Freelancing free

Many dancers are freelance: the system doesn’t suit everyone but for many it is the chance to hone in on skills and passions. The freelancing game is ultimately busy, not allowing dancers to ‘switch off’ or take a day off, as they are always working and on the go. During downtime, such as travel for example, this is used to go through choreography for the next rehearsal, scheduling the logistics of the next dance gig, or networking and promoting your personal brand on social media.

Freelance dancers may rehearse with a few companies or choreographers at a time, and may also have jobs on the side of dancing to supplement their income, in order to pay for rent, food, transport, everyday living and maybe even for some savings. Despite being your own boss as a freelance dancer, there is no denying it is a draining lifestyle. However the freedom of dancing with anyone you choose counters this, allowing you to become even more artistically challenged as a constantly developing dancer.

Many dancers are a member of a full-time company before becoming a freelance dancer, choosing to take their own paths. It might be appropriate to dip your toes in freelancing first, for example as a choreographer or teacher, before taking the plunge as a fully-fledged freelancer. This means dancers can more easily jump between different companies and genres of dance, giving the opportunity to network and build up country or even worldwide contacts.

It is important to therefore look after your body as it is both your instrument and your insurance: make sure it can sustain the hours of rehearsals that are required. As a freelancer you are responsible for keeping track of your schedule, going to class or warming up before rehearsal, budgeting and negotiating fees, and keeping each choreographer or director happy. Make sure your schedule is informed with lots of communication about rehearsals and performances, remaining organised. Keep focused on what you love and make the most of experiencing different work and dance genres to aid your artistic growth.

Rambert’s choreography challenge

Rambert Elements is a new nationwide choreographic challenge initiative for secondary schools and colleges that will launch during the 2015/16 academic year. The initiative aims to raise the profile of choreography in schools and colleges and provide a national programme of professional support for students and teachers, to support the development of choreographic practice in future generations. Rambert is renowned for supporting choreography within its own company of dancers, which greatly complements the scheme.

The programme will give groups of students across the country the chance to create and perform short works inspired by themes and sequences of movement devised by some of Britain’s leading choreographers; Mark Baldwin (Rambert’s Artistic Director), Aletta Collins and Alexander Whitley. Each will create a ‘toolkit’ that will include a title, music, interviews with the choreographers and demonstrations by Rambert dancers of pre-devised movement phrases and tasks, which groups can use as starting points. They will also include materials relating to the choreographers’ inspirations for the pieces. This Rambert initiative is a stepping stone for students interested in developing their choreography, by taking pre-existing movement and personalising it.

Participating groups will create their own works, with the opportunity to showcase this at one of six regional venues: Edinburgh Festival Theatre; The Lowry, Salford; Norwich Playhouse; Rambert; Royal Concert Hall, Nottingham and Theatre Royal, Plymouth. One group from each regional venue will then be invited to perform their work accompanied by the Rambert Orchestra at a central London theatre in June 2016.

Rambert Elements is bringing leading choreographers into the classroom and celebrating young people’s creativity and diversity, raising the profile of dance throughout the country. The pilot will see more than 500 pupils from 36 schools and colleges across the UK taking part, with the aim of increasing both the number of participants and the reach of the programme year on year. Schools and colleges will be able to apply up until 4 September 2015 with the selected groups announced on 10 September 2015.

Project Polunin

Officially launched on 1 June 2015, a private fundraiser was held at Sadler’s Wells, London, to present Project Polunin, and the project’s intentions. A performance choreographed by the iconic contemporary choreographer Russell Maliphant featured Sergei Polunin, Nehemiah Kish, Fumi Kaneko and Jason Reily. Sergei Polunin previously caused scandalous ructions at the Royal Ballet when he left the company with no warning, in a direction seemingly away from dance.

Now, however, Project Polunin will take him back to ballet and dance, to create new works for ballet through the collaboration of these dancers with contemporary artists, musicians and choreographers for both stage and film. Based in London, the ongoing project will foster the creation of new ballets and dances in conjunction with other artists from film, music, and other arts, and provide continuous support for dancers and choreographers.

Project Polunin will act as a catalyst for bringing together new and innovative arts professionals to propel the art of dance into an exciting new direction with the ultimate intention of bringing it to the public, and capturing the hearts and minds of the audience. In association with Sadler’s Wells, Project Polunin will work with some of the finest dancers of today. The project intends to make works that will captivate and inspire a whole new generation of dancers and audiences, and ultimately means that Polunin may be on his way back, a potential coup for his supporters who were shocked and saddened by his sudden departure from the industry.

In order to complete the film projects and the new dance productions of Project Polunin, Polunin himself has advocated that the project needs to gather the creative and financial support that is so essential to keeping ballet alive and pertinent. This is certainly encouraging that he may be entering back into the world of classical ballet, or at least dance.

The Peacock Theatre’s most recent coup

The 7 Fingers (Les 7 Doigts de la Main) is one of the world’s most inventive contemporary circus companies, and is currently running at the Peacock Theatre in London’s West End. Its production TRACES has been well received by audiences, each rooting for the cast to fly higher, swoop lower and tumble faster. With some bungled tricks and a couple of missed hands, this feeling was made so much stronger as a bigger round of applause was gleaned from the audience.

TRACES combines traditional acrobatics with street elements, mixing theatre and contemporary dance, skateboarding, Chinese poles and Diablo. The acute mix of acrobatics, performance, song, piano and basketball kept the performance moving seamlessly, however the context of the performance and the cast was unclear and weak. Despite this, it is clear TRACES redefines the art of circus.

TRACES has been performed over 1,700 times in 23 countries, with London privy to the production until mid-July. The company originated in Quebec, a huge source for circus and entertainment of this kind. Another descendant of its circus school industry is the spectacular Cirque du Soleil, which adds strong narrative and entertainment to its highly skilled performances, each differing hugely.

Next The 7 Fingers is off on its world tour; the collective was formed ten years ago with its founding members Shana Caroll and Gypsy Snider choreographing this particular production. The feats are impressive which a variety of cast members undertaking the different elements. Even younger audiences can delight in the performers scaling tall Chinese poles and the comic relief from the danger by the talented, unique cast. Tumbling through metal hoops and being launched into the air by the others is all part and parcel of the show, a delight to see and a creation of anticipation for the next production of circus entertainment to hit the Peacock Theatre.

Theatre ticket app for the West End

Todaytix, a free ticketing app, has been running for New York theatre since 2013, where it has been dubbed Broadway’s version of taxi app Uber. It is now available in London, offering tickets for more than 40 shows that can be ‘bought in 30 seconds or less’ using the app, and its founders claim it will make the West End “more accessible than ever”.

Users are able to search by date, price, genre and location of the show or theatre, with tickets available from a week in advance to just 60 minutes before a show starts, giving audiences even more flexibility when in the capital and looking for a show to see. Tickets are available for shows both on the fringe and in the West End, including the large blockbuster musicals. It is argued that the app will help discover a new generation of theatregoing audiences, through the ease and simplicity of using the app. It may even encourage users who have never been to a theatre before to buy tickets, as it is becoming more hassle-free for every user.

It is believed that the app will appeal to new and younger audiences, as well as a new generation of theatregoers. This in turn will develop and enhance the future life and health of the theatre industry, by engaging with new audiences and providing them with a slick and efficient service. The founders claimed that 30% of tickets for West End shows go unsold each year, and that the app would create a way to bridge the gap by offering users the unique ability to browse a wide range of West End shows at the last minute.

Users who buy tickets using the app will pay a £3 charge per ticket, however this does not change based on the price of the ticket. The founders have also claimed that ticket prices will never be marked up, unlike many ticket touts who do so immorally. Using the app, audiences will also be able to rate shows and receive notifications about when sold-out productions become available.

Keeping boys interested in ballet

The balance between males and females in the dance industry – especially ballet – remains slightly skewed. There are predominantly more females than males, wrongly demonstrating that males receive more opportunities in dance; there are simply less of them, so it appears they are ‘better off’ than females.

To this end, it is important to keep boys interested in dance and ballet when they begin lessons as children, and capture that interest so it can be maintained throughout their lives. Younger children find ballet more appealing when they are not doing it alone. Having other boys in ballet classes helps, as males are very competitive. Having other males, or just one, to work with can be very motivating, as well as having special boys-only classes to work purely on technique for male dancers.

If male lessons aren’t possible, teachers can still set specific exercises for boys. When they get older teachers can also include male-orientated steps such as tour en l’air, turns and hops a la seconde, as well as pirouettes from second position. With girls also in the class, combinations can also be made less “pretty” and more strength-based and energetic. While girls may excel in adage or port de bras – although it is not definitive – boys may prefer jumps, separating the aesthetic functionality of the classical technique from the ethereal aesthetic. It is also beneficial for the opposite sexes to try those different exercises too.

Teachers can also encourage their students to find a dancing role model, and this can work particularly well for young male dancers. Here they can identify areas they are good at, and can see what they are striving for. Role models could be famous dancers, a favourite dancer from a local company, a male teacher, or even an older student. YouTube can work well in feeding their inspiration and passion for ballet, and arranging masterclasses with a male teacher can also work well to inspire boys, encouraging them to take ballet long term.

Sylvie Guillem to become Sadler’s Wells’ Associate Artist Emeritus

In the week of Sylvie Guillem’s final performances on the Sadler’s Wells stage, the theatre gave her the title of Associate Artist Emeritus, coming into effect in January 2016. Guillem, an iconic dancer of the twenty-first century, has been an Associate Artist at Sadler’s Wells since 2006. She announced her retirement from the stage in November 2014, and her final dance production – Life in Progress – has toured nationally and internationally so far throughout 2015.

Guillem has had an extraordinary career encompassing both classical ballet and contemporary dance, beginning with the Paris Opera Ballet School, and in 1981 she joined the company’s corps de ballet. She was promoted to the rank of “Etoile” by Rudolf Nureyev at the age of 19. 2015 now marks a poignant moment in Sadler’s Wells’ recent history in housing Guillem’s work. Guillem’s first commissioned work for the theatre, PUSH, was its first in-house production. The title of Associate Artist Emeritus is therefore a celebration of the wonderful contribution she has made to the world of dance through her incredible artistry.

Life in Progress, Guillem’s final tour, features both existing and new works by choreographers who have influenced Guillem’s contemporary career. The new works include a solo by choreographer and Sadler’s Wells Associate Artist Akram Khan, titled technê. The piece encompasses the dancer’s body, and how it carries the memory of all the lives it has described. Khan described the body as giving itself away in the moment of performance, so that as soon as each image is created, it is shed, and exists only in memory, so art is the memory of movement.

Life in Progress opened in Modena, Italy, on 31 March. It tours worldwide until its final performances in Tokyo in December 2015. The tour includes UK performances at Sadler’s Wells, London Coliseum, Edinburgh International Festival and Birmingham Hippodrome.

Scotch and Soda – circus on the edge

London Wonderground on the city’s South Bank is a cavern of spicy entertainment and smells of the long awaited summer. With a huge programme of comedy, cabaret, dance, theatre and circus, the Udderbelly Festival is hugely popular and always adorned with Londoners enjoying the gradually turning summer evenings.

Part of the eclectic line up is the performance of Scotch and Soda, with an extensive run in the London Wonderground Speigeltent. Made up of talented Australian performers from across the pond, the show is full of daring acrobatics, a sumptuous cocktail of jazz music and characters who strut across the stage be it in clogs, waistcoats or entirely naked. In the heady atmosphere of the Spiegeltent, the performances of the talents of Scotch and Soda are highlighted by the olde worlde circus acts, and the mirrored ringside.

The Scotch and Soda cast is small and personable – as an audience member you feel welcomed and included, rather than peering over the sidelines as with other similar performances. Scotch and Soda could perhaps be referred to as an edgy Cirque du Soleil; it is full of daring and cheeky charm but takes on a more gritty persona. Every element – from the props to the costumes to the tarnished champagne bottles used for a balancing act – was considered and played its part too.

Acrobatics, strength and circus skills naturally took up a large part of the 80 minute performance. With each cast member taking on a character from the history of Australian circus it added much to their skills as the audience could plot their journeys amongst each other. Double trapeze work was of particular note, as was the balancing act upon a tower of boxes. Charming lovebirds provided simple but effective comic relief from the daring of the bicycle riding, and the varying jazz music was the perfect musical backdrop for this fun but gripping spectacle.

Injury vs. pain

As a dancer, there will be undoubtably several pains you will encounter during your dancing lifetime. Be it pain going onto pointe, pain after a hard day dancing in a different way to usual or even the wonderful aching pain after a long rehearsal, pain is often present for a dancer. However, not all pains are good ones, as some act as warnings from the body because it is injured, rather than it just experiencing general dancing pains.

It is important to know the different between this ‘improvement’ pain and injury pain, when it is safe to continue dancing, and when it is imperative you stop dancing in order to repair the body. Some pains are the body telling you it is strengthening and improving itself whereas other pains call for rehabilitation so as not to hinder the body. As an injury for dance can be any matter of ailments, dancers must heed the ones that prevent them from dancing at their best.

Dancers need to correctly perceive the pain they are experiencing. Pain can occur daily, so it is important to identify the difference in this. Some dancers are highly aware of their bodies – as well as having a high tolerance of pain – and can instantly recognise the improvement pain, whereas for others it might the a little time before this recognition is in place. Some dancers think their general aches and pains are injuries, and treat them according to their perceptions. They may even push through the injury pain without seeking assistance or taking the rest that they should.

Despite this, being a dancer ultimately does build up tolerance to pain; there are always barriers to overcome in dance, and especially after dealing with a dance injury. You must be honest with your body when it is in pain to make sure you can aid it in the best possible way. There is no point trying to get back to the studio or the stage if you’re not fully healed, as you may end up with an injury that could stop you dancing.

Virtual dance corrections – The Dance Coach

Dance expert Bob Rizzo believes virtual dance corrections can improve your technique, by him coaching and advising aspiring professional dancers. Previously Rizzo has directed and choreographed for television and live theatre, and his company, Riz-Biz Productions, has produced over seventy five dance teaching videos covering Jazz, Tap, Ballet, Lyrical, Hip Hop, and Swing; his website, thedancecoach.com, serves as a virtual dance instructor.

With the internet, pre-professional dancers can access a wide variety of information about the dance industry and their careers, such as where to study dance in their area, as well as searching for auditions. The Dance Coach website, however, was designed to give professional feedback and advice for dancers considering a professional career. It also provides a service for any dancer looking for personalised, detailed feedback on a dance or maybe even audition routine, such as how to improve their technique and/or performance, as well as their choreography. Dancers – and teachers too – can therefore refine their work from a passive, objective source.

The website also offers a phone and Skype service to discuss dance career goals, college choices, or making a move to a larger city, again offering objective advice for those that need it, especially if they would like a second opinion or have no other source of information. Many online forums can also be somewhat useful in this area, however that can become opinionated and subjective, which is less helpful when the experience or problem is relative. Website users can also schedule a session for a private, one-to-one coaching in a studio.

As a virtual service, thedancecoach.com is a very cost-effective way for dancers and teachers to get feedback, especially if feedback is only usually gained from competitions. Additionally, gaining access to this information is highly valuable, being able to discuss career goals, professional career guidance based on interests and aspirations, as well as suggestions for additional education, including workshops, internships and job-shadow opportunities.