Month: December 2015

In a basketball court in Rio de Janeiro’s notorious Morro do Adeus, a ballerina is teaching ballet to young girls, offering an opportunity to transcend the harsh reality of their surroundings. The city’s Morro do Adeus slum is made up of more than a dozen favelas, a huge network of neighbourhoods with a population anywhere between 60,000 and 120,000.

Tuany Nascimento, the young ballerina behind the classes, abandoned her ambition of becoming a professional due to the expenses, but she is determined to give similar opportunities to children in her community. She aims to give the girls a life experience through ballet – whilst aged only 20 herself – starting the “Na Ponta dos Pés” project in 2012. Through the girls’ ballet training she aims to give them the foundations to go to college and even achieve their dream jobs, giving the girls determination and focus.

Whilst today there is less ruling by gangs in these areas, and less violence and cartel power in the favelas as a result, the majority of ‘pacified’ areas still have war within them. Nascimento would like to see authorities providing more social and cultural activities, rather than taking control of the areas through state forces attempting to prevent violence breaking out. Nascimento therefore aims to continue the ballet project and provide opportunities, giving young people a chance not to fall into crime.

In September this year Nascimento received a grant to start building a new community centre that will include workshop space, a library and a fully equipped dance studio, meaning her days of teaching workshops in the exposed outdoor sports area will soon be over. Local businesses have promised to contribute with construction materials and further fundraising in order to continue to provide for the young dancers.

For many in the showbiz world, the festive period is equal to one thing – pantomime! And for many graduating students straight out of college, performing in pantomimes can be a way of gaining some work for a few weeks while they try to secure a future contract. Working as a professional dancer in a pantomime, alongside the juvenile dancers and the principals, can be a way to hone skills and possibly work alongside bigger stars that producers have paid to appear in the show.

Panto means a period of at least six weeks away from your home, and often the show you are performing in is not local to you. This means dancers need to find digs in the area they are performing. It’s important to arrange digs immediately so you know you have a comfortable place to return to after rehearsals and the show, and sharing with other company members is always a good idea. Try to stay as near the theatre as possible so you can get back quickly and easily after the show, especially if you don’t have your own mode of transport.

Aside from the musical Cats, pantomime can perhaps be one of the most physically demanding forms of theatre. It is ultimately important to ensure your fitness levels and body conditioning are at their peak, ready to take on the run. There are usually two shows a day, equating to twelve shows a week, so it is a good idea to put your fitness first. The show run could be up to six or even seven weeks so maintaining a good level of body and vocal fitness is vital. Use your voice daily for a period before rehearsals begin and cross-train regularly in areas aside from dance.

Pantomime can also be an invitation to party with the other cast members and new friends, however the hectic social life and long days can take their toll. Appearing professional and performing at your peak does not go hand in hand with partying and staying out late. Make sure you get enough sleep to perform well the next day, you may need to be back next year!

With current emotions for the people of Greece running high, it seems many are turning to tango as the dance of passion to help them during troubled times. It is natural that humans want to express themselves, and particularly during the hard times Greeks are experiencing. Dance is naturally unspoken communication and through the tango and Argentine tango there is so much passion to convey.

Traditionally, Greeks many have agreed that their favourite pastime was sitting around a table dining with family and friends, but now, with tango music powered by generators attached to cars, habits have changed and Greeks have turned to other forms of relief. It is maintained that Greeks also have a special affection for Argentina, the birthplace of tango, as a country whose economic troubles is often compared to their own. Perhaps this explains why tango is so popular among the Greeks.

In Greece pop-up milongas, like tango dance studios outside, have gained a popularity especially with the growing numbers of the young and middle-aged who have turned to tango. There are now three or four milongas every day and most are free of charge. Tango studios are appearing in lower-class areas equally quickly, mirroring the pattern of when tango first originated in Buenos Aires in the early 19th century.

For many it is the philosophy of the tango that is appealing as everyone can improvise, a man can lead or a woman can lead and at any time the rules can change. In recent years, Greece has produced world-class tango dancers, with several winning European championships and emerging as finalists in global competitions. The dance form – so resonant of love and loss – appeals naturally to their experiences. Many would even argue that Greeks invented drama, so their appreciation of tragedy is very compatible with tango.

The government’s Department for Culture Media and Sport’s overall budget is to be cut by 5% it was recently announced, yet the Arts Council will continue to be protected. Chancellor George Osborne has promised to increase funding to Arts Council England, and national museums and galleries in his Spending Review, however there have been different concerns over the future of museums, galleries and theatres that rely on funding from local councils.

However, Osborne told the House of Commons that the Arts Council and the UK’s national museums and galleries will get a cash increase between now and 2020, and as a result Arts Council England’s grant is expected to rise by between 1-2% over the next five years. This means it can continue to fund its 684 theatres, museums, galleries, dance, opera and ballet companies and other cultural organisations at current levels until 2018.

It was a welcome surprise to hear Osborne proclaim that one of the best investments for the nation to make is in our arts, museums, heritage, media and sport: Ed Vaizey, the Minster of State at the DCMS, said the Comprehensive Spending Review settlement for his department was the best news the subsidised arts have had for six years. Many in the arts had been prepared for a deeper funding reduction, relieved for the decision not to have significant impact.

Despite the good news however, it is likely that many museums, galleries and performing arts organisations must heed the repercussions of cuts to local government budgets, meaning some may close. Across the country, especially in less well-off areas, civic and local museums may face difficulties because of local authority funding cuts over the 2015-20 period.

While the Comprehensive Spending Review also included other provisions for arts and culture, such as £4million for a Birmingham Dance Hub, it has been highlighted that arts organisations still need to look for new sources of funding in this very narrow funding environment. A more diverse funding model will mean a greater emphasis on philanthropy and the growing social investment funding environment.

Contemporary choreographer Hofesh Shechter will be adding his own moves to Broadway’s new ‘Fiddler on the Roof’, adding contemporary dance to the Jerome Robbins musical but without losing its folklore feel. For the upcoming revival of the classic musical in New York, the Israeli-born star of the UK’s contemporary dance scene will distinguish this production from the others.

Dance is far from the signature element of the 1964 musical about a Jewish family on the eve of a pogrom. Despite this, Shechter has worked with the dancers to convey a movement aesthetic that is both gritty and grounded, ready for the previews at the Broadway Theatre from 20 November. The movement vocabulary often requires a low centre of gravity, with knees bent and bouncy, while the arms are thrown upward to convey emotions.

After establishing his own company in 2008, Shechter has since won numerous awards in Europe. He is an associate artist at Sadler’s Wells, London’s premiere venue for dance, and The Brooklyn Academy of Music has presented his work, danced by companies such as The Royal Ballet and Nederland Dans Theater.
Shechter’s own culture feeds directly into his choreography; his early study of folk dance as a child in Jerusalem rooted him in tradition, emphasising the strength of his work in question. As a result, Shechter aimed for his Fiddler on the Roof to have a sense of realness about it, creating movement that comes from his culture. The eclectic result is the blending of ethnicity with contemporary dance, filtered through the unique prism of Broadway.

In the mid-1960s, the original choreographer Robbins researched for the musical by travelling to New York’s Jewish communities to watch wedding celebrations. Shechter is continuing in this vein by specifying his dancers must not be Broadway hoofers, crossing cultural currents for the sake of the show. The movement continues to be celebratory movement, that comes as a spontaneous reaction using the dancers as real people.

Of the many pains a dancer may endure, the pain of shin splints is second to none. Shin splints is an overuse injury technically known as media tibial stress syndrome. They can range from a stress injury (swelling of the shinbone) to a stress fracture (a crack in the bone), and plague runners as well as dancers.

For some dancers, if can be difficult to identify the root of the problem as the term applies to many different pain points; some people feel pain in the muscle, others feel it in the bone, while still others feel pain at the knee. As a result, easing the pain is a challenge as there are two types of shin splints: bone and muscle-related.

The majority of shin splints stem from the shinbone, meaning the bone gets sore from impact-related activity and starts to swell. If not treated correctly, stress injuries can turn into a stress fractures, causing more pain and requiring a longer recovery period. The minority of shin splints are caused by muscle-related issues: when the muscle in the front of the leg starts to swell, the tendons around it become too tight, causing pain.

To reduce the pain, firstly it is important to rest. Foam rolling is also preferable, on your calves and around the affected areas. If the discomfort is bone-related, icing your shins and taking anti-inflammatories will help, in addition to icing and elevating your shins for at least 20 minutes, twice a day, to ease the pain and swelling.

Despite the many ways they can be caused, there are three factors at the root of shin splints. If your feet roll inward, extra unnecessary force could be loaded onto your tibia bone, causing discomfort. How much dance you do – and how often – can also affect the injury, and the lower your bone density, the greater your risk.

Preventing the injury is important: being aware of any pain in your shins (and limiting activity accordingly) is a way to prevent long-term distress, however it is also recommendable to continue to strengthen your lower legs and feet, as well as carrying out all-around strength training.

For a dancer today, it is imperative they supplement their dance training with other techniques and practises. Cross-training in this way means that their fitness is at its peak – they are not just fit for dance – and that their bodies are in the best condition possible. It is proven that alternative training methods help dancers to become better and stronger dancers, and yoga provides many of these further benefits for dancers.

As it does for everyone who practises it, yoga provides increased peace of mind and body awareness which is especially valued. For dancers this is to a greater extent than that usually achieved in terms of posture and alignment in normal dance classes. Yoga enables dancers to be mindful about their bodies, moving through positions slowly in order to identify muscles and structures. Yoga promotes correct alignment which then provides a strong foundation for the body. In dance training this increases the body’s stability and adds power to the movement’s through increased strength.

Through training, dancers tend to have a natural flexibility and strength which is then enhanced naturally through the supplement of yoga, increasing this in different ways. Many standing yoga poses develop the same muscles that are used in ballet classes, and upper body strength is increased too through positions such as downward dog. Additionally, if dancers suffer with any muscle tightness, yoga can help release those areas for a greater range of movement.

Yoga has many additional health benefits which have a wide appeal. Yoga dictates that poses and stretches are held for substantial periods of time, increasing flexibility and reducing the risk of injury due to the simultaneous build up of strength in the body. Yoga also lowers the heart rate and decreases blood pressure, working subtly in placing gentle pressure on the internal organs which has a detoxifying effect on the body. All yoga’s benefits can be applied to both everyday life and dance, whether you are looking to build strength, improve flexibility and balance, or just gain a more relaxed state of mind.

Training in the performing arts is the dream of many young hopefuls, who wish to extend their love of the disciplines far beyond that of a hobby. For many this is not possible due to factors such as the competition from others and personal financial factors. For those that do gain a place on a training course to further their passion, often the qualification they gain at the end is perfectly adequate for performing, however not for if they wish to develop their careers further in the future.

A vocational college qualification has its own weight which – along with experience – enables performers to work adequately in the industry having had lots of previous training. Despite this, many performers do not and cannot continue performing up until they retire; many may suffer injuries which prevent them from performing, others may want to retrain and embark on an alternative career. Some professionals enter the opposite world of producing, directing and casting, and therefore an enhanced qualification, such as a degree, will improve their chances of extending and developing their career.

Studying online for an enhanced qualification can be the best option for many, as it works around your existing schedule, rather than having to press ‘pause’ and take time out in order to study. Many performers who are in the midst of establishing their performing career may find this option more than viable, earning their degree while continuing to perform. For example, a Boston Ballet dancer is currently pursuing a health science degree from Northeastern University in the United States, and fits one online class at a time into her demanding schedule.

Studying online requires proactive and dedicated students in order to keep up with the work and ensure there is enough time to digest the material. Many providers offers online programmes: most classes follow a traditional semester system and there are no set log-in times for lectures as they are pre-recorded. Assignment submissions can be due weekly or monthly, and any exams are completed online within a set time period. Open universities also offer a huge array of courses which involve scheduled online web conferences, which are also self-paced.

The 2015 Strictly Come Dancing Christmas Special line-up has been revealed, to the delight of fans across the country. With glitter balls at the ready, six of the most loved Strictly Come Dancing winners and contestants from previous series will return for a festive edition of the most popular prime time television shows. The show will no doubt add some sparkle to BBC1 on Christmas Day.

The Strictly celebrities taking to the dance floor this Christmas will be:

Abbey Clancy, Model and TV Presenter
Winner of Strictly Come Dancing (Series 11)

Alison Hammond, TV Presenter
Contestant in Strictly Come Dancing (Series 12)

Cassidy Little, Former Royal Marine Medic
Winner of The People’s Strictly for Comic Relief 2015

Harry Judd, McFly Drummer
Winner of Strictly Come Dancing (Series 9)

Lisa Snowdon, TV and Radio Presenter
Runner up in Strictly Come Dancing (Series 6)

Tom Chambers, Actor
Winner of Strictly Come Dancing (Series 6)

Professional dancers Pasha Kovalev, Brendan Cole and Robin Windsor will partner the ladies whilst Natalie Lowe, Oti Mabuse and Joanne Clifton will partner the gentlemen.

In this year’s Christmas show, all six couples will each perform a magical routine for the studio audience. In a bid to be crowned Christmas champions 2015 and lift the famous Silver Star trophy, dances will be themed around family favourites including Alice in Wonderland, Jack Frost and Scrooge.

The Judges will score each couple for guidance only and the studio audience will decide which couple will win the Strictly Come Dancing Christmas Special 2015 – the judges’ alter egos are completed by Darcey Bussell Sprouts and her three wise men; Len Glitter Goodman, Bruno Tinsel Tonioli and Craig Revel Humbug to add some festive cheer to the proceedings. Sir Bruce Forsyth and Tess Daly will be back for the annual Christmas Special following the Final of this year’s series, and the show will culminate with a spectacular music performance from Dame Shirley Bassey.

Following a hugely insightful interview with Camilla Dallerup on the Dance Direct blog, Camilla’s next steps have propelled her further along the path of her career. It has been ten years since Camilla Dallerup first appeared on the hit television show Strictly Come Dancing, winning in 2008. More recently Camilla has made a name for herself as a motivational speaker and life coach to the stars. Even more recently, Camilla has written her first book, STRICTLY INSPIRATIONAL: How I Learnt to Dream, Act, Believe and Succeed.

In her exciting book, Camilla reveals the cut-throat, behind-the-scenes world of dance, shining light on the hard work, burnout and heartache of dance that is too often experienced. Throughout the book Camilla makes use of her training and experience as one of the original cast of professional dancers on Strictly, which changed her life. She uses her life to help others achieve goals, and consequently the book is not just autobiographical, but also a practical guide to living life to the full and making your dreams a reality.

Camilla won her way into the hearts of the UK on Strictly. Despite this, her new found fame and consequent change in career has meant Camilla can pass on the tools and techniques that she has studied to bring positive thinking to her life. The new book also reveals how the lessons she learned can help others to achieve their goals and live the happiest lives possible. The book is therefore a way for Camilla to share her most important life lessons in order to motivate and encourage others.

Danish-born Camilla moved to the UK 18 years ago, having had a long and successful career as a professional dancer before becoming a regular on the BBC’s Strictly Come Dancing. In 2009 Camilla qualified as a hypnotherapist and for the last 11 years she has been running her own coaching and corporate motivational speaking business.