Dancers – Page 6 – Dance Direct Blog. News, Reviews & Advice About Dance

Scott Cupit – Swing star

Scott Cupit has the rare skills of having a banking and finance background as well as a love for swing dancing. He has combined the two skills and created what is now considered the largest swing dance school in the world.

Summer 2014 saw Scott secure investment from Deborah Meaden via the BBC’s Dragons’ Den. Strictly Come Dancing’s primary charleston choreographer, Jenny Thomas, recruited Scott as assistant Charleston choreographer for the show in autumn 2014.. Scott has built an incredible Swing Patrol team composed of first-class teachers, two dazzling troupes that perform around London each week and committed administrators. Scott’s drive and personality has helped to build a very large community of swing dancers. The community element of Swing Patrol is the solid business foundation which supports all the fun.

Have you always wanted to be involved in dance?

I have always loved swing music and grew up playing the saxophone in big bands. I stumbled across dance while backpacking across the USA in 1997 and fell in love with it.

Did you train in dance? What was it like?

I trained hard and loved it. I loved the focus, the sense of accomplishment and the physical fitness of it all.

How did Swing Patrol come into being?

I just wanted to share my passion as almost no one was dancing the Lindy Hop in Melbourne back in 1998. A small group of maybe six dancers were dabbling in it only.

What is a typical day like for you?

Coffee
Training
Meeting my teaching team
Lunch with my wife
Planning classes
Venue appointments
Teaching

What’s the best part of dance for you?

The music. For me it’s all driven by the great swing music that this dance is driven by.

How have you found the event organisation side of Swing Patrol?

It’s far more challenging and hard work than people realise. Hall hires and rents in London make many of our events financially crazy but one day we will have our own space!

What is the hardest part of the job?

I can’t think of anything but Dragons’ Den resulted in an avalanche of attention and it felt hard to breathe. Summer was a stressful time for myself and my team as we had so much attention.

Do you have any advice for aspiring performers?

Rehearse as if this was the actual moment. Don’t shirk full dress rehearsals.

What are you most looking forward to about the events?

I love the Swing Patrol community. Standing back and watching a full room of Lindy Hoppers always gives me a buzz. I never take it for granted as five years ago I couldn’t pay my rent and it was tough.

London Book Launch Of Irina Baronova And The Ballets Russes De Monte Carlo

Victoria Tennant, acclaimed actress and daughter of Russian prima ballerina Irina Baronova, is set to launch a new book on her late mother, Irina Baronova and the Ballets Russes de Monte Carlo, on Wednesday 10 December at the Royal Academy of Dance in London. Baronova is renowned as one of the iconic choreographer George Balanchine’s protégés, one of his Baby Ballerinas.

In conversation with dance archivist Jane Pritchard, Victoria Tennant will deliver a presentation on the book as well as showing previously unseen film footage of her mother, followed by a Q&A session and book signing. Tickets are available at £15 for non-members, £10 for RAD members and £7 for enrolled RAD students. Your ticket will include a glass of wine and the chance to buy a signed copy of the book at a greatly discounted price of £30 (RRP £38).

This sumptuous, illustrated history tells the story of Irina Baronova (1919–2008), prima ballerina for the Ballets Russes de Monte Carlo and later for Ballet Theatre in New York. She was also Vice President of the RAD and was honoured with the QEII Coronation Award in 1996. Drawing on rare photographs, letters, correspondence, oral histories and interviews, Victoria Tennant warmly recounts her mother’s dramatic life.

The launch takes place from 7–8.30pm in the Genée studio at RAD headquarters, 36 Battersea Square, London SW11 3RA. To book your place at what is sure to be a fascinating event, promising to tell the story of one of ballet’s most glamorous stars, contact Sarah-Jane Lewis at [email protected] or call 020 7326 8051.

Christine Devaney – Inspiring Creativity

Glasgow-born Christine Devaney trained at London Contemporary Dance School and has been performing, choreographing and teaching throughout her extensive career. She was a founding member of Dundee Rep Dance Company (now Scottish Dance Theatre) and for nine years performed with the internationally acclaimed V-tol Dance Company where she became Associate Director and played a key role in developing their highly respected education work.

Christine’s performance and choreographic work spans across theatre and dance where she has worked with companies including: Tag Theatre, The Kosh, The Unicorn (London), Theatre Gargantua (Toronto), Frantic Assembly, Graeme Miller, Benchtours, Freshmess and Yolande Snaith Theatre Dance. Christine is a long-standing creative collaborator with Plan B in Scotland. Christine has continued to develop her teaching and mentoring practice throughout her career and is passionate about nurturing and challenging individual creativity alongside teaching dance and movement techniques. She has been involved as a mentor on the Young Dancer’s Bursary Scheme with Dance Base and was choreographic mentor for Tony Mill’s solo works Scottish tour (2010).

Christine is currently an Associate Artist with Imaginate and founded Curious Seed in 2005. The vision of the company is to create engaging, thought provoking, uncompromising performance work with physical expression at its core. Since 2005, Curious Seed has produced the solo work Almost, But Not Quite for the Edinburgh Festival Fringe (2005), Code Butterfly a large scale site-specific work for young women at Out of The Blue as part of the Leith Festival (2007). Their current show, Chalk About comes to the Lilian Baylis Studio at Sadler’s Wells on 1 & 2 November and features Christine.

Have you always wanted to be involved in dance?

I have to confess, yes! I started dancing when I was young mostly because my pals were doing it, but then I loved it and I was the one who continued as they stopped over the years. As well as going to local ballet and tap lessons I used to dance a lot on my own, in my room, or in the gym-hall during lunch break or after school. It was a P.E. teacher at school who introduced me to contemporary dance – thank you Mrs. MaCleod.

Where did you train and what was it like?

I trained at London Contemporary Dance School. Well, it was an amazing experience to leave home at 17 to be doing exactly what I wanted to do but it was also hugely challenging in many ways. Of course the physical training was hard and I was pushed, but that was what I was there for. It was more on a psychological level that I found it incredibly intense at times. I had great friends and found the support I needed.

Did you start choreographing young?

Mmm. That’s a very interesting question. I was always making up little dances and enjoyed contributing to the choreography in the group I was part of before going to London to train, and I knew that I wanted to explore choreography more. However the way that choreography was ‘taught’ at The Place at that time, was a little elusive, shall we say, and I was just wasn’t encouraged, and in fact was more or less told I wasn’t a choreographer. I found this strange and wondered why? And this stayed with me for many years. But there was a small group of Scottish students training at Laban and The Place who used to get together to make work anyway and sneak off and perform it at any given chance. My first job was with Dundee Rep Dance Co. (now Scottish Dance Theatre), and right from the beginning I was creating small pieces of work with community groups, but I suppose because I was concentrating on developing as a performer I didn’t think of myself as a choreographer for many years.

Do you prefer choreographing to performing?

I absolutely love and continue to be incredibly curious about the creative process, as a performer on the inside of it and a choreographer on the outside. I had thought a few years ago that I was going to stop performing, but here I am still doing it and still learning about what it is to be a performer. And I’ve still got so much to try and make and say as a choreographer – I’ve got a few years to catch up on, and maybe one day it will completely take preference over performing. I do know that even if I stop performing I won’t stop dancing.

How did Curious Seed come into being?

After many years of living and working in London, mostly with V-tol Dance Company, initially as a performer and latterly, Associate Director, I decided to return to Scotland. I felt that I had something to give to the dance community there. I also wondered if I had what it takes to drive a creative vision, rather being a good ‘right hand man’. You know, have the idea and start doing all that’s needed to turn this idea into art – the right people, funding… all of that stuff as well as getting into the studio and leading the creative process. So I formed Curious Seed, and have managed to continue exploring if I’m any good at it! I like to take my time with things.

What is a typical day like for you?

An egg for breakfast (I love eggs), some dance practice or body work of some kind, this varies for me, depending on if I’m doing research or in rehearsals or between projects, it could be class, improvising or Pilates, some admin – there is always some to do! Maybe some meetings. An evening meeting is good as it could involve a glass of wine. At the moment with being on tour with Chalk About, shows are typically in the morning or afternoon, so it’s all about preparing early for the show, then packing up then finding somewhere for dinner… it’s not too glamorous! I’m writing this on a day off, about go and have a swim and then try to start writing a funding report I need to do…

What’s the best part of dance for you?

I still love what dancing gives me personally, which is hard to put into words but as I have grown older it feels more and more spiritual. I’ve met incredible people through being involved in dance. People who have shown me different ways of experiencing the world. This has been very important to me and still is. It’s also an honour to connect people, audiences, strangers through the work.

What has the rehearsal process been like for Chalk About?

Very gradual! It started out in a workshop in late 2011 as a way of exploring how two people from different countries and who didn’t know each other could share ideas and work together… then we were commissioned to make this into a full show for the Imaginate Festival in Edinburgh in 2013. Initially it was just myself and Leandro Kees the other choreographer and dancer I created the work with, but then we brought on a designer, composer and lighting designer to contribute, so it became much more like the collaborative rehearsal process I like to cultivate for Curious Seed’s productions. We also spoke with children at different times during the making of the show and included their responses in different ways to help shape the show.

What is the hardest part of the rehearsal process?

With Chalk About it was having two lead artists who were both in the work, and who had different ideas, but of course this is what made the work what it is! Usually the hardest part of the process for me is the middle stage, and this is when what I call my ‘angel of doubt’ arrives. I have to listen to it, as it’s just part of me, but then I walk way from it, and carry on…

Do you have any advice for aspiring performers?

Find your own way, while working really hard to become a versatile performer. Follow your interests!!! Be inspired and motivated by others but don’t try to be like anyone else! Be kind to people, don’t take any s*-t. Remember to ask yourself now and again if you’re happy? Don’t be scared to ask for advice. Don’t lose your connection to your dance, your drive, your joy.

What are you most looking forward to about the performances?

Chalk About is really lovely to perform, as it has different emotional peaks and troughs and Hendrik (Le Bon, who performs the show with me now) is a joy to be on stage with, so just doing the show in different venues with different audiences will be fun and keep it very much alive and fresh for us. The audience reaction is great as they are laughing at us one moment and then in the next a moment of reflection and sadness. We dance and laugh and joke and talk about family, love and loss… And we then dance some more… what’s not to like about that?

What’s next?

It’s an exciting time for Curious Seed as we’ve just done our first five year plan! Of course we will need some funding and support but that’s a minor detail! There are so many great projects and possibilities in the pipeline. We’re already in the middle of developing a new a sight responsive work called Dust and All That… This is a co-production with Edinburgh theatre company, Magnetic North. I’ve also started research for a trilogy of work that I feel is for teenagers. I can’t wait to do and discover more about this…

Damian Czarnecki – coveted choreographing

Damian Czarnecki Damian has a diverse background in dance and theatre having been Danish Ballroom and Latin Champion on several occasions. He was 1st runner up in So You Think You Can Dance (Denmark) and went on to continue his training at Laine Theatre Arts.

Choreography credits include: Pirates Of Penzance (UK Tour), Patience (Kings Head Theatre, London), Do I Hear A Waltz (Park Theatre, London), Dick Whittington (White Rock Theatre, Hastings), Junior TV (Danish Television 1) and pieces for the Laine Theatre Arts productions Spirit of Life and Flying in at 40 (Epsom Playhouse). His theatre performing credits include: Beauty and the Beast (Det Ny Theatre, Denmark), Chantal in La Cage Aux Folles (Nørregade Theatre, Denmark), Dirty Dancing (Metronom Theatre, Germany) and Ich War Noch Niemals in New York (Metronom Theatre, Germany).

Damian has been dance captain for High School Musical (National Tour, Denmark), Jack and the Beanstalk and Aladdin (Chelmsford Civic Theatre) and was a cast member of the Danish children musical feature film Bølle Bob & Smukke Sally (Regner Grasten Film).

Have you always wanted to be involved in dance?

I’ve danced for as long as I can remember so I guess the answer is yes. My parents told me that they just had to take me to dance classes when I was three years old as I would always stand in front of the television as soon as I heard music coming out it. I would start making up dance moves – “boogie woogieing” – and enjoying life. I have to say, I’m glad that my parents made that decision.

Where did you train and what was it like?

Well, I feel like you train your whole life really which is one of the exciting parts of this industry. You will never finish developing as a performer which is so inspiring. That’s why you still, as a professional performer, find yourself working hard in dance classes, taking singing lessons and developing your acting skills.

I first trained in Ballroom and Latin and danced for over 16 years competing on an international level representing Denmark at the World Championships. Doing this throughout my teenage years was exciting but also very hard work. I loved it so much though, which meant it was never difficult to choose Ballroom and Latin over parties and social life outside of school.

I went to school in the morning, then straight to the dance studio for several hours’ practice, then home for food, homework and bed. This would usually be the schedule from Monday-Thursday. Friday would be a day off before the weekend was taken up by competitions in either Denmark or somewhere else in the world.

I really treasure this period of my life. It taught me to be focused and determined which, at the time, I didn’t realise how important that would be for my future career.

I then went on to continue my training at Laine Theatre Arts in Epsom which was just incredible. There is something very special about being together with so many talented people in one place all thriving to be the best that we can be. Miss Laine, together with her faculty, give you an excellent opportunity to develop into a professional artist if you are ready to put in the hard work that is required. When you walk into the college on your first day you have no idea what journey you are about to go on but three years later you stand stronger than ever, not only as a performer but most importantly also as a person.

Was there a natural transition into choreographing for you?

Most jobs I’ve had have either been as a dance captain or a swing which means you are very involved in the creative side of a production. Furthermore, I’ve always had a hunger to be creative in a choreographic way and I think if you have that in you, it will almost be impossible to neglect in the long run.

Do you still perform?

Yes, I do still perform as it gives me a completely different satisfaction than choreographing which also means it’s almost impossible to say which one I prefer. Both have huge positives as well as, believe it or not, a few negatives. However, the kick you get from both of them is just incomparable.

As a choreographer, I found it very difficulty in the beginning, that during previews or on opening nights it was all out of my hands. I would be really nervous and could barely sit still in my seat as my body would just naturally do some of the steps thinking that it would help the cast. I always think it’s so much better to be up on the stage as you are so focused on your job which means everything else around you disappears. Then again, there is nothing like the feeling of seeing your work come alive on stage and being proud of it. Like I said, the two roles are incomparable.

What is the hardest part of the rehearsal process, as both a dancer and a choreographer?

It’s two very different state of minds. As a dancer, you will mostly be focused on yourself as you have a huge amount of work to go through. You have dance steps, harmonies, lines to learn and it all needs to come together in a very short amount of time which can be really hard and stressful.

As a choreographer, it’s all about the overview and having a much wider focus. I think one of the hardest parts of the rehearsal period is to have a fresh opinion about your own work that you’ve already seen many times. It’s so important to have the ability to say, “what I’ve done doesn’t work” and then try and change it for the better.

What is a day in the life of Damian like?

My days are very different from each other which I absolutely love. I try to exercise every morning and love to end the day watching Danish television on my iPad but apart from that, it all depends on what job I’m doing and whether I’m choreographing or performing.

Do you have any advice for aspiring performers?

I think the best advice I can give is to make sure that a performing career is a 10,000,000% what you want. If you feel the passion for anything else you should definitely do that instead. It may sound really harsh but that is the reality. However, if you do make the decision to go for it, then don’t let anyone stop you. Remember talent will get you far. Hard work will get you further.

DARREN CHARLES – A Harlem Dream’s SAL

Darren Charles Darren was born in London England in the 1980s. He gained a scholarship for vocational training at The Urdang Academy where he trained extensively in acting, singing and dance. He graduated in 2007 with honours and went straight into his first show Carmen Jones at The Royal Festival Hall London.

Since then Darren has played lead roles both on the West End and on tour in musicals and he has been a part of UK Hip Hop Dance company BirdGang, gaining much experience performing in commercials, music videos, cast recordings, Bollywood films, short films, student films and events.

Where did you train and what that experience like?

I began my performance training at South London Dance Studios at the age of 16, where I passed various grades in ISTD, and IDTA Tap, Ballet and Modern. I then went on to study full time at The Urdang Academy. As well as furthering my studies as a dancer I trained professionally as a singer and actor.

Did you start performing young?

I first started performing at the age of six at the Notting Hill Carnival Grand Splash where I competed each year for The Crown and won titles a few times such as Best Junior King for Elemu Paddington Arts. I also took tap and ballet classes in my local church hall after school. Even though I loved these classes I stopped taking them because I was teased and bullied at school by other kids for doing ballet.

What is a typical day like for you?

A typical day for me when I am not working would be mostly spent preparing for auditions, going to dance classes, participating in acting workshops or singing in Jazz clubs and gospel choirs. My recent typical working days have been touring the country with The Rat Pack as Sammy Davis Jr.

What’s the best part of dance/performing for you?

I wouldn’t really know where to start but the first thing that springs to mind is the thrill and excitement I feel after I’ve nailed a performance. Also it’s wonderful when you know that the audience has gone on the journey with you throughout the show.

What are you currently working on?

I’m currently working on a show called A Harlem Dream at The Young Vic where I play the lead character Salvador (aka Sal) who is the narrator of the story which is set in early 1930s Harlem. Sal is a young black artist struggling with his identity and creative self. I’m also currently performing with The Rat Pack as Sammy Davis Jr.

What is the rehearsal process like for A Harlem Dream – is it a collaborative process with all the dancers and creative team?

The rehearsal process for A Harlem Dream is amazing. It’s an ambitious collaboration of fresh talented actors, dancers, writers and musicians all working together to create a very original ground breaking show.

What is the hardest element of the rehearsal process?

The hardest element of the rehearsal process would have to be time, there simply isn’t enough in one day! We start at 10am and finish at 7pm but I am loving every moment.

Do you have any advice for aspiring performers?

My advice for aspiring performers would be to never give up. The path isn’t always easy and fun, but it’s worth it if it’s what you truly love.

What are you most looking forward to about the performances?

I can’t wait to see how the audience react to our show. I’m also very happy to be performing again with my close friend Ivan Blackstock.

ROBIA BROWN – A Harlem Dream’s CONSTANCE

Robia Brrown Robia has been performing, choreographing and teaching in London for over 10 years. She has worked with companies and choreographers such as Avant Garde Dance Company, A&R Dance, Definitives and Ivan Blackstock, as well as creating work as a solo artist.

She has taught masterclasses across the UK and Europe sharing her vast knowledge with students from across the globe. She believes dance is her life and life is her dance; this is apparent in all of her work and throughout her classes.

Where did you train and what that experience like?

I have always wanted to be involved in dance. Since I came on to Earth I was moving and grooving with my mini legs and arms! I started training properly when I was seven years old.

I started dancing with a street dance group, for five years. I then moved to another street group for three years and then trained at the Brit School from the age of fifteen until I was nineteen. It was a great experience to train in more than one style and I embraced all of it! I love learning new things and delving deeper in to my passion.

Did you start performing young?

I started performing when I was seven (minus the shows I would put on in the front room for my mum!)

What is a typical day like for you?

A typical day for me always consists of dance. If I’m not rehearsing for a performance or a video, I am either taking class, choreographing or training on my freestyle. I try not to make my days too typical as I love working on new things and developing my dance vocabulary. Unless I am rehearsing for a production, then getting into a routine for a period of time is an uplifting experience.

What’s the best part of dance/performing for you?

Honestly, there are so many things I love from doing what I do. Not just the dancing and performing but the understanding and knowledge. I love building conversation about a concept of movement or choreography and the meaning to why I am moving. I love the process of creating and rehearsing and doing it over again until it makes sense, but it also has to feel right. I love getting things wrong so I can improve. I love hearing good and bad feedback. The performing part is a bonus for me.

Dance is such a broad art in itself, it has many layers and I find the layers the best part/parts!

What are you currently working on?

Currently I am working on ‘A Harlem Dream’ at the Young Vic Theatre. I have the lead female role ‘Constance’. I am also slowly building my own company but putting my main energy in to this production at the moment.

What is the rehearsal process like for A Harlem Dream – is it a collaborative process with all the dancers and creative team?

The rehearsal process so far for A Harlem Dream has been very rewarding. I have known Ivan in the dance scene since I was seven, and to work with him now I am 22 is an awesome thing. We get to contribute ideas and collaborate on movement material as well as anything we feel needs adjusting or shifting: we can put our voice across and feel comfortable enough to speak our minds. It is a big team effort but wouldn’t be anything without Ivan and Ukweli [Roach] for their direction. I feel inspired every time I leave the studio, not just by the directors but by the whole team! The show sinks in more and more each rehearsal and I am very happy and grateful for my role and to be around such like-minded beings.

What is the hardest element of the rehearsal process?

The hardest element of the rehearsal process is putting on a show within the limited time that we have. I feel it is more a challenge for the team as a whole to really pull this off with such an in-depth storyline. We really have to understand our characters and portray that through our movement and that can also be a hard task. I have faith in all of us and believe it will only get better through time.

Do you have any advice for aspiring performers?

My main advice is to be happy doing whatever it is that you want to do. I don’t think it is healthy to just dance for the sake of dance. Find where you want to be and bask in it. Try not to get wound up in the things you don’t want to do. Everything is a choice – I made the choice to be happy and everyone is entitled to happiness.

What are you most looking forward to about the performances?

I’m most looking forward to dancing with everyone that has inspired me through the time and being a part of something that really pushes the boundaries! I can’t wait!

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!

Nikyta Moreno: American Dream

Nikyta Moreno graduated from The Brit School, London, in 2008 from the Dance Strand, with a triple distinction. She then trained at Trinity Laban Conservatoire of Music and Dance, London, graduating in 2011 with a BA (Hons) Dance Theatre degree.

In 2010 she was invited to a summer Internship with the Merce Cunningham Dance Company, and in 2011, she performed at Performers House, Denmark, in ‘In The Neighbourhood’, choreographed by German born and UK based choreographer Frauke Requardt. That same year Nikyta performed her own work at Wireless music festival alongside music artist Charlotte Rene.

Nikyta then moved to New York where she continued to train, specifically at The Ailey School. From 2012-2013 she danced for SoulRebel Dance Company, based in Brooklyn, NY. She performed ‘Thread’ choreographed by Will Brown in Philadelphia and collaborated with filmmaker Geoffrey Stevens at the beginning of this year. Since January 2014, she has worked with Daniel Gwirtzman Dance Company and JD Dansfolk Dance Company (both modern companies are based in New York).

Nikyta Moreno also teaches at The School at Steps and South Asian Youth Action.

When did you begin dancing, where and why?

My parents enrolled me into ballet and tap classes at the age of 4, at East London School of Dance. The school is still running and is based in Forest Gate, East London.

What were your early years of dancing like?

They were very hectic but enjoyable. I trained in ballet, tap, jazz and modern, therefore I attended class three times a week after school. Every spring, summer or autumn term I had an RAD or ISTD exam.

How long have you been performing? Did you start young?

I have been performing for 10 years now. My first performance was at the age of 14, where I performed to Prince Phillip at the Barbican theatre. It was a very exciting experience for me. I remember feeling like a celebrity.

Where did you train and what was a typical day like?

I received my Dance Diploma at The Brit School, and then went onto receive my degree in BA (Hons) Dance Theatre at Trinity Laban Conservatoire.

My school days at The Brit School were always busy but full of laughter and excitement. There was never a dull day at The Brit School! My typical day would start at 8.45am and end at 5pm with one 15 minute break and one hour break. I trained in Ballet, Tap, Jazz, Contemporary, Modern and Musical Theatre. Each day consisted of two dance classes and one written class. Every term we ended with a showcase in the Obie Theatre, therefore our day would also consist of rehearsals.

At Trinity Laban Conservatoire my days varied from year to year. My first and second year consisted of a mixture of dance and written classes, whereas in my third year I only had dance classes and rehearsals. At Trinity Laban I trained in Ballet, Graham, Cunningham, Limon and Release Technique. My day would start at 8.45am and would end around 7 or 8pm, due to workshops or rehearsals. My day would consist of 3-4 dance classes, a written class and rehearsals.

When I moved to New York I continued my training at The Ailey School, on the Independent Programme. As I was on the Independent Programme I was able to choose what dance styles I wanted to train in and create my own timetable. I did 14 classes a week; each class was 90 minutes. I trained in Ballet, Horton, Graham, Jazz, Taylor Technique and Hip Hop.

My typical day consisted of three dance classes with a one hour break. My day would start at 8.30am with a Ballet class and finish at 3.45pm with either a Jazz or Hip Hop class.

Did you face any particular challenges?

When I first auditioned for The Brit School, I actually did not receive a place, it was after appealing I then received a place in the Dance Strand.

The Brit School was definitely the start and foundation of my dance journey and career; it is where I truly learnt about the dance art form. If I had never appealed who knows what my career path would have been, or where I would call home.

What is a typical day like now?

I usually start my day at 9.15am with a Hot Power Vinneysa class, then attend company dance rehearsals. Rehearsals could be up to fours hours a day. After rehearsals I either teach or attend open dance classes (depending on what day it is).

How do you keep on top of your technique?

I still train! I believe as a dancer you can never stop growing, there are always areas for improvement. I attend a Hot Power Vinneysa class every day and a ballet, contemporary and pilates class at least once in a week.

What’s the best part about dance?

For me the best part about dance is performing! The thrill you get when on stage! It is a very rewarding feeling to show choreography that you have complete movement ownership of, and to share your love and passion for the art form to everyone who is present in space.

What would you say was your greatest achievement to date?

My greatest achievement has definitely been moving to New York. I have been lucky to have a successful dance career here so far and to have met great practitioners. August 2014 will make it three years since I have moved, and the time has just flown by!

What advice would you give to someone aspiring to be part of the dance industry?

Never, EVER, give up! Every no you receive take it as a blessing and push harder. People are always going to say no, but one day that no will become a yes! It is your job to make that no into a yes!

Be you! Everyone else is taken. Figure out what works for you; what you like and what you don’t like, work hard and master what you are good at. Don’t compare yourself to other dancers.

Always attend class, read everything you can get your hands on! Never stop learning!

What’s next for you?

My next aim is to be in the Broadway musical ‘The Lion King’. I will continue to strive for this goal, but in the meantime I will continue to train, teach, hold workshops and work with companies, organisations, here in the United States.

I would also like to travel to different states in the U.S., and dance with different companies. I recently received the opportunity to visit the Houston Met Dance Company in Houston, Texas. It was an amazing experience to dance with a different company, in a different environment and meet and work with new dancers and teachers.

Floriana Frassetto: Decades Of Dance

Floriana Frassetto was born in 1950 to Italian emigrants in the States (Norfolk, Virginia). She studied at Alessandro Fersen’s Theatre Academia in Rome from 1967 to 1969 and completed her training as actress attending a comprehensive course (mime, acrobatics, dance) at Roy Bosier’s Teatro Studio.

Having worked in Rome in several pantomime and theatre productions, the idea of founding MUMMENSCHANZ resulted from meeting Andres Bossard and Bernie Schürch: two young Swiss clowns called Before and Lost in 1972.

Floriana has since co-invented the repertoire of MUMMENSCHANZ and played in each performance. The creation of costumes, the choreography of Giancarlo Sbragia “Faust” played in the Roman amphitheatre of Taormina (Sicily), the staging of some MUMMENSCHANZ scenes for André Heller’s musical Body and Soul, the artistic collaboration with Isabelle Baudet for the children musical Oliver Twist in Lausanne (Switzerland) all rank among her greatest individual achievements.

When did you begin performing, where and why?

As a very shy child I loved to express myself through movement, clown and mime: my inner world. I started performing when I was 17 in Rome, Italy.

What were your early years of performing like?

As a youngster I was full of dreams, criticism against part of the society which I did not agree with. I was, of course, a ’68 flower child. I performed in schools, in warehouses and in the streets of Rome.

With whom and where did you train?

I trained with Alexandro Fersen, a private acting school in Rome and with Roy Bosier, a Swiss Mime in Rome.

What is a typical day like now?

Doing some office work and maintaining the materials, the masks, the costumes, the shapes. Occasionally creating a new sketch.

How do you maintain your technique?

If there is the occasion I would love to [take class]. I keep on top of my technique by training.

What’s the best part about performing?

The interaction with the audience.

What would you say was your greatest achievement to date?

Having co-created more than a 100 sketches in 40 years and wakened that innocent child which is the same all over the world.

Which part of dance do you enjoy most?

I am not really a dancer but I love when dancers truly dance with passion and a baggage full of technique

What’s next for you?

To study and to sacrifice until they achieve and find their own language.

Daniel Bolton: Rising Star

Daniel Bolton Daniel trained at Laine Theatre Arts and has appeared as a parade performer, ice skater, sky runner and dancer at Disneyland Paris for several successful seasons. His television credits include Britannia High (ITV) and Libra Television schools documentary, and his theatre credits include Peter Pan (White Rock Theatre, Hasting) and Sleeping Beauty (Civic Theatre, Chelmsford).

When did you begin dancing, singing and acting, and where and why?

I was 9 years old when I joined a local Amateur Dramatic society in Horwich (my home town) for the year 2000 production of Oliver. I then continued to do a number of productions with various adult and youth societies in and around Bolton. By the age of 13, I decided I wanted to try to do this as a career, so I decided to start some formal training in dance. I joined Frances Bleasdales School of Dance in Bolton and started to follow ballet, modern and tap gradings.

What were your early years of performing arts like?

Fantastic, I loved my time performing in various amdram productions around Bolton. This is where my hunger for performing on stage began.

How long have you been performing? Did you start young?

I was 9 when I started performing on stage, but I only started formal dance training at 13. So I suppose I was a late starter for a dancer, as most people start to learn to dance from the age of 3!

Where did you train and what was a typical day like?

I trained professionally for 3 years at Laine Theatre Arts, in Epsom. My typical day would start at 8.30am and finish at 6pm. It would consist primarily of dance. I had ballet and jazz lessons at least once a day.

What is a typical day like now?

I am currently touring with Fiddler on the Roof, so my day depends on if it’s a double show day or just an evening show. On an evening performance day, we have to be at the theatre for 6pm for warm up. Warm up consists of a 20 minute dance and 20 minute vocal, leaving time to tune musical instruments and run anything that needs to be ‘cleaned up’ before the performance. The reason we have musical instruments is that the show is actor-musician, so we don’t have an orchestra and we all have to play the music as well as act, sing and dance. I also try to get to see some of the city or town we are currently performing at and do a spot of sight-seeing.

What’s the best part about performing?

I really like the challenge of this production of Fiddler on the Roof, as I have had to learn how to combine playing a musical instrument with my acting, singing and dancing. It adds a whole new vibe to our cast, we have to be listening very carefully to all the other performers even more than in any other production I have been involved in. Even when I’m in the wings, I have to be in the music booth playing the music for my fellow cast mates.

What would you say was your greatest achievement to date?

I think Iid have to say my persistence in wanting to train at one of the top training colleges. My journey to college had its ups and downs and it’s quite a long story but I feel I should share it with you. I auditioned for Laine Theatre Arts for 3 consecutive years and each time I was offered a place but fell at the funding stage!

I couldn’t afford to self-fund so I took on all types of jobs for 3 years, saving as much as I could and writing to charities and trust funds to find any means I could to acquire the fees. Jobs that I did were waiting on tables in restaurants, call centres and my favourite was working at Disneyland Paris. It really was an incredible time at Disney.

On my third attempt to get the funding for Laine, once again, I wasn’t offered the 3 year DaDa funding but Miss Laine offered to help with a 1 year bursary. With the money I had saved and the kind donations from the hundreds of letters/application forms I completed for trust funds, I was finally in a position to feel I could financially take up my place that had been there for me for 3 years.

I was beaming; I moved to Epsom that summer and found myself a part-time job to help me pay for my living costs. At that point I knew I had finances to help me get through approximately half of the 3 year course. So I continued to write to trust funds to continue to search for additional funding for the second half of the course.

Towards the end of my first year, Miss Laine offered me a 2 year DaDa which provided me with the funding for my final two years tuition fees. I will always be very grateful to all the people that helped me find the finances I needed to get through the 3 year course. However, with determination to not give up, I graduated last summer and started an incredible job with Fiddler on the Roof.

What advice would you give to someone aspiring to be part of the dance industry?

“It’s ok to fail, but NEVER be defeated.” Napoleon Hill

I think this quote pretty much sums up my time to date, not just in the industry, but also for during the training required. I strongly believe that if you want something, you can get it, if you are never defeated.

What’s next for you?

I will be moving back to Epsom after my tour finishes. I have just got my job back waiting on tables. I will be attending class to keep the training up and back in the audition rooms hoping to find my second job in the career I love.