Strictly Secrets

Strictly Come Dancing

In the BBC’s Strictly Come Dancing series 6 in 2008, Camilla Dallerup and partner Tom Chambers were crowned the winners, with Dallerup going on to reveal some Strictly secrets.

The shoes worn by the contestants, including those who have just begun their 2012 stint on the show have been developed over many years by top shoe manufacturers with the input of world class dancers, designed to give them support in the right places and so they can be balanced correctly. The shoes are one of the core elements of making any dance successful – a tap dance performed in pointe shoes, let alone a tutu, would not have quite the same meaning or effect! Latin dancers, as a result, wear specific shoes which enhance their movements and become an extension of their foot.

It is interesting to note that ballroom dancers wear a lower height heel than latin dancers, as latin dancers need their weight further forward onto the balls of their feet… this is just the females alone, with around 3.5 inch heels. The men’s shoes also have Cuban heels which are higher than those worn for ballroom to ensure that their weight is forward toward the front of their foot too. However, ballroom dancing does not require this due to the specific hold the dancers must maintain and the closeness with their partner, with just 2.5 inch heels.

The soles of the shoes worn are made of suede so they have long lives: dancers can also be seen brushing them with a special steel brush to make them non-slippery, or alternatively leave them to their own devices to get shiny and much more slippery. It was revealed, however, that many latin dancers also put castor oil on the soles of their shoes to achieve the ideal non-slip shoes.

National Resource Centre for Dance at the University of Surrey

National Resource Centre for Dance (University of Surrey)The University of Surrey, renowned for its higher education dance programme, has presented its schedule of its next National Resource Centre for Dance courses for Continuing Professional Development for dance teachers, be they of the ballet shoe, tap shoe, or jazz pant discipline.

The first of the sessions was A2 Dance: Focus on West Side Story and Jerome Robbins, held on 13 October. The course examined Robbins as a practitioner and the context of West Side Story in relation to the development of Musical Theatre as a dance genre, tutored by Gill Graves. Graves trained at the Roehampton Institute and has been teaching in further and higher education for 17 years across a wide range of Performing Arts and Dance. She is also an examiner and course team leader for A Level Dance and is the Head of Vocational Studies at the Royal Ballet Upper School.

The 14 October saw A2 Dance: Focus on Alvin Ailey American Dance Theater, course examining the Area of Study Alvin Ailey American Dance Theater 1958-current providing historical and cultural context. There was specific focus on identifying key practitioners and their stylistic characteristics through practical and theoretical exploration, including include ideas for preparing for Dance Appreciation and the solo based on a practitioner for the Performance task.  The course was tutored by Gillian Lenton, who has an MA from the University of Surrey and teaches KS3 & 4, AS and A Level Dance and A Level Theatre Studies at Weald of Kent Grammar School for Girls, also GCSE and A Level Dance at the Royal Academy of Dance.

The next in the schedule will take place on 10 November for GCSE Dance: Raising Standards in Choreography and Performance. This workshop will be a mixture of practical and theory, focusing on identifying how to help students understand how to successfully integrate performance and choreography into course planning. Penny Perrett will be leading the course who has led courses for teachers in all phases of education and was part of the team who produced the teaching framework for dance for Youth Dance England. She was also a member of the board of the National Dance Teachers Association for many years.

The next will be A2 Dance: Focus on Zero Degrees (Sidi Larbi Cherkaoui & Akram Khan, 2005) on 24 November.  It will provide a contextual overview, key points and analysis in addition to warming up in an appropriate style and exploration of the repertoire practically and theoretically. The course leader will be Lorna Sanders who has a PhD from the University of Surrey, constructing a theoretical reconceptualisation of the subject of dance in education, looking specifically at GCSE and A Level Dance which she taught, moderated and examined for many years. Sanders is also a dance writer of articles, educational publications and two books, having been assistant editor for the 2nd edition of Routledge’s Fifty Contemporary Choreographers published in 2011.

The last in the series will be A2 Dance: Focus on The Royal Ballet, 1956-1977 examining the Area of Study The Royal Ballet 1956-1977 providing historical and cultural context. There will be a specific focus on identifying key practitioners and their stylistic characteristics through practical and theoretical exploration on 25 November, again presented by Lenton.

A worthy set of useful and insightful information courses to inspire any teacher.