Dance 497

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Chair Michael Elliott

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Chief Executive

Ginny Brown GBrown@istd.org

Director of Dance

Liz Dale LDale@istd.org

Director of Examinations

Janne Karkkainen

JKarkkainen@istd.org

Director of Membership and Communications

Gemma Matthews GMatthews@istd.org

Director of Education

Louise Molton LMolton@istd.org

Director of Finance and Operations

Nikki Stewart NStewart@istd.org

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Cover photograph: Shirley Ballas

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Welcome to edition 497 of Dance. As I write teachers, examiners and students are preparing for end of year performances, examinations and, of course, holiday celebrations – making this one of the busiest times of year. The challenges of the last two years mean that no opportunity to dance can been taken for granted and I have thoroughly enjoyed returning to the Society’s ‘live’ performances and competitions this year. It has been wonderful to connect in person with members again and inspiring to see your students sharing their learning and achievements.

In this edition, we aim to capture some of the excitement and inspiration of performance – celebrating the wealth of talent amongst our members and highlighting the range and diversity of approaches to performance across the genres we examine. ‘Out of site’ (page 8) and ‘unusual spaces’ (page 18) remind us that performing can take place anywhere, and that outdoor spaces can serve as both an inspiration and a means of connecting with your community. I had a brilliant reminder of just how infectious the love of dance can be, when I joined Shirley Ballas on her visit to a London primary school (page 4). If this inspires you to form new connections with your community then turn to page 13 to learn how ISTD bursaries can support you with developing new initiatives.

At our recent Annual General Meeting we were delighted to welcome two new trustees to Council. Juliet Diener and Pete Meager are both dance teachers and Society members who are passionate about supporting our diverse organisation in continuing to share the benefits of dance for all. As Pete said, “only in true partnership can we support a sustainable future for our incredible dance community.”

Wishing you all a happy, healthy and prosperous new year!

Ginny Brown Chief Executive

“In this edition, we aim to capture the excitement and inspiration of performance.”

Features Regulars

Membership matters

18 Unusual spaces

Members share their extraordinary performances, plus an unexpected meeting with our late Queen, and exam updates

20 Our regional representatives

We are expanding our UK ISTD Regional Representatives network

22 In it for the long haul

Lucy McCrudden, Founder and CEO of Dance Mama, shares her tips for advancing your career whilst raising a family

News

13 Funding opportunities for you

We offer a range of bursaries, scholarships, and funding opportunities to financially support our members

International update

22 Performance picks from around the world

Our international representatives talked to students, teachers and performers to find out how they've been working to develop performance skills and opportunities in their countries

What’s on

58 Highlights

Updates on current events and what’s on in the industry 60 Join the conversation

A look at what’s trending online

Focus on

28 Cecchetti Classical Ballet

Should I study the Enrico Cecchetti Diploma? Plus, teaching hints and tips 32 Classical Greek Dance Performing on the day 34 Classical Indian Dance

Our faculty’s bursaries are not just for dancers but for teachers as well 36

Contemporary Dance

How to encourage students’ best performance in relation to the syllabus 40 Disco, Freestyle, Rock n Roll and Street

Top tips for a successful exam session

42

Imperial Classical Ballet

Our new class examinations and the benefits for students, plus the Solo Performance Awards and broadening access for international members 46 Latin American, Modern Ballroom and Sequence

The flexibility of our medal tests, plus we catch up with two new Associates in Australia 50 Modern Theatre

Our Janet Cram Awards 52 National Dance

The contribution of National Dance to the Platinum Jubilee celebration 54

Tap Dance

Today’s requirements for performers embarking on a career in musical theatre, plus an interview with the choreographer of Thursford Christmas Spectacular

Strictly Dance Space

We talk to Shirley Ballas about her passion for the aims of our Find Your Dance Space campaign

Out of site

Nicola Rayner shares advice from ISTD dance teachers about how to step out of the studio and stage site-specific dance

PAGE 14

Top costume tips to make your show a success

Emily Fagence, Head of Customer Success at IDS and her team, have provided 13 tips they think are critical for making your show a hit

Strictly Dance Space

Shirley Ballas brings her love of dancing to school pupils

through the ISTD Find Your Dance Space campaign.

Pupils got the treat of a lifetime when Strictly head judge Shirley Ballas waltzed into school to share some dance moves as part of the Find Your Dance Space campaign to boost wellbeing and to showcase the benefits of dance to all.

The Queen of Latin spent the morning at Corpus Christi Primary School in Brixton to show how schools could improve their pupils’ physical, mental, and emotional wellbeing by offering dance lessons as part of their PE and extra-curricular activities.

The dance legend, who is a member of the ISTD, is eager to support the campaign, to see more schools offer dance classes. She taught the children a short routine to demonstrate how much fun it can be.

“Dance is a wonderful outlet that enables people to connect and express themselves, and I feel passionately that more children should have the opportunity to experience and enjoy it,” said Shirley.

“Dance is inclusive – everybody can take part, regardless of their age, gender, ability, or fitness level – schools can provide that link to enable children to dance.

“The benefits are enormous for our wellbeing. It’s a wonderful way to socialise and forge friendships, reduce loneliness, and is a great addition to traditional sports lessons. If schools were to bring in a trained teacher to offer safe, structured dance lessons, I think pupils and the school would reap the rewards immediately.”

During the dance session, Shirley partnered with the ISTD’s Richard Still and Malcolm Hill to teach the children some cha-cha-cha moves.

Pupil Jimi Powell, aged nine, who is a huge fan of

the BBC’s Strictly Come Dancing, said: “I think dance is important because it can express your emotions and release your happiness. It also keeps you fit and it’s fun to do. I’ve loved dancing with Shirley today.”

Co-Headteacher Jean Connery, said the school provides dance lessons and clubs to pupils, which have proved hugely popular.

“We’ve found that dance is a wonderful way to include all children – classes can be adapted to suit their ability – and it boosts overall wellbeing, builds teamwork and friendships, and is just really great fun,” said Jean.

“I know things are very hard for parents right now, and schools are also feeling it, but I do think it’s wonderful to encourage more schools to offer dance to pupils, perhaps through their Pupil and Sports Premiums. Pupils eligible for Pupil Premium funding could access dance provision in school. The Sports Premium could be used to train staff to extend the dance offer.

“I would advise any schools thinking about it to speak to a local, qualified dance teacher. The children will absolutely love it.”

Ginny Brown, Chief Executive of the ISTD, said: “Dance is inclusive. It brings so many benefits and can really be a force for good. It’s a powerful tool to bring people together and to improve our overall wellness, both of which are much needed as we rebuild after the pandemic.

“Schools play a vital role in supporting their pupils’ health and wellbeing and, by including dance in their curriculum, they might also help to create the dance stars of tomorrow!”

Right Shirley Ballas teaching children at at Corpus Christi Primary School in Brixton

I feel passionately that more children should have the opportunity to experience dance.

When did you start dancing and why?

I started dancing at seven years old in the church hall because I heard some music coming from the other room and it just filled my soul with the most beautiful feeling. I enquired into whether they were going to do children’s dance classes and they did – that’s how I joined and never stopped since.

What does dancing mean to you and how does it make you feel?

Dancing means everything to me – I think I’m married to it. It’s just something I do 24/7, 7 days a week – Saturdays, Sundays, and holidays. Without it I feel lost. It gives me a warm feeling. I think you can get lost in a world of music and movement – it’s a form of escapism, I think. It really is a lovely feeling.

Why is the Find Your Dance Space campaign important to you and for dance in general?

What do you hope it achieves?

This campaign has a simple message at its heart – get more people dancing. Dance is good for the soul, good for your physical health and mental wellbeing and you socialise whilst you’re doing it. I back the campaign because I want to see people of all ages dancing.

I recognise the importance of dancing with a qualified dance teacher – so as well as dancing being good for you in general, dancing with a trained ISTD professional ensures you learn dances in a safe environment, providing you with a good grounding of dance knowledge if you wish to become a professional dancer or a dance teacher.

You recently visited a primary school to spread the messaging of the Find Your Dance Space campaign. Why is it important for schools to have dance classes for their pupils as part of their sports offering?

I loved visiting the school to teach a cha-cha-cha lesson and to demonstrate how just in a short space of time, children in a class can learn something new and exciting, listen to some music and just dance.

Schools can access local dance teachers through the ISTD, and once you have them established

in your school, the dance teacher can provide excellent regular classes and exercises as part of your schools PE and extra-curricular offerings.

As an ISTD member, what would you say the benefits are for people dancing with an ISTD teacher?

The teachers can give you a feeling that anybody can dance. They can teach you the basic steps, they’re going to make you feel great, if you’ve had a bad day there’s always someone to communicate with. There will be a social group around and there are so many benefits – the list is endless!

As Head Judge on Strictly, what elements of a performance are you looking at when deciding your final score?

My judging style is slightly different on Strictly compared to a major world championship. On Strictly, the dancers only have a few days to get ready, so I scan the body like you would in the airport. I look at the footwork, the leg action, how flexible they are, check if they are coordinated, do they understand a little bit about their posture? I can weigh that up by somebody just doing one La Cucaracha.

We chatted to Shirley about the exciting day at the school, as well as more questions on all things dance.

BY TREVOR ADAMS

When you danced professionally, what was your favourite aspect of the art of performing? When I was younger, it was all about dressing up and going to meet people that had the same passion as I had. The performing part of it has the thrill of the music and the fact that, if you’re doing a demonstration on the floor, you’re the only couple. Competing was huge for me – I loved demonstrating but I loved the thrill of competing and exceeding all expectations.

What’s your best dance memory?

I think my best dance memory was winning with Corky [Ballas] in 1996 when we were against all odds. Everybody, including family, said that we would never make it. I think there was a huge thrill winning with him as I really believe we did it against all the odds.

What are some of the most significant moments in your career to date?

Being paired up with Sammy Stockford when I was 17. Winning the British Championships in 1983. Winning again in 1995 and 1996 with a second partner. In between all of that, giving birth to my son, Mark. When he turned 10 and I retired in 1996, he decided he wanted to be a dancer – so that was a good memory for me. We were leaving our careers and he was starting his.

We

Left Shirley Ballas teaching children at at Corpus Christi Primary School in Brixton

Out of site

Nicola Rayner shares advice from ISTD dance teachers about how to step out of the studio and stage site-specific dance.

From Swan Lake performed in bathtubs to dancing on rooftops, in train stations or in front of world-famous landmarks, site-specific dance endures in the memory. Choreographers such as Trisha Brown and Pina Bausch staged dance in unusual locations to create unforgettable works – and lockdown led to a plethora of inventive pieces in unexpected places. But how can dance teachers venture into this unknown territory?

Assessing the risks

Nicola Rayner Dance journalist and novelist

“Things that work in your typical dance studio do not always work in other environments,” says Sharon Payne, principal of Centre Stage Dance and Drama in Surrey, who coached one of her students to take part in the site-specific ISTD Challenge during lockdown. “Be prepared to adapt and experiment with ideas to suit your surroundings. And don’t be frustrated if things don’t work out how you envisioned either – it’s all part of the fun with site-specific work.”

The ISTD Challenge included three categories: Task A: Dance Inside, Task B: Dance Outside and Task C: Dance With a Prop or Object. “My student completed all three tasks,” continues Sharon. “Dancing inside her living room and incorporating the living room doors into her choreography for Task A; dancing outside in a local field, a place she spent a lot of time during lockdown, for Task B; and using a muscle roller to portray a car crash within her dance for Task C.”

What advice can Sharon share with other teachers considering site-specific performances? “Consider the floor and surroundings when working indoors,” she begins, “especially if you have a family also using the home whilst you are working. Carpet hindered some movement as we needed to prevent friction burn, and experimenting with doors when someone could enter from either side was a big risk factor! Challenges outdoors include: the floor (uneven or wet patches of grass), weather (lack of sunlight or rain) and other people using the same space publicly (playful dogs running by). Communication is key, and always be vigilant of everybody at home or nearby if you’re outside in a public place. Most of these things are out of your hands, too, so have plans B, C and D in place, which are normally just ‘common sense’ solutions.”

Kathak dancer, teacher and choreographer Urja Desai Thakore is the artistic director of Pagrav Dance Company in Milton Keynes and an ISTD committee member and examiner. She began creating outdoor work in 2007 when she was asked to co-choreograph the outdoor spectacle Bells for Akademi, the South Asian dance organisation. “I have done small pieces of commissioned work since then, but my first outdoor work under my company was Deva, which premiered at Birmingham

The most fulfilling moment of the ISTD Challenge was knowing that my student’s work was being shown to professionals in the industry.

Above Site-specific dance presented by Birmingham International Dance Festival (BIDF) 2022, produced by Fabric

PAUL STRINGER

PAUL STRINGER

International Dance Festival in 2022,” Urja explains. She recommends experiencing as much site-specific work as you can before creating your own. “One also has to always think about the practicality of presenting the work outside, from weather to the space to the proximity of the audience,” she advises.

Make your surroundings work for you

Heather Cooney, principal of the Cairngorm School of Dance, encouraged her students to make the most of the beautiful landscape around them in their work in the ISTD Challenge. “We live in the Cairngorms in the Scottish Highlands,” she notes, “so it’s extremely beautiful. I asked my students to choose places they’d found particularly meaningful during lockdown – they found two separate spots. For Task C, with the prop, I said, ‘Why don’t we do something at Broomhill?’

It’s a local station with a steam train for the tourists, which featured in the television series Monarch of the Glen. All three of us did that together, using a prop, which was a suitcase. As it’s an old train station,

we played a Scottish song, Caledonia, and passed the suitcase around between the three of us.”

Did she talk to her students about the risks of dancing outside? “They’re very used to being in outdoor environments,” she says. “They ski and skateboard and they picked places they knew well and were secure in. If they hadn’t known it so well, I would have approached the task differently. It was quite freeing for them and we do live in a spectacular place, so it was great to explore it and get outside. You could see the mountains and that led us to the choreography.”

Consider your audience

It might seem an obvious point, but it’s worth considering if your intention is to perform for a live audience or not. In the case of the ISTD Challenge, the work was filmed rather than aimed at an inperson audience, because of lockdown restrictions. Astrid Sherman, the Society’s International Representative in North America, is based in

Above Deva by Urja Desai Thakore and Hetain Patel, presented by Birmingham International Dance Festival 2022, produced by Fabric

ANTHONY ZERO

Los Angeles, California, where she coached and mentored students over Zoom during lockdown. Two of her students in Vancouver and one in Northern California took part in the ISTD Challenge.

“The students of today love creating video,” Astrid says. “It’s how they connect and communicate and how they ‘live’ and explore their dance world with their friends via TikTok, Snapchat and so on.” Of course, safety is paramount. “Have an open and frank discussion with younger students about what they post,” she advises. “Share and debate about privacy and filming, discuss the content in regards to their growing awareness of the society they live in and respect for their own bodies and environments. I was quite amazed at the maturity, sensitivity and depth the youngsters had when discussing these issues.”

In Heather’s case, when it came to filming the ISTD Challenge, an impromptu audience gathered. “If I were doing it again, the planning would be to do with other people watching,” she says. “Everybody stopped to see what we were doing,

so my students had a bit of an audience – one liked it and the other not so much.” In the future, she would take into account that audiences can be unpredictable and she would aim to have more control over the external involvement. “I think, if I did it again, I’d do something like what we did at the train station and involve more of the school and the community, too. The train station loved it, so if I were to do it again, I’d invite them in more.”

Community and inclusivity

Site-specific dance offers the opportunity to share our art form with people who might not otherwise experience it. “I think things like the ISTD Challenge could build relationships with a dance teacher’s community very well,” says Sharon, “as all three tasks could be undertaken somewhere or using something that is only available to their local communities.”

Urja notes that site-specific dance can bring two audiences into one place: “One who goes to see theatre work and one who mainly witnesses

Above Heather Cooney’s students perform for the ISTD Challenge in the Scottish Highlands

community performances,” she says. “When I have audiences share their positive feedback on how it has impacted them and how they see the work without exoticising the art form, I feel I am on the right path.” She is also always mindful of inclusivity. “I have incorporated a British Sign Language interpreter into my choreography, as we use text, and we have also used audio description and offered ‘touch tours’ for visually impaired audiences.”

The benefits of site-specific work

All of the teachers I talked to spoke warmly about their experience of site-specific dance. “The most fulfilling moment of the ISTD Challenge was knowing that my student’s work was being shown to professionals in the industry and that she was being recognised and rewarded for her ideas during such a hard time,” enthuses Sharon.

“I loved that the Challenge gave me an extra inspirational tool to utilise for my Zoom teaching,” adds Astrid. “After our Zoom ballet classes, we would talk about how their choreography was shaping up and discuss ideas on how, where and what they were doing. For me, watching their videos for the first time was the most fulfilling moment of the experience as I was not involved with their day-to-day choreography or progression.”

As for live site-specific performances, the interaction with the audience is crucial, notes Urja. “Site-specific audiences react instantly,” she muses. “As a creator you know immediately if your work has reached them or not and it offers you new challenges to think outside the box.”

More appreciative of her beautiful surroundings, Heather has organised an outdoor photoshoot with her dancers with a photographer from Scottish Ballet. “The great thing about the experience was breaking the barriers of being in the studio and the restrictions we have there,” she recalls. “I’ve got the perfect location on my doorstep and I never used it before. The experience has opened my eyes.”

For a closer look at the ISTD Challenge, go to www.istd.org/dance/istd-challenge

i

Tips for staging site-specific dance performance

• Assess the risks carefully and communicate them clearly with your dancers: this advice applies whether you’re staging live dance or filming a piece for the internet (see Sharon Payne’s and Astrid Sherman’s recommendations above).

• Overprepare and then go with the flow: site-specific dance can work more like improvisation, so be prepared to adapt the choreography to your environment.

• Consider your audience: like the environment around you, your audience can be unpredictable – whether it’s a formal gathering, curious passers-by or friendly dogs, so discuss this with your dancers and prepare them to adapt to the circumstances.

• Work with your community: site-specific dance can be a wonderful opportunity to share the artform with the wider community. Consider the ways in which you might make the most of what’s on your doorstep (see Heather Cooney’s advice above). Also, bear in mind Urja Desai Thakore’s tips for making your performance as inclusive as possible.

• Encourage your dancers to be present and enjoy themselves! Site-specific dance can be highly rewarding for both audience and performers. While it’s important to assess the risks and prepare carefully, once you’re out on the site, it can be a freeing – and even lifechanging – experience for everyone involved.

The great thing about the experience was breaking the barriers of being in the studio a nd the restrictions we have there.

Funding opportunities for you

If

Theatre Bursary Awards teacher feedback:

“We were lucky enough to fund two students with a 50% scholarship to our Summer Intensive programme.”

Alicia Chadwick-Cook, Northern School of Performing Arts

“The funds were used to support a talented student with the payment of tuition, uniforms and registration for the Amor por la Danza 2022 award in Mexico City."

Mary Carmen Lajud, Estudio De Danza Del Sur

“The Bursary funds were used to purchase a set of stage curtains for our studios.”

Aaron Lissimore, The Company Performing Arts

“Most of this money has been used to fund our inclusive dance programme, Envision.”

Fiona Sheehan, Mayhew School of Dance

“Our first instalment of funding has been used to do our Emergency First Aid at Work course covering all our teachers.”

Amanda Wilkins, Kilburn School of Dance

Theatre Bursary Awards

Our Annual Theatre Bursary Awards performance celebrates the quality, passion, and achievement of young ISTD trained dancers and their teachers. Junior and Senior Nominees are invited to represent a theatre dance genre following recommendation from the Theatre Faculties and are drawn from the winners of preceding Faculty Events.

Financial awards to support future dance training are made to the winner and commendation in each age category. To date, recipients’ of 2021 awards have used their funds to support dance training fees. In one case, the funds were used to pay for international travel to undertake an apprenticeship with a ballet company in Europe.

Teachers of all nominated students also receive a bursary fund for use in their school to engage in development opportunities, community activity or to support students in financial need. Funds awarded in 2021 have directly benefitted over 500 people through a range of activities and initiatives.

Teacher Training Bursary Scheme

Our Teacher Training Bursary Scheme has supported over 100 members from across the globe including the USA, Italy, South Africa, the UAE, and the UK.

Visit www.istd.org/discover/funding-bursaries-and-awards/ teacher-training-bursary-scheme to find out how this scheme could support your training and dance teaching career.

Applications for the Teacher Training Bursary Scheme open once a year, and the next round of applications will open 16 March–18 May 2023

For more information on all of our project funding opportunities and awards, visit www.istd.org/fundingopportunities

We offer a range of bursaries, scholarships, and funding opportunities to financially support our members, including funding to support projects that broaden access to dance and scholarships to support further training.

Are you passionate about broadening access to dance?

Are you an ISTD member?

Do your students take part in ISTD competitions and events?

you can answer yes to any of these questions, one of our funding opportunities may be for you.

Top costume Tips to make your show a success

You and your dancers are putting hours of practice and effort into your show, but it’s down to you to make sure the costumes also live up to the performance.

International Dance Supplies (IDS) is the largest dance costume designer and supplier in Europe and has helped thousands of schools plan great shows. Emily Fagence, Head of Customer Success at IDS and her team, have provided 13 tips they think are critical in making your show a hit:

1 Order your costumes between January and March if you can It helps to plan your order around the greatest costume availability. IDS introduces their new costume collections in January, and from then until March, the possibilities are seemingly endless, with countless offerings in colour, size, and style. IDS is the gold standard in costumes, but even they cannot always predict which designs will take off. Teachers who fall in love with a costume in March but try to order in June may be disappointed to find sizes sold out, with new stock coming in too late for the show.

2 Rely on yourself to order the correct size

Parents will not always give you the correct size of their child, so it’s important for you to take on this task. Train some helpers in sizing if you haven’t the time.

3 Allow for growth!

A costume can always be adjusted nearer the show if slightly too large, but there’s little to be done with a costume that is too small. Unless you are having bespoke costumes (which can be expensive), you will be purchasing off-the-peg garments that may need adjusting to fit a particular body shape. Size charts and measuring tips are available at www.ids.co.uk/sizing

4 Novice dancers also need beautiful costumes

A dancer who is struggling with their confidence will feel a lot better on the stage if they know they look fantastic. Looking the part goes a long way in playing the part!

5 Dancers come in all shapes, sizes, and mindsets

IDS helped children and young adults in wheelchairs look wonderful at an icandance performance in London last summer. The dancers loved it because they were involved. It is important that the style of costume is age-appropriate and not revealing on young children. If the student feels comfortable in their costume, they will perform so much better on stage. Involving your student in the costume choice is not always easy as they will not all agree on a particular costume.

You must also be aware that your student could have body image issues or cultural beliefs to consider, or identity concerns. Be open to discussing this with the student or parent, but also be open to reading between the lines.

6 Plan your colours

Do your backgrounds and costumes contrast nicely, so each stands out without clashing? Are the costumes differentiated enough, allowing each dancer to shine? Think of the production’s whole colour palete and not just the costume in front of you.

7 Communicate with parents

Email, WhatsApp, phones, notes, inperson, website, Facebook. Each parent listens a bit differently. If you can reach them with two or three of these methods, you’re much more likely to communicate essential information. This will reduce frantic calls from parents just before the show.

8

Be careful with accessories

Smaller children can be less coordinated. An oversized or awkward accessory can fall off during a performance, or poke someone at the wrong time. Magic wands and fairy wings look lovely, but just know your dancer. Also, remember that parents are eager to see their children’s smiling faces, so be judicious with masks.

9 Keep it affordable for everyone

Trying to purchase costumes within your

budget while keeping the parents happy can be a tricky issue. It is sometimes easier to charge all students the same amount per costume, that way if you can save on one costume, it will allow you to spend a little more on the adult size costumes that are normally more expensive. Another option is to charge a show fee to all students that includes their costume, rehearsal times and other show expenses. Look at two-in-one costumes that can be separates and used for more than one number in the show.

10 Make it profitable

Remember, you are buying wholesale, and you are offering an invaluable service. Your time may not always be appreciated, and there are many unpaid working hours when planning a show. Marking up the price of your costumes is a standard practice – and parents want to see their child look brilliant on stage!

11 Rely on people who have been there before

If you aren’t sure, reach out to teachers, friends or parents who have experience. Kate Ellis, Show Manager at IDS, is happy to share some of her 30 years of costume expertise with you.

12 see them in person!

IDS has a Showroom with racks and racks of gorgeous costumes to choose from. Many teachers come down to Devon to see them in person every year. Nearly every teacher leaves saying, “I’m so relieved to have that sorted.”

13 See them live (on screen)

You can access the showroom from the comfort of your sofa with an online showroom visit. An IDS costume specialist can talk you through your options, hold different costumes together to see how they pair, and bring it close to the camera if you want to see fabric detail.

A little thought and preparation with costumes can be just as valuable as a dozen hours working on choreography. A great-looking show will delight kids, make parents proud, and keep you energised the following year as you work on the next performance!

Below A small selection of International Dance Supplies costmes

In it for the long haul

Lucy McCrudden, shares her tips for advancing your career whilst raising a family.

Are you a parent? Do you work with any parents? I’m confident that you will probably say yes to either of these questions if you’re teaching people in public. However, as a concept, it’s often hidden or not thought about. In recent years, Dance Mama has been contributing to a movement that is tirelessly working to highlight the huge challenges parents in dance face, which I summed up in my recent TEDx talk. There are so many barriers in continuing and sustaining their careers once they start a family. However, there have been some good steps forward in how you can be supported on your parenting journey.

Dance Mama has recently opened its doors for Back on the Road, the next season of Dance Mama Live! our unique, online professional development programme launched in 2021, supported by Arts Council England. In partnership with ten national organisations, it provides webinars and choreography bespoke for professional parents in its online community. This format is a great fit for parents (especially those with newborns) as it allows them to stay connected and have access to high-calibre choreographers without the hurdles of travel and childcare. This time, three of the ten monthly sessions will be delivered in a hybrid format – in person and online simultaneously around the country.

Each session is recorded as a replay so busy parents can engage when it suits them. Bethany Kingsley-Garner (Principal, Scottish Ballet) took part over her maternity leave and return to work. She found it “so inspiring to dance with other mothers” in a community of over 120 professional dancing parents in different jobs across the UK. We gave a glimpse of how Bethany balances her dual role in our short film released on International Women’s Day this year.

The Dance Mama site has links to research, articles, and guides, and holds 70 interviews with parents across the sector, 15 of which form our podcast. Many stories are from performers in different sized companies and genres including The Royal Ballet, New Adventures, Far from the Norm, Alleyne Dance as well as musical theatre, South-Asian Dance and ISTD members.

Good practices and approaches to supporting parents in dance we have identified are:

1Know your statutory rights and check your health insurance policy to see if it includes any maternity treatment.

2

Talk to your healthcare team regularly about your profession and how important it is that you have a clear plan and support throughout your pregnancy, birth, and recovery with your career in mind. Be aware of what additional support you might need to seek privately (such as additional physiotherapy) hence checking your health insurance policy to see what treatment could be covered.

3

Check your working arrangements and what policies your employer has around maternity issues and family policies. Or if that is you – have a plan. Having a good channel of communication with leadership in your company (whether that be your Rehearsal Director, Choreographer etc.) is imperative in being supported well, to help everyone to be aware of changes in your body, logistic, emotional, and artistic needs. We are seeing some brilliant examples of additional family rooms being booked on tours, and pregnant performers being given dressing rooms nearest to the stage with toilets.

Lucy McCrudden Founder and CEO of Dance Mama

4Childcare is a thorny issue. Childcare is expensive in the UK, and in too many cases it financially outweighs what can be earned in dance. Often, dancers have moved away from their primary family to train and then pursue their career. This means that ad hoc childcare is hugely challenging and so vitally needed for the unpredictable and demanding scheduling nature of the arts. ‘It takes a village’, and often dancing parents are a village of one, which is both draining and makes working feel impossible. I encourage you to think about how you will build your own ‘village’ with family and friends.

Whilst we continue to work on better advice for supporting the physiological side of things with my PhD research, experts in Dance Mama’s Research Advisory Group and allies in public health and sport (Active Pregnancy Foundation), we know the headway we have made is making a difference and helping retain more talent in the sector for future generations.

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Lucy McCrudden is Founder/CEO of Dance Mama, PhD Student at Christ Church Canterbury University, Mentor on ISTD’s DDP and began her career learning the ISTD syllabus at the Hadland School of Dance and Drama, Stratford-upon-Avon.

Get involved – for more information on Dance Mama Live! visit: www. dancemama.org/dancemamalive

Above Bethany Kingsley-Garner (Principal, Scottish Ballet), Dance Mama Film, Flett Films and Tambrisk Pictures

Unusual spaces

We asked our teachers if they had recently been part of any extraordinary performances or dancerelated experiences. Here are a few of the submissions we were particularly moved by.

Sunderland Ballet

“I was recently awarded a Creative Development Fellowship from Sunderland Culture, and with the grant, I produced three dance films, which combined original poetry with movement.

"They were all filmed externally, to reflect the themes of nature within the poetry, and they were all inspired by the work of Isadora Duncan (1877–1927).

"In this performance, I was mentored by UK Duncan expert Barbara Kane (Director, Isadora Duncan Dance Group London and Paris). One piece was filmed on an Anglo-Saxon burial mound; another in a local park; the third in a cemetery – the locations all chosen to reflect the content of the poems. All are considered local beauty spots or areas of historic interest. The Duncan aesthetic (Greek style tunic) was a unifying theme.”

Emily Wallace DDE, MA (Hons), PGCE, QTS, Director of Sunderland Ballet

Teresa Blee Dance

“We recently put on a performance on the cliffs of Cornwall, on the back lawn of a local nursing home for the residents and the families of the dancers. It was a beautiful setting, rather like dancing at the Minack Theatre in Cornwall.”

Teresa Blee AISTD, Teresa Blee

Peace Dance Academy

Dance

“My dancers recently performed at a local residential home. The residents had organised a community fun day and asked us to provide some entertainment. Many residents have mobility problems, so don’t get to access live entertainment. We were very pleased to give them a little show.”

Catherine Peace AISTD, CDE, BA (Hons), Peace Dance Academy

Membership

Log into My ISTD to visit the In Memoriam section of our website, where we remember the important people whose life's work makes up our organisation. www.istd.org/in-memoriam

A Paddington adventure

Joy Spriggs, 92-year-old retired examiner and Life Member of the Society, shares her memory of meeting our late Queen

Elizabeth II on Paddington Station early one morning in the 1980s, as Joy was on her way to examine.

I met our late Queen one day on Paddington Station when I was travelling to Cardiff. It was early in the morning because I was examining that day. Fortunately, at that time, you could get a very good breakfast on the train!

I entered the station through the side entrance, walked up the steps and saw a red carpet laid along the platform. The train was there ready and waiting.

There were very few people about, but there was a policeman. Joking, I asked if the red carpet was for me. He replied, “it’s for number one.” And then our late Queen walked by me, so close I could have touched her.

We were facing one another, and we were about the same height. Because you felt you knew her the temptation was to say hello, but I didn’t. I don’t know if I dropped a curtsey or not, but she walked past me and smiled.

She was wearing an apricot-coloured coat, dress and hat, and she had her black patent leather handbag over her arm. The same handbag we now know she kept her Paddington Bear marmalade sandwiches in, don’t we? (Since the BBC One film of the late Queen and Paddington sharing tea ahead of the Platinum Party at the Palace in June 2022).

I got off at Cardiff, as she did. I think she was visiting a local school that day and children were lining the street. The car I was in followed her car, so it felt like being part of her entourage.

That was the day I met our late Queen – a highlight of my life. When she died on 8 September 2022, I burst into tears, as I know many people did.

Read about ISTD students performing in front of our late Queen in the National Faculty section on page 52.

Exams update

In response to the challenges of the pandemic and the cost-of-living crisis we are committed to helping teachers continue to support dance students' progress through our examinations. We are therefore undertaking a programme of work to review our examinations to explore possibilities for reducing the assessment time and allowing teachers to enter more candidates to each exam, whilst still retaining the high-quality assessments we value and are renowned for. Any such changes would be reflected in the future cost of our examinations – thereby helping to make them more manageable for you and students at this difficult time.

We are not proposing to make any changes to the training model so nothing will change in relation to what you teach. The only slight alteration would be to the amount of work assessed during the examination. The review is being undertaken in line with the guidance of the qualifications regulator in England, Ofqual. In the coming months you will see communications from us about how we will transition to this updated assessment model.

Look out for more information on our website, in your e-newsletters and at your member meetings.

Above Joy Spriggs

Top Sunderland Ballet

Above Peace Dance Academy

Far left Teresa Blee Dance

We are committed to helping teachers continue to support dance students' progress through our examinations.

An update on your regional representatives

We understand how important it is to bring our member communities together regularly online or in person, which is why we are excited to be expanding our regional representative network.

Our regional representatives are ambassadors for the Society, and each represents an area of the UK, providing their local knowledge and expertise to members.

By hosting regular CPD training and membership meetings, our representatives will build local communities of new and existing dance teacher members, as well as linking with schools, students, and other local community stakeholders to promote the benefits of a dance education.

As a community of teachers in your local region you can support one another through your regional rep. Sharing good practice and networking can be a lifeline as you work together to grow dance in your area.

Creating communities

Not only will we be looking at hosting regular termly member meetings, you can also join your regional ISTD Facebook page. These pages will be open to members and non-members alike, and will be your place to share local news and updates as well as promote ISTD CPD events and membership. Please remember to protect your member benefits – the sharing of member benefits such as syllabus and business guides are for member-only Facebook groups. www.facebook.com/ISTDdance/groups

Want to represent your local area?

There are currently vacancies in South East England, Wales, and Northern Ireland.

For more information please contact: coursebookings@istd.org

Don’t forget we have an international network too! (Turn to page 22)

North West – Lancashire

Andrew Hindley

northwestlancs@istd.org

North West – Merseyside Laura Meeson northwestmsy@istd.org

West Midlands Nicola Carmichael-Phillips westmidlands@istd.org

South West and South Wales Kathy Plaster

southwestandsouthwales@istd.org

Scotland Gillian Whyte scotland@istd.org

Yorkshire and the Humber Fleur Stevenson yorkhumber@istd.org

East Midlands Jayne Wing eastmidlands@istd.org

East – Norfolk Amy Jarrett eastnorfolk@istd.org

East – Essex Jessica Morgan-Beale eastessex@istd.org

South Coast Victoria Caine southcoast@istd.org

Performance across the planet

North America

Astrid Sherman found it rewarding to hear of ISTD teachers and members in North America reaching out to their greater communities, creating opportunities for their students and using the ISTD syllabi as a launch pad for new ideas, new projects and new movement.

Chicago USA: Kathak Institute, Dancing Petals and Gurmeet Kaur Marhas

Dancing Petals imparts traditional Kathak education to students of different age groups. A member of the Imperial Society of Teachers of Dancing, the organisation is aligned with the ISTD syllabus and proud to follow a structured approach towards teaching students, training professionals, and conducting examinations.

Gurmeet Kaur Marhas, Founder and Artistic Director of the Kathak Institute, Dancing Petals,’ has performed internationally in London, Toronto and various cities in India, Mexico and the USA. In Chicago, her company has organised many shows and has participated in numerous events organised by entities like SEWA, ASHA for education, Vedic Cultural Society, See Chicago Dance, City of Chicago Summer Dance, LUMA8 and others.

Dancing Petals is honored to have participated in various See Chicago Dance initiatives with the Department of Cultural Affairs and the Chicago Park District over the past eight years. These events aim to bring free, professional dance performances to new audiences in the most accessible venues in Chicago neighborhood parks. The intention is to expose audiences unfamiliar with dance to the art form, as well as performers and choreographers in a relaxed, casual atmosphere in which they can network within the dance community.

This year, Dancing Petals and their ISTD students participated in On the Move at Chicago's Sherman Park, showcasing nature-based movements and some classical Kathak vocabulary interacting with the diverse audience. They shared storytelling with hand gestures, body movements and rhythmic footwork patterns. They also showcased Kathak at the Dance in the Parks event held at Jackson Park.

Vancouver Island Canada: Nanaimo Contemporary Ballet and Chantelle Norris Chantelle has been teaching the ISTD syllabus since she moved from Alberta to British Columbia in 2006. “My new employer just happened to be an ISTD examiner, so I was fortunate to fall in love with and learn the syllabus from an incredible mentor.” And her future goals include completing the ISTD Licentiate in Modern Theatre. Before she knew the ISTD work, her focus was classical ballet, especially choreography. However, her dive into modern theatre ignited a new passion for modern/contemporary and opened her body and mind to a whole new world of possibilities. Chantelle started Nanaimo Contemporary Ballet (NCB) to give young dancers a platform for expression without the competitive angle, which is so prevalent in today’s studio teaching environment. She also wanted to connect real world issues and dance together, giving dancers under the age of 18 an opportunity to collaborate and inject their thoughts into the artistic process rather than having a teacher tell them what to do. NCB has dancers attend from all over Vancouver Island, and their annual summer intensive draws dancers from all over the West Coast. A lot of the dancers that come to NCB have ISTD training, which really helps them pick up a diverse range of choreographic styles.

Our international representatives talked to students, teachers and performers to find out how they've been working to develop performance skills and opportunities in their countries.

Europe

There are numerous ISTD dance companies across Europe, many of which have dancers who trained with ISTD teachers, and some are directed by ISTD members. Carole Ann Watson shares some special post-lockdown performance experiences from Ireland, Italy, Malta and Portugal.

Cork, Ireland: Cork Youth Ballet Company and Sinead Murphy Sinead Murphy, Artistic Director of Cork Youth Ballet Company, said of auditions after the long pause caused by pandemic: “The emotion felt when students gathered from a wide variety of schools was palpable.”

Due to the restrictions surrounding the pandemic, the independent youth dance company had taken a two year break. Local dance teachers requested that the company was re-formed and auditions were held in September 2022, which were the first since 2019.

Twenty-four dancers were chosen from six different schools across the region of Cork. Sinead explains how the company provides a great opportunity for the dancers to broaden their horizons, working and studying genres that might be outside of their main form of dance training.

“We are there to provide opportunities, to educate the dancers and to encourage them to be creative and expressive in their own individual way.”

Italy: Il Balletto and Susanna Plaino

Susanna Plaino explains how Il Balletto, Gruppo Junior Veneto, Italy, was created to allow young dancers to perform. With a classical repertoire including classics like The Nutcracker as well as a wide repertoire of neoclassical and contemporary dance, the company has had the opportunity to perform not only in Italy but also overseas; St. Petersburg, Miami, Giessen in Germany, Barcelona, New York, Paris and Berlin.

Susanna states “During the pandemic, the dancers suffered not just from an artistic viewpoint but also psychologically. Returning to the stage for the first performance, everyone was tense and worried, but the stage performed its miracle and everything started again.”

Portugal: Junior Company of the Dance Center and Teresa Viera, Artistic Director Teresa Viera, Artistic Director of the Junior Company of the Dance Center, Portugal, says of the first performance after the lockdown “There is nothing like coming back to our home!”

During the pandemic, members of the Junior company decided to change their line of studies; many went off to university and consequently stopped dancing. Teresa Viera re-formed the company with 10 new young dancers between the ages of 15 and 17. Over the past year, their performance spaces have varied from theatre to outdoor, and even to a completely new surrounding within a concert setting, entirely lit by candlelight.

Malta: Moveo Dance Company and Dorian Mallia, Artistic Director

Dorian Mallia, Artistic Director of Moveo Dance Company shares the different aspects of their company’s work, one of which is the Culture Pass, working on themes that are of interest for educational schools, transforming them into performances and using them as a teaching tools. These tools are used to express problems and emotions through dance, transmitting to the young audiences and then talking with them afterwards. He mentions how they, as professionals, learn so much from the children.

Centre Performance of Clock Work by Nanaimo Contemporary Ballet

Far left Dancing Petal performer

Left Il Balletto, Gruppo Junior Veneto performers

Australasia

From student to teacher – Jessica Walker goes behind the scenes.

As we all know, what you see on stage during a performance is only the tip of the iceberg. The remaining parts of the iceberg including finding and editing music, choreographing an item, planning formations, rehearsing to performance level, sourcing or making costumes and much more.

I had the pleasure of interviewing three ISTD dance students, Dani, Samara, and Emma, who have been involved with dance performances for most part of their lives, but for the first time were involved in the creative team of a performance.

What role have you just completed from a creative aspect?

Samara: I have just completed being an Assistant Director for Geronimo’s season of Broadway Smash Medleys, which is a musical theatre cabaret style show. The previous year I was involved with choreography.

Dani: I have been involved in choreographing a musical theatre piece in the Geronimo Musicals’ Broadway Smash Medleys in July 2022.

Emma: I was a choreographer/director of an item in a musical theatre show.

What were your first thoughts when you were asked to join a production team and choreograph/direct a portion of a show?

Samara: I was very excited. As a performer I’ve always found the process behind getting a show to the stage fascinating, and being able to be a part of the creative process and learning the tough work that goes into it was incredible.

Dani: When asked to join the production team, I was slightly nervous but I felt confident that I could do it. I had help and support from the team, which made me feel more at ease. The environment I was in was so supportive. I began choreographing my number practically straight away and the nerves went away almost immediately.

Emma: I was excited to be a larger part of the choreographic process because I have grown up watching my teachers, and I have always wanted to have a go. I was a little anxious too, because I had a lot of other commitments at the time and I know how much work is involved! I have tendencies towards perfectionism and I wanted to do this to a high standard. However, I negotiated some deadlines with the directors, and decided that it was too good an opportunity to pass up.

Did you have a particular choreographic process that you went through? Was this something that you have seen modelled to you?

Samara: A lot of my choreography was tested with different levels, and I was able to learn what needed to change for the younger levels and what I could make harder for the older ones. This is something that I’ve seen modelled to me throughout my years of dancing. Every group of dancers is going to have different strengths and, sometimes, the vision a choreographer has doesn’t always translate to stage.

Dani: I listened to the song on repeat, getting ideas. I would play the music and dance along to see what would come out naturally. If I liked it, I filmed it and wrote it down to remember, and eventually I had formed the whole number. This choreographing style is something I had seen before and was inspired by.

Emma: My teachers tend to have two main categories of choreographic process: some plan everything beforehand, altering as required as they see it come to life; others start with almost nothing, and build the dance up on the spur of the moment. I tried it out on myself to see what flowed well, and forced my family to learn it too so I could see how it looked as a group.

What were skills that you have learnt, even subconsciously, from your own teacher that you were able to harness to achieve what you wanted?

Samara: A skill I’ve focused on learning from my teachers is striking the balance between learning, revising and breaks. Overloading the brain does no one any good but at the same time, maximising learning time is incredibly important.

Giving students access to the production process is a key learning experience that fosters wonderful growth.

Dani: I have noticed that a few of my teachers write down their choreography to not only remember it, but because it provides an easy resource when teaching.

I have also subconsciously learnt how often to do the dance with music, assessing when to add more choreography or break things down for the class. I ensured that I made sure everyone understood the movements they were doing, continually asking the class if they had any questions.

Did you have any difficulties transitioning from student to teacher and were there difficulties working with peers and students younger than you?

Samara: Some of the people I was teaching were my friends, so finding the balance was a challenging and often tenuous task, but I had to remind myself that inside the studio I had to have complete authority and outside I could go back to being a friend.

Dani: My peers and other classmates recognised that I was teaching and appreciated my choreography. The only challenging thing was teaching my own class with students who are older than me. I found that they treated me as more of a friend and classmate rather than their teacher. In the end, the class listened, knuckled down and learned the choreography to their full ability.

Emma: Luckily, most of the students in the class I was working with were younger than me already, and I’ve had other experience in a teaching/leading role, so I felt well prepared. However, it was definitely nice to have my teacher there to introduce me and as a backup to help with class control and discuss decisions when needed. Sometimes it can be challenging to corral a large class into doing something!

grasp just how much! The hours spent outside the studio, and even during the rehearsal process to choreograph, place and rework a number is massive and takes not only brain power but enthusiasm and passion.

Dani: When I joined, there were a few of us new to this experience. Lots of planning went ahead, making up choreography and formations and making sure everyone got a turn near the front and back and costumes as well.

Did being involved in a production meet your expectations?

Samara: Being involved in a production met and exceeded my expectations. The overwhelming support and enthusiasm from the rest of the team and cast makes putting in hours easy and rewarding.

Dani: Yes, and much more. This experience was amazing, it was the first time I have had this sort of opportunity and the creative team made this experience surreal.

Emma: I absolutely loved it.

Is what you see on stage as an end product really just the tip of the iceberg?

Samara: The hours of work put in as a choreographer, teacher, and even the work put in by the students is so much greater than what is seen on stage. Performing a number is a showcase of effort but also not indicative of the time put in by those involved.

Dani: From the studio to the stage is a huge transition. During class, I was slightly worried as the energy was low but as soon as the cast stepped on stage, the atmosphere was so different. The lights, costume and makeup gave everyone a huge energy boost and it all seemed real and exciting.

Prior to being on the creative team, were you aware of how much is involved?

Samara: I had always had a kind of awareness that being on a creative team was hard work, however I didn’t

What did you learn from the experience?

Samara: Compromising with other creative team members, with choreography and direction, happens so much more often than I anticipated. It’s so important to keep an open and positive mindset when joining a team.

Dani: I learned some new ways to choreograph. I perfected time management and organisation skills whilst preparing the classes I would teach. This opportunity also gave me a chance to build relationships with the cast members and production team.

Should more students have access to the production process or even shadow other production members?

Samara: I think giving students access to the production process is a key learning experience that fosters wonderful growth. But it’s important to be judicious and balance opportunity with quality. Giving students the opportunity is great, however overwhelming them or pushing a student if they aren’t prepared can be harmful to the process and to them.

Dani: As I have learnt throughout, it builds confidence and is an all-round amazing experience and something that they will treasure and benefit from.

Sometimes it can be challenging to corral a large class into doing something!

It’s so important to keep an open and positive mindset when joining a team.

Africa and the Middle East

Delia Sainsbury examines the influence of African dance in classical ballet today.

Having lived in South Africa for over 40 years and observed the political changes, which have of course affected dance, it is encouraging to see the growth of Afrofusion, as well as the amalgamation of classical ballet, contemporary dance and African cultural dance, which is producing something totally unique.

Transforming tradition

Debbie Turner, previously Director of the Cape Academy of Performing Arts, has been the Artistic Director of the Cape Town City Ballet for four years, during which the company has undergone dramatic transformation from a purely traditional classical company to a company that embraces an eclectic variety of styles and fusions. “Due to the political history of South Africa, pre 1994, when South Africa achieved the quiet revolution under the firm guidance of Nelson Mandela, black dancers rarely travelled outside of South Africa, and were therefore not open to the influences of Western dance forms.

Classical ballet was not part of African culture, and due to its colonial connotation, was treated with much resistance. The South African dance productions that were seen internationally were shows such as African Footprint, (pioneered by South African impresario Richard Loring, and toured worldwide), AmaMpondo and Ipi Tombi. Gradually, as South Africa began to open up after 1994, other influences became available. Dancers were able to travel and experience an exciting mix of dance forms and choreographers. And so, when they returned to South Africa, ballet and contemporary dance began to infuse into the African dance companies. Original styles were created. Companies such as Moving into Dance, JazzArt, and Vuyani Dance Company were introduced by dance practitioners, wishing to explore new ways of using the body to tell African stories and create something that was still uniquely African whilst embracing other genres of dance.”

The importance of cultural roots

I asked Debbie how her classically-trained company felt working on the new works that she has introduced, choreographed by African choreographers. The ballets are after all reflective of their cultural roots and past political struggles. The company recently performed the ballet Ingoma, choreographed by South African choreographer Mthuthuzeli November, who began his training at the age of 15 in a township outreach programme in Cape Town. He continued his training with Debbie Turner and joined Ballet Black in the UK, where he was commissioned to create two ballets, one of which was Olivier Award winning Ingoma Ingoma was recently performed in South Africa alongside the traditional Les Sylphides Artscape Theatre, which houses the Cape Town City Ballet, was established 50 years ago and has seen dramatic changes in both artistic development and policy. Debbie commented that “African styles made the classical dancers initially feel uncomfortable for several reasons; the work is often reflective of past political struggle and the movements are very foreign to a classically trained dancer. They found it difficult to embrace the freedom of movement necessary for African dance and find a different way of telling a story.”

The amalgamation of classical ballet, contemporary dance and African dance is producing something totally unique.

The vision

Debbie’s vision is to retain the classical programme whilst including African works and to dispel the impression of Eurocentricity. If the most recent programme is anything to go by, which played to capacity post Covid, she has certainly succeeded. The repertoire consisted of a contemporary piece, Fallen Angels, choreographed by Jiri Kylian, originally from Prague, the traditional Les Patineurs, Polarity, by Kenneth Tindall and Romeo and Juliet. It was performed under the umbrella title of Ikigai, a Japanese concept meaning purpose, happiness, and peace.

To quote Debbie, “On 19 May 1971, the venue opened with a performance by CAPAB, the ballet company of its time. It is fitting that we use this opportunity to recognise not only how far we have come and the changes that have taken place, but also look toward the next 50 years of ballet on the artscape and how dance can lead the way in championing change and extending boundaries”.

Keeping it classical

I had a very interesting reverse view from Sefiso Kewyana, who was Artistic Director of the prestigious Cape Town company JazzArt for four years. He has introduced the dance genre the opposite way from Debbie Turner, bringing classical dance to an African dance company.

Sifiso was trained in traditions of African dance and now considers himself a “fairly well trained classical dancer in the traditional sense”. He feels that African dancers are now understanding the reason for classical training, and that classical dance must be adapted to “fit an individual body” in its training methods.

He introduced classical ballet into JazzArt in a workshopped format to explore how the dance form could be adapted to embrace the different body types in the company. He explained that African dance is “grounded”, working with flexed feet and bent knees. Depending on the tribal background, only in the Zulu culture do the men jump high. In other tribes, there are no steps of elevation. To introduce pointed feet, totally straight legs and elevated movements was a totally new concept. It is interesting to note, that in the Tswana culture, the dancers naturally use the equivalent of a ballet second, fourth ouvert and a third position of the feet.

Sefiso brought in classical ballet teachers to train the JazzArt dancers, realising that a strong technique would enable them to expand their repertoire, again creating a unique African fusion. He feels African dancers are now more willing to develop their classical training to enhance their technique. The new Director for JazzArt is Dane Hurst, South African born dancer and choreographer who worked as Artistic Director for the Phoenix Dance Company in the UK, and now brings a wealth of diversity to the South African company.

You can hear from other teachers and choreographers on our website at www.istd.org/classicalballetafricandance

Asia

Chua Zjen Fong shares his advice on how to prepare for a performance.

How can we help new dancers who are about to set foot into the world of performance? A performance could be traumatising for beginners if they have insufficient preparation. There are many things that we can do to ensure a smooth performance, and teachers are the best people to help.

Whatever or wherever you are performing, preparation is key!

• Do you know what type of genre of dance is involved?

• What type of music is suitable for the crowd and theme?

• What type of performance is required, is it a musical production, or a corporate or commercial performance?

• Find out the crowd’s demographic.

• The choreographers or teachers should create a shortlist of performers.

• Arrange and ensure that everybody commits to the rehearsal schedule.

• Have the music ready and assign someone to edit it.

• When the per formers, music, and details are set, the choreographers can get to work.

• Once the routines are fixed, the performers need to rehearse, fine-tuning the smallest details.

• Costumes play a big part in the performances, ensuring all performers fit the dance genre and performance theme. Turn to page 14 to read our feature about costumes for performances.

• Rehearsing on the actual site is very important because many things could go wrong without a proper rehearsal. This usually takes place on the actual day, or the day before.

Top tip

It’s always possible that some performers could pull out at the very last minute due to illness, so a few reserve dancers and a back-up plan is always crucial.

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CONTACT

Delia Sainsbury, Africa and the Middle East dsainsbury@istd.org

Astrid Sherman, North America asherman@istd.org

Jess Walker, Australasia jwalker@istd.org

Carole Ann Watson, Europe cwatson@istd.org

Chua Zjen Fong, Asia chua@istd.org

Above left Children from Amoyo with teacher

Left Performance of African Footprint

Cecchetti Classical Ballet

Philippa McMeechan

Head of Faculty Development for Cecchetti Classical Ballet cecchetti@istd.org

The study of the Cecchetti Diploma work is a gift all teachers should give themselves.

Should I study

the Enrico

Cecchetti Diploma?

Committee member, Lisa Hunter, shares her insights.

To many teachers, the study of the Enrico Cecchetti Diploma is intimidating and it has an almost mythical status as a feat that only elite dancers or teachers should attempt. Admittedly, the content is large and challenging. Plus the cost of the exam and the training required to prepare for it is not inconsiderable. We must be committed indeed to embark on such an undertaking.

So, given all that… was it worth it? For myself, absolutely. And, I say this as someone who did the exam at the age of 45, not when I was at my physical peak as a dancer but after 20

years of teaching and having had two children. Personally, I believe those years of dancing and teaching experience enhanced my ability to understand the work more deeply, so if you think you are too old to do it, think again! I tried the Diploma out of curiosity at summer school but enjoyed it so much that I decided to study it seriously and complete the exam before moving on to Fellowship, which requires the teaching of several Diploma exercises as well as Advanced 2.

It is pleasing to have the certificate, but for me the value lies in the study itself. If you really want to experience and understand the fullest expression of the Cecchetti Method, then explore Diploma and thoroughly enjoy yourself in the process. The Diploma work is uniquely beautiful – you want this stuff in your life, believe me. Will it challenge you? Definitely. Will you get frustrated? Of course, but then I had greater compassion for my pupils when they were frustrated trying to do something difficult as I was experiencing the same myself. It reminded me weekly of the importance of good teaching; that a diligent student will

progress rapidly with effective advice from a skilful teacher. I also loved the pure physicality of it and the increased strength and fitness was a real bonus for me.

I had wonderful teachers, too numerous to mention here, but Cara Drower coached me for two years up to the exam and was the most incredible guide. I was also fortunate enough to cover the entire Diploma syllabus in one week with the extraordinary Diane van Schoor. That was a revelation; once I could comprehend the whole, suddenly the syllabus seemed less vast.

Regardless of your goals, the study of the Cecchetti Diploma work is a gift all teachers should give themselves; I still do class regularly with Cara and have fresh insights every lesson. Financial support generously awarded by the Cecchetti Faculty through scholarships helped give me the opportunity to learn Diploma from some exceptional masters of the Method and I will forever be grateful, for the richness of this work is truly the gift that keeps on giving.

Thank you, Maestro.

Congratulations

We congratulate the four people who have passed since January 2019: Elliot Adams, Paige Curzon, Chloe Horton and Caroline Roach. Caroline commented: “I would recommend the Enrico Cecchetti Diploma examination to any Cecchetti teachers or dancers. It is the pinnacle of the Cecchetti Method and contains complex, beautiful and challenging work. Developing a knowledge of Diploma, allows greater understanding of the whole syllabus and how it builds so well to the highest levels. It has developed my approach to teaching, with detailed study of Cecchetti’s choreography and extracts from the ballets.”

Left Lisa Hunter teaching

Teaching hints and tips

Our Head of Faculty Development, Philippa McMeechan, shares her experience.

“You want them to come back next week.” These eight small words embedded themselves in my brain as I participated in one of my first ever teacher training courses. Cara Drower was leading the course to prepare us to take the Associate qualification and her wise words still resonate with me today as I begin my 21st year of teaching.

After several hours of perfecting our syllabus knowledge on the course, Cara took time to explain that as a teacher you should always aim to end your classes on a high so that your pupils are eager to come back the following week. Whilst this seems obvious, it is not always easy to remember. However time-stretched you are leading up to exams or a show,

try not to end the class on that element of technique with which a pupil is struggling, or by reinforcing the answer to that theory question which won’t quite stay in the brain. You don’t want any worries you may have about their performance in an upcoming exam to be passed on, however subliminally. Instead pick a feel-good step, pick something that is going to send the whole class out with smiles on their faces. Your choices will of course vary from class to class and with the age and level of the pupils, but my go-to steps are usually those that ‘fly’ from the corner, for example grands jetés en avant and other travelling steps, which require speed and energy and really get the endorphins sparking.

Cara’s advice has proved to be extremely valuable over the years, and is very pertinent now given not only the focus and collective responsibility we have as teachers to support the mental health of our students, but also when considering the current economic conditions. Whilst working in the world of dance is a undoubtedly a vocation, the

reality is that most of us need to make it our living. Your ability to send your pupils away happy and with a sense of achievement, apart from the obvious benefits in terms of their self-esteem and self-confidence, will mean they are much more likely to ask their parents to re-enrol them for the following term.

End your classes on a high so that your pupils are eager to come back the

following week.

Left English National Ballet School demonstration class at Cecchetti Day 2022

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Cecchetti Day was held on 22 May 2022 at The Royal Ballet School, Covent Garden. Read more at www.istd. org/cecchettiday-22

ELAINE MAYSON

Classical Greek Dance

Performing on the day

Committee member, Amanda Wilkins, celebrates the value of our recent Classical Greek Day of Dance.

On 8 May 2022 the Classical Greek Dance Faculty was at last able to hold a ‘live’ event in a theatre with competitors, audience and adjudicators.

In the first instance the entries had been video-judged by examiners Alison Seddon and Carol Vasko. Video entries enabled many schools to enter without the difficulty of travelling. This was hugely successful and numbers in some sections were over 50, which was extremely encouraging. This meant that a larger percentage went through to the finals, creating lots of lovely large sections of solos, duets, trios, quartets and groups.

Finalists arrived with great excitement to dance on the day itself.

The large and well-equipped Gordon Craig Theatre, Stevenage gave ample space for audience and dancers both backstage, on stage and in the foyer area. Our adjudicators June Hornby (dance) and Alison Seddon (special awards) were given a wealth of dance styles within the Greek genre, including Lyrical, Choric, Athletic, Pyrrhic, Bacchic, and characterised pieces. It was an exciting day showing beautiful dance quality, lovely lines and great technique. Both were delighted with the quality of the work and had a difficult task choosing winners.

Sonia Bond shared memories of Susan Mitchell-Smith a past Chair and Examiner who was inspirational in her wealth of knowledge. Then Penny Childs gave us an insight into the too short a life of Karen Collings; Adjudicator and ISTD Examiner in Classical Greek, Modern and Tap – Penny’s best friend since London College days. Her legacy will live on in the creativity and passion she gave to teachers, students and competitors

alike. New awards were put in place in memory of these examiners. A Musicality Award for Karen and Best Portrayal of a Mythological Greek Character for Susan – both very appropriate memorials.

Molly Barnes, a participant in the Premier Section, commented: “I have attended the Classical Greek Festival for many years and not only enjoyed celebrating the community it creates but also watching a new approach emerge within the Greek genre – retaining the lines and technique whilst adding new layers in both use of music and development of choreography, keeping it forward thinking for today’s society.”

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Find out more and check the full results listing online: www. istd.org/discover/news/ classical-greek-dance-festival-finals

Head of Faculty Development for Imperial Classical Ballet, Greek and National classicalgreek@istd.org

Right Winners junior trio section

It was an exciting day showing beautiful dance quality.

Classical Indian Dance

Bursary benefits

Head

Lisa Harrison-Jones,

Our Faculty was delighted to host its second Online Bursary Selection Awards following on from the success of our 2021 Bursary event, with our winning nominees going forward to represent the Classical Indian Dance Faculty in the Annual Theatre Bursary Awards in February 2023.

We opened our online competition in Spring 2022 for all Classical Indian Dance members and a myriad of teachers and dancers from across the UK, EU and North America participated, culminating in a wonderful array of unique dance solos.

Classical Indian Dance teachers and dancers have proved yet again that through the medium of film, dedication, commitment, creativity, and expression were paramount, demonstrating that the Faculty continues to flourish in not only numbers but also technically and artistically.

Above Senior CID Bursary winner, Siya Kalsekar, with teacher Ashwini Kalsekar in rehearsals

Above Junior CID Bursary winner, Avni Rao, with Teacher Sujata Banerjee

time, knowledge, and passion to our event. He said: “It was so lovely to see the development of both Bharatanatyam and Kathak being embraced by the new generation of dancers and to keep investing time into the musical aspect of dance. Hearty congratulations to all the dancers and the dance teachers for their wonderful teaching.”

Over the years our Faculty has been lucky to witness a wide spectrum of teachings and observe a multitude of talented dancers from a young age. The growth of the Faculty stands alongside the growth of the Bursary Selection Event and the support from the teachers, dancers, and committee.

This was aided by the shift of the Bursary event to an online format, which allowed a much wider selection of teachers and dancers to participate, with nominees succeeding in not only the Theatre Bursary Awards, but in the wider Classical Indian Dance community and performance industry.

Dancers such as Linnea Husmann (Teacher: Krishna Zivraj-Nair), Aishani Ghosh and Sharmila Biswas (Teacher: Chitraleka Bolar) and BBC Young Dancer of the Year 2022 winner, Adhya Shastry (Teacher: Ananya Chatterjee).

Above Theatre Bursary Winner 2022 Sharmila Biswas with her teacher, Chitraleka Bolar

which has helped to enable future dancers continue their training.

Our 2022 Theatre Bursary winner, Sharmila Biswas, reflects that: “Preparing for the Classical Indian Bursary and Theatre Bursary event was both an intense but also a fun process. I worked with my teacher Chitraleka Bolar to adapt a piece I already knew to make it appropriate for the event. The piece was one that I was already in love with so even though I had to work hard, I thoroughly enjoyed the process.

“It all paid off in the end because now I will be able to use the Bursary money to explore my technique with different teachers when I move to London. This is such an exciting experience because I truly believe that I can always learn more from different teachers.”

We very much look forward to seeing you at our live Theatre Bursary Event, on Sunday 19 February at the Kenneth More Theatre, Ilford to support our nominees and their teachers.

We had the uniquely talented Mavin Khoo (Dance Artist and Rehearsal Director to Akram Khan Company) adjudicate for us, and he gave his precious

These are just some of our diverse young dancers who have been part of our past Bursary Awards and have had financial support from the Awards to develop their own technique and their teachers have received Theatre Bursaries for their schools as well,

Congratulations to Junior Winner, Avni Rao (Teacher, Sujata Banerjee, Sujata Banerjee Dance Company), and Runner Up, Niya Sajesh (Teacher, Shruti Sriram, Sanskriti UK). Also to Senior Winner, Siya Kalsekar (Teacher, Ashwini Kalsekar, Kirti Kala Mandir) and Runner Up, Anju Serumadar (Teacher, Shruti Sriram, Sanskriti UK). To see a full listing of this year’s Classical Indian Bursary winners please visit www.istd.org/ discover/news/classical-indian-dancebursary-selection-event-results

of Faculty Development,

highlights that our Faculty’s bursaries are not just for the dancers but for teachers as well.

Lisa Harrison-Jones

Head of Faculty Development for Modern Theatre and Classical Indian classicalindian@istd.org

Above Mavin Khoo – Dance Artist and Rehearsal Director to Akram Khan Company

Contemporary Dance

Michaela Stannard

Head of Projects and Strategic Events

The student, the performer and the teacher Sian Hopkins, student, performer and teacher of Dr Ross McKim’s method, offers guidance on how to encourage students’ best performance in relation to the syllabus.

Starting out My journey with the movement shared in the ISTD Contemporary Dance Syllabi began when I attended Rambert School under Dr Ross McKim’s direction, at the age of 16. I had little idea how much of an impact it would have on my life as a dancer. I clearly remember watching a third-year class taught by Ross through the studio door and

being overwhelmed with the certainty that this was what I wanted to do. The movement was mesmerising. The dance students in other year groups as well as my peers were always an inspiration to me, and in first year, I would watch every day of the week-long shows whenever possible with fascination and respect for what the dancers were achieving. Regardless of having seen pieces countless times, it was always a joy and a rush to witness, there was always a new aspect to absorb. This concept of finding the unknown within the known has benefitted me in many ways through training, performance and teaching.

The syllabus

Looking to the syllabus composition, working through the themes of material, we begin with falling leading into walks, and finally focussing on contractions. Falls play with falling through the space, using falls as transitions and to sustain movement, working with balance, suspension and extension in the body, generating a sense of opposition pull. Walks encourage sensitivity and power with the use of feet, shifting the weight through use of fall and pressure into the earth to travel and leap. Contractions

become the impetus for motion, using the breath and sensation of the pelvis to lead and pull you through the space, showing resistance and surrender simultaneously. The use of spirals throughout the movement offers the feeling of winding up to unwind and releasing through and from spirals and extensions, encouraging efficient transitional motion. Becoming aware of how the breath can aid the movement feels naturally expressive.

Reaching for beauty and clarity of form increases the understanding of initiation and intention behind the movement and opens up freedom within the forms you create. Combined, these elements encourage playing with limits and possibility of space inside the body to really maximise extension and create fluid transitions within a feeling of constant motion even in stillness.

Understanding and embodying the knowledge and sensation of these builds up to help find what works for your body, what feels right.

Floorwork

The use of repetition and building up of movement was present in Ross’ classes throughout my time training with him. The floorwork was danced as a

continuous phrase we all came to know, and was explored using variations within a familiar framework. This presented an opportunity to take time to build up, practice each part, then add new elements, allowing one to really hone in and gain familiarity with the material.

The length of the floorwork combined gave a challenge to concentration but also an opportunity to lose yourself in the music right from the beginning of class. As with repetition in rehearsal, using repetition in class phrases facilitates the focus shifting to musicality, intention and expression. It requires you to push your limits. Phrases become one continuous motion, musicality and timing guided by transitional falls and shifting the pelvis through space, drawing lines of energy through the body.

Giving clear goals and direction

Choosing a simple focus for yourself as a dancer or as a teacher to guide the class to come back to throughout the session can help simplify complex concepts. Dance is autotelic in nature, so we can gain instant feedback from the experience of the movement, figuring out how to adjust, adapt and respond in the moment.

Giving clear goals and direction helps strengthen the elements and themes you are working with. Finding a balance between the amount of information to share and not overwhelming dancers

with it has been a challenge for me as a teacher. I often lean towards using imagery and focus on the sensation of movement over the aesthetic. This I hope encourages a sense of ownership over the material when working towards refining clarity.

Questioning and playing

Facilitating and witnessing progress in dance students, seeing what they can bring to the work and how they wish to express it, is so rewarding. I really enjoy how you can endlessly question… What could there be more of? What do you want to experience differently?

Building up the autonomy of the dancer to make those choices and look for different sensations in the work for themselves, is a great creative aspect of dance. Finding ways your individual body can achieve the movement can be honed the more experienced you become, but it starts by questioning and playing!

Using meditation to prepare for performance

Performance has always felt like an inner sensation, a mindset to settle into, a giving of self. The meditative breathing at the beginning of class can be a great moment of calm. I love the act of opening class this way. It can be approached as a time to settle the mind and focus on the purpose of the session. A coming together to learn, enjoy, challenge; to dance and connect.

I have come to appreciate the movement meditation aspect of the work as a way to prepare mentally for performances. Cultivating your method and ritual for this develops in class, where you can continue to work on nurturing and maintaining focus. The sense of grounding into the earth and opening up from the heart centre features heavily in how I experience the movement. In performance, I have found this helps to keep the mind calm and focussed. With this movement, you can really fill the space with your whole self. The technique is the foundation of this, so you can trust your body to take those risks. Being able to use extension, an open and expansive chest and back, and a driving from the low pelvic centre has been a way to strengthen my feeling of presence in the space and what I can offer expressively through the movement.

Performing in sacred spaces

When dancing with Ross McKim’s cathedral dance research company, Moving Visions, the concept of community and helping each other, and a sense of common purpose was always strong within the group. The tours became a beautiful escape and retreat for me, and focus was truly centred around what we were working towards for that time together. To immerse myself in that completely was a very special thing. There was always a deep sense of sincerity to the work and the rehearsal process. It felt full of possibility. Whether creating new work or revisiting existing repertoire, Ross facilitated a space where contributions – be it choreographic content or your own interpretation of what existed – felt warmly received and encouraged.

Performing and being present in sacred spaces creates an immediate, inescapable sense of awe. Cathedrals have such incredible architecture, beautiful to witness and to be in the presence of, to be moved and affected by. Being able to perform in these spaces for people heightened the sense of what we were able to offer. In these transformative spaces we performed where audience experience of the movement and the narrative of the work joined with those inescapable surroundings permeating the event. Performing in any space, be it in class, studio sharings or in a theatre, is an invitation to audiences to join the world you are creating. Encouraging the sharing of work with each other in class can help to cultivate a performance mindset outside of a more familiar performance setting.

I really believe in approaching dance in a way that nurtures joy and disarms the fear of mistakes.

Training never stops

After 20 years, I still really enjoy sharing this work. My training is still happening every time I teach or take class – finding, changing, moving, exploring with others. As a performer, I have sought to find truer initiation and expression from deep down in my centre, adapting as my body shifts and changes through the years, making it work, making it feel right. Teaching has challenged and developed my understanding of mechanics whilst furthering the expressive potential of the work, due to the need to break down material and aid students’ exploration through their own bodies. It is wonderful when you can see the recognition and lightbulb moment of something happening within a dancer, a breakthrough in feeling that they got it, they felt it!

Don’t be afraid to get it ‘wrong’ Dance is a challenge, an extremely rewarding one. As an art form, it is a way for us to be expressive and communicate, by refining and enhancing our physical capabilities. The foundational elements of the contemporary work by Ross McKim offer a way to explore and improve fundamentals of moving and expressing, helping you gain control and fluidity of mind and body to be able to perform and connect. In terms of teaching, I believe in approaching dance in a way that nurtures joy and disarms the fear of mistakes – being open to doing it ‘wrong’ and then to find it more ‘right’ the next time was something that always stuck with me from Ross’ teaching. Figuring things out teaches us a lot, so we have to find the patience in ourselves to allow that to happen, and as teachers, support that process for our students to flourish as well.

Siân Hopkins trained at Rambert School, has taught at dance institutions around the UK and performed with Moving Visions Dance Theatre, currently teaching at Middlesex University. She is Contemporary Lead Lecturer for ISTD, and has enjoyed working closely with Dr Ross McKim on this new syllabus.

JOHN PRIDMORE

Right Sian Hopkins performing a contraction

Top tips for a successful exam session

Amanda Tapp, our Head of Faculty Development for Disco, Freestyle, Rock n Roll, gives us the benefit of her experience.

Running a dancesport exam session requires lots of time and organisation and we know how hard you and your pupils work towards the big day.

Here are our top tips to ensure that your day runs as smoothly as possible: Prior to the day:

• Contact the examiner via email or a telephone call to confirm arrangements, dietary requirements and to ascertain break times. Also check that all ARA forms (Applications for Reasonable Adjustments) have been received by the examiner

• Ensure you have number cards for all candidates

• Make sure you have enough help on the day, such as someone to check pupils’ hair clothing, shoes, tick the candidates in, a music operator, marker and so on. This will ensure that your day runs smoothly

• Create an information letter to send to your pupils and their parents/ carers so that they are aware of the protocol, this could include such items as: silence is required outside in the waiting room; please do not bring siblings or younger children with you as there is limited space to wait; there is no filming whatsoever during the

Tapp

Head of Faculty Development for Disco, Freestyle, Rock’n’Roll and Street

exam session; uniform requirements for the day such as jazz shoes, trainers for street dance, hair to be tied up, no jewellery, then state the clothing you require the pupils to be wearing

• Ensure you have contact details for all pupils on the day, if you are running early or late, you can inform them of any changes

On the day:

• Prior to the exam session starting, check the flooring and temperature of the room. If it is winter, try to obtain extra heaters for the examiner

• Lay out the table for the examiner, check the seat is suitable and at the right height

• Have pupils ready to dance and lined up outside in time for their exam and ensure they are warmed up prior to entering the room

• Please refrain from encouraging pupils to drink after each dance at a lower grade and if there are shoe changes, ensure that your pupils are ready for a swift change so that the session is running to time

• Markers are allowed up to and including bronze. It is wise to use markers for your newer pupils so that they dance on time in their exam. Your pupils are nervous in an exam situation, so give them all the help you can

Good luck!

Above Dance Exchange 2022 committee members, participants and medal table

Dance Exchange 2022

On 18 September teachers from all over the country filled the Elgiva Theatre in Chesham, ready to dance, learn and network with colleagues and representatives of the ISTD.

The DFR Faculty is proud of the day it offers to our members, packed full of exciting lectures covering Disco/ Freestyle, Rock n Roll and Street Dance as well as practical presentations on inclusive dance and business.

The DFR Faculty is proud of the day it offers our members.

Feedback from this year’s attendees: “I had a brilliant day, and I would be very happy to attend two or three lectures a year! I can appreciate how much coordination and organisation goes into them, but I would be open to training and networking more frequently. Thanks for a great event!”

“Thoroughly enjoyed my first time at Dance Exchange and cannot wait to book again next year.”

The day started with the allimportant Warm-Up led by Laura Rampton and our teachers remained on the floor for our next lecture – Street Solos. With the success of our ISTD Street Dance Competition this year, Michelle Arnell demonstrated two exciting routines for our beginner dancers. This was followed by examples of Gold Rock n Roll Routines by Claire Bloome.

Deputy Lead Examiner, Yvonne Taylor-Hill, took to the floor next to explain the Peggy Spencer Award and what an asset this could be to your advanced

pupils. She gave excellent examples of the complexity of the choreography as well as comparisons with what not to use. A change of genre as Laura Flanagan delivered a first-class lecture on contemporary dance, which is a great idea for teachers to use as free work in their classes and the chance to gain an insight into the ISTD contemporary syllabus.

It is always good to refresh on ideas for Bronze and Silver work and Katie Gooch provided energetic choreography and ideas for this level. Our morning concluded with an insightful presentation on inclusive dance with excellent examples to use within our teaching.

The afternoon continued with a Business Lecture from Head of Faculty Development, Amanda Tapp, who shared her extensive business experience with our delegates with insights into how to innovate, grow and develop their current dance businesses.

Another popular lecturer at Dance Exchange, Sam Vale led our teachers in Gold level Street and Hip Hop, sharing her unique choreography ideas and styles. A challenging routine to take back to our studios.

Paul Streatfield delivered an informative lecture on the technique required for the preparation for our freestyle exams and for competitions. Our final lectures on competitive solos and slow pairs followed, with inspirational choreography from both.

Maria Howse wrapped things up with the presentation of the 2023 Set Dances, outlining some important changes for next year’s events.

Our date for Dance Exchange 2023 will be announced shortly. If you would like more information on any of our genres or would like to purchase the 2023 Set Dance videos, please email dfr@istd.org

Imperial Classical Ballet

Head of Faculty Development for Imperial Classical Ballet, Greek and National

imperialballet@istd.org

Imperial Classical Ballet class examinations

We speak to ISTD examiners, teachers, and committee members about the Imperial Classical Ballet class examinations, and the benefits for their students.

Joanne Evans

ICB Examiner and Principal of Reigate School of Ballet and Commercial Dance

“The class examinations really do offer something for every student to learn, develop, embrace, and enjoy. They are extremely versatile, and candidates can be entered in groups of four (or five if you have an extra candidate).

The syllabus is all set, with ISTD or teacher choreographed exercises which can be totally prepared in advance. The group enchaînements and dances, although marked individually, are all danced together and there is an excellent range of music. They offer a great opportunity for students to engage with one another, perform and develop spatial awareness.

Pre-Primary – CE 2 have lovely mime and music sections, which can be explored with musical instruments. CE 3 - 6 move away from the music and mime sections and introduce character work, which encourages the students’ ability to develop different styles and movements whilst wearing additional character skirts and shoes. Again, the students work together and have the enjoyment of the dance and social interaction. CE 7 - 8 develop students’ maturity with the addition of choreographed solos.”

Heidi Speakman

Ballet Teacher at Dance Projection

“I use the class examinations as stepping stones between each graded exam. I often find it takes students a while to reach the required standard in the graded exams, so slipping in these exams makes the process easier for them to reach the next level, keeping them exam-focused and

motivated. All my students do both class exams and graded exams in this order:

Pre-Primary Class Exam → Primary Grade Class Exam 1 → Grade 1 → Grade 2 Class Exam 3 → Grade 3 → Grade 4 Class Exam 5 → Grade 5 Class Exam 6 → Grade 6

The class exams also teach formation and spatial awareness. By allowing the teacher to conduct the class in front of the examiner, the students respond well, as it’s their normal routine. My exam marks have improved immensely since introducing these class exams; the students really enjoy the character sections and the fact they have no free work in the exam helps to keep their nerves at bay.”

Hungarian, and Polish character dances, providing a wonderful opportunity to develop their awareness of historical context and different cultures.

There are both set and free enchaînements in the character section, giving teachers and students an opportunity to work together to create their own arrangements to the set music, encouraging creativity, consideration, and respect. Students may work with partners and incorporate props into these arrangements. The use of the torso and a strong use of épaulement is encouraged.

The character section can enhance spatial awareness, musicality, coordination, and an expressive upper body but most importantly it is an inclusive and enjoyable way to improve classical technique. It fosters a sense of performance which incorporates a broader awareness of style and expression and nurtures a supportive and collaborative dance environment.”

“Character dance evolved as a stylised representation of traditional European national or folk dances, and is considered an integral part of the training of classical ballet. In full length ballets there are many examples of character dances; the Hungarian Czardas in Swan Lake, the Italian Tarantella in Napoli, the Polish Mazurka in Coppélia and the Spanish Flamenco in Don Quixote to name but a few. They were used to give the ballets a sense of place, depicting large gatherings and often the celebratory section of the ballets.

From Class Examination 3 through to 8, students can explore the steps, stylistic qualities and musical rhythms of English, Italian, Czechoslovakian, Russian,

Keely

Power Power Academy of Dance

“I teach class exams for many reasons, not least the affordable cost, which is very helpful in the current economic climate.

The syllabus has lots of great ideas but also gives teachers the freedom to explore their own. While the exam consists entirely of set work, the syllabus includes a mixture of set exercises and prepared work which the teacher/students can choreograph in the studio using suggested steps. The teacher also goes into the exam with the students, which can be less daunting and creates a more enjoyable experience. I have found this inclusive approach builds confidence in all of my students and helps them achieve higher marks in other exams.

The lower levels have fun exercises incorporating mime, like ‘The Puppet’, which can develop imagination. There is also a strong focus on musicality and working together. Both the music and mime sections are fun, but they also develop performance skills. The higher levels progress this further, and the students have a choreography section where they can explore their own response to the music.

Irela Strachan and Donald Vleugels ICB Examiners and Committee members

My exam marks have improved i mmensely since introducing these class exams.

The students also enjoy learning the character sections, including dances from a range of countries, which helps them understand their role in traditional ballets.

Class exams develop artistry and storytelling. Above all else, they are creative and fun!”

Rosalea Gibson ICB Senior Examiner

“I taught class examinations in mainstream education before introducing them into my own school. The carefully crafted syllabi encourage sound technique and a real sense of performance, particularly in the group enchaînements and dances, which give students a chance to dance and interact together, especially in the character sections. My students have always loved creating their own solos and group mimes, and have always been very inventive. I used to use Class Exams 7 and 8 alongside training students for Intermediate, which was very effective.

I believe my students’ technique improved because of the constant repetition of the set exercises, which they really appreciated, along with the reassuring presence of the teacher in the exam studio.”

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Visit our website to see updated lists and new members of our Imperial Classical Ballet, National Dance and Latin American Faculty Committees istd.org/facultycommittees

Above right Astrid Sherman with Relinda Kozol, winner of the Pre-Vocational section of the Solo Performance Awards 2022

Solo Performance Awards – broadening access for international members

“I enjoyed the experience of learning a new variation, working day by day on the details.”

Ana Echeverría

3rd place: Vocational section

Vietnam

“My students could compare their standard to those in other countries and feel part of the ISTD community. I am proud of them for the spirit with which they participated, and the results they achieved. This opportunity enhanced their personal and professional growth.”

The Committee decision to hold the Solo Performance Awards again in 2022 was partly informed by the enthusiastic response from international teachers to the first Awards in 2021. This online competition successfully reached schools which had not yet had the opportunity to participate in our events.

Our reward was a significant increase in international entries, making up almost half the total. Teachers from a wide range of countries put their students forward, including Canada, Greece, India, Italy, Japan, Mexico, New Zealand, Portugal, Trinidad and Tobago and Vietnam - truly a worldwide community.

India

“These awards were a new experience for our students, Our students eagerly learnt the variations and embraced their musical and creative nuances. Their artistic skills flourished as a result. We also decided to motivate all our students by teaching them the variations, which the girls performed in tutus in class, inspiring our entire ballet community.”

Yana Lewis Artistic Director, The Lewis Foundation of Classical Ballet

Mexico

“Participating in these Awards we experienced an international community bonded together in dance. We deeply appreciated technology with a human touch.”

Martha Trejo O’Reilly Escuela de Ballet del Valle

Jenny Luu  Soul Music & Performing Arts Academy

“Participating in this meaningful contest has brought me much happiness, living my passion to the fullest, dancing from the bottom of my heart, trying to improve even more. Thanks for creating this useful playground for us.”

Le Ngoc Van Anh

Finalist: Pre-Vocational section

Canada

“A huge positive of the pandemic is the new inclusiveness that a virtual world has brought. Students globally can now participate in ISTD events, bringing inspiration, fresh impetus, and excitement to all ICB students and teachers. These international entries underline the validity and rising awareness of ICB as a classical teaching methodology of choice.

For myself, it was a gift as an additional inspirational tool in my remote mentoring and coaching work.”

Astrid Sherman Poirier Productions

ISTD International Rep: North America

“I was thrilled to take part and thankful to have been challenged by such amazing choreography.”

Relinda Kozol

Winner: Pre-Vocational section

Japan

“These Awards were an invaluable experience for my students who enjoyed the challenge of learning and practising

the variations. Events such as this are rare in Japan and I believe strongly in allowing all students to excel and be appreciated, whatever their ability. I am passionate about spreading the message of diversity and inclusion exemplified by these Awards throughout Japan and beyond.”

Lisa Johannsen-Sawamura

Lisa-Maria British Ballet Arts

“I was very happy and enjoyed a wonderful experience that I don’t get to have very often!”

Lara Kawakita Finalist: Senior section

“I was so happy I cried out because I had worked so hard to become a Finalist. This award gave me more confidence than before, it was a pleasure to participate.”

Risora Suzuki

Finalist and Commendation: Pre-Vocational section

Italy

“It was the first time we had entered a student and the option of participating online was inviting. The experience was invaluable to Desireé, who had just passed her Intermediate examination with distinction.”

Diane Durant Academy of Dance, Bari

“A wonderful experience I will carry with me forever. An opportunity to grow artistically and emotionally, working hard every day to perfect the choreography.”

Desireé Bozzi

Finalist and Commendation: Vocational section

We hear from Pippa Cobbing, Head of our Imperial Classical Ballet Faculty, and a variety of people across the world on this year’s Solo Performance Awards.

Latin American, Modern Ballroom and Sequence

Exams go long distance

Malcolm Hill, Head of Faculty Development, caught up with two new associates in Australia.

As professionals, we spend a great deal of time studying and rehearsing the presentation of the technique in preparation for the technical assessment section of our examinations. This is usually done via in-person lessons and tuition in a studio with a hands-on approach. However, during the pandemic, as with everything else, we had to adapt to a virtual medium to continue training for this important examination.

I very much missed the studio sessions with the training professionals, and as great as it was to continue training online, it did not quite reach the same level of interaction as when in the same room as someone. Regardless of how the training was achieved, the expectation of knowledge and precision of demonstration in the examination remained the same.

Candidates adapting to a new way of learning was key, and ensuring that there was real clarity through everything that was presented was even more important in the new digital age of dancing online!

I was very excited to be asked to examine for two new associates in Australia, which were the first to be conducted for dancesport in the country, and had gone through this process of training, resulting in an online examination.

We hear from both candidates on their experiences leading up to and including their examination.

Malcolm Hill

Head of Faculty Development for Latin American, Ballroom, Sequence latin@istd.org, ballroom@istd.org, sequence@istd.org

Alex Kadamani of You Can Dance Studio, Melbourne, Australia, reflects on his examination experience.

Primarily, I would like to thank PaulDaniel Fennell, Louise Sampson and most importantly, Malcolm Hill for giving me the opportunity start my accreditation in Latin American.

I have been dancing for 10+ years, so when thinking about doing this, I thought ‘walk in the park’. Boy, was I incorrect. Having one of the roughest lockdowns here in Melbourne, Australia during Covid helped tremendously though.

As I usually teach female students, saying and doing what the follower does comes with ease. The time away from the world helped me to articulate exactly what the leader is doing.

The exam went well. We all say we could have done better. It’s easy to become nervous and get a little overwhelmed, to forget a thing or two, like saying “you just ‘kind of’ step sideways”, instead of verbalising “diagonally forward!”

I now understand why my students laugh when they get something incorrect,

or they forget to include some crucial information. Even though Malcolm's tone was extremely calm and professional and he was very easy to talk with, and my instructors prepared me for the exam very extensively; I couldn’t help the nerves or showing the jittering in my steps!

To see and understand what it is like with the shoe on the other foot was a great experience and one I enjoyed immensely. I’m excited to commence the next part of my exams with the ISTD.

My recommendation to anyone thinking about taking an exam for the first time – relax, slow down and just breath! I’d like to say that wasn’t told to me. But I can’t!

Natalie Finn, a Dance Instructor at You Can Dance Studio in Melbourne, shares her exam perspective.

I guess I have to thank Covid and the world being locked indoors, as it forced us to adapt to other means of communication. This, in turn, opened up a world of opportunities for work and education.

I’ve always dreamed of sitting my exams with the ISTD but the possibility was slim due to the distance! I couldn’t believe how lucky I was, I’ve been training and teaching Ballroom in Australia for two decades and the opportunity was an honour.

The lead up to the exam was quite nerve wrecking… I was petrified, hoping my past knowledge and training over the years with Paul was enough to pass.

However, once I started online training with Louise she gave me the confidence in myself, which was the boost I needed to get me to exam day.

When it was time to sit the exam I was beside myself. I’ve been dancing for 42 years, and I have never been as nervous as that day.

Malcolm was great and really calm, which put me at ease. It was nowhere near as scary as I’d thought and I learnt a lot from the process – I am looking forward to my next exam!

Above Alex Kadamani and Natalie Finn

Sequence medal tests

Alexandra Costi, Sequence Faculty committee member, highlights the flexibility offered by our medal tests.

Sequence tests are available in Latin Sequence, Modern Sequence and Classical Sequence, as well as ‘mixed’ sequence tests below Bronze. This offers considerable scope for teachers.

The Sequence Faculty has a vast collection of syllabus dances in each discipline, ensuring variety for your pupils and flexibility for you, the teacher, at every test. Dances are not assigned to particular grades, allowing you to use your judgement when selecting suitable dances for each candidate.

The Sequence Faculty has a vast collection of syllabus dances in each discipline.

As well as for dedicated Sequence schools, Modern and Latin Sequence medals may be used by Ballroom and Latin American teachers to support their pupils’ technical development. Many sequences incorporate recognisable figures from the Silver/Gold Ballroom and Latin syllabi, however these may be danced at any level in Modern and Latin Sequence tests. This provides an opportunity for pupils to take a first glance at figures beyond their current Ballroom and Latin medal, laying the foundations for the next stage whilst maintaining interest through different choreography. An excellent example would be the Woodside Waltz , which includes several Silver Ballroom figures. A pupil who has not yet taken their Silver Ballroom could take a Modern Sequence Social Dance

Above Sequence medals

test using the Woodside Waltz, giving them exposure to higher level figures before they become a requirement.

It is important to remember that for a Classical Sequence test, different time signatures should be shown within the test. For example, a Gold medal test should consist of a 3/4, 6/8, 2/4 and 4/4 (no duplication.) This ensures that the pupil has accomplished a good standard in each style before they reach Gold Star (again, all four time signatures should be shown at Gold Star, with the fifth dance duplicating one of the time signatures.)

After the Gold medal, the Josephine Bradley Award provides an opportunity to showcase a pupil’s accomplishment across Modern, Latin and Classical Sequence dances. A special 8-dance test, any combination of Modern, Latin and Classical dances may be shown and to demonstrate breadth, the ratio of dances from each genre may be

divided 3:3:2 or 2:2:4 depending on the strengths of the candidate. Again, time signatures within the classical part of the examination (or dance styles within the Modern and Latin) should not be duplicated in order to maintain variety.

We hope this has served as a reminder of the possibilities afforded by our medal system, or perhaps encouraged you to try something new this year when planning your medal tests.

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Visit our website to see updated lists and new members of our Latin American Faculty Committee istd.org/facultycommittees

Quick guide to medals

All the possibilities available for your amateur dancesport medals.

Level Genres No. of Dances

U6 1,2,3,4 MB, LA, CS, LS, MS, AR, IDF, SQU 2

U8 1,2,3,4 MB, LA, CS, LS, MS, AR, IDF, SQU 2

Introductory Tests

SDT 1,2,3,4 MB, LA, CS, LS, MS, AR, IDF, SQU 2

PBDT 1,2,3,4 MB, LA, CS, LS, MS, AR, IDF, SQU 2

Bronze 1 MB, LA, CS, LS, MS, AR 2*

Bronze 2 MB, LA, CS, LS, MS, AR 2*

One Dance Tests are currently available in the following genres from SDT level:

MB (Modern Ballroom LA (Latin American)

CS (Classical Sequence) MS (Modern Sequence) LS (Latin Sequence) AR (Alternative Rythms)

Medal Series

Silver MB, LA, CS, LS, MS, AR 3*

Gold MB, LA, CS, LS, MS, AR 4*

Josephine Bradley AwardMB & LA (IDF) or CS, MS & LS (SQU) 8

Gold Stars 1,2,3 MB, LA, CS, LS, MS, AR 5**

Imperial Dance Awards 1,2,3MB, LA, CS, LS, MS, AR 5**

* Adult and Senior Modern Ballroom candidates must also show Rhythm Dancing in addition to the chosen dances.

** Modern Ballroom (MB): Slow and Quick Rhythm may be danced in place of Viennese Waltz.

Supplementary and Higher Awards

Supreme Award MB, LA, CS, LS, MS, AR 5**

Cecil Ruault Award CS, MS & LS (SQU) 10

Alex Moore Award MB & LA (IDF) 10**

Annual Award MB, LA, CS, LS, MS, AR 5**

BallroomLatin American Classical Sequence Modern and Latin Sequence Alternative Rhythms

Waltz Rumba 3/4 Please refer to the extensive list of syllabus dances available online.

Core Dances: Additional Dances (Pre Bronze Level and Below)

Please see each genre’s syllabus outline for more detailed use of permissible dances per examination level.

IDF (Imperial Dancesport Faculties) examinations are available for PBDT (Pre Bronze Dance Tests) and below and are mixed examinations to include two dances of any different dancesport genres (eg DFR and MB, CS and Street etc.)

Argentine Tango Discofox

Slow Rhythm MamboKizomba

Viennese Waltz Cha Cha ChaPlease refer to the extensive list of syllabus dances available online.

Quick Rhythm Lindy Hop Merengue

SQU (Sequence) examintions are available for PBDT (Pre Bronze Dance Tests) and below and are mixed examinations to include two dances of any different Sequence genres (eg CS and MS, MS and LS etc.)

Modern Theatre

Our Janet Cram Awards

Lisa Harrison Jones reflects on this year’s awards, and the importance of providing opportunites for young dancers and choreographers.

Janet Cram was a major figure in the development of Modern Theatre dance in the UK who set out to create new standards for the dance profession, emphasising the necessity for technical and creative training.

Zelia Raye, founder of the ‘Stage Branch’ (now the Modern Theatre Faculty), noticed her talent and was instrumental in cultivating her teaching methodologies. Through Raye’s mentorship, Janet Cram became a leading ISTD lecturer, teacher and examiner and encouraged major developments in the study of Modern Theatre dance.

In recognition of her invaluable contribution to the Modern Theatre Faculty the Janet Cram Awards were first created in 1965. These awards have gone from strength to strength over the years, seeing countless talented teachers, adjudicators, and dancers through its doors. Many of those involved have developed into our ISTD mentors and examiners as well as our West End performers and choreographers of today.

With the dance world emerging from the pandemic, it was essential to the committee to look at our events and how to engage with our International and UK teachers and dancers, as well as continuing the legacy of our events. Therefore, after many creative and forward-thinking discussions, the Committee developed two awards: firstly, our International Modern Theatre Awards, with recorded footage especially created for dancers to learn and submit for adjudication. Secondly, our hybrid format of the Cram Awards, with live online Heats and live finals at the Greenwood Theatre. These online events allowed dancers to participate from their own studios with their teachers, across a

myriad of locations post-pandemic.

For the Cram Heats, we had over 345 dancers attending the classes online via Zoom, delivered by the fabulous Kate Mackie, supported by Tring Park. It was amazing to see such diversity of talent feeding through to the finals. All dancers demonstrated enthusiasm and flair alongside their teachers, creating a professional and positive atmosphere throughout the event. In the words of our CEO, Ginny Brown, “the commitment, focus and talent of all the performers was truly inspiring and a testament to the value of the Modern Theatre training”.

Our Cram industry teachers provided us with inspirational and distinct classes, which both challenged and motivated the finalists. The teachers demonstrated their uniqueness and creativity with their dancers’ solos, giving the industry adjudicators much to ponder and deliberate over for their choice of winners.

Our ISTD Grand Council Member, Sue Passmore, commented that the “2022 Janet Cram dance competition did not disappoint, and as always provided opportunity for celebrating the creative skills of young dancers and their teachers”.

We were very lucky to have such experienced adjudicators at the Cram Heats and Finals, with André Koschyk, Ruth Armstrong, and Joanna White for the Heats and for the finals, Dollie Henry MBE, Jackie Barnes, Cathy Stevens, Bafana Matea, David Leighton, and Tereza Theodoulou.

Dollie Henry MBE, expressed that: “It was wonderful to be back in a theatre again and sharing the joy of dance together as a community. As an adjudicator, I was truly impressed by the quality and ability of the young dancers who shared themselves with commitment and love. The level was outstanding and exciting to see the next generation going for their best. My congratulations for a wonderful Awards Program that certainly allows the young dancers to continue their journey through education, expression, and artistry”.

It truly was a special event and would not have been possible without all our competitors, teachers, and their

Head of Faculty Development for Modern Theatre and Classical Indian

family support, combined with a team of diligent and hardworking committee members, faculty volunteers, backstage team, chaperones, and HQ Dance Department, all collaborating together to create a smooth-running professional and exhilarating event. Congratulations to all!

You can read a full winners list and event report online: www.istd. org/janetcramawards2022

For reflections and comments from participants, audience, and adjudicators, head to: www.istd. org/janet-cram-reflections

The Janet Cram Awards was sponsored by Dancewear Central www.dancewearcentral.co.uk

International Modern Theatre Awards 2022

Following on from the popular online West End Repertoire Competition 2020, and Creation 2021, we were pleased to hold the International Modern Theatre Awards 2022, in celebration of the ongoing commitment and talent of our members and dancers across the globe. You can read a full winners list online: www. istd.org/discover/news/internationalmodern-theatre-awards-results

Above Janet Cram 2022 winners: Junior winner: Ella Hayward (Top) Senior winner: Kristen Leigh Petit (Left) Premier winner: Cameron Jones (Above)

National Dance

The contribution of National Dance

to the Platinum

Jubilee celebration

Heather Burns, Lead Examiner and committee member takes us on a gallop through history at Windsor Castle 12–15 May 2022.

The Platinum Jubilee Celebration saw over 500 horses and 1,000 performers create a 90-minute piece of spellbinding arena theatre including actors and artists, musicians, international military displays from the Commonwealth and Europe, the Armed Forces, dancers, and global equestrian displays. Performed live to an audience of over 5,000 each of the four nights, the event was also broadcast to the nation on Sunday 15 May.

2022 had been a momentous year for our late Queen, with a diversity of events in her honour to celebrate 70 years of her reign. I was privileged enough to obtain tickets for one of the first events in the private grounds of Windsor Park from the 12 to 15 May, involving horsemanship, dance and folklore traditions from around the world. Different members of the Royal family attended each performance with the late Queen attending the televised final performance.

So, to get the phone call from two of my ex-students thanking me for teaching them ISTD National because they were in the production was amazing. Unbeknown to them, I would be watching!

They have had several contracts with Emerald Storm, a theatre production company based around Irish dancing, and were also asked to perform a ‘Sailors Hornpipe’ for the Jubilee celebration. In rehearsals, their

Head of Faculty Development for Imperial Classical Ballet, Greek and National

knowledge of the hornpipe steps was recognised, so they were in front of the Royal Box leading the group.

The whole group performance of the hornpipe and the Irish dance was outstanding, with technical displays of Highland dancing from the dancers of the Royal Edinburgh Military Tattoo performed alongside the pipe bands.

It was a spectacular evening, particularly for lovers of history and folklore tradition. The accolade the dancers received from the audience, in Act 3 ‘The Crown Around the World’ and Act 4 ‘One United Kingdom Under One Crown’, was immense, and the honour they felt to be a part of such a special occasion, performing for Her late Majesty, was a once in a lifetime achievement never to be forgotten.

It is safe to say the students’ ISTD National training opened the door to the opportunity to become part of a professional dance group that centred around performance of traditional folk dance from around the United Kingdom. All the dancers I spoke to agreed that it is important to have trained in as many extra genres as possible to help make a difference at auditions, as well as pursuing different careers.

Louis Geirnaert, trained at Preston College, and was honoured to perform at the celebrations, saying: “It was truly an honour and highlight of my career to perform for Her late Majesty. The atmosphere and excitement at Windsor Castle as I waited to go into the arena was unlike anything I have ever experienced before. Growing up in Lancashire, I trained in national dance under the guidance and leadership of Heather Burns, who is an expert in her field. Through learning and practicing national dance, a dancer is given the opportunity to experience many styles of dance, culture, and technique. Not only has this greatly benefited me in the variety of jobs since stepping out into the world of professional dance,

it has been instrumental in preparing me to perform in the Platinum Jubilee celebrations streamed to millions of viewers all over the world.”

Another dancer included in the performances, Stephen Alexander, said: “Performing at the Jubilee celebrations was a once in a lifetime opportunity and a highlight of my career as a performer. To share the stage with performers from all around the world was quite something, a unique spectacular for Her late Majesty.  I was lucky enough to dance in two sections on the evening, the first being a hornpipe. My previous training in national dance at Preston College taught me the fundamental basics in this style. The second dance being an Irish, which I have learnt and performed in various jobs in my career.  National dance educates you on many different dance styles from around the world, and it’s a brilliant starting block when training. I am very grateful for the knowledge that national dance has taught me as it has allowed me to approach aspects of my career with more confidence.”

“I performed traditional hard shoe Irish dancing with Emerald Storm representing Northern Ireland as well as performing a hornpipe in Act 3 of the show. It was an amazing experience; such a huge scale performance that really was a honour to be a part of. We lived on site for nine days whilst we rehearsed, then we opened performing shows nightly for four days before finally performing as part of history for Her late Majesty.

I studied ISTD National from the age of nine, continuing to study it at Merseyside Dance and Drama Centre in Liverpool under the instruction of Barbara Simons, gaining both my Advanced 2 National and Associate National with top marks. She was the first person I thought of when I learned I would be performing Irish and a hornpipe for the late Queen.

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Visit our website to see updated lists and new members of our National Faculty Committee istd.org/facultycommittees

Dancer Lindsey Alexander also reflected on the event, saying:

Left Louis Geirnaert and Stephen Alexander Above Louis and Lindsay backstage before Emerald Storm Irish dance

Tap Dance

when auditioning as well as performing. I currently cover Elder Mckinley in The Book of Mormon, whose main number in the show is a tap sequence. Learning to tap, even to a general level, has meant I do not need to worry about the choreography and can enjoy performing the number.”

David advises: “I would encourage any student to train in all disciplines, even if it is just to a basic level, as you never know when that knowledge will come in handy throughout your career. Even a basic understanding of a style can really help in auditions and when performing.”

Tom Brewis-Scott, David’s husband, is the director of Brewis-Scott Associates. He currently has professional performers working in all areas of theatre, cruises, film, and television.

Tom remembers: “I joined a theatre school at the age of five and felt at home right away. However, it wasn’t until I started dancing at my local dance school aged 11 that I thought I could take this as a career path. As I moved into my teenage years, those different styles in my training, ballet, tap, jazz, and modern, as well as taking regular singing lessons, really helped shape me into the performer I would later become.

“My Grandma showed me a VHS tape that we hired from the local library of the filmed stage production of

Jason Di Mascio

Head of Faculty Development for Tap

Cats, which I hired every single week until someone bought me my own copy. It became my inspiration. These performers were in incredible costumes but also danced all styles, ballet, tap, modern, pas de deux, they sang, they played characters. It was inspiring and I remember thinking ‘I want to do that’.

“I was accepted to train at Bird College. I was a very young 18-year-old when I started and being thrown into training from 8:30am until sometimes 9pm, five days a week was a shock to the body. With the addition of commercial and contemporary, more singing and acting lessons, and acting through song, I was in heaven! Many people forget that styles like tap help with rhythm, musical timing, singing, and acting rhythms. So much can be used in other areas.

“After training, I went on to a successful performing career and then decided to move into being an agent. Having a strong background in theatre plus the training, it really helps as an agent to nurture talent. I love that I can give honest and correct feedback to my clients after auditions or self-tapes, helping them progress and grow. It all comes back to that initial training I had many years ago. Those foundations stay with you. I now find myself giving corrections that I remember my teachers giving me at 12 years old. It’s a lovely full circle moment.”

Tom advises: “Tap is such a fundamental part of training in musical theatre. Not only will clients use it within shows they book such as Mary Poppins, The Book of Mormon, 42nd Street or Singin’ in the Rain but also for timing and musicality within other works. If a performer has strong tap skills, you know they will be able to pick up musical timings and measures for both vocal and acting work as well as dance. I never considered myself as a ‘tap dancer’ but used my tap skills in shows such as Thoroughly Modern Millie and with projects like Charlie and the Chocolate Factory where you wear tap shoes on your hands as the Oompa Lumpas. Sometimes it’s not about being the best but having a good understanding and skill within, which can be the difference between booking the job or the team giving it to someone else.

“In 2016, I filmed some comedy TV commercials for Ikea. The Director and I were chatting on set about comedy timing and the beats needed to hit the comedy within slapstick and physical comedy. He said to me, ‘I knew the second you walked into the audition room you were a dancer, you knew what beat to hit on each of the comedy elements’. That was due to musicality and timing used in tap. Nothing to do with my acting ability but if you can find the rhythm and pace it lends itself to making an audience laugh.”

Tom points out: “In 2022, we see even more musicals and shows using tap within them, The Choir of Man, Mrs Doubtfire, Newsies, Noise Boys are all new shows that require a tap ability for members of their cast. When I have a chance to speak with younger students or teenagers who are looking to move further into our industry, my advice is always take as many lessons as possible – if a style doesn’t come naturally to you, work even harder. Become the best all round performer you can possibly be. You will thank yourself later.”

I would encourage any student to train in all disciplines even if it is just to a basic level.

If a performer has strong tap skills, you know they will be able to pick up musical timings and measures for both vocal and acting work as well as dance.

Aaron Lissimore, member of the ISTD Tap Faculty speaks with Tracey Iliffe Choreographer of Thursford Christmas Spectacular and founder of Exalt Dance Company, Tracey gives an insight into her career and tells us what she looks for during the casting process.

What is your background in dance?

My parents sent me to dance class when I was three. I attended a local dance school for several years as well as a youth theatre that really developed my love for musical theatre. When I was 18, I attended Laine Theatre Arts.

How did you transition to choreography after your performing career?

I worked as a replacement at both Moulin Rouge and Lido whilst living in Paris. This meant that I was not cast in the shows full time but could be called upon daily to perform in the evenings. A couple of existing contacts offered me some choreography projects and due to my flexible working hours, I was lucky enough to be able to accept the projects whilst still having the security of a performing career.

What is your process of choreographing such a large-scale show as Thursford?

I think it is a merge of artistic and logistical skills! Once the show content is decided

I spend hours listening to the music and creating ideas. As the show is such a large-scale production, I spend a lot of time plotting the cast’s positions and traffic. Above all else, it’s important to me that the performers’ artistry and love of what they do shines out to our audience.

What do you look for in dancers during the casting process?

I love a dancer who simply loves dancing and loves performing. It doesn’t matter so much if they go wrong or don’t pick up

the choreography the quickest. I look for dancers that love their craft because when they love it, you know that they are going to commit one hundred percent. When I work with those dancers who give you everything, the whole process is joyous.

Can you tell us about your work to ensure more inclusion within the dance industry?

It was very clear when I worked in Paris that there was not a very representative cast on stage. I set up ‘eXalt’ to highlight that this style of dance can be accessible to everyone. I invite all dancers to try classes in this ‘Parisian chic’ style of movement because it is very much about empowerment, how you feel and what that can bring for you and the rest of the people in the room.

Do you believe the versatility of dancers to be an important part of their training? Absolutely, yes! If you love to dance, you will be versatile in many styles. If you’re focusing solely on one genre, then you could be closing a lot of doors in the industry. I am lucky to work with some incredible dancers who are smart and adaptable to various

styles of dance. I love working with professionals who act like sponges in the studio; versatility is the key to be able to absorb so much choreography.

Any advice for dancers starting out in the professional industry?

My advice to dancers is to remember that everyone is on your side! Whenever I take an audition or class, I want to see dancers having a great time. Although auditions can feel like never ending rounds of being judged, I act as a constant cheerleader, and I want all dancers to succeed. Internally, I am stood at the front literally with pom-poms willing you to be great!

What is so special about Thursford and why should people come and see it?

It’s Christmas entertainment on a huge scale, incredibly eclectic and full of joy.

There is a wide range of dance styles including Irish, Musical Theatre, CanCan, Skin Work some very well-honed Parisian style numbers. The setting is magical, and you get to witness such a large cast doing what they love whilst entertaining audiences of all generations.

Any particular highlights about your work at Thursford?

I feel incredibly grateful to work with such a talented cast on the show and appreciate having input into the show’s content. I love creating our huge musical theatre numbers, but probably the overall highlight is getting to work with

23 wonderful dancers every year. They always form such a special bond as a team, and it is so important to me that they value themselves as a group unit. The strength and talent of that unit is insane, and I am very, very grateful I get to work with those people – it’s awesome!

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Learn more about upcoming Thursford performances at: https://www. thursford.com/christmas-spectacular

Left Tracey Iliffe

Above and above left Cast and acts performed in Thursford Christmas Spectacular

What’s on in the industry

What’s on Dates for your diary

For more information on our events and courses visit www.istd.org/events

Ballet Black Pioneers

8–12 Mar Barbican Theatre

Now in its 21st year, Cassa Pancho’s acclaimed Ballet Black company presents award-winning choreographers Will Tuckett and Mthuthuzeli November in a captivating double bill of new and original work.

Running time: 90 minutes, including a 20-minute interval Book here: www.barbican.org.uk / What’s on 2023

Day 2022

Membership

Funding opportunities for members

One of our funding opportunities could be for you. See page 13 and visit www.istd.org/funding

UCL Dance Society show 2023

9–11 Mar Bloomsbury Theatre

The Bloomsbury Show by UCL Dance Society brings together a cast of about 120 members. “This year the show will invite you to watch us dance our hearts out and maybe, just maybe, catch a glimpse of your own whirlwind emotions in movement.” Book here: www.ucl.ac.uk / Culture / What’s on

Tap Factory 10 th Anniversary UK Tour 2023

31 Jan–28 Feb Multiple UK theatres

Tap Factory is an explosive, high octane show that merges percussions, acrobatics, hip hop, music, urban tap dance and comedy. Book here: www.tapfactoryproductions.co.uk

MOVE IT 2023

10–12 Mar ExCeL London

A big dance event, creating a community of dancers who want to celebrate their love of dance. Book here: www.moveitdance.co.uk

Above Moorland International Ballet Academy students at Cecchetti

ELAINE MAYSON

Our events Jan–Apr 2023

Check www.istd.org/events for the most up-to-date information on all our events.

Bursaries

The ISTD Theatre Bursary Awards

19 Feb Kenneth More Theatre, London

Phyllis Haylor Scholarship

2 Feb Applications open

23 Mar Applications close

For more information on all of our project funding opportunities and awards, visit www.istd.org/ fundingopportunities

Teacher Training Bursary Scheme

16 Mar Applications open

18 May Applications close

See page 13 for further information.

Classical Indian Bursary Selection Event

(Online UK and international teachers and competitors)

11 Apr Online ticket booking opens

26 Jun Ticket booking closing and video submission deadline

From 12 Jul Final results announced online by winners video showreel

Dancesport

Dancesport medallist series 2022–23

15 Jan Medallist Series event at The Halls in Norwich

DFR Area Competitions

15 Jan Hants/South

22 Jan Essex

12 Feb Hants/Dorset (Bournemouth)

12 Mar Beds/Hants/ Northants (Hemel)

2 Apr East Anglia (Clacton)

Imperial Classical Ballet

Imperial Classical Ballet

Junior and Senior Ballet Awards 2023

(Online International and live UK teachers and competitors)

19 Jan Online ticket booking opens

26 Feb Full price ticket booking closes and video submissions deadline

15 Apr Following online heats adjudication, UK live finals event at Central School of Ballet, London with international winners announced by video showreel

Modern Theatre

Janet Cram Awards 2023 (For UK and International teachers and competitors)

13 Feb Online ticket booking opens

Dates for heats adjudication, format and finals will be published in January on our website.

National Dance

National Faculty Awards 2023

(Online UK and International teachers and competitors)

15 Feb Online ticket booking opens

27 Mar Full price ticket booking closes and video submissions deadline

16 May Final results announced online by winners’ video showreel

Invest in your CPD

To book contact coursebookings@istd.org

February Half Term CPD

13–17 Feb ISTD HQ Studio

Join us for this half term programme of CPD courses including Modern Theatre, Tap, Imperial Classical Ballet, Contemporary and business marketing support refresher sessions. These sessions are open to all and are a fantastic way to refresh your knowledge. Courses will be led by our expert teaching teams and lead lecturers. There is something for everyone.

Spring Programme 2023

03–06 Apr ISTD HQ Studio & Sadler’s Wells 11–14 Apr Online

Join us for our annual Spring Programme, taking place in studio and online. Don’t miss out on the opportunity develop your skills and knowledge, during these two weeks of CPD courses.

Modern Theatre Intensive Training, Sydney, Australia

12–16 Apr North Balgowlah School of Dance, 10 Bardoo Avenue, North Balgowlah NSW 2093

Join the Education and Training team for an intensive five-day Modern Theatre CPD event in Sydney, Australia.

Keep an eye out for:

Classical Indian

Dance

From January 2023 candidates can enter for the Bharatanatyam and Kathak Licentiate exams. Examinations will commence at the end of March. Look out for training sessions for candidates and teachers through the ISTD’s CPD programme over the coming months.

Cecchetti Ballet Training

In the spring term, members will have the opportunity to attend training with one of our lead examiners, as we discuss how to run a class exam.

Summer Programme 2023

Taking place in August 2023, please make sure to keep an eye out for further information on Summer Programme. Members will have the option to attend courses online and in the studio. This event is a great way to update your teaching practice and take something new back to the classroom for the autumn term.

Join the conversation on social media

Bringing you some of our recent highlights. Get involved and follow us on Facebook, Instagram, LinkedIn, Twitter and YouTube.

@istddance #ISTDdance

ISTD Graduation Ceremony 2022

Congratulations to all our ISTD graduates around the world and to those who joined us at The Royal Geographical Society. This event celebrated the achievements of those who have gained a full teaching qualification in 2020, 2021 and 2022.

World Down’s Syndrome Month

October saw us celebrate our differences and abilities with a social feature of David, 30, from Academy of Dance, Bari, Italy. Remember to visit our Equity, Diversity, and Inclusion Hub on our website for ideas on how to make your teaching more inclusive. www.istd.org/edihub

Find Your Dance Space

We launched our campaign, Find Your Dance Space, to promote the brilliant benefits of dance across the UK and get more people moving. “If you want to dance, nothing should stop you.” Ava’s story has inspired many, including The Daily Mirror. Use our marketing toolkit, exclusive to ISTD members, to get your local community dancing. www.istd.org/ findyourdancespace

Feature Friday

We have started a weekly social media feature for you, our dance schools. A chance to showcase to our audience what you offer on and off the dancefloor. Don’t forget to tag us in all your posts, videos, reels and more – we love to see our global teachers and students learning, dancing, and celebrating exam results. #ISTDdance #TeachDance #ISTDexams

World Teachers Day

“Behind every dancer who believes in themselves, is a teacher who believed in them first.” Thank you, teachers, for inspiring and motivating our future teachers. Your dedication to the art is truly empowering!

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 an application, make a donation or leave a bequest please contact www.ibfund.org

Words cannot express the gratitude and relief the contribution by the Imperial Benevolent Fund has brought to us.

Please express our sincere thanks to the Trustees for this help.

INSURANCE SOLUTIONS FOR DANCE TEACHERS AND INSTRUCTORS

Gallagher is a proud provider of insurance products for ISTD dance teachers and has developed specialist solutions for dance teachers of a variety of styles and disciplines. Premiums start from £72**

•Public Liability – £5 million standard limit (can be extended up to £10 million)

•Employers’ Liability – do you have staff or volunteers? By law, you may require Employers’ Liability insurance.

•Legal Expenses – included as standard

* Policy limits and exclusions may apply, please see policy wording for full terms and conditions.

** Based on one teacher of dance (in associations agreed syllabus), no previous claims, standard £5 million PL.

*** Shows up to 500 people in attendance (in UK) and fixed seating only. The operation of lighting and use of pyrotechnics is excluded.

Imperial Society of Teachers of Dancing is an introducer appointed representative of Arthur J. Gallagher Insurance Brokers Limited. Arthur J. Gallagher Insurance Brokers Limited is authorised and regulated by the Financial Conduct Authority. Registered Office: Spectrum Building, 7th Floor, 55 Blythswood Street, Glasgow, G2 7AT.

Registered in Scotland. Company Number: SC108909. FP873-2022b. Exp. 04.07.2023. © 2022 Arthur J. Gallagher & Co.