MTH – Primary, Grades 1 , 2 (Girls’ & Boys’ Work)

Ruth Armstrong

MTH – Grades 1–5 Girls Amalgamations

Wendy O’Dowd

MTH – Advanced 2 Day 1, No Amalgamations

Katie Morea

Tereza Theodoulou

MTH – Essential Learning for Licentiate

MTH – Advanced 1 Day 2 (No Amalgamations) SOLD OUT

Christina Ballard

MTH – Intermediate Foundation (Girls’ Work), No Amalgamations

Sho Botham

DDE Unit 5 – Approved Tutors only

7th August Alison Forrester

TAP – New Intermediate Day 2 SOLD OUT

Helen Green

TAP – Pre Primary, Grade 1 & 2

Elaine Mansfield

MTH – Grades 4, 5 & 6 Boys’ Work & Amalgamations

Wendy O’Dowd

MTH – Advanced 2 Day 2, No Amalgamations

Ruth Armstrong

MTH – Grade 3 including Amalgamations (Girls’ & Boys’ Work)

Ross McKim assisted by Sian Hopkins

Introduction to the New Contemporary Syllabus

11th August Nick French

TAP – Grade 5 & 6 Refresher

Heather Rees and Helen Green

TAP – Licentiate & Fellowship Guidance

Katie Morea

MTH – Grade 6 (Girls’ Work), No Amalgamations

Sarah Wilson

MTH – DDE Unit 4

James Scanlan

Tech Tips for Teachers

12th August 8th August

Nick French

TAP – Advanced 2

Alison Forrester

TAP – New Intermediate Refresher

Helen Green

TAP – Grades 3 & 4 Refresher

Heather Rees

TAP – New Intermediate Day 1 SOLD OUT

Suzanne Priest

Ruth Armstrong

MTH – Grade 4 (Girls’ Work) including Amalgamations

Choreographic Festival Strategies and Ideas to Support and Show Your Dance

Wendy O’Dowd

MTH – Grade 6, Inter Foundation & Intermediate Girls’ Amalgamations

Sarah Wilson

MTH – Essential Learning for Fellowship

9th August Alison Forrester

TAP – Grades 3 & 4 Refresher

Heather Rees

TAP – New Intermediate Tap Day 2

Sarah Wilson

MTH – Intermediate (Girls’ Work), No Amalgamations

Tereza Theodoulou

MTH – Advanced 1 Day 1, No Amalgamations SOLD OUT

Ruth Armstrong

MTH – Grade 5 (Girls’ Work) & Free work ideas

Sian Hopkins

Introduction to the New Contemporary Syllabus

Jill Knight

DDE Unit 2 – Approved Tutors only

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13th August Helen Steggles

ICB – Primary, Grades 1 & 2

Celia Johnson

ICB – Advanced 2 Female

Jackie Gray

ICB – Intermediate Male & Female Day 1

Heather Rees

TAP – New Intermediate (Day 1 of 2)

“Knowledge, skill and a passion for dance is passed from teacher to student in an unbroken chain” Ginny Brown, ISTD Artistic Director & Interim CEO

DANCE

LECTURER

GENRE AND COURSE TITLE

LECTURER

14th August

extra

GENRE AND COURSE TITLE

16th August

Jackie Gray

ICB – Advanced 2 Male Work

Heather Rees

NAT – Advanced 2 Day 1

Helen Steggles

ICB – Intermediate Male & Female Day 2

Celia Johnson

ICB – Advanced 1 Male & Female Day 2

Celia Johnson

ICB – Grades 3 & 4

Vivienne Saxton

ICB – DDE Unit 4 Tutor Training

Carol Vasko

GRK – Grades 1 & 2 New Syllabus

Jackie Gray

ICB – Grade 6 & Training of Pointe Work

Ross Mckim, assisted by Helen Cox

Introduction to the New Contemporary Syllabus

Carol Vasko

GRK – Grade 4 New Syllabus CID – Licentiate Day 1

Heather Rees

TAP – New Intermediate (Day 2 of 2)

Sujata Banerjee and Pushkala Gopal Helen Cox

Introduction to the New Contemporary Syllabus

15th August Barbara Simons

NAT – Advanced 1 Including Essential Learning for Licentiate

Celia Johnson

ICB – Grades 5 & Biomechanics

Joanne Evans Jackie Gray

17th August Heather Rees

NAT – Advanced 2 Day 2 & Essential Learning for Fellowship

ICB – Class Exams, Pre Primary – 2

Jackie Gray

ICB – Essential Learning at Licentiate Level

ICB – Advanced 1 Male & Female Day1

Vivienne Saxton

ICB – Essential Learning at Fellowship Level

Carol Vasko

GRK – Grade 3 New Syllabus

Helen Steggles

SIDI

DDE Unit 1 – Approved Tutors only

ICB – Training of Ballet Technique & Pre School Ideas

Carol Vasko

GRK – Grade 5 New Syllabus

Sujata Banerjee and Pushkala Gopal

CID – Licentiate Day 2

Proud to be

#LoveLearnTeachDance

ISTD

ISTD Spring Programme 2018

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Syllabus Training, UK In addition to our upcoming Residential Summer School, the ISTD will be offering a range of teacher training courses throughout the UK, co-ordinated in Greater London by ISTD HQ 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 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 87.

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 TITLE

VENUE/AREA

TIME

Tap

1st September 2018

New Intermediate (Day 1 of 2)

GATE, Styx Community Centre, St. Peters, Guernsey, GY7 9RZ GUERNSEY

10:00 – 17:00

Tap

2nd September 2018

New Intermediate (Day 2 of 2)

GATE, Styx Community Centre, St. Peters, Guernsey, GY7 9RZ GUERNSEY

10:00 – 17:00

Tap

9th September 2018

New Intermediate Refresher

Unit 10 Bemrose Industrial Park, Hanson Road, Liverpool L9 7BG MERSEYSIDE

10:00 – 17:00

Tap

9th September 2018

New Intermediate Refresher

The Company Performing Arts, 105 Oxford Road, Clacton on Sea, Essex, CO15 3TH ESSEX

10:00 – 17:00

Tap

16th September 2018

New Intermediate Refresher

Ellite Studios, The Dancer, 8 Peterson Road, Wakefield WF1 4EB YORKSHIRE

10:30 – 16:30

Tap

23rd September 2018

New Intermediate Refresher

Margaret Howard Theatre School, Bushey, WD23 3DH HERTFORDSHIRE

10:00 – 17:00

Tap

23rd September 2018

New Intermediate Refresher

Preston’s College, Dance Academy, St Vincents Road, Preston PR2 8UR PRESTON

10:00 – 17:00

Tap

23rd September 2018

New Intermediate Refresher

JL Dance & Performing Arts Academy, Butterely Croft, Whiteley Road, Ripley DE5 3QL DERBYSHIRE

10:00 – 17:00

Modern Theatre

30th September 2018

Advanced 1 Modern Refresher

St Saviours’s Hall, Ashford Road, Swindon, SN1 3NS SWINDON

10:30 – 17:00

Imperial Classical Ballet

14th October 2018

The Training of Ballet Technique

Margaret Howard Theatre School, Bushey, WD23 3DH HERTFORDSHIRE

10:00 – 17:00

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.

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 istd.org/events.

English National Ballet Workshop The ISTD is pleased to invite our teachers to observe a performance masterclass hosted by the English National Ballet (ENB). Students

will be participating in a diverse workshop based on the repertoire from The Nutcracker whilst working alongside a ENB artist practitioner.

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. 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.

FIRST AID: MEMBERS – £100 / PROVISIONAL MEMBERS & STUDENT TEACHERS – £85 / NON-MEMBERS – £120 GENRE

DATE

COURSE TITLE

VENUE/AREA

TIME

CPD

23rd October 2018

Emergency First Aid at Work

The Place, 17 Duke’s Road, London WC1H 9PY LONDON

10:00 – 17:00

CPD

24th October 2018

English National Ballet Student Masterclass with Teachers’ Observation

The Place, 17 Duke’s Road, London WC1H 9PY LONDON

10:00 – 16:00

CPD

25th October 2018

Choreography Course

The Place, 17 Duke’s Road, London WC1H 9PY LONDON

10:00 – 17:00

CPD

6th January 2019

Emergency First Aid at Work

Margaret Howard Theatre School, Bushey WD23 3DH HERTFORDSHIRE

10:00 – 17:00

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UK Exam News PEAK PERIODS – UK EXAMS 2018/19

AUTUMN TERM 2018

Autumn 2018

16th November 2018 – 22nd December 2018

FACULTY

LEVEL

EXAMINATION DATES

CLOSING DATE

Spring 2019

18th March – 22nd April 2019

Imperial Classical Ballet

Grades

11th, 18th, 25th November 2018

16th September 2018

Imperial Classical Ballet

Vocational

11th November 2018

16th September 2018

Modern Theatre and Tap Dance

Vocational and Grades

11th, 18th, 25th November 2018

16th September 2018

Payment via Debit/Credit Card The system for taking card payments is as follows (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 has 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.

SPRING TERM 2019 FACULTY

LEVEL

EXAMINATION DATES

CLOSING DATE

Imperial Classical Ballet

Grades

11th, 17th, 24th March 2019

20th January 2019

Imperial Classical Ballet

Vocational

11th March 2019

20th January 2019

Modern Theatre and Tap Dance

Vocational and Grades

10th, 17th, 24th March 2019

20th January 2019

SUMMER TERM 2019 FACULTY

LEVEL

EXAMINATION DATES

CLOSING DATE

Imperial Classical Ballet

Grades

23rd, 30th June, 7th, 14th July 2019

TBC

Imperial Classical Ballet

Vocational

23rd June 2019

TBC

Modern Theatre and Tap Dance

Vocational and Grades

23rd, 30th June, 7th, 14th July 2019

TBC

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: istd.org/about-us/documents/ centre-exams--application-form-fees-and-timetable-sheet-for/ Should you have any queries regarding Southampton Centre examinations, please contact Sadie Serridge at sserridge@istd.org 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.

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London Centre

DANCESPORT EXAMINATION DATES EXAMINATION DATES

CLOSING DATE

EXAMINATION DATES: THEATRE FACULTIES

4th November 2018

8th October 2018

Please read the following notes carefully before submitting applications to the London Centre.

31st March 2019

10th March 2019

2nd June 2019

12th May 2019

Music Notes for London Centre Candidates • 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 and are therefore unacceptable for exams.

• CDs may be used for all Imperial Classical Ballet grades and class examinations.

AUTUMN TERM 2018 LEVEL

EXAMINATION DATES

CLOSING DATE

Grades and Class

4th, 11th, 18th, 25th November 2018

16th September 2018

Vocational Grades

20th October – 2nd November 2018

9th September 2018

DDE (Unit 4)*

21st and 28th October 2018

9th September 2018

Examinations

and Licentiate/ Fellowship Cecchetti Classical

2nd December 2018

16th September 2018

2nd December 2018

16th September 2018

LEVEL

EXAMINATION DATES

CLOSING DATE

Grades and Class

10th, 17th, 24th, 31st March 2019

20th January 2019

Vocational Grades

28th February – 8th March 2019 (weekdays only)

13th January 2019

DDI & DDE (Unit

28th February – 8th March 2019 (weekdays only)

13th January 2019

8th April 2019

20th January 2019

14th April 2019

20th January 2019

Ballet (All Levels) Classical Indian Dance (All Levels)

SPRING TERM 2019

Examinations

4)* and Licentiate/ Fellowship Cecchetti Classical Ballet (All Levels) Classical Indian Dance (All Levels)

SUMMER TERM 2019 LEVEL

EXAMINATION DATES

CLOSING DATE

Grades and Class

2nd, 9th, 16th, 23rd, 30th June 2019

15th April 2019

Vocational Grades

26th, 28th, 29th, 30th, 31st May 2019

8th April 2019

DDE (Unit 4)* and Licentiate/ Fellowship

26th, 28th, 29th, 30th, 31st May 2019

8th April 2019

Cecchetti Classical

7th July 2019

15th April 2019

7th July 2019

15th April 2019

Examinations

Ballet (All Levels) Classical Indian Dance (All Levels)

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Please send 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.

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: istd.org/about-us/documents/centre-exams--application-formfees-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: istd. org/about-us/documents/post-16-student-id-form/. 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.

ISTD Spring Programme 2018

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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

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 /

Contact organiser

Mrs Deborah Bond, King Street Studios, King Street, Newton Abbot, Devon TQ12 2LG

01626 367010

Contact ISTD HQ UK Examinations Department

We are currently seeking a new Exam Centre Organiser for Guernsey/ Jersey. In the meantime, please contact Sadie Serridge, ISTD Centre Examinations Administrator, 22/26 Paul Street, London EC2A 4QE

020 7377 1577 Extension 874

Liverpool

18th and 25th November 2018 – Modern and Tap – Grades – Adv2

Miss G. Owen, Unit 10, Bemrose House, Long Lane, Fazakerley, Liverpool L9 7BG. Please contact Miss Owen if teachers have any Imperial ballet entries.

01515214188 studio10@studiodance10.co.uk

London

See page 94

Sadie Serridge, Centre Examinations Administrator, ISTD, Imperial House, 22/26 Paul Street, London EC2A 4QE

020 7377 1577 Extension 874

Manchester

Contact ISTD HQ UK Examinations Department

We are currently seeking a new Exam Centre Organiser for Manchester.

In the meantime, please contact Sadie Serridge, ISTD Centre Examinations Administrator, 22/26 Paul Street, London EC2A 4QE

020 7377 1577 Extension 874

Scotland

Contact organiser

Mrs Maureen Christie, The Studio, 19 Westbourne Gardens, Glasgow G12 9UL

0141 3399637

Region

11/11/2018 – 25/11/2018

Please download and complete a private exam application form.

When applying please state the number of examining hours.

The closing date for applications is 9th September 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

Contact organiser

Miss Celia Johnson, Cevidley Croft, Keig, Alford, Aberdeenshire AB33 8BH

01975 562521

Southampton

See page 93

Sally Upton, Southamptoncentre@hotmail.co.uk

07900 574718

West Midlands

Contact organiser

Mrs Joanna Brangwin, 3 Wiltell Estate, Upper St John St, Lichfield, Staffordshire WS14 9ET

01543 415354 / 07582 920427

Contact organiser

Miss Samantha Bell, ElliTe Studios, The Dancer, 8 Peterson Road, Wakefield WF1 4EB

0845 6525361 / 07908 808696

Centre

Southwest Guernsey / Jersey

Cecchetti Centre Scotland Central

Northern

Centre Yorkshire Centre

THE ISTD NEEDS YOU ...

We are currently seeking a new Regional Representative and Exam Centre Organiser for Manchester, and a new Exam Centre Organiser for Guernsey/ Jersey. If you’d like to get more involved with the ISTD please get in touch.

GUERNSEY & JERSEY: • Exam Centre Organiser

MANCHESTER: • Regional Representative • Exam Centre Organiser

CONTACT coursebookings@istd.org 020 7377 1577

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ISTD Exam Dates, Courses and Events | August–December 2018

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UK Exam Centre Dates

95

International Courses

88

Syllabus and Non-Syllabus Training

92

Regional Representatives

87

ISTD Teachers’ Residential Summer School

90

Teaching Qualification Assessments

86

Level 6 Diploma in Dance Pedagogy

89

Directory

83

Open Days

89

Letters

82

New DDE Tutor Training

89

GDPR

81

DANCE Calendar

EVENTS CALENDAR August 2018

November 2018

January 2019

March 2019

6th–17th August ISTD Residential Summer School University of Chichester

3rd–4th November Blackpool Grand Finals Winter Gardens, Blackpool

20th January ISTD Bursary Awards The Place, Kings Cross, London

10th March Cecchetti Choreographic Competition Cecil Sharp House, London

27th August 2018 Street Dance Courses for Teachers and Students Asia Music & Performing Arts Education Ho Chi Minh City, Vietnam

11th November Cecchetti Children’s Awards Kingsway College, London

September 2018

11th November Ruby Ginner Awards The Venue, Milton Keynes Classical Greek Dance

16th September Dance Exchange Elgiva Theatre, Buckinghamshire Disco/Freestyle/Rock’n’Roll

18th November Jazz and West End Workshops Bird College, Kent Modern Theatre Dance

October 2018 7th October National Grand Finals The Guildford Spectrum Disco/Freestyle/Rock’n’Roll

25th November Grandison Clark Awards The Venue, Walton High National Dance

December 2018

27th–30th October 2018 Street Dance Courses for Teachers and Students Lagan Valley Leisureplex Lisburn, Northern Ireland

1st–2nd December Cecchetti Classical Ballet Awards Weekend Lilian Baylis Studio, Sadler’s Wells, London

28th October Junior Awards The Venue, Walton High Imperial Classical Ballet

9th December Dorset Day of Sequence

Janet Cram Awards 2018

February 2019 3rd February A Boys’ Day Laine Theatre Arts, Epsom Imperial Classical Ballet

17th March Cecchetti Southern Area Awards The Barn Theatre, Sussex

May 2019

10th February Wales & West Awards Congress Theatre, Cwmbran Cecchetti

12th May Classical Greek Dance Festival Finals Gordon Craig Theatre, Stevenage

21st February ISTD Graduation Ceremony 2019 Milton Court Concert Hall, The Barbican, London

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. Further information is also available on istd.org. We believe this information to be correct at the time of going to print. Please note that all events can be subject to change.

ENHANCE YOUR DANCE TEACHING

Learn how to apply the ISTD’s body of expert knowledge to a wide range of teaching contexts with our new non-syllabus teachers’ courses.

Suitable for professional dancers and experienced teachers, these intensive learning blocks are delivered by ISTD experts and current professional practitioners.

Each course is worth 30 credits towards the Level 6 Diploma in Dance Pedagogy.

UNITS Teaching Classical Ballet Technique Teaching Dance for Musical Theatre Teaching Dance in Education and Community Settings Units are delivered in October, February and May UK Half Terms

For further information email: higherqualifications@ISTD.org or visit www.istd.org

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