October 2014 – Page 2 – Dance Direct Blog. News, Reviews & Advice About Dance

BBC Young Dancer 2015

BBC Young Dancer 2015 is a new award for young people that showcases the very best of young British dance talent. Young dancers will enter in one of four categories: ballet, contemporary, hip hop and South Asian dance. The competition will culminate in a grand finale at Sadler’s Wells, London, when the best dancers in each category will compete for the competition title.

It is a brand new project for young ballet, contemporary, hip hop and South Asian dancers, as part of the BBC’s continuing commitment to the arts and the support of new artists. The new award joins BBC Young Musician as a showcase for talented and dedicated young performers. Since it was first held in 1978, BBC Young Musician has helped to launch the careers of many of the UK’s most successful classical music stars.

BBC Young Dancer 2015 is placing dance centre stage by looking for dancers aged 16-20 across the four categories. To reach the final dancers must make it through three competitive rounds, where they will be judged on criteria designed to reward technical command, creative and expressive ability, as well as hard work and dedication. Each round is a performance opportunity, and after each one they will receive honest and supportive feedback from leading professionals on the judging panel.

As dancers progress through the rounds, they will get opportunities to dance for leading professionals in their chosen dance style. There will be new choreography created for the finalists, and workshops along the way where they will have the chance to work on their performances with choreographers and leading dance practitioners.

The finalists will dance on the main stage at Sadler’s Wells on 9 May 2015, in front of the house and a UK-wide television audience. The winner will receive £3,000 to help support and further their dance studies.

Student Ballet Dancer Of The Year 2014 Winner Announced!

Amelia O'Hara A few months ago, we started a competition with the hope of crowning a young dancer here in the UK, Dance Direct’s Student Ballet Dancer of the Year. To enter, any interested parties had to submit a video of themselves showcasing their dancing skills, to be judged by Dance Direct blog writer, Jessica Wilson. The winner would collect £250 worth of Dance Direct vouchers to spend on dance gear and an article dedicated to them on our blog.

After the deadline closed on the 30th June, we have reviewed all the entries we received, and we are delighted to announce that the winner is Amelia O’Hara! Her entry video was very impressive and we were very keen to know a little more about her. To get an insight into how she started dancing, we fired over a few questions.

When did you start dancing?

I started dancing at the age of 6 at my local dance school in Wigan, England (Miss Sutcliffe’s Academy of Dance). At first it was just a Saturday morning hobby, but it soon took over every day of the week as I enjoyed it so much. Initially I studied all genres of dance; however it was clear from the beginning that ballet was my favourite. I knew that ballet was what I wanted to do. Both my dance teacher and family understood my desire to become a professional dancer and nurtured me for many years before I went on to train at The Royal Ballet School and then Tring Park School for the Performing Arts.

What gave you the passion to follow a dance career?

Looking back, it was whilst performing at The Royal Opera House in The Nutcracker aged 12, that I realised I wanted to be part of a ballet company. I adored the whole rehearsal process and working alongside likeminded people. I felt, and still feel there is nothing more rewarding than many hours of hard work coming together and performing it to a live audience. Amelia O'Hara

What has been the highlight of your dance studies so far?

I have had a number of highlights throughout my training such as working with The Royal Ballet Company and Northern Ballet Theatre. Also I have loved the experience of going to Sweden to performing at various Dance Galas.

2014 has held most of my highlights. Firstly I was chosen to perform the Le Corsaire Pas De Deux in Tring Parks Graduate Touring Company, Encore. This tour ended with a final performance at Sadler’s Wells Lilian Baylis Theatre. I can honestly say that this was the most exciting experience of my life so far!

Secondly, being chosen as the winner of this competition! When I entered I didn’t even think that I would have ever been picked out as the winner, so I am still very surprised and extremely grateful.

Finally was being offered a contract with a company that I have watched and admired for many years, Scottish ballet. I am very excited to start working with them at the end of August.

Who has been your inspiration in following a dance career?

My biggest inspiration is my ballet teacher Eve Pettinger MBE. She was a former professional dancer with London Festival Ballet (now known as English National Ballet) and was a colleague of Dame Alicia Markova. She has worked at Tring Park for over 55 years and began teaching me when I was 14 years old. She is devoted to ballet and her passion, knowledge and attention to detail is extremely unique. She has always been there to help and support me with my training in any way possible, even whilst coping with injury and ill health. I am so grateful for everything she has done for me over the years and I hope to make her proud in the future. I have never met a stronger more determined woman. She is not only my inspiration for my career, she is my inspiration in life.

You’re in the final year of your professional training, what’s your next step?

I have just graduated from Tring Park School for the Performing Arts and I am very excited to start a contract with Scottish Ballet.

What is your main career goal?

I would love to learn and perform Balanchine works such as Jewels and Serenade. But ultimately my main career goal is to dance for as long possible and to inspire as many people as I can.

What advice would you give to young dancers?

The advice I would give to a young dancer is to enjoy what you do and to be self-motivated and determined. You need to remember that your teachers are there to guide you but ultimately it is your job to put in the hard work. One of the most important things is to be organised and prepared, as it is not only about what you do inside the studio that counts, it is the work you put in before and after class. A little tip to help you improve is to write down your corrections after class and look at them before your next class. Also remember that communication is very important, make sure that if you don’t understand a correction or want some extra help then ask your teacher. I am sure they will be more than happy to support you as this is what they are there for.

It is crucial that you are realistic but also believe in your abilities, as dance is very tough industry where you will have to face some rejections. I have learned that when things don’t seem to be going your way, pick yourself up and push yourself further to prove what you can do. One of my favourite quotes is ‘Hard work beats talent, when talent doesn’t work hard’.

Most importantly have no regrets, love what you do and remember to enjoy the journey!

Being Mindful Of Health

Health In maintaining your health as a dancer it is important to consider all of the aspects of health which are equally as important as each other. For example nutrition through food and drink is used for the body’s every function, from muscle contraction to nerve impulses, with many nutrients taking on more than one job in the body. For instance, calcium is well known for being a hugely important part of bone health but is also critical for creating an electric impulse that travels down a nerve, and for allowing a muscle to relax after contracting.

Make sure the body is not overworked by doing too much too soon, and make physical changes gradually. Research has found that dancers tend to get injured when they have a dramatic change in their workload, either a rapid increase in the amount of dancing or a quick transition to a new style of dance for which the body is unprepared. Introduce your body to the change by taking time to increase the volume and/or intensity of physical load. This could mean gradually increasing the number of classes or styles you take or it could be increasing the number of repetitions of class combinations.

Cross-training also aids the body, simply because dance is so physical and dancers need to behave more like athletes when it comes to conditioning. A great way to make sure you are maximising physical potential, and reducing opportunity for injury, is by exercising in ways that are unlike exercise through dancing. This can improve cardiovascular endurance, muscular endurance and muscular strength. The same muscles are used over and over through technique classes or specific repertoire, and there is little chance to improve the strength and endurance of the muscles that are not critical for current work.

Make sure you rest too! Rest is the time the body takes to heal and improve function. If you are feeling exhausted, decrease the amount of dancing or replace it with low-impact activity like Pilates or floor-based barre. Rest is necessary to prevent fatigue, which is a major factor for injuries and one of the most preventable. Rest is also important for your immune system so help your body boost immune functions by getting enough sleep.

Image courtesy of Adria Richards.

Training In Fosse-Style Jazz

Like many other choreographers, such as George Balanchine and Martha Graham, Bob Fosse is one who created lots of spectacular work and an entire stylistic repertoire. His movements are slinky and sensual yet always have much emotional depth.

Fosse died over 25 years ago yet his style is still desired and emulated widely, especially throughout the US. The revival of Chicago the musical, choreographed by Fosse devotee Ann Reinking, is still running on Broadway and Pippin (with Fosse-inspired choreography by Chet Walker) is also back. Fosse’s work continues to inspire.

Fosse didn’t codify a technique to train dancers, yet his style serves as an essential base for students of all disciplines; Fosse’s smooth style and attention to detail are invaluable. Fosse is known to have called his dancers “actors”, emphasising that their primary job is to communicate a story as everything he did had an emotional, mental, political and ethical side to it. The dancers he trained are complete entertainers through their deep understanding of performance. Each step has intent behind it and you have to bring out every aspect of the character to convey it.

Fosse style encourages dancers to engage emotionally and also helps develop ensemble skills. In addition to dancers working together as a group, attention to detail is paramount. The intricate nature of Fosse’s choreography means so much can be conveyed through the subtlety of a single finger wag or a sideways glance. The style requires an incredible work ethic because much of the work is based on intricate isolations, so dancers develop a heightened body awareness and focus.

While the process of learning the work is intense, it is apparent there are two huge payoffs in auditions and onstage. You must be able to watch and replicate in a detailed and multi-layered way, and a diligent rehearsal process ensures confidence in performance.

UK theatres under threat

The Brighton Hippodrome, Plymouth’s Palace Theatre and the Victoria Theatre in Salford are at the top of this year’s Theatre Buildings at Risk Register, which lists 33 venues around the UK. Although the number of theatres has decreased, the Theatres Trust has warned the drop is partly down to changes to the way it focuses on venues under immediate threat. The Theatre Buildings at Risk Register is published annually, and identifies venues at risk from demolition, change of use, development, sale, decay and neglect, lack of funding and poor building operation.

Eight venues are new to the list in 2014, with the Trust claiming many of these are on it because local authorities no longer want responsibility for funding or operating them. These include the Secombe Theatre in London and the Muni Arts Centre in Pontypridd. Two venues from Blackpool are new to the register: the Winter Gardens Pavilion and the North Pier Theatre.

A worry for many involved is the extent to which more local authority cuts will lead to further closures, however the Trust’s advisers are working hard to help communities and local authorities find possible solutions. For the first time this year, venues have also been rated according to how important a venue is to its community, alongside risks to the building and quality of the theatre, however this is seemingly difficult to engage.

Brighton’s Hippodrome, which was at the top of the list last year, was labelled the most significant case for the Trust, with efforts ongoing to prevent it from being redeveloped as an eight-screen cinema and restaurant complex. Meanwhile, the Palace in Plymouth was used as a theatre until 1980 before becoming a nightclub, but has been disused since 2006. The Trust said it was supporting the Plymouth Palace Project to develop a business and management plan for the venue.

Image courtesy of Wikimedia Commons.

The Many Facets Of Dance

Zumba Class Regardless of your favourite dance discipline, it is important to maintain your practice in other dance forms to both complement and balance your training. Whilst one discipline may be concentrated on, it is beneficial both physically and mentally to take part in other dance forms other than your main interest.

Many teachers encourage their students to try everything to ensure their dance training is well-rounded and dance interests are well-informed. The more dance styles and dance knowledge you have under your belt, the better!

Once dance students begin to venture into dance careers, the different dance styles lend themselves to performances in different ways, and can even influence the roles you are cast for and whether you may have a role created on you in the future. Having a multitude of dance skills at your disposal means dancers are even more of an asset to the dance companies they join. Dance companies demand a lot from their dancers, so the more you can offer, the better.

Despite this, sometimes extreme pressure is placed on the body (and mind) when something completely new is required. Different styles to what you are used to can be difficult to get used to, but by cross-training your body, it will become easier to manage these changes.

Daily class is one of the best ways to cope with the extremes of different styles, as it warms the body up and prepares it for the day ahead. Keeping the body strong and confident is important, so eating well and looking after your body outside of the studio is also vital to succeeding.

Don’t forget that the opportunity to work on lots of different things in lots of different styles is the best way to develop as a dancer, and keep on learning!

Image courtesy of Wikimedia Commons.

Phoenix Dance Theatre At Home

Phoenix Dance Theatre will celebrate the 50th anniversary of the ground-breaking 1964 Civil Rights Act by presenting Tenacity, a specially curated programme that commemorates the Act as a landmark piece of American legislation that allowed voices to be heard. It became a catalyst for change in many parts of the world. Presented at the Stanley & Audrey Burton Theatre in Leeds, Tenacity is a mixed bill curated from Phoenix’s archive, reflecting the company’s own heritage through a range of choreographic voices and paying tribute to the global civil rights movement.

Alesandra Seutin’s 1976 tells the story of the Soweto uprising in South Africa, where a group of children were shot dead during a bloody protest for their rights. Longevity is an emotional duet by Gary Lambert, inspired by Martin Luther King’s ‘I have a Dream’ speech delivered during the Civil Rights March in 1963. The Audacious One, by Warren Adams is a passionate look into a world of political intrigue and power.

To accompany the Tenacity season Phoenix Dance Theatre will present a unique multi-media Symposium – including dance, lectures, film and audience discussions – that further explores how dance and choreography address historical and current political issues. It will consider the history in this programme and explore how movement can approach historical moments and express the forces that fuelled them.

Phoenix will then embark on a 7-venue national tour with its new triple bill of exciting and diverse works as part of its 2014 national tour, including a week-long season at Linbury Studio Theatre, Royal Opera House. The London season features a double bill by Christopher Bruce including Shadows, a brand new work created especially for Phoenix Dance Theatre, and a restaging of Christopher’s classic study of life in the 1940’s, Shift. Having choreographed works for leading dance companies across the globe, this is the first time that Phoenix will perform any of this renowned choreographer’s work.

The Inner Critic

Edgar Degas - Dancer Stretching at the Barre

Dancers are perfectionists, no matter how high the achiever. Despite this, needing constant approval from your teachers, peers and even yourself can be detrimental for you both physically and mentally. It can result in doing too much, feeling anxious and not making enough time for yourself. Great results can sometimes be at the expense of other things, and it can be easy to forget what is important.

If this sounds familiar, focus on how the need for approval is causing you to work too hard – seeking approval can negatively impact your performance, as well as leading you to turn down new opportunities and challenges and even withdraw from dance or give up all together. Seeking constant approval can hold you back from doing the important things, being free to create and achieve.

It is difficult to ‘let go’ of needing others’ approval and to increase your own sense of self-worth and wellbeing. It is important to continue to build self-acceptance of yourself. Remind yourself of things you’re proud of or moments you achieved: when you feel that you’re not good enough remember those moments. Don’t let your inner critic run wild with your imagination – have confidence in your own ability and choices.

When you perform it is natural to think about and value the evaluation and opinions of others. Remember to value how you feel about the performance too, and what it meant to you – constructively evaluate how you could improve it for next time. When you take on a new commitment, think about your decision and how much of it is lead by what you want to do, don’t think too long or hard about deciding to do it for others’ approval. Do it because it’s right for you, and whether it is important to you.

Image courtesy of Wikimedia Commons.

Common Foot Problems For Dancers

Foot Thong The feet are important to any human being, in terms of posture, gait and movement. For dancers the feet are constantly put under pressure as dance relies predominantly on flexible, mobile and healthy feet. Despite this there are a few common foot injuries in dancers:

Hallux Valgus and Bunions

The big toe tilts sideways towards the second toe and becomes painful, often developing bunion at its base. The pain is usually worse when wearing tight footwear, or when putting excessive pressure through the affected area, such as when on demi-pointe. The entire leg’s biomechanics are often involved: to manage the problem there are options of manual therapy, stretches and strengthening exercises for the feet, ankles, knees and hips. Failing this, surgery may be required.

Hallux Rigidus

This condition becomes apparent during full demi-pointe and is characterised by pain and reduced ability to achieve a 90 degree angle at the joint between the big toe and the rest of the foot. Forcing demi-pointes causes the joint surfaces to become irritated and bony spurs can develop. Half demi-pointes should be encouraged as the forces through the affected structures are then reduced. Cryotherapy (ice treatment), mobilisation and regular stretches can help in reducing pain and inflammation.

Plantar Fasciitis

Characterised by pain on the sole of the foot that is often worse in the mornings or after a strenuous exercise session. It is caused by an irritation and inflammation of the fascial covering of the sole of the foot and, in dancers, it is often linked to dancing for long hours on hard floors. Rest, cryotherapy, anti-inflammatories and manual therapy are all helpful in its management. Orthotics and splints can be used in chronic cases to help alleviate the symptoms.

Metatarsalgia

Characterised by pain over the ball of the foot. It is usually caused by years of overuse and overstretch of the ligaments of the toes; the associated joints become too unstable to sustain body weight and pressure which leads to metatarsalgia. Rest and cryotherapy are recommended, and metatarsal pads can be used to relieve pain and pressure, and strengthening exercises is encouraged.

English National Ballet’s 2014/2015 season

ENB Logo There has been lots of exciting news for English National Ballet recently, including its presenting Modern Masters: Icons of 20th Century Choreography at Sadler’s Wells in March 2015 (including works by Forsythe, Neumeier and Kylián), two new regional hubs for English National Ballet’s Dance for Parkinson’s programme, the My First Ballet series continuing with a brand new version of Swan Lake and a large international tour to take place in 2015.

Modern Masters will include works from two choreographers new to the Company’s repertoire; William Forsythe’s In the Middle, Somewhat Elevated and Spring and Fall by John Neumeier. The triple bill also includes Jiří Kylián’s Petite Mort, first performed by the Company in Ecstasy and Death in 2013. Originally created for Hamburg Ballet, Neumeier’s Spring and Fall is not in the repertoire of any other UK company. Set to Dvořák’s Serenade for Strings in E Major, it features two couples and corps de ballet.

English National Ballet is committed to presenting the very best of both traditional and contemporary ballet to audiences across the UK: bringing these works to Sadler’s Wells continues this commitment and offers the opportunity to reach new audiences. Continuing to develop its work with Dance for Parkinson’s, English National Ballet will expand its regional class programmes to include DanceEast in Ipswich and National Dance Company Wales in Cardiff.

English National Ballet will take its critically acclaimed production of Coppélia to Southampton, Oxford and Bristol, and ahead of its run at the Coliseum in January 2015, Derek Deane’s Swan Lake will tour to Manchester, Milton Keynes and Liverpool. Making ballet accessible to audiences as young as three years old, the popular My First Ballet… series continues with My First Ballet: Swan Lake. The production will run at the Peacock Theatre, London, followed by a six week UK tour.