Author: Jessica Wilson

Hypermobility is not always something to aspire to. Although it is useful for a dancer to be flexible to enable the body to achieve what it is asked in dance, the swayback knees, flexible spine and high arched feet can also have their drawbacks. Dancers who have these attributes generally don’t have to work hard to be flexible, due to their inherited joint flexibility (their connective tissue which binds the body together is not as tightly woven together).

Whilst it may seem a hardship to have to work for flexibility, there are clear drawbacks to hypermobility and far reaching consequences. Dancers who are hypermobile will also have flexibility where they do not need it, such as in their finger joints, wrists, elbows and knees, even their skin. As a result, it is difficult for these dancers to build strength, control and stabilise their bodies; wear and tear and even dislocation can take place.

All dancers need good stability around joints, but the hypermobile dancer needs it even more to counteract the lack of restriction and protection in their ligaments. The condition must therefore be handled with care, in order to coordinate their bodies and so not to compromise balance and correct alignment. If this is not ensured, overuse injuries and trauma can occur.

It is important to understand the requirements of the hypermobile body, so the beautiful lines and flexibility can be displayed once strength, stability and coordination have been acquired. It is clear in dance that different body types require a different emphasis on certain part of training, so understanding the hypermobile body means dancers can train with realistic aims. Ensuring there is stability and control in the dancer through increased strength is imperative, meaning cross training is necessary for this particular body type.

Sadler’s Wells’ National Youth Dance Company, and guests, are set to present Apex Rising, an eclectic mix of choreographers such as Jasmin Vardimon, Akram Khan, Sidi Larbi Cherkaoui, Wayne McGregor, Hofesh Shechter, Anna Kenrick and Kerry Nicholls on 4–5 September.

The special weekend of dance will be hosted by the National Youth Dance Company, celebrating the innovative and exciting work being performed and created by young dancers today. This inaugural Apex Rising festival will unite some of the most highly esteemed figures in contemporary dance, including the three past NYDC Guest Artistic Directors, Vardimon, Khan and Cherakoui in the line-up.

Featuring work by four national youth dance companies from around the UK and abroad, the festival sees these internationally acclaimed artists illustrate their commitment to young dancers and to initiatives that build exceptional artistic talent, and nurture the dance landscape of tomorrow. This new annual festival consists of two contrasting programmes that capture the power young dancers have in shaping the future of dance.

The second programme of the festival, following the first including the NYDC, is an evening featuring a confluence of styles and energy, staging work by youth dance companies of France, Scotland, Wales and England. Leading French youth dance company Groupe Grenade – Josette Baïz performs extracts from Entity by Sadler’s Wells Associate Artist McGregor, and Uprising by Sadler’s Wells Associate Artist Shechter. The evening also sees National Youth Dance Company of Scotland perform Stuck in My Throat by YDance Artistic Director Kenrick as part of the company’s 2015 tour, and Dawns Genedlaethol Ieuenctid Cymru / National Youth Dance Wales perform a newly commissioned piece by Nicholls. It is completed by NYDC’s restaged excerpt of Akram Khan’s Vertical Road.

The experience young dancers gain through initiatives like NYDC not only supports them, but pushes them further into the world of dance to aspire to achieve more.

Many dancers are great fans of Pilates, even elite dancers who have already reached the height of physical fitness and undertake eight or more hours a day of dancing activity. Pilates supports their day-to-day technical requirements, but with a different focus on their bodies.

Pilates is a physical fitness system which was developed by Joseph Pilates in the early 20th century; it is currently practiced by over 11 million people worldwide. Pilates does not build bulky muscles, which dancers prefer, instead championing strength of the entire physical structure. Pilates can be used to release and work through tension in the body, as well as to increase strength and flexibility.

Pilates benefits elite dancers because it works against the tolls of dance on the body, helping them to correct imbalances and find space outside the studio to release and reconnect. Pilates is a subtle technique, which also helps dancers to rehabilitate injuries and become stronger for the challenges of rehearsals or performances. Many dancers believe Pilates is the key to having a healthy strong body to keep up with the physical demands of dance.

Following careers on stage, many dancers retrain to become Pilates instructors once they have hung up their shoes, especially ballet dancers. They have felt the benefits personally and enjoy the journey of discovery and focused work Pilates endorses. Pilates is a perfect match for ballet, considering the core strength with focus on alignment and length. Pilates gives dancers more awareness and understanding of what they are asking the body to do. It provides security and freedom in dancing through strength and control, as well as lengthening the muscles, improving coordination of breath and becoming more aware of engaging the mind’s awareness of the body.

Iconic choreographer Wayne McGregor, alongside the Mayor of London Boris Johnson, has launched a new dance module for the London Curriculum at City Hall this month. The London Curriculum is an initiative for secondary schools in the capital, aimed to help pupils learn more about their city and experience the wealth of cultural opportunities London has to offer. Running alongside the National Curriculum, the programme already includes modules in English, Art, Music, Geography and History.

Developed in partnership with Sadler’s Wells, the new dance module for 11 to 14 year olds will involve visits to organisations including the Royal Opera House, as well as dance classes and workshops with artists and choreographers, offering a wealth of artistic opportunity to the students. The London Curriculum is an exciting programme that will bring the new national curriculum to life, ultimately inspired by ‘London’s people, places and heritage.’

McGregor maintains the importance of enabling children to learn about dance within education, as it nurtures creativity, helps with self-expression and boosts confidence and self-esteem. It is clear that dance inspires young people to work in the creative industries: people who study dance become more focused, motivated and disciplined throughout the rest of their lives.

Teachers are encouraged to register in order to receive the high-quality teaching resources to help learning in and outside school, developed by the Royal Geographical Society, Museum of London, Institute of Education and other experts; exclusive evening sessions for teachers at leading London venues including the National Portrait Gallery, British Library, British Museum and Shakespeare’s Globe, inspiring teachers to use the city to enrich their teaching; and competitions, events and other opportunities for students to showcase their learning.

The London Curriculum currently supports key stage 3 in English, Music, Art and Design, Geography and History. New resources in STEM subjects will be available from July. Languages, Personal, Social and Health Education (PSHE), citizenship and RE will follow in 2016.

Theatre producer Cameron Mackintosh has unveiled his theatrical vision for the West End’s new Sondheim Theatre, which he aims to turn into a home for shows from subsidised venues around the UK that would otherwise be under threat of vanishing following their runs. Named after the esteemed Stephen Sondheim, the site is expected to flourish under Mackintosh.

The gap for a flexible, small-scale theatre in central London is clear: it is something which often limits other venues, such as the National Theatre, and the Sondheim space could provide a non-proscenium arch home for many of its productions which originate in the subsidised sector. The venue would be an important West End venture to provide subsidised theatres with a home away from home.

The reimagined theatre will host productions for runs of between eight and 16 weeks, and is being created to give shows from venues such as the Donmar and studio spaces at Sheffield Theatres and Leicester’s Curve a future life. In order for it to take shape, the Ambassadors Theatre will be redeveloped, with a flexible performance space with around 450 to 475 seats. The building will also have a new floor built above the auditorium that will house a rehearsal space for larger shows.

It will also include a redeveloped foyer, new dressing rooms and a cabaret space, which will be created in the basement bar; the theatre’s current ceiling will be dismantled and repositioned as part of the redevelopment. The theatre is planned to open in 2017, and will be able to accommodate around four or five shows a year, programmed a year or more in advance. There will also be one slot left available for a surprise show which may arise that that needs a London space.

The National Theatre’s Connections Festival is 21 in 2016, and to celebrate, the theatre is involving more young people than ever in making theatre through ‘Connections 500’. The National Theatre is looking for 500 youth theatres and schools to stage 12 plays, picked from over 150 that have been commissioned for young people since 1995.  

The theatre pledges to provide all participants with all the support needed to fulfil the task, and the chance to stage the play in one of its 40 partner theatres across the UK. Connections 500 is open to any company of young people aged 13-19. Whether a school, youth theatre, voluntary organisation or an organisation which has never staged a production before, the group can apply to be part of Connections. 

Engaging young people in existing and new theatre is an admirable concept, made possible by the size and prestige of the National Theatre. Its ability to ensure the full 500 youth theatres and schools will be able to take part is guaranteed by its stature within the arts industry. Overall, Connections aims to inspire 13-19 year olds with high quality new playwriting, give companies the knowledge, skills and confidence to bring the plays to life, encourage young people to get involved in all aspects of theatre-making and celebrate young people’s talent.  

2016 will mark the National Theatre’s biggest ever Connections Festival – don’t miss out. Confirmation of the play the youth theatre or school will be producing will take place in early September, and 2-4 October marks the Directors Weekend at the National Theatre. In February and March next year the Home Performances will take place, and from mid March to mid May will see the Partner Theatre Festivals. Early July will welcome the National Theatre Festival!

Two recent announcements from the Young Vic theatre in the capital hold exciting future prospects: director and playwright Gbolahan Obisesan has been named the Young Vic’s new Genesis Fellow and the acclaimed dance commonly BirdGang Dance Company are the Young Vic’s new Associate Company. These new creative voices will contribute fresh ideas and new energy, as well as helping other younger artists find their voice.

Obisesan began his relationship with the theatre when he directed Sus in 2009, followed by his plays Mad About the Boy and Feast. The Genesis Fellowship, a two year grant supported by the Genesis Foundation, enables the recipient to develop their craft as a theatre director whilst working closely with Young Vic Artistic Director David Lan. Opportunities whilst in post include directing a show at the Young Vic, supporting the theatre’s programming and artistic planning, contributing to the work of the Young Vic’s Directors Program and mentoring Genesis Future Directors Award-recipients.

BirdGang is the first dance company to be an associate of the Young Vic, now based in offices at the theatre. Led by artistic directors Ivan Blackstock, Simeon Qsyea, Quails (Ukweli Roach) and Kendra J Horsburgh, the company was established in 2005. It will have the opportunity to collaborate with and be supported by the theatre’s team whilst pursuing future projects. BirdGang and the Young Vic developed a relationship on A Harlem Dream, which debuted as part of Dance Umbrella 2014.

BirdGang has roots in hip hop culture, with the company interested in stimulating audiences through a combination of movement, music, film and striking lighting design, and their unique style of movement that draws on influences including hip hop, jazz, contemporary, physical theatre, spoken word, illusion, and film. The company produces performances for a variety of spaces across the UK and internationally, telling powerful stories and painting vivid pictures.

Misty Copeland recently made history in becoming the first African-American female principal at New York’s American Ballet Theatre, having been promoted from the rank of soloist. This promotion significantly expands racial diversity within the elite ranks of ballet, an issue – one would argue – which should not exist at all.

Copeland’s promotion ends months of speculation, with a positive and celebratory outcome. At 32, she recently danced the dual role of Odette/Odile in Swan Lake, making her New York debut, as well as a career debut in Romeo and Juliet. Copeland’s presence on stage is like no other; she shines in both classical and contemporary ballets. With extraordinary facility and the ability to make any role her own with drama and sensitivity, it is no wonder Copeland has achieved such success.

Her rags to riches story has captivated audiences far wider than those in the arts. Copeland found her way to ballet through a Boys & Girls Club in the United States, as one of a large family. At 13, a late starting age for dancers, she began studying at the San Pedro City Ballet in California, later attending American Ballet Theatre’s summer classes. She then joined American Ballet Theatre’s junior company in 2000, and then the main company’s corps de ballet in 2001. In 2007, she was promoted to soloist and her promotion to principal has been anticipated ever since.

Rising from poverty to ballet’s highest rank has consequently captivated a wide audience in demonstrating ballet’s previous resistance to change and modernisation. Copeland now has a large, supportive audience, encountering her on stage and also on social media, a 2014 advertisement for the Under Armour sportswear brand and also via her best-selling memoir. It is clear there is a direct link between breaking social barriers onstage and drawing a broad audience from all walks of life.

The Royal Academy of Dramatic Art is due to expand its musical theatre offering with the launch of a new course under its dramatic umbrella, intended to nurture and develop “the complete musical theatre performer”, it has been announced. Whilst the institution’s dramatic courses are already held in high regard, it is assumed that the musical theatre courses to be offered will also be of prestigious nature.

The five week musical theatre course will begin in September this year, and will be aimed at performers who already have some training in acting, singing or dance, but who want to build on their skills. The course will be taught by experienced industry professionals including choreographers, directors and musical directors, much like other musical theatre courses in the capital and around the country. Currently, singing is at the core of RADA training, and is regarded as integral to actors’ training; the short course will cover all musical theatre skills with an emphasis on acting.

The course has been developed to offer performers the opportunity to “complete” their training, building on RADA’s current week long summer course in musical theatre, which will continue alongside the new offering. The first part of the course will be spent developing musical theatre skills but will also include training in stage combat and clowning, as well as offering guidance on audition technique. In the final two weeks, students will work towards the performance of an abridged musical, performed for an invited audience.

RADA makes a meaningful point in maintaining that it would be difficult to secure the best teachers throughout the whole year for the course, however it’s musical theatre faculty will take a five week block off working in the West End or on productions in order to teach for RADA. This then implicitly implies its teachers are top of their league, still working and keeping up with the industry, perhaps unlike full time staff of other institutions.