Jessica Wilson – Page 124 – Dance Direct Blog. News, Reviews & Advice About Dance

Big Dance Pledge 2014

Big Dance 2014 The Big Dance Pledge is back for 2014, a chance to learn, make and perform dance with the rest of the world as one. As a mark of the 5th anniversary of the Big Dance Pledge, this special 5th edition is created by Scottish Ballet with fun and celebration at its heart, as part of the Glasgow 2014 Cultural Programme of the Commonwealth Games. Lots of help is at hand; watch the ‘Pledge Family’ demonstrate, look through the Big Dance tutorial and inspiration films to begin planning your own Pledge!

You can even make your own version for the Big Dance Pledge 2014, with a group of friends, classmates or work colleagues to put your dancing on the map! Once you are rehearsed and happy with your dancing, be ready to perform as part of the two simultaneous performances on 16 May 2014 from wherever you are to be part of a unique and simultaneous wave of dancing across the world. If you would like to learn the official Big Dance, watch the complete choreography online. You can learn the dance with 5 tutorial videos, showing one section at a time – don’t forget to use the special warm up video!

The Big Dance Pledge will travel around the world with the support of the British Council. School children all over the world will be able to learn the Scottish Ballet choreographed dance and participate in the Big Dance Schools Pledge through the British Council’s Schools Online website. The British Council also plan to provide step by step guides for Commonwealth schools on how to take part, alongside additional teaching resources that will provide an introduction to dance.

Devised for people of all ages and abilities and with a variety of dance styles included, Scottish Ballet’s Creation of the Pledge has been in development for almost one year by the company’s education team.

The On Pointe Enrichment Series

American Repertory Ballet will present its first ‘On Pointe Enrichment Series’ event on 7 February, specifically aimed at children from 2 years, and their families, entitled “Telling Stories Through Dance”. The American Repertory Ballet Trainees and members of American Repertory Ballet Workshop (ARBW), a performing group comprised of Princeton Ballet School’s advanced students, will perform Matthew Keefe’s Grumpy Bird and selected variations from Princeton Ballet School’s spring 2014 production of The Sleeping Beauty. All American Repertory Ballet’s On Pointe events are free and open to the public.

Grumpy Bird is a lively and humorous one act dance programme based on the children’s book. The Sleeping Beauty is a full-length classical ballet: it’s renowned tale tells the story of Princess Aurora, who sleeps for 100 years as a result of the sleeping spell cast by bad fairy Carabosse, and the Prince who breaks the spell with a kiss. Grumpy Bird has been performed as part of an assembly programme at numerous preschools and schools as a result of ARB’s Access & Enrichment initiatives, including planning ARB’s school time matinees and assembly programmes.

Discussion of the art of storytelling in dance will be led by ARB Resident Choreographer Mary Barton and ARB Director of Educational Programming Lisa Beth Vettoso. Barton is a long-time faculty member at Princeton Ballet School and also serves as a ballet master for the ARBW programme. She also directs the students’ rehearsals, namely oldest and most advanced groups. Barton also trains and coaches the Trainee division, which performs and rehearses with American Repertory Ballet in addition to ARBW. As Director of Educational Programming, Vettoso works extensively with ARB’s DANCE POWER programmes, including rehearsing the DANCE POWER Scholars and Dance Mix students.

Cirque du Soleil launch theatrical branch

Cirque du Soleil, the renowned theatrical company famous for its incredible show performances, has announced it has formed Cirque du Soleil Theatrical, a New York-based division that will focus on developing new shows for Broadway, the West End and touring.

This comes as exciting news for the UK capital, in the hope that Cirque du Soleil will create a show for Theatreland rather than just the outskirts at the Royal Albert Hall and other similar venues. Cirque du Soleil is based in Montreal, Canada, and has travelled all over the world performing to the masses who adore their numerous productions. The company began as a troupe of street performers and, over 30 years, has grown into a multi-billion dollar international company.

Scott Zeiger, a founder and partner in BASE entertainment, which produced Phantom – The Vegas Spectacular, has been named president and managing director of the theatrical division. Zeiger’s other Las Vegas-based productions include Jersey Boys and Rock of Ages, with Broadway credits including The Who’s Tommy. Zeiger will also work with Cirque du Soleil’s sister troupe, Cirque Éloize, which appeared at the Peacock Theatre, London, in 2013 to great acclaim.

Previous theatre ventures ahead of the creation of the theatrical division for Cirque have had a mixed history. Wintuk, a music-based narrative, played four holiday seasons at Madison Square Garden, US. Banana Shpeel, a vaudeville-themed piece, played an extended preview period and season at the Beacon Theatre, with a revamped version gathering more success on tour in the US. Zarkana, a touring show developed for a summer residency at Radio City Musical Hall, ran for two seasons before becoming a production in Las Vegas. Iris, a Hollywood-themed show created for the Dolby Theatre in Los Angeles, home to the annual Academy Awards, ran for a year.

Andrew Lloyd Webber To Fund Arts Apprenticeships

Andrew Lloyd Webber’s charitable foundation has announced six grants which will support apprenticeships within professional arts organisations. The grants total more than £150,000, meaning young people will be able to gain better access to the arts, and gain a better chance of success with funds behind them as part of organisations.

Five theatre organisations and one music festival will receive funding: Shared Experience will receive £105,000 over three years to support one trainee director and producer per year as a result of paid six-month apprenticeships; Tangled Feet will receive £14,000 over two years to help fund its participation programme for young people; Manchester Royal Exchange’s Young Company will receive £10,000; Chickenshed will receive £15,000 towards its Young Creators Programme; Icon Theatre in Medway will receive £9,000; and the Lake District International Summer Music Festival will receive £10,000. There is great variety in the organisations which have gained support, meaning benefits will be across the board of the arts industry.

Since the Andrew Lloyd Webber Foundation was re-launched in 2011, it has donated over £8.5 million to more than 120 projects. The foundation’s support of these projects will give young people valuable experience within professional arts organisations, and not just those which place performers on stage. It seems relatively common that talented individuals working behind the scenes are forgotten or glanced over. However, as the trust advocates, it is equally important to provide training for these skills as it is for performers, because without those behind the scenes – or in other, equally important, areas of the performing arts industry – there would be no show for the performers to work in.

As a result of the grants by the foundation, arts across the UK can continue to produce to high standards having provided solid training and opportunities for those aspiring to work in the arts.

Image courtesy of Wikimedia Commons.

Where Are All The Budding Ballerinas?

Dancer turned choreographer Carlos Acosta has warned that ballerinas are causing a crisis in the dance world because too few are making the leap to a career as top-level professional dancers. This sweeping statement seems rather unsupported, with Acosta claiming there are no female dancers of a sufficient stature for him to perform opposite, with girls becoming ‘non-existent’.

It is widely known that there are hundreds of thousands of females dancers all competing for the top spots in dance companies, with considerably less males vying for this. However, Acosta maintains that with various pressures for female dancers it is difficult to meet the challenges required. Female competition is constantly increasing, and even the Royal Ballet School has confirmed Acosta’s observation, with directors finding it increasingly difficult to find really talented girls in the past few years. While girls are the overwhelming majority of applicants to the Royal Ballet School’s junior years, there are currently more boys than girls among the intake by the age of 16.

Despite Acosta’s claims, 2013 marked his 40th birthday and Acosta has not hidden the effects of dance on his body, admitting that pain and aching joints are the by-product of a career devoted to dance, regardless of gender. Acosta consequently believes the Government should play an active role in encouraging more female dancers, with financial implications a big factor in children beginning ballet. Subsidising the arts and awarding scholarships would encourage more young dancers and their parents to continue in the ballet streak.

If the UK is unable to produce female stars, they will be encouraged from overseas. Acosta feels it would be better to do more to look elsewhere and give people a chance to flourish.

Image courtesy of Wikimedia Commons.

Ballet Beautiful

Mary Helen Bowers is the ballerina behind Ballet Beautiful, a dance-inspired workout that she teaches to Victoria’s Secret supermodels helping them attain those trademark tight abdominals and lean legs through the carefully crafted dance-inspired workout moves. Bowers is a former dancer who joined the New York City Ballet in her teens and became a prima ballerina, passing this knowledge onto the models with a ballet-inspired workout that sculpts swan-like arms and tones abdominals for the revealing lingerie.

Bowers often trains with the models backstage at runway shows, as well as on-site: for the most of the year she trains the models three or four days a week, depending on what is going on their schedule and if there’s a big photo shoot. Most of the sessions are a one-hour workout, but the schedule increases to longer sessions before a big event, such as the annual Victoria’s Secret Fashion Show.

The movements in Ballet Beautiful combine modified fitness positions and resistance work with classical ballet moves that target the muscles dancers use, for example Bowers swaps thigh-building gym squats in favour of thigh-slimming ballet basics like the Grand Plié. Another move that targets “ballet muscles” – inner thighs and the buttocks – can be achieved by placing both shins on a mat with one hand on a chair and drawing the opposite knee out to the side in a modified arabesque.

Bowers’ client list isn’t just limited to Victoria’s Secret models; she also instructed actress Natalie Portman for her Oscar-winning role in “Black Swan”. Bowers had to turn to online sessions and bring in extra backup to free up her time to coach Portman for the grueling role in 2010. Following the release of “Black Swan,” Bowers hired professional dancers to teach Ballet Beautiful private lessons to handle the demand.

The London Ballet Circle

The London Ballet Circle provides financial support to student dancers, raising funds by hosting events such as talks by dancers, choreographers and company directors where members can find out from artists about their life and work. The events of the LBC offer a range of prestigious industry artists as speakers at the events, and the LBC also arranges private visits to ballet schools so members can observe students in training, and their incredible discipline and dedication devoted to their art. All of the LBC events raise vital funds to assist the education of the next generation of talent.

LBC was founded in 1946 by Stanley Hawkins and its founder President and first Patron was the founder of the Royal Ballet, Dame Ninette de Valois. Dame Alicia Markova – founder of English National Ballet, as it is now known – succeeded Dame Ninette. LBC also aims to promote interest in dance, rather than just ballet, and the associated arts by arranging a broad range of talks amongst other exclusive events. Recently LBC has hosted talks by world famous stars such as Marianela Nunez, Thiago Soares, Mara Galeazzi and Edward Watson.

Recent visits include watching classes and rehearsals at the Royal Ballet School, English National Ballet School, Tring School for the Performing Arts, the Central School of Ballet and the Yorkshire Ballet Summer School. LBC has also organised private guided tours of dance-related exhibitions at the Victoria and Albert Museum and the Royal Ballet School Museum at White Lodge.

Funds raised by the events provide financial support to gifted student dancers whose school principals have identified as greatly benefiting greatly from high level tuition, such as that provided by the Yorkshire Ballet Summer School, the Wells Weekends, and other summer schools run by the country’s leading ballet companies.

The New Year’s Honours List 2014

OBE Image: New Year's Honours 2014 The New Year’s Honours List 2014, released on 30 December 2013, included nine honours for dance professionals, championing their work for the arts sector. Dance UK runs the dance sector’s Honours Advisory Committee which is a group of dance professionals who volunteer their time and expertise to ensure dance professionals are regularly nominated from across the rich and diverse world of dance. Teachers, dancers, managers and choreographers can all be nominated, recognised for their hard work in all dance forms.

Choreographer and former dancer Gillian Lynne CBE was made a Dame as part of the New Year’s Honours List for services to dance and musical theatre, acknowledging her dedication to the industry which spans decades. Dancer and choreographer Carlos Acosta, received a CBE for services to ballet, recognising his work in the dance world. Assis Carreiro, former Director of DanceEast in Ipswich, was awarded an MBE for services to dance. Assis is now Artistic Director of Royal Ballet of Flanders. In addition, Liv Lorent, founder and Artistic Director of balletLORENT based in Newcastle, received an MBE for services to dance.

Other honourees included Lady Patricia Marina Hobson MBE awarded an OBE for services to ballet & philanthropy, Margaret Jaffe founder of Northern Dance Centre awarded the British Empire Medal for services to dance, and Jane Pritchard, Curator of Dance, Theatre and Performance Collections at the Victoria and Albert Museum: Jane was awarded an MBE for services to the arts. Jane curated the Diaghilev and the Ballets Russes exhibition at the museum and was archivist for both English National Ballet and Rambert.

Teaching Routes To The Same Goal

Dance Class

Teaching vocational theatre and dance is the subject of much discussion with many training options available, and students with different learning styles, such as through visual cues, hearing cues and doing things actively.

What makes a good teacher?

Theatre and music teachers in vocational schools play a specialised role in student development, taking time to develop their skills by giving information and guidance to progress quickly. Some teachers do this by sharing industry contacts, careers advice and specialist teachers.

At vocational school specialist teachers apply both experience and theory to teaching lessons. Students have access to the ‘experiential’ model of education where physical skills are used to experience and train in the subject. Vocational teachers speed up this experiential process by helping to rectify bad physical habits and engage students intellectually.

Vocational school is available both as full-time and part-time schools. A full-time vocational school teaches core curriculum subjects and specialist subjects, such as acting, dance and drama full-time, whereas Part-time vocational schools work alongside a child’s traditional schooling, teaching specialist subjects after school or at weekends. There can be academic and vocational grades awarded at the end, depending on what each school offers. The part-time type of school replaces the role of a traditional middle school such as Sylvia Young Theatre School and Tring Park School.

It’s important that vocational schools keep high standards and help children to progress onto specialist further education schools: vocational schools are important places for young people to learn the skills needed for entry into theatre, dance and music crafts, even if they have not had prior experience. Vocations like theatre, dance and music require students to carry out a lot of physical repetition: the region of around 10,000 hours of practice is needed to become an expert before their bodies and minds understand fully.

Image courtesy of Wikimedia Commons.

Mariinsky Ballet To Visit London In 2014

Mariinsky Logo The Mariinsky Ballet has announced plans for its London season in the summer of 2014: the season will run from 28 July to 14 August at the Royal Opera House, opening with the classic tale Romeo and Juliet. The company will also dance a triple bill of The Firebird, Marguerite and Armand and Concerto DSCH, Swan Lake and a George Balanchine double bill of A Midsummer Night’s Dream – the first time the company has danced this work in the UK – and Apollo. The season will end with the London premiere of Alexei Ratmansky’s Cinderella, a production eagerly awaited by London audiences.

The Mariinsky Ballet is a classical ballet company based at the Mariinsky Theatre in Saint Petersburg, Russia. Founded in the 18th century and originally known as the Imperial Russian Ballet, the Mariinsky Ballet is one of the world’s leading ballet companies. Internationally, the Mariinsky Ballet is most commonly known by its former Soviet name the Kirov Ballet; the Mariinsky Ballet is the parent company of the Vaganova Ballet Academy, a leading international ballet school which has recently been subject to employment scandals.

The Imperial Theatre School as it was originally known, was established in 1738 and was the predecessor of today’s Vaganova Ballet Academy to create a school which would train young dancers to form the first Russian ballet company. The first group of students went on to form what would become the predecessor of today’s Mariinsky Ballet. In the late 18th and early 19th centuries, the Imperial Russian Ballet soon rose to prominence and would employ some of the most influential and famous names in ballet history including Marie Taglioni, Enrico Cecchetti, Jules Perrot, and Carlotta Grisi.

Despite later name changes and pressures of the Russian revolution, the present day Mariinsky Ballet is still linked to the school, which is now known as the Vaganova Ballet Academy.