just dance! | Summer 2014 | Vol. 2 | Issue IV

Readers share their favourite dance movies pGs 15 + 16

Making a Musical With Pulse Dance Centre Canadian men can Jeff Hyslop: dance!

Canadian Icon pg 12 Cody Green: The Fast-Rising Star pg 25 Zac Vran: His Future is Now pg 8

Summer 2014 | Vol. 2 | Issue IV

y h w ut o e b d n o t Fi d e ne at e u r o y Th e l ip r T a

Two-time World Tap Champion

Lacey Cebula

Is In the Spotlight

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Features:

INThISISSUE

Zac Vran's Next step .............................................................................. 8

By Racquel Foran + Meagan O’Connor Jeff Hyslop: The Man of a Thousand Dances..................................... 12

By Lori Straus Something special in the studio....................................................... 29

By Racquel Foran

Knowledge Base: The making of a musical.................................................................... 18

By Sarah Van Os Triple Threat: What it Means + Why it Matters.................................... 31

By Jacqueline Steuart Balance: Dancers and Musculoskeletal Injuries................................. 34

By Rochelle Blaak

In Every Issue: publisher’s Letter...................................................................................... 4 In the Spotlight Lacey Cebula.............................................................. 5

By Heidi Turner just dance! Wants to Know What is Your Favourite Dance Movie + Why?.............................................................................. 16 Suzanne sits down with Cody Green................................................ 25 History of Dance Tap's Long + Culturally Diverse Background...... 28

By Heidi Turner Cover shot credit: Diane Newton Pulse Dance Centre's McKenzie Newton as Annie with "Sandy" the dog.

Summer 2014 | just dance! 3

FromThePublisher

I

t is always with a sense of relief that I sit down to write this letter for the beginning of each issue, as it is usually one of the last things I do before we send files off to the printer and therefore signals the end of a very long production cycle.

• Pre-School to Adult Classes • Beginner to Advanced Level Classes for Girls and Boys • Examinations • Half Day Program • Lamondance Semi-Professional Contemporary Company Ages 17-23 years

I am particularly pleased with this, our ninth issue of just dance! We have more than 35 advertisers from as far east as Toronto and as far west as Victoria—13 of them appearing in our pages for the first time.

This is good news for us and for our readers.

More industry advertisers mean that our readers have easier and better access to the resources they need and want. For just dance! it tells us that the interest in and support for our publication continues to grow at a steady pace. We are, as always, very appreciative of our readers’, advertisers’, and industry partners’ support.

This issue of just dance! touches on the past, present and future of Canadian dancers through three very talented men: Jeff Hyslop; Cody Green; and Zac Vran. The charisma, creativity, and accomplishments of these three is almost more inspiration than we can fit into one

issue. We are grateful to each of them for taking time from their busy schedules to share their experiences and lessons with our readers.

When reading this issue of just dance! you might also notice a theme. It starts with our In the Spotlight dancer Lacey Cebula who, although holding the title of two-time World Tap Champion, tells our readers how she had to diversify her training in order to pursue a professional career. Jeff Hyslop whose career has spanned almost 50 years also emphasized the importance of diversity of skills and training. And both Cody Green and Zac Vran talked about how diverse training is a musthave for those considering a professional career. We tie all their advice together in Jacqueline Steuart’s article Triple Threat: What it means, why it matters.

Finally I would like to take this opportunity to congratulate all the performers who have been dancing (and singing) their hearts out at competitions across Canada for the last two months. The pool of talent, and the enthusiasm and hard work these kids commit never ceases to amaze me. Thank you to all of you for making the spring months so entertaining.

Keep dancing!

—Racquel

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4 just dance! | Summer 2014

{ in t h e spotlig h t }

by Heidi Turner

L

acey Cebula was only three years old when she decided she wanted to try dancing. It wasn’t too long after starting that she discovered her love of tap dance. That love, combined with her talent, took her to the World Tap Championships three times, where she was twice named World Tap Champion. And that success has led to her pursing a career in professional dance.

“Nobody in my family has ever danced, so I was the first,” Lacey, now 19 years old, says. “It was my decision to start. My mom wanted me in piano lessons, but I wanted to dance, so she let me try. At three I was in kinderdance and it grew from there.”

From kinderdance Lacey moved into beginner jazz for the next two years. It was when she saw a tap performance by a guest artist at the year-end show that she decided that was what she wanted to do. From ages five to 16, she did tap dancing exclusively.

Lacey Cebula

“I love tap,” Lacey says. “I love that it’s different from all other dance. You use a different part of your brain. It’s a challenge to do, like trying to solve a problem. Tap didn’t come easy to me, but I stuck it out. I did tap solos from the get-go and I just love performing them.”

Lacey began dancing at The Dance Factory in Chilliwack, later moving to Project Dance, also in Chilliwack. She began her competitive career when she was only six years old, and it did not take long for her to move to the world stage as part of Team Canada.

“By the time I was ten, I qualified at the Canadian Nationals for the Canadian Tap Team,” Lacey says. “I started training to head to Germany the next year to compete at the World Tap Championships.”

Being named to Team Canada is no easy feat. To do so, Lacey had to receive a score of 97.5 or higher for her solo and then had to be chosen by the team’s choreographer, Bonnie Jean Anderson, who was at the time Lacey’s tap teacher.

Although Bonnie was familiar with Lacey’s dancing abilities, Lacey still had to score high marks to be named to the team.

“When I was 11, I went to Germany and competed there at the worlds,” Lacey says.

14-year-old Lacey on Dec. 3, “For my solo 2008 receiving her first gold performance, medal for Canada; she beat 32 other girls to earn her first I won the World Tap Champion title. silver medal and my group performance got the gold medal. When I was 14 and 15—the last two times I went to Germany for the worlds—I won. I got the gold medal for Canada for my solo when I was 14 and when I was 15, I was named two-time World Champion.”

Summer 2014 | just dance! 5

{ in t h e spotlig h t }

IDO World Tap Championships

Every year, the International Dance Organization (IDO) World Tap Dancing Championships are held in Riesa, Germany. In 2013, the championships were held between December 3 and December 7. Team Canada had a strong showing with numerous top 10 finishes.

Among Team Canada’s results were: • Gold and Silver in Children’s Female Tap Solos (Sara Reynolds and Gabriella Simonelli) • Gold, Children’s Female Tap Duo (Sara Reynolds and Gabriella Simonelli) • Silver, Children’s Group (Performance Title: Shout)

• Bronze, Children’s Formations (Performance Title: Suessical Magic) • Fourth Place, Junior Female Tap Solo (Rebecca Petrosino) • Fourth Place, Adult Female Tap Solo (Sarah Nickleford) • Fifth Place, Adult Duos, (Ilianna Nunes, Connor Nicklin)

• Silver Adult Formations (Performance Title: Shock Wave)

• Seventh Place, Children’s Male Tap Solo (Mathias Nixon)

At age 16 Lacey decided to branch out into other styles of dance. At that point, she took up ballet, jazz, lyrical, hip hop, contemporary and stage. She is now pursuing a career in teaching and commercial dance. She teaches full-time at Project Dance, working with dancers from ages two to 17 years, in all forms of dance. She also takes class regularly and performs on stage and in videos.

“I’m a back-up dancer for singer Elise Estrada,” Lacey says. “I just got the job a couple of months ago and the music video was just released. I do hip hop for her. We spent hours rehearsing choreography and then it was 24 hours of shooting the video. We also rehearse for shows and for a Philippine relief fundraiser.”

Lacey at age 11 competing in the finals at the IDO World Tap Championships in Riesa, Germany where she won the silver medal in a category of 27 competitors.

Lacey’s goals are to dance more in the commercial industry, including continuing to dance in videos and on stage. Doing so, however, requires her to travel from Chilliwack to Vancouver, and even Los Angeles.

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“I want to become more professional and well known,” Lacey says. “I have to go to Vancouver a lot for that and I’ve been to Los Angeles to train so I have some variety. I’ve taken classes at the open studios there and I’ve done a summer intensive at the Mather Dance Company [owned by Shannon Mather]. It was three days of dance. Unfortunately, there’s nothing really professional, tap-wise. The commercial industry is looking for hip hop. It’s what everyone wants.”

Lacey at 7 years old her very first tap solo.

So far, Lacey’s most memorable moment is when she was named two-time World Tap Champion.

She says when she’s done performing she wants to continue teaching dance, passing down what she knows to her students. Her advice to young dancers is to follow what they love and pick their priorities.

“Dancing is not the easiest industry,” Lacey says. “There are so many amazing dancers out there, and it’s not always the best-paid thing to do.

But you have to put it first. Become obsessed with your dream.”

Lacey Dec. 4, 2009: the moment the runner up was announced letting her know she was a two-time World Tap Champion!

As for her, Lacey says she knows dance is what she wants to do to.

“Dance is a way of expression,” Lacey says. “It’s a sense of release. It instantly makes you feel happy.”

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8 just dance! | Summer 2014

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It’s been one year since just dance! last talked with Zac Vran and he has been very busy checking off accomplishments in that time. From finally getting his driver’s license to winning the role of “Hunter” on The Family Channel’s The Next Step, Zac is managing to achieve a lot even before graduating from high school. But this doesn’t surprise us; as soon as you meet Zac his natural charisma well… charms you. He has an easy way about him that is rare in a 17-year-old. When this is combined with his talent as a dancer, it is easy to understand why he was selected to join the cast of the second season of The Next Step.

Racquel Foran

Next Step

Loretta Sramek owner of Spiral Dance Co. in White Rock where Zac started dancing at eight years old also isn’t surprised by Zac’s success. “Even at that tender age, he already knew how to command an audience. His natural athletic physique, an ability to take on theatrical themes and of course that stage charm, made for an easy transition into all genres

Zac rehearsing on set of The Next Step.

of dance.”

Despite his talent, Zac’s success at the audition is particularly noteworthy considering what he went through to get there. The entire process from sending in his initial audition tape, to arriving on set to tape his first episode was a whirlwind that took a little less than two weeks. “I sent in an audition tape and got a callback two days later saying they were going to fly me to Toronto to audition.

The next day I was on a plane. There was no time to prepare, but that was probably a good thing…” Zac laughed.

“They had me learn a dance that I had to pretty much learn on the way over; watching a video of someone teaching a dance routine that I had to learn, so I was practicing on the way to the audition.”

His flight arrived at 7 a.m. and a chauffeur was waiting at the airport to take him directly to the audition. Zac described the scenario, “so right now I’m jet-lagged, my eyes were red and I walk into this massive room with 15 people staring at me as I enter the room. I’m with my suitcase… there’s 15 people, two cameras set up and 15 other guys waiting in the lobby all from Ontario.” It turns out he was the only person auditioning who was from out-of-province.

Family Channel

After a night of flying, he had a long day ahead of him. “I like to think I don’t get nervous, because I have been on stage all of my life… but I was nervous,” Zac cracked up. “I was shaking in my boots. I was tired. I was really jet lagged. My feet were busting out of my shoes… I felt pale and weak, but then I warmed up a bit… felt more comfortable and did what I came to do.”

The Next Step follows the lives and drama of a group of elite dancers, the A-Troupe, who train at the Next Step Dance Studio. Zac was auditioning for the new lead character Hunter, who was being introduced in the second season.

The first thing Zac had to do was perform the dance he had learned on the plane

trip from Vancouver.

Despite the way he had to learn the dance, his nerves, and his swollen feet, he obviously nailed it because he was one of five of the 15 auditioning who was shortlisted.

Next Zac was asked to do an acting scene with two of the cast members: Alexandra Beaton who plays Emily, and Victoria Baldesarra who plays Michelle. “They had me do a scene where I was kind of flirting with both of them and the dad walks in… it was the most amazing audition… I don’t think I could have done any better if I tried,” Zac said.

After the acting portion, it came down to Zac and one other candidate. “They asked us a bunch of questions about our

When he got back to his White Rock, BC home he barely had enough time get his things organized and packed before having to be back on a plane to Toronto for filming to begin. “Five days later they flew me back for the whole summer to

"Five days later they flew me back for the whole summer to film. It was insane. I didn’t even tell my friends I was leaving, I just disappeared..." history with dance, acting, what our plans were for the summer… and I answered those honestly,” Zac said. “They then said ‘thank you very much’ and sent me out.

The producer then came out and gave me ten dollars and said ‘go get a cup of coffee and come back.’”

Zac did as he was told and returned a little while later. When he returned he was told, “…I think you are the guy.” He called his my mom right away and told her the news. An hour later he was on a flight back to Vancouver. “I arrived at seven and left by one,” Zac said. “It was a long day, but it felt like an hour.”

film. It was insane. I didn’t even tell my friends I was leaving, I just disappeared,” Zac said. “Suddenly my friends are calling me ‘like, yo, where are you?’ but all I could say was that I working in Toronto because I couldn’t tell anyone I was on the show yet.”

Winning a role on a popular television show is obviously a good thing, wading through and understanding all the contractual obligations is another. “I filmed last summer; I had to wait so long before I could tell anyone. That was hard.”Among other things, he is also Summer 2014 | just dance! 9

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obligated to keep all of his social media accounts clean and professional for the duration of his contract; a good reminder to others considering a professional career.

Zac admits that the working days on set were long and physically demanding, “We started at seven in the morning, and there were days that we filmed until 10:30 at night… And the dancing is real, not edited. We are dancers who act, not actors who dance.”

There was also a learning curve. “In my first scene, because I was playing a new character, I had to introduce myself to the other characters but on the first take I said ‘Hi, I’m Zac’ instead of ‘Hi, I’m Hunter’.”

Zac smiled again. “And then the producer comes on the overhead speaker ‘Hunter, your name is Hunter,’ first scene and I mess up, but after that I just shook the nerves… can’t get much worse than that.”

Zac also explained that there are differences between performing on stage and performing for a camera. “On stage everything needs to be 100 per cent all the time, big. But on camera you need to take your energy down.”

He said learning how to handle nerves for the camera is different, too. “Nerves help with dancing. Nerves are unreal, they bring adrenaline to dance. But with acting, nerves show. You can hear it in your voice. It is a skill to stay calm.”

Adding to the pressure, the show is only scripted to a degree; the actors play a big role in shaping the characters. Scripts don’t include exact lines, but rather a description of the scene that is playing out—the performers say what they feel is natural for their character. For example, in Zac’s introductory scene as Hunter his instructions were to enter the dance studio and introduce himself to the other characters in the room, but he could choose any words he wanted to.

Zac shows off his dance skills and athleticism - and with no warm up!

Zac poses with just dance! junior contributor Meagan He says he didn’t have difficulty O'Connor. memorizing lines or scenes, but he

did say it was sometimes difficult to remember emotions and stay consistent with Hunter’s character. Perhaps this was more difficult because Hunter is different from Zac. “He’s like me in that Hunter wears his heart on his sleeve… but he is different in the way he handles things—his values are more centred on himself. You might not like me [Hunter],” Zac said somewhat sheepishly, “he is sort of a bad boy.”

The characters of the show might have challenges with newcomer Hunter, but Zac formed quick friendships with the real cast. “The other cast members all knew each other and they were all friends, but they were, of course, incredibly welcoming

"Nerves help with dancing. Nerves are unreal, they bring adrenaline to dance..." when I came in,” Zac said. “We were good friends, hanging out on weekends in no time. We all have so much in common. We are all dancers getting into acting. Our passion and focus and drive to be successful are all off the charts and I think we all share that same common goal that we want to build a career for ourselves, so we all support each other.”

Zac’s dancing career is still keeping him busy, too. As a member of the hip hop crew FRESHH, Zac travels a lot to compete and perform. He unfortunately missed the premier red carpet event for The Next Step this past March because he had to be in Seattle to compete at the International Dance Challenge with FRESHH. Although he was disappointed, he understands that as more opportunities present themselves these kinds of conflicts will occur.

The remainder of 2014 will bring more changes to Zac’s life. He graduates from high school in May and then he says he wants to keep doing what he is doing. “I love acting. Over the summer I really got a taste for it so I want to keep doing it. I want to keep on auditioning.” In the meantime, like the rest of the cast, he is anxiously waiting to hear if The Next Step will be renewed for a third season.

No matter what, we are sure we will be seeing a lot of Zac in the future. Sramek agrees, “One of the most wonderful characteristics Zac has, and one that will carry him far in his future, is that he is such a gracious student, mentor and leader.

We are so proud of his achievements and I know there are only wonderful things ahead for this very talented young man.”

New episodes of The Next Step air weekly on Family Channel, Fridays @ 7:30 p.m. ET/PT Summer 2014 | just dance! 11

happened to be a natural for and one thing led to another through that.”

With dark, curly hair, bright eyes that easily connect with you through the camera, and a light, energetic and technically sound style of dance—and why not add a song while we’re at it—Jeff Hyslop’s dance performances are not easily forgotten.

In true Canadian tradition, he got his professional break in P.E.I. at the Charlottetown Festival, playing Gilbert Blithe in Anne of Green Gables. That was 46 years ago. He’s choreographed and danced in more than 27 television shows (including 125 episodes of the 1980s children’s series Today’s Special, which ran for six seasons); appeared in more than 24 stage productions, including A Chorus Line (Mike/ Paul/Zach), The Phantom of the Opera (title role), Kiss of the Spiderwoman (Molina); and released two CDs. Most recently, Hyslop directed a new musical in Vancouver, Mrs. Claus’ Kitchen, which is being remounted this year. He also co-stars in Love Letters, along with his wife, Ruth Nichol.

“Diversity is the name of the game in today’s world,” says Hyslop. “More and more, the economics of the business are such that you have to do everything. They don’t hire a separate dance chorus anymore. You have to sing, dance, act, and play an instrument to just get in that chorus.”

by Lori Straus

Hyslop has proven that diversity is definitely the name of his game. Choosing musical theatre as a career requires that. It’s difficult to sing, act, and dance, all with equal perfection. Even Gene Kelly who Hyslop worked with in 1974 on The Sandy Duncan Special could only just carry a tune – he wasn’t a trained singer.

S

tore mannequin for 125 episodes; opera ghost for 985 performances; judge for countless dance competitions; producer; choreographer; director; singer; actor; and dancer for almost 50 years. It is hard to believe one person has accomplished this much, and as a dancer, no less? But Jeff Hyslop has and still is.

“I know. Isn’t it crazy?” he says, somewhat with astonishment. “I either say I’m really naive or I’m just a glutton for punishment.”

Surprisingly, Hyslop was a “morbidly shy child,” by his own description. “I started gymnastics when I was about four-anda-half. I was just given an activity and it happened to be gymnastics which I just

12 just dance! | Summer 2014

“I got to do the number with Gene on the floor with live mics and a packed studio audience of Coronation Street performers and all the actors that were on the lot that particular afternoon. So, no pressure, no pressure!” Jeff says with a laugh.

Part of the key to Hyslop’s success is his warm-up. “I’m a big one for you get there a half hour early [to warm up],” says Hyslop. “Once you’re warm physically you can sing, you can act, you know, you can do anything.”

Given all his experience, it’s safe to assume he’s auditioned a lot. So when he gives audition advice, it’s best to listen. And that is his advice, “Just listen. Listen,” he says.

Hyslop suggests teachers can help by giving their students only 20 minutes to learn a new combination. In real auditions, he

Jeff Hyslop performs in the CBC series The Raes.

#111-260 West Esplanade, North Vancouver

explains, auditioning dancers are taught a combination by assistants. After 20 minutes, the main director/choreographer/artist comes in to see the results. “There’s no time.

And that seems to be what everybody’s Achilles heel is: learning it in a split second and then doing what they want to see.”

Self-confidence is also key says Hyslop.

When you’re in an audition, you can’t panic and let your nerves take over.

“Because once you do that, you may as well leave. It’s that old adage of going in not wanting the job,” he says. “Go in absolutely prepared.”

Also know what your strengths are. “If you know your strength is one thing and you’re going in to a hip hop audition, then why are you there?

Know your strengths and go in and let it evolve,” he advises.

And then he repeats: “And listen, listen, listen.”

Alex Waterhouse-Hayward

Dance has clearly evolved over the years, and Hyslop believes young dancers should know where their craft comes from. He suggests going on YouTube and looking for mash-ups of clips from old musicals put to contemporary music.

One of Hyslop’s favourites is called Stayin’ Alive with Rita Hayworth.

“Dance isn’t a onelevel surface kind of thing,” says Hyslop.

“No. It came from Charlie Chaplin

walking as the little tramp. It came from that kind of style, that kind of energy that they brought on the screen. There was a reason they were superstars of their day.”

Hyslop reminds dancers to never lose sight of where they started when they’re in dance class. They may not have found inspiration in Vera-Ellen or Eleanor Powell when they were young, but they did learn how to plié. Never forget that. “I always say go back to basics, go back to first position.

Go back to that first plié. Go back. You’re never too old to go back and rejig things.

Go back and take another course. Go back,” Hyslop emphasizes.

RAW

He also advises to stay in class when doing professional shows. Class doesn’t

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K

E A WE S Y 7 DA N E P O

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just keep you grounded in strong technique; it also keeps you from getting “out of whack,” as Hyslop says.

“You know, you do a long run, you get out of whack. Your system, your physical being gets out of whack, your vocal gets out of whack because of the repetition.”

Hyslop turns 63 this month, so when asked if he still dances, his answer was somewhat astounding, “Absolutely,” he says emphatically. “I just came off nine weeks of nine shows a week doing the best showstopping number in the show. I was very fortunate. I was given the gift of a number.”

So how does he do it?

“It’s a different kind of dancing. I know how to do it. I know how to look okay at this age. I do what I can do really well, you know, so that there’s no disappointment factor, I hope. But I do have a strong technique and thank my teacher, Grace MacDonald, for that.”

Hyslop recently added another amazing accomplishment to his list: he practically danced his way onto an operating table, got a new hip, and danced his way out of the hospital.

“I taught right up to three weeks before the new hip. So I went in in shape. I came

14 just dance! | Summer 2014

out and I was dancing on the Playhouse stage three weeks later. And even though I’m in pain some days...you know, I still do it. I recommend a hip replacement to so many people, because it gave me another ten years.”

and therefore there is a certain cachet around your performing or around your name and about people still wanting to come and see you or wanting to hear about you. And that’s very gratifying and that kind of keeps you buoyant.”

So how do you stay in shape well enough that you can still dance professionally in your 60s?

So, in other words, his audience helps keep him in his dance shoes, and Jeff Hyslop keeps the audiences attending theatre.

“I have a real stretch regime that I do, and I swear by it. I swear by my Footsie Roll to keep the balls of my feet and my Achilles and all of that supple. And I walk.

I’m an avid walker.”

The Dancer Transition Resource Centre reports that the average career of a dancer lasts only about 14 years. Hyslop’s career has spanned almost 50 years, and he’s still going strong. But he has one main goal now: “I do a lot of adjudicating and teaching around BC, so that’s what I want to do before I forget what I do, you know what I mean? So that’s my goal in life. To download as much information I’ve gleaned over the years as possible.

And hopefully it’s still relevant.”

He gets his cardio workouts from teaching and performing.

Keeping his condition up is crucial to him. “I think once you lose that, then it becomes more difficult.”

The other factor that keeps Hyslop going is his audience.

“Well, you know, you come to a point where, yes, you’ve had some iconic roles you don’t realize you want until you’re well into it,” he says. “And then you do that to a certain extent and then really it becomes about, ‘How do I sustain that?’

Then it kind of crosses over and you go, ‘Well, I have been around for a long time,’

Though dance has certainly changed over the years, there are some consistencies. Hyslop’s advice touches on these eternal aspects of dance: Listen. Warm-up. Diversify. Be confident in yourself and know who you are. This has become a way of life that has kept him dancing for almost five decades, and it may just help you do the same.

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just dance! wants to know‌ Sponsored by:

Tygre Perl

Age: 15

Dansko Studios, Victoria, BC

Two locations to serve you: Abbotsford: 604 855 9166 Maple Ridge: 604 466 0861 jazz-ma-tazz.com

Jordan Beauregard

My favourite dance movie is Center Stage. I love this movie because it portrays dance in a much more realistic way than many dance movies do. The dance Jodie Sawyer performs in the final show for the ABA is one of my favourite dances and I have choreographed many dances inspired by it.

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My favourite dance movie would have to be Center Stage because it shows the reality of the dance world. This movie is about a group of teenagers who all have a different dance background but they all make it into the National Ballet Academy in New York.

This movie shows young dancers the problems and stress of training from being in a professional dance academy. It proves that getting ahead in the world of dance can be a very hard work, but in return all rewarding because you are continually doing something that you love.

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Stella Westling

Age: 9

OneDance Creative Arts Centre, North Vancouver, BC My favourite dance movie is First Position.

I like this movie because it shows that everybody can do ballet; even if you start with two pairs of shoes you can turn into a beautiful ballerina.

What is your facourite dance movie and why?

Kaya Tsurumi

Age: 12

Tri-City Dance Centre, Coquitlam BC

My favourite dance movie would have to be First Position. I liked it because it was interesting to see how amazing some dancers are in other parts of the world, competing at such prestigious dance competitions like the YAGP. The movie also inspired me to work harder so maybe one day I can be just as good as them.

Jayda Bhinder

Age: 10

Spiral Dance Studio, White Rock, BC My favourite dance movie is Flash Dance because I like how they worked as a team to bring dance back to their town! I would fight to bring dance back, too if anyone tried to take it away from me!

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Amy Robson Age: 9

Age: 13

Abbotsford Dance Center

Studio: Tri-City Dance Centre Coquitlam, BC

My favourite dance movie is Save the Last Dance because I like how there’s two different styles of dance-ballet and street dancing. It inspires me to never give up no matter what my goal is or the tricks I am working on.

My favourite dance movie is First Position.

It’s my favourite movie because to me it was truly inspiring. I am not one of the best dancers, but it taught me that if you try your best you will succeed. I also got inspired to use turning boards. After seeing the movie our studio purchased two turning boards, a flex, and a foot stretcher. I have to say that First Position inspired both me and my studio.

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Age: 15

Creative Outlet, Chilliwack, BC My favourite dance movie would have to be Step Up 4 Revolution. I love it because it is so interesting with all the different ways they tell their stories through dance!

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The of a Pulse Dance Centre's Annie, Sandy and Orphans.

18 just dance! | Summer 2014

Making Musical

by Sarah Van Os

Singing is a large part of every production rehearsal.

The production directors work with cast members in rehearsal to mark their spots for every song.

W

hy do we all love musicals?

Simply put, because they provide a memorable experience.

They give us an escape for 90 minutes, songs to sing for months, and small reminders of the important values in life we often forget.

For children who yearn for the stage, creating, performing and being part of a musical is one of the most memorable experiences they can have. Those of us who have participated in musical theatre all remember every detail of every show we were ever cast in. Years later we can still tell stories of backstage shenanigans and director’s pet peeves, and recall bloopers and inside jokes. Any given cast from any show becomes a family that remains bonded for life.

But how does that family come together? How is a show chosen? And most importantly, how is the magic created that the audience sees when the curtain opens?

Stage 1- In the Beginning The very first thing that occurs is the assembly of a production team. This team consists of some very important people

Pulse Dance Centre will be performing Annie, directed by Dana Cole-Luder, Darren Burkett & Sarah Van Os at Evergreen Cultural Centre in Coquitlam May 21 to 23, 2014 Tickets available online via evergreenculturalcentre.ca being staged by neighbouring competitors; availability of licensing rights to the show; and set and costumes needs in relation to your budget.

It is important that casting and budget needs can be met and to pick a show that can be well executed so the final product is a show the audience will enjoy.

Stage 2- Auditions & Casting including the Producer who is in charge of the financial side of the show; the Director who leads the creative team by bringing all of their artistic visions to life, including set designs, costuming and of course the orchestration of what the actors do; the Choreographer who creates all of the dance numbers that the music is set to; and finally the Musical Director, who arranges music, conducts the orchestra and makes the harmonies ring.

In a smaller company and in many children’s theatre companies there will not be one person assigned to each job, but instead you may only have one or two people who are “jacks-of-all-trades.”

After the production team is assembled a show must be chosen. Many factors go into choosing a show: the probable look of the cast and the number of performers in it; age appropriateness of the show to the cast, as well as the age of your audience; other shows

Auditions begin very quickly after a show has been selected. The creative team will generally hold at least two rounds of auditions. At the first audition the performers will come in one at a time to audition for the panel. They sing a song of their choice, read through a part of the script, and learn a short dance combination from the show’s choreography. Once the first round of auditions is complete, the creative team will send out callback notifications. The callback notice tells the performers what role specifically they are being called back to audition for. Those called back return to audition in front of the creative panel where they sing a song selected from the show for their character and they read scenes.

After callbacks are completed, the creative team will have the arduous task of casting the show. This can sometimes take weeks for children’s theatre and months in the professional world. The creative team takes a lot into consideration when making their choice. From how short or tall and how Summer 2014 | just dance! 19

Kids are taught how to stay "in character" at all times, even when the focus isn't on them.

old or young the performers are, to what range they are capable of singing and their performance experience. All of the parts have to work together to make everything look the way the creative team envisions it.

Stage 3: The Rehearsal Process

A lot of patience and dedication goes into organizing more than 40 kids into a seamless chorus.

Once the show has been cast, the fun begins. The length of rehearsal time varies from company to company. In the professional world the rehearsal process may only be two weeks. In children’s theatre the process is much longer, allowing more time for learning and mastering basic theatre fundamentals.

Day one of rehearsal is most often a script read-through day. This is the first time the cast has the opportunity to be introduced to one another.

And with a full reading of the show from beginning to end including a full sing of the

www.onthepulse.ca 20 just dance! | Summer 2014

songs the cast all learn about the roles they are all playing.

Every company’s creative team has a different process when creating a musical. Some might begin with learning music and harmonies; others with scene work; and some may even begin with ensemble dance numbers. Depending on the chosen musical, the process will be different. Often learning the music is the most time consuming and difficult aspect and thus goes first. Whatever the process, it is very important to both have a rehearsal schedule and to stick to it as best you can; weeks fly by and opening night comes fast so staying on schedule is key to success.

Throughout the learning process there are also important details that must be taken care of. A lot goes on behind the scenes to make the whole show come together: costume fittings where the entire cast is measured for all their various costumes have to be scheduled; fabric must be purchased and sewing begins; sets are designed and props are collected.

Without an audience your show is not complete so creating a marketing plan is also a part of the show production

#121 - 1533 Broadway Street Port Coquitlam, B.C. 604-474-3466 info@onthepulse.ca

process. Posters must be designed and put up and press releases are distributed.

Professional photos are taken with cast in full costume to use on websites and social media. Promoting the show early and in as many ways as possible helps ensure theater seats are full on show night. An article in the local newspaper the month the show opens is a great way to generate audience members. And social media is a fabulous way to bring awareness to any show.

With the magic of wardrobe and makeup, cast members are transformed.

How do I prepare for a musical theatre audition?

It is important to research the character that you most want to play. Find out everything you can, including the role the character plays in the show, the personality, the arc of the character and the character’s relationship to the other characters in the show. In addition, take some time to research the time period the show is set in. Social values and attitudes differ greatly throughout the years. This will help you create the desired character.

Once you have done your research, rehearse lines and sing through

Stage 4: Show Week Show week is the most anticipated week of the process. It can be a very hectic time as sets are being put up, costumes and makeup put together and microphones being used, but this is when and

your chosen song. Remember to be as animated as possible throughout the audition and speak clearly in a loud voice.

Try and memorize the lines you want to perform and songs you wish to sing. It will help you become the character because you won’t be worried about reading your lines or song lyrics.

Auditions are stressful for both inexperienced and the most experienced performer. Remember, it is normal to be nervous but have confidence and you will do great! where the creative team’s vision becomes a reality. This is when all of the magic finally comes together. Watching pieces of the show throughout the rehearsal weeks does not do justice to how it all looks on stage.

The first exciting day of the show week is the technical rehearsal. This is when all the technical elements of the show are rehearsed, from the lighting to set changes, to special effects and sound.

This rehearsal is really for the benefit of

Summer 2014 | just dance! 21

the technical team. For performers this is a very slow day; there is a lot of standing around and waiting while lights are being focused and designed.

After technical rehearsal is complete, the

performers get their day. Dress rehearsal is the day when the show is run through in its entirety using full set pieces, costumes, sound and lighting. The only audience members to see this version are the creative and technical teams. The dress rehearsal is when all of the kinks get worked out and the performers become familiar with their costume changes, props, microphones and utilizing the set. How many run-throughs are done depends on how technical the show is; sometimes it takes a few runs of the show to be ready for audience viewing.

The cast and crew dress up to the nines

Some companies then go into a string of shows we call Previews.

This is when the cast finally has an audience to watch them onstage.

However, because the viewers might also witness some flubs throughout, they get to enjoy the show at a lower ticket price than during the actual run of the show.

fade away and only the memories

Opening night is very magical. It is the official launch of the show after weeks or months of hard work. Many companies hold a party after the first closing curtain.

and celebrate a fabulous opening while toasting a great run ahead.

The run of the show continues on until closing night. This can be a very sad night for all involved as it brings to an end months of friendships, laughs and love.

For many companies, show casts change from show to show so closing night is the last night the cast will be together as one.

After the last curtain the magic begins to dissipate, sets get taken down, props returned, make-up thrown away and costumes go into storage. Audiences remain. After the final curtain, the cast celebrates with a traditional cast party.

Whether young or old, this is a staple to any musical theatre production.

From beginning to end, through stress and through smiles, creating a musical is a memorable experience. Some say it is addictive and once you catch the bug it never goes away. For many of us, each show is truly a labor of love, and we would never have it any other way.

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visibly flustered just ask to start over. The show must go on! The key is to be flexible, taking changes and the unpredicted in stride. Stay collected, keep a positive

Be Confident, Positive & Your Wonderful Self Be confident and positive. It is

attitude, and embrace the situation.

very difficult to work with negative

A

uditioning can be one of the most nerve-wracking experiences for performers of any age. For those auditioning it is important to remember that it is okay to be nervous; some of the most famous performers in the world still get nervous while auditioning.

Being prepared goes a long way to keeping nerves at bay. Here are some helpful tips for audition day to help you

Don't Look 'Em in the Eyes

performers. When asked questions

Find a spot in the room to look at that is

your answers. Being original and

just above the professional staffs’ heads.

humorous with your answers will leave

Never look at them directly.

a lasting impression.

try to be friendly and personable in

land the role of your dreams!

Dress Appropriately = Theatre audition outfits should be the perfect blend of professionalism and comfort. Choose a casual but presentable outfit that both looks nice and allows free movement. Also, take into consideration any dance components of the audition, and be sure to bring appropriate dance shoes if necessary.

Know the Material It should go without saying that audition songs and scenes should be memorized. But simply knowing the words isn’t everything. Take the time to critically examine the material when preparing – what’s the motivation behind the lines? What’s the emotion portrayed? If presented with new material at the audition, take a moment to read it over with these questions in mind. And don’t be afraid to ask questions; it’s better to ask than guess and miss the mark.

Expect the Unexpected At a musical theatre audition, it’s always wise to expect the unexpected and remember that things can change at the drop of a hat. The audition may run late—or early, giving less time to warm up than anticipated. The panel can cut a song short, or ask performers to read a new piece that they’re unfamiliar with.

And mistakes happen— missing a mark or forgetting a line. If this happens, don’t get

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THE RICHMOND ACADEMY OF DANCE Presents JUNIOR SUMMER DANCE CAMP July 2nd - 6th 2014 inclusive

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24 just dance! | Summer 2014

SuzanneSitsDownWith

Suzanne Sits Down with

C od y

G reen

Cody Green is a Surrey, BC native who grew up in his mother’s dance studio. I got to know Cody a few years ago when he came to do the first of two workshops with my musical theatre performers at The Richmond Academy of Dance. The first workshop was excerpts from the Broadway show Movin’ Out, the second was West Side Story, both of which he had just finished performing in. He was lovely, giving of his talent, fun, energetic and great for the young performers to talk to about the business. In addition to being professional and amazingly talented.

family has been so supportive of my performing since I was little.…there were many benefits to being trained by my Mom. Firstly, we had a dance studio in our house. That made it tough to be late for class, although I’m sure I found a way. I have been surrounded by dance since I was a baby, and I think a lot of knowledge comes from watching and being immersed in that environment.

I remember him as a young dancer competing in local competitions and it was obvious then that he was going somewhere. It was such fun watching him dance with Catherine Zeta-Jones at the 2013 Academy Awards. I wanted to interview Cody as he is a local dancer / actor / singer who is a rising star who already has an amazing body of work.

It was great for me to catch up with him and I am pleased he agreed to share his time and story with just dance!

growing up, or did you

You were trained by your mother Susie Green at Joy of Movement in Surrey, BC. She is an amazing woman and a real treasure to this business. She must be so proud of you! Can you tell us what you think the benefits or distractions of being trained by your mother were in the early years?

Yes, she is an amazing woman and the best Mom. She is very proud and unbelievably supportive. My whole

Was the performing arts always your main focus participate in sports too?

I played a lot of sports growing up.

Soccer, baseball, basketball, volleyball, and I still golf whenever I get the chance. I had a pretty full Surrey, BC native has schedule with grown accustomed to dance every posing for the camera. day, acting classes in Vancouver, and sports on the weekends and after school. I’ve always loved sports and the physicality.

I was very competitive in sports and in dance. I wanted to be the best I could be. I found that the rush of being in a game and that pressure was very similar to the rush of performing and being onstage.

I loved both.

When you left Greater Vancouver, where was

your first stop and how did this work out for you? Would you recommend the same path now for a young dancer?

My first stop after leaving home was New York City. I spent a summer there after winning scholarships to the two main dance studios in NY: Steps on Broadway and Broadway Dance Center.

Summer 2014 | just dance! 25

{ S u z anne S i t s D own Wi t h } are almost never going to be exactly what you think they are, you take it all in stride. The more open you are the more diverse and interesting your career will be. I discovered things along the way that inspired me in every job—people who taught me new things. It’s all about learning.

Was acting and singing always simmering on the back burner when you were focusing on your dance training?

I did always love acting. I’ve always been really into movies and could recite lines from anything I saw. Singing I enjoyed.

But, it wasn’t until I really started training my voice that I realized how much I liked it. I always loved music and I always loved performing. Performing as much as I did growing up naturally led me to more acting and going to Juilliard and being around all those musicians and Opera singers inspired me to want to work on my voice.

Does theatre call you or is it primarily tv/film?

When I was a bit younger and still living in New York it was theatre primarily. But, I moved out to Los Angeles for acting just under two years ago. Television and film is my primary focus at the moment. That being said, I am headed back to New York next month to

Cody performs in Grease on Broadway

That summer spent in NY was what ultimately got me into Juilliard which is where I ended up. But, for a young dancer it’s all about experiences.

[They should] take every opportunity to perform and work with different choreographers, and get into every class that’s challenging and fun for them. [They should] try different styles they aren’t comfortable with. Work hard in class and work even harder when in rehearsals. The connections and relationships they make in class and in rehearsal are key. Their work ethic and not just how they dance is what

Cody dancing with Catherine Zeta-Jones (middle) at the 2013 Academy Awards.

books jobs.

What were your original plans for your career and how did those plans I’m not sure what my original plans were or if I had any. When I think back anything felt possible then, and I still think it is if you put the work in. I just went with what I was passionate about and what inspired me. I think when you are open to opportunities and understand that things 26 just dance! | Summer 2014

Getty Images

evolve over the years?

{ S u z anne S i t s D own Wi t h } do Macbeth with Kenneth Branagh on Broadway for a month long run.

#3 - 1225 E Keith Road, North Vancouver 604-984-2783 www.proartecentre.com info@proarte.ca

How exciting was it to be on Broadway and did it live up to everything you

Being onstage every night in that city is incredible. Performing live and especially on Broadway is a special kind of feeling.

There is so much history in each different theatre I’ve performed in— the great actors, singers and dancers that have performed before you. It’s an incredible feeling being up on that stage and getting to do it eight times a week.

What advice do you have for young

Dancer: Jodie Herron – Genee Finalist 2013

imagined it would?

dancers who are just starting out with

Pre-Professional Programs

dreams and aspirations about making

Contemporary Ballet

Half-Day and After School

Contemporary Jazz

Classical Ballet

On-Site Academics Grades 5 to 12

it a career?

Summer Programs: Work hard and always continue learning. Take knowledge from every situation, it will come in handy. Be versatile. The more you can do the more opportunities are open for you.

Don’t limit your options by just doing one thing or one style. Be respectful and be on time. This business is about connections.

What I mean by that is it’s about relationships—the teachers, the choreographers, the other dancers. I’ve been hired more by recommendations and because I worked hard and I was good to work with than I have from auditions. Lastly, create…. whether it’s choreography, music, writing, anything that inspires you. It will keep you growing as an artist.

3 weeks: J uly 14 – August 1, 2014 3 weeks: August 11 – 29, 2014

Auditions for Pre-Professional Programs

Saturday, May 31, 2014 Saturday, June 28, 2014

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Pre-Professional Half-Day Program Cody dancing as "Sid" in Come Fly Away by Twyla Tharp with Laurie Kanyok.

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Summer 2014 | just dance! 27

Do you have any advice for parents to help support their young performing artists on their journey?

Do research. There are a lot of great schools out there. There are great companies and performance opportunities. Summer Programs are a good way for dancers to grow and to make connections in the dance world.

There is a lot of information out there to help young dancers get where they want to go. Obviously, [parents should give] support and love. Dancing is one of the hardest but most rewarding professions.

Cody performs in West Side Story on Broadway.

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28 just dance! | Summer 2014

About Suzanne: Suzanne Ouellette has performed with, taught, rehearsed and enjoyed the company of some of the world’s most famous dance movers and shakers.

She has trained and danced with the world’s finest ballet companies from Stuttgart Ballet to Royal Winnipeg, as well as performed professionally as a lead dancer, singer and actress in theatres across Canada. She was ballet mistress for Ballet BC, rehearsal director for Mascall Dance and Ballet BC; and founder of the BBC mentor program. She is a creative and innovative choreographer of dance for film and television, as well as opera and theatre. Suzanne’s passion, enthusiasm, and extensive background in many facets of the performing arts, make her in great demand as a teacher, choreographer, director and adjudicator.

Something Special in the Studio ♥

by Racquel Foran

D

ancers are aware of what dance does for them. They know that in addition to being a great physical workout, it is also therapeutic. There is something cathartic in being lost in the rhythms and emotions of music. A good dance will leave you spent, but exhilarated; drained, but re-nourished.

And for those who teach dance, they know that every day of every week amazing things come to life within the confines of the sprung floors and mirrored walls of the studios where they teach.

Shy children become emboldened; quiet ones find their inner voices; hyper ones learn to harness their energy and use it positively; and confident ones become young leaders. The music along with the creativity of dance allows these young people to be all that they can be and, if only for a time, free to live their dreams.

With all this it is easy then to understand why more and more parents are turning

to dance as a therapeutic choice for their special needs kids.

Gillian O’Connor was thrilled to finally find an activity her daughter Ruby looked forward to participating in. Ruby was living with an—until recently— undiagnosed developmental disability.

Irlen Syndrome caused Ruby to struggle with balance and coordination; cognitively she struggled with reading and retaining information. Every year O’Connor would enrol Ruby in a new activity—swimming, ice skating, gymnastics—but nothing captured or inspired Ruby. As O’Connor explained, “Ruby needs to have some interaction with other kids to improve her social skills and I want her involved in some kind of activity – it’s healthy for her.”

Below: Emilee Ragan at the Invitation to Dance yearend show with her dance mentor Morgan Mason (top right).

The special needs dance class from Dance London.

Sara Zubrowski (right) performs on stage with her Dance London instructor at their year end recital.

It was an ad in her community newspaper that inspired O’Connor to give dance a try. Invitation to Dance was located minutes from her home in Calgary and they were advertising “mixed ability” classes. O’Connor gave the owner Erin Liffiton a call and was so impressed with the information she shared, O’Connor decided to register Ruby right away.

Invitation to Dance has been offering special needs dance classes since 2009.

Carlee Reardon is in her fourth year at the University of Calgary studying Community Rehabilitation and Disability Studies and she has been teaching the mixed ability class at Invitation to Dance for the last three years. But Reardon doesn’t do it alone. The mixed ability students are paired with dance mentors—older student volunteers from the studio—who both inspire the special needs students and help them become stronger members of the studio community.

The classes focus on fun and maximizing participation. Reardon tries to explore a variety of dance styles including jazz, ballet, and tap. A typical class will include warm up, across the floor, centre exercises, combos and games.

Imagery, props and colours are used to keep students engaged and exploring movement in new ways.

Liffiton says they see many changes in class over the course of a year, “We will often see students that are too shy to take part in a full class in September, will be one of our most exuberant dancers by the end of the year. Friendships develop and social skills mature. Often music can sooth a student who is anxious and eventually our most energetic dancers can find stillness for a Summer 2014 | just dance! 29

few moments in class. I see range of motion increase…memory and coordination also increases as the year progresses.”

O’Connor says the experience has been nothing but positive for Ruby, “It has been very successful… it has helped her to see that you can still have fun even if you have challenges in life. Dance has helped her with her motor skills and has improved her balance and coordination. It has been less stress for me and positive for Ruby… she comes out smiling!”

Ruby O'Connor in class with her instructor at Invitation to Dance in Calgary.

Ruby agrees, “I like it. It’s fun – especially the games.”

Tammy Lechner is another mother who believes in the benefits of dance for all.

Lechner along with her mother Ruth Anne Rogerson started offering special needs dance classes at their Ontario dance studio, Dance London, in 1999. Lechner explained, “We had a 6-year-old student with Down’s Syndrome who had been in beginner ballet for three years. We wanted her to progress and have peers, so a class specific to her needs seemed the best way to teach at a different pace and allow friendships.”

Dancer Hoen Zhu works with her dance mentor Sophia Gardner (right).

Over the years Dance London has taught kids with very diverse needs including those with Tourette’s syndrome, radiation damage from chemotherapy,

Quality instruction & a great community in a noncompetitive environment.

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brain injury and cerebral palsy. Lechner listed seizures, tantrums, lethargy, visual impairment, speech impairment, and defiance among some of the challenges faced in the special needs class. Much like Invitation to Dance in Calgary, Dance London paired special needs students with volunteer high school students trained to deal with the students’ specific needs and challenges. (Lechner also noted the importance of a skilled teacher to meet the needs of each student; having temporarily lost theirs to maternity leave, Dance London unfortunately is not offering special needs classes this year.)

Lechner's own daughter is autistic and she started taking dance at Dance London when she was nine, “she loves music and we wanted exercise and socialization [for her],” explained Lechner.

A personal highlight for both grandma Rogerson and Lechner was seeing her own special needs daughter dance onstage with the assistance of her younger sister.

When Lechner and her husband decided to move to Victoria, BC with their four children in 2009, it was important for Lechner to find another special needs dance class for her daughter; she is currently enrolled at a religious dance school that offers a program similar to the one in Ontario. “It is nice to see her with her peers enjoying music and movement,” Lechner said.

Many dance studios do offer special needs classes, but they can sometimes be difficult to find because they are not always consistently available from year to year. A minimum number of students are needed in order for a studio to be able to offer a class—sometimes this minimum is hard to meet so classes are cancelled. And finding and keeping qualified teachers can also be a challenge. But for parents, students and teachers who are lucky enough to be involved with one of these classes the rewards are worth the effort.

LIffiton recalled one favourite memory, “One year we had a student who would not jump for the majority of the year. We tried so many images and songs and demonstrations to encourage her. I will never forget the excitement on her face the day she finally held my hands and jumped up and down, over and over….

The little things are the most rewarding.”

At just dance! we are sure that feeling of excitement is something dancers of all ages and abilities can relate to and it is part of the reason we all dance.

Triple Threat: What it

Means & Why it Matters

By Jacqueline Steuart

We’ve seen them on television shows like Glee and So You Think You Can Dance, versatile performers who seem to have a limitless skill set, moving effortlessly between singing, acting and dancing.

These accomplished artists are becoming the industry norm and they are known to show producers and casting directors as triple threats.

“Being a triple threat isn’t necessary to becoming a successful dancer, but it certainly helps,” says Canadian-born Christian Vincent whose extensive and multi-faceted career has spanned two decades. His extraordinary performance credits include dancing alongside musical artists Madonna, Shakira and Britney Spears, among others, and he has an exhaustive list of film, television and commercial experience where he has worked as an actor, dancer, singer, and choreographer.

stops,” advises Randolph whose threeyear curriculum educates students in many styles of dance, musical theatre, acting, stage combat, and vocal training. “I’ve seen it so often when a dancer books a show, they stop training and that’s a mistake. One job leads to another in this industry,” he points out.

“You always want to put your best self out there.”

Carolina Lancaster Castellino, performer and a founder of Triple Threat Dance Convention (not affiliated with RAPA)— where dancers gather for intensive weekend workshops across North America to explore popular dance styles—agrees and adds, “Being a triple threat means making yourself more marketable and giving yourself a competitive edge.”

“This is a tough & exciting industry & it always has been.”

Top: Cylla von Tiedemann

“You almost have to be a quadruple threat, nowadays,” says Vincent, who is also a much sought-after master dance teacher. “To be a dancer, singer, actor and educator are some of the ways dancers can prepare themselves for the many opportunities available to them.”

Of course, preparing for these opportunities takes dedication, according to George Randolph, director and founder of Randolph Academy for the Performing Arts (RAPA) in Toronto, Ontario where 85 per cent of his graduates are working in film, television and on stages worldwide. “The primary key to becoming a successful working artist is hard work,” he says.

Randolph, who trademarked Canada’s first Triple Threat® training program at RAPA in 1992, stresses the importance of a commitment to studying even when dancers turn professional. “Training never

Dancers have the ability to choose their own path and create their own futures, says Castellino.

Therefore, it’s important to explore multiple styles of dance because this will allow them to work more as professional artists.

“You need to go where your heart is drawing you, too,” advises Castellino.

“Ask yourself if you are being pulled toward musical theatre, or touring with musical artists. Are you a ballerina, or a contemporary dancer?” She says once you are able to determine what you are drawn to then you can focus on all the work you need to do to make yourself relevant in that area. “For example, if you want to be on Broadway, then you know you are going to need to have an excellent technical base in ballet and jazz, plus you’ll need to have a very strong musical theatre quality.”

On the other hand, the Los Angeles market really wants capable, individual performers who have a very strong base in jazz and hip hop. “You’ll need to have a confident and stylistic sense of self in Los Angeles, because that is what

George Randolph instructs a student at his academy.

Christian Vincent leads a class at the Triple Threat Dance Convention.

the industry demands.” And Castellino notes, the more knowledge you have as a performer, the more chances you will have to succeed at an exciting and enduring career.

It’s important to recognize that a dancer’s career will change due to aging or injury over time, but that doesn’t mean it has to be over. “Education definitely leads to a longer and more diverse career,” says Vincent who is still performing and teaching while working toward a Masters degree in dance from the University of California, Irvine. “It doesn’t necessarily have to be higher education,” he states, but he encourages performers to expose themselves to different influences. “Studying many styles of dance and theatre and their histories, and learning how to choreograph and teach are other areas to develop so that your career never stagnates and you remain employable.”

With so many options to perform: on stage, in film and television, in commercials, and on cruise ships, it makes sense for dancers to develop their range to meet the growing demand for diverse and multi-talented performers.

“This is a tough and exciting industry and it always has been,” concludes RAPA’s Randolph. “There are numerous opportunities out there, but you have to be prepared for them.”

Summer 2014 | just dance! 31

{ Histor y o f D ance }

: e c n a D f o y r o t is H e Th

y l l a r u t l u C + Tap’s Long d n u o r g k c a Diverse B

By Heidi Turner

O

ne of the most recognizable forms of dance is tap, which is notable for the percussive sounds that accompany the dance moves. Although tap dancing has its origins in Africa and Europe, the unique style of dance is American in its creation.

From its origins through minstrel shows, vaudeville and film, tap has had periods of great popularity, followed by a decline and resurgence.

Tap Origins Tap dance is a fusion of African dances—including “Juba” dances and ring shouts—; Irish, Scottish and English jigs and hornpipes; and Lancashire clog William Henry dances. There is some Lane "Master disagreement about Juba". how tap came to be. One theory is that African slaves and Irish servants on southern plantations saw each others’ dance styles 32 just dance! | Summer 2014

and began imitating them back and forth, resulting in the creation of tap dance.

Another theory is that Irish immigrants who settled in urban locations, such as the Five Points District in New York City, lived closely with African Americans and the two groups shared their dance styles and traditions with each other, fusing the "Bojangles" two to form tap. and Shirley Temple.

Ultimately, tap was created from a mixture of shuffling, stomping and sweeping movements brought to America by African slaves, the heel/toe movement of the Irish jig, and the percussive nature of the Lancashire clog dance. However,

although percussive sounds were part of tap in the early days, there were no taps on the shoes.

Sound came from the wooden soles or from pennies or hobnails being hammered into the heels and toes of shoes.

Minstrel Shows Tap became a stage performance with the rise of the minstrel show in the late 1800s, during which dancers would watch and copy one another.

One of the earliest “rhythm dancers” was William Henry Lane, who was also known as “Master Juba.”

Lane lived in the Five Points district of New York and learned dancing from Jim Lowe.

In 1844, Lane beat John Diamond, also heralded as a gifted dancer, in a series of dance challenges and was titled “King of All Dancers.” Lane was so popular and

{ Histor y o f D ance }

A Brief History of Canada at the IDO World Tap Dance Championships

1991

The IDO World Tap Dance Championships started in Hamburg Germany and resulted in Bobis Laszlo, a dancer from Hungary, being named the first IDO World Tap Dance Champion.

1996

the Canadian National Tap Team competed for the first time at the IDO Championships. The IDO describes the team as a true “National Team,” including dancers from across the country—as opposed to some clubs or studios that compete in world events.

1997 1998

the Canadian formation team wins silver in their division.

the Canadian formation team wins the gold medal in their division. The same year, the IDO split the competitions into male and female sides, rather than having the males and females compete against each other.

1999

A group of five Canadian young men wins gold in their small group competition.

2000

A Canadian couple wins gold in the duo division.

Since that time, Canada has continued to be a strong competitor at the IDO World Tap Dance Championships, garnering multiple medals and numerous top 10 finishes.

Read about Canada’s 2013 results in this issue’s In the Spotlight (p.5), which profiles Lacey Cebula, two-time World Tap Champion.

gifted a dancer that despite rules

It was also around this time that the dancer's shoes changed to what we now know as tap shoes; those with metal plates screwed to the heels and toes.

prohibiting black and white performers appearing on stage together, he was not only allowed to perform with white dancers, he even received top billing over the other dancers and he danced in London.

Gregory Hines

Lane is considered one of the most influential dancers in American history not only for his popularity as a dancer, but for his role in the evolution of tap dance. Lane’s unique style of dance fused African dance and jigs with hand movements, such as snapping and clapping, to create sound.

Early 1900s In the late 1800s and early 1900s, tap grew in popularity as part of vaudeville and in speakeasy clubs. Tap dancers were the stars of many of the vaudeville shows, performing buck-and-wing (fast dance done in wooden-soled shoes) or soft-shoe (relaxed style done in a soft shoe with no taps on the soles) styles of tap. Some tap was performed in Charleston style, where chorus lines performed kicking routines.

In the 1930s, tap dancers were resorting to more dangerous tactics and acrobatics to get audiences. This led to what is known as flash tap, where amazing tricks are included in tap routines but performed in such a way as to not interrupt the rhythm of the number.

Flash tap tricks might include leaping from the top of a staircase, landing and continuing to tap without breaking the beat.

Meanwhile, Hollywood was continuing with tap’s popularity by producing many films that involved tap dancing.

Stars such as Shirley Temple, Fred Astaire, Bill ‘Bojangles’ Gene Kelly in Singing in the Rain.

Robinson and Gene Kelly, as well as John Bubbles awed audiences with their talent.

Mid-1900s During the mid-1900s vaudeville's popularity heavily declined; tap also became less popular on film, and Broadway turned to ballet, jazz and modern dance. With this decline in popularity, many tap dancers found themselves out of work.

Late 1900s In the late 1900s, tap dancing enjoyed resurgence in popularity, thanks to hit Broadway shows and movies, especially those starring Gregory Hines. The popularity also increased thanks to young dancer Savion Glover, who created a new style of tap, called “free-form hard core.” Glover also created the highly successful tap show, Bring in ‘da Noise, Bring in ‘da Funk.

Today Tap has been fused with a variety of other dances including stomping and contemporary dance. But there are two main types of tap dancing: Broadway tap and Rhythm tap. Broadway tap (also known as tapping or class acts) refers to a style of tap dancing in which the dancers use their arms and upper bodies to add ballet, contemporary or other dance forms to their routines. The focus of tapping is on how the movement looks. Rhythm tap (hoofing) refers to tap dance in which the focus is on the sound created and most of the movement and performance is in the legs and feet.

In 1989, in recognition of the importance of tap as an American art form, the US government named May 25 National Tap Dance Day. The day is important because it was also Bill “Bojangles” Robinson’s birthday.

In Vancouver every year the International Tap Dance Festival is held, a celebration of tap dance that includes master classes with world-renowned tap dancers, social events and a showcase. In 2014, the Vancouver International Tap Dance Festival takes place August 28 to 31.

Summer 2014 | just dance! 33

{ B alance }

Dancers & Musculoskeletal Injuries: Prevention & Management problem among classical and modern dancers. The majority of dancers have reported at least one injury that has affected their dancing or kept them from dancing and approximately 50 per cent of dancers report at least one chronic injury.

Symptoms If you develop an MSI, you may experience symptoms that interfere with your ability to perform at your accustomed level. Symptoms can include: • Pain • Weakness or difficulty with fine control of movement • Numbness • Tingling • Stiffness (reduced range of motion)

By Rochelle Blaak

I

njury: this dreaded word can literally break your routine. An injury can mean days, weeks or even months away from training and the performance stage. Injury prevention is a key component to maintaining a balanced and healthy lifestyle.

There are many different types of injuries in a dancer’s world: sprains, muscle cramps, tears, bruises and fractures.

Many of you have experienced one type or another in your career. But how do you know when something as simple as a sprain can be more serious, such a Musculoskeletal Injury (MSI)?

An MSI is serious because although it’s not necessarily life threatening, it can damage not only your career, but your emotions, finances, and physical and psychological well-being. It is not something to be taken lightly.

What is an MSI? An MSI is a chronic injury or disorder of the muscles, bones, joints, tendons, ligaments, nerves, blood vessels or related soft tissues. This includes a strain, sprain or inflammation that is caused or aggravated by activity.

According to Actsafe, an organization dedicated to the health and safety of performers in the motion picture and performing arts industries in BC, MSIs are the most frequently reported medical 34 just dance! | Summer 2014

• Loss of muscular control • Postural changes (for example, shoulders elevated or rounded forward) • Local swelling or redness It is important to pay attention to early symptoms that may indicate a developing MSI. This can prevent the development of chronic injuries that require major rehabilitation.

As a dancer, you may be hesitant to report injuries and may try to mask the effects partly because of a performance culture in which there is a long-standing philosophy that “the show must go on” and partly because of concerns about being labelled as a dancer with an injury.

If you experience symptoms of an MSI, don’t ignore them. You should take steps to deal with them as soon as you notice something is wrong.

Prevention Prevention methods are important and simple to practise. The following tips are suggested by Actsafe:

Warm Up Warming up before dancing helps reduce your risk of injury by: • increasing the temperature of muscles and connective tissues • stimulating the cardiovascular system to adjust blood flow from the body’s core to the active muscles, where the need for oxygen increases in response to exercise

• stimulating joint lubrication and preparing the joints for full range of movement

Stay Warm In addition to warming up, keeping warm while dancing is very important. Warmer studios help increase blood flow to the muscles and prevent injury.

Use Proper Technique Injuries resulting from improper technique tend to recur even after successful treatment. The same technique that first caused the injury could be repeated and cause more damage.

Dance on Sprung Floors When dancing, your high-impact manoeuvres and jumps exert a force on the floor while the floor exerts an equal force on your body; these forces can have a strong impact on your feet and joints. Sprung floors absorb some of the force, decreasing the acute impact on the body.

Remain Aware of Limitations When your instructors and choreographers are aware of your physical and mental limitations and requirements, you are less likely to feel pressure to push yourself beyond your capabilities. Maintain communication during class or rehearsals by having brief conversations. Pushing yourself can cause you to adopt sloppy technique or make unsafe movements, increasing your risk of injury. Remain aware of your limitations and know when to stop.

Rest & Nutrition Resting between workouts and when injured is a sound prevention method.

Muscles need rest in order to heal and develop properly. When dealing with an injury, remember the RICE protocol: rest, ice, compression and elevation.

In addition, good nutrition and meals throughout the day will also help prevent injury by providing the body with longlasting energy.

When to Seek Medical Help If you feel symptoms each time you dance or they get worse or persist after you have stopped dancing, find help from a healthprofessional who is experienced with dance-related injuries.

For more information on how to prevent and treat an MSI, please visit actsafe.ca.

ACADEMIES, SCHOOLS & STUDIOS Armstrong Dance armstrongdance.ca info@armstrongance.ca 250 546 0308 Armstrong, BC Arts Umbrella artsumbrella.com info@artsumbrella.com 604 681 5268 x0 Vancouver, BC AUUC School of Dance auucvancouver.ca danceschool@auucvancouver.ca 604 254 3436 Vancouver, BC Boswell Dance Academy boswelldance.com info@boswelldance.com 604 522 4424 New Westminster, BC Canada’s National Ballet School nbs-enb.ca Toll Free: 800 387 0785 Toronto: 416 964 3780 DanceFX danceschoolsmapleridge. homestead.com info@dancefxmapleridge.com 778 232 0868 Maple Ridge, BC The danceLAB dancelab.ca info@dancelab.ca 604 525 5289 Coquitlam, BC DanzMode Productions danzmodeproductions.com info@danzmodeproductions.com 604 294 4677 Burnaby, BC Defy Gravity Dance Company defygravitydance.ca office@defygravitydance.ca 604 272 0808 Richmond, BC Driftwood Dance Academy driftwooddance.com info@driftwooddance.com 604 770 4650 North Vancouver, BC Fusion Force Studio fusionforcestudio.com fusionf@telus.net 604 533 1863 Langley, BC

GForce Gym vancouverallstarcheer.com gforcegym@gmail.com 604.945.9952 Port Coquitlam, BC Invitation to Dance invitationtodance.ca dancewithus@ invitationtodance.ca 403 278 4849 Calgary, AB The Landing Dance Centre thelandingdance.com info@thelandingdance.com 604 325 8653 Vancouver, BC Marr Mac Dance & Theatre Arts marrmac.com 1968@marrmac.com 780 434 9281 Edmonton, AB OneDance Creative Arts Centre danceschoolsvancouver.ca onedance@shaw.ca 604 987 8747 North Vancouver, BC Place des Arts placedesarts.ca info@placedesarts.ca 604 664 1636 Coquitlam, BC Pro Arte Centre proartecentre.com info@proarte.ca 604 984 2783 North Vancouver, BC PULSE dance centre onthepulse.ca 604 474 3466 info@onthepulse.ca Port Coquitlam, BC The Richmond Academy of Dance richmondacademyofdance.com dance@ richmondacademyofdance.com 604 278 7816 Richmond, BC RNB Dance rnbdance.ca info@rnbdance.ca 604 980 3040 North Vancouver, BC Royal City Youth Ballet royalcityyouthballet.org rcyb@telus.net 604 521 7290 New Westminster, BC Royal Winnipeg Ballet School rwb.org school@rwb.org 204 957 3467 Studio One Dance Center studioonedancecenter.ca info@studioonedancecenter.ca 604 856 0400 Langley, BC

The Spiral Dance Co. spiraldance.ca info@spiraldance.com 604 541 2800 White Rock, BC Tri-City Dance Centre tricitydance.com info@tricitydance.com 604 523 6868 Coquitlam, BC Urban Dance Co. urbandanceco.com info@urbandanceco.com 604 277 4494 Richmond, BC Victoria Academy of Ballet victoriaacademyofballet.ca 250 590 6752 Victoria, BC COMPETITIONs, Conventions & Workshops Fresh Dance Intensive

freshdanceintensive.com david@freshdanceintensive.com The Dance Project thedanceproject.ca info@thedanceproject.ca 416 723 7533 Ontario The Hollywood Summer Tour thehollywoodsummertour.com info@ thehollywoodsummertour.com 1 818 574 8365 Los Angeles, CA iDance / SDF Productions idanceconvention.com sdfproductions@shaw.ca Showtime Promotions showtimedancepromotions.com info@ showtimedancepromotions.com 250 768 7202 Synergy Dance Competition Event World Management synergydance.ca VIEW Dance Challenge viewdancechallenge.com info@viewdancechallenge.com 1 855 405 VIEW 1 416 405 8439 5678 Showtime 5678showtime.com info@5678showtime.com 604 945 7469 Performing arts retailers and SUPPLIERS Avalon Dance Shop of Canada avalondance.ca info@avalondance.ca 604 874 2461 Vancouver, BC danceCraft dancecraft.ca dancecraft@shaw.ca 604-590-1733 Surrey, BC

Dream Duffel dreamduffel.com info@dreamduffel.com 877 378 1260 En Pointe Enterprises en-pointe.com info@en-pointe.com 1 866 491 9019 Forever Dancewear foreverdancewear.com info@foreverdancewear.com 604 770 0703 North Vancouver, BC Jazz Ma Tazz jazz-ma-tazz.com jazzma@telus.net Abbotsford: 604 855 9166 Maple Ridge: 604 466 0861 Zelen Shoes zelenshoes.com info@zelenshoes.com 604 669 3536 Vancouver, BC Professional companies Ballet BC balletbc.com 604 732 5003 Vancouver, BC Ballet Victoria balletvictoria.ca info@balletvictoria.ca 250 380 6063 Victoria, BC Lamondance lamondance.com info@lamondance.com 604 980 3040 Services Laura Zeke Photography laurazeke.com info@laurazeke.com 604 908 5861 Tutor Doctor Tri-Cities & New Westminster tutordoctortricities.com 604 939 3353 THEATRES Evergreen Cultural Centre evergreenculturalcentre.ca info@ evergreenculturalcentre.ca 604 927 6550 Coquitlam, BC

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