Dancers – Page 7 – Dance Direct Blog. News, Reviews & Advice About Dance

Carolyn Bolton: Rising To Rambert

Carolyn Bolton

Carolyn Bolton was born in Columbia, USA, and trained at South Carolina Governor’s School for the Arts and Humanities, the Martha Graham School of Contemporary Dance and University of South Carolina. She joined Rambert in 2013 after working with the Wideman/Davis Dance Company, Unbound Dance Company, and Spartanburg Ballet.

Carolyn’s career highlights include performing with New York City Ballet in the USC Dance Company’s annual gala and featuring in the 2007 ETV documentary Sketches from Chronicle for the Martha Graham Company.

Carolyn has also choreographed works during the South Carolina Governor’s School for the Arts and Humanities year round programme, the University of South Carolina academic year and Summer Program, Benedict College After School Dance Program, as well as works for Litchfield Dance Arts Academy. In addition, Carolyn has choreographed solos for numerous dance competitions including the prestigious Youth America Grand Prix Competition.

When did you begin dancing, where and why?

I began dancing quite late, aged eleven. I auditioned for a dance programme at my local middle school in South Carolina and was accepted. Initially I was inspired to move by images on the television ranging from Olympic events, such as figure skating and gymnastics, to more fantasy based programmes like the Power Rangers. However it was seeing Julie Kent from American Ballet Theatre perform Le Corsaire that ultimately sparked my interest. I loved the music, costumes, and the beauty of each step and knew I wanted to dance too.

What were your early years of dancing like?

When I began dancing it was only for fifty minutes a day, five days a week. My school did an excellent job of exposing me to various modern techniques as well as classical ballet. They also brought in professionals, such as Carolyn Adams, to work with us and set established pieces like Donald McKayle’s ‘Rainbow Etude’. My teacher also encouraged me to take classes outside of school and provided me with free after school lessons at a local studio.

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

I have been performing for about fourteen years now. I started performing shortly after I started. My school would put on several productions a year, including one large production at the end of each year. I also had the opportunity to participate in performances with local companies in South Carolina.

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

I did my pre-professional training at the South Carolina Governor’s School for the Arts and Humanities. A typical day for me included a ballet technique class in the morning, followed by a pointe class, and three hours of repertory. I would then complete my academic course work and continue rehearsals into the evening. After rehearsals I would have about two hours of free studio space, so I would continue to work on my own choreography or improving technical skills. Each Saturday I would take either a Horton, Cunningham, or Jazz class in addition to my normal ballet class and rehearsal schedule.

What is a typical day like now?

A typical day now consists of a morning technique class either ballet or contemporary, followed by five hours of rehearsals.

Do you still take classes? How do you keep on top of your technique?

I try to stay on top of my technique by taking daily classes provided by Rambert, as well as maintaining pilates exercises to target my weak areas.

What’s the best part about performing?

The best part of performing for me is the silence and moment of stillness I feel when I step on the stage. It’s an indescribable feeling to have all the focus on you. It’s also a lot of pressure, and that knowledge of everyone watching you gives you an adrenaline rush which is unmatched by any other experience.

What would you say was your greatest achievement to date?

My greatest achievement to date is to be dancing for Rambert. I have had the privilege and honour to work with so many artists in America, but Rambert has truly opened a new world of dance to me. It is a pleasure to be in the midst of such talented and diverse artists each day.

Which part of dance do you enjoy the most?

I truly enjoy taking class every morning. For me class is a form of meditation; a way of centering the body, reconnecting with myself and getting in touch with how I am feeling each day. Class allows me to take risks and improve on my technique and artistry prior to stepping on stage.

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

I would advise someone aspiring to enter the dance industry to cherish every moment and opportunity presented. The dance world can be very fickle but it is vital to remember that ultimately, you are in charge of your destiny. It is important to persevere even when it appears things may not work out. By maintaining a positive attitude and looking for solutions rather than problems, achievement is inevitable.

What’s next for you?

I am looking forward to more touring and performing with Rambert. I am also interested in further exploring my choreographic vision while simultaneously teaching for companies/schools.

Photo © Astrid Julen

Osipova And Vasiliev Reunite!

Two of the world’s most celebrated dancing partners, Natalia Osipova and Ivan Vasiliev are to be re-united this summer at the London Coliseum from 6-9 August. They will appear in Sergei Danilian’s production of Solo for Two: three diverse pieces including two world premieres commissioned by the Segerstrom Center for the Arts and Ardani Artists.

The evening will open with a piece to be confirmed, followed by Passo by Ohad Naharin, artistic director of Batsheva Dance Company. Naharin has choreographed more than 20 works for Batsheva and its junior division, Batsheva Ensemble. Naharin has also worked with Nederlands Dans Theater, Ballett Frankfurt, Paris Opéra Ballet, Cedar Lake, and Alvin Ailey American Dance Theater. The evening will conclude with a new work by Arthur Pita named Facada. Pita is a highly talented and versatile choreographer and director. He has created works for Johannesburg’s Dance Umbrella, Resolution! and Spring Loaded at The Place, Royal Shakespeare Company, Phoenix Dance Theatre, CandoCo Dance Company and The Metamorphosis for The Linbury Studio Theatre Royal Opera House.

Osipova graduated from the Bolshoi Ballet Academy and joined the Bolshoi Ballet the same year, going on to reach the position of Principal Dancer. She has been a guest artist with the Mariinsky Ballet, Teatro alla Scala, Paris Opéra Ballet and American Ballet Theatre, and is currently a principal dancer with the Royal Ballet and American Ballet Theatre. Her vast repertoire includes Nikiya, Aurora, Juliet, Medora, Kitri, Swanilda and Giselle amongst many others.

Vasiliev is currently a principal dancer with American Ballet Theatre, having studied at the Dnepropetrovsk Ballet School in Ukraine and later at the Belorussian State Choreographic College in Minsk. In 2006, he was invited to join the Bolshoi Ballet as a soloist, making his debut with the Company, at age 17, and was soon promoted to the rank of principal dancer. Vasiliev has been a guest artist at the International Rudolf Nureyev Festival in Kazan and has appeared with the Novosibirsk Opera and Ballet Theater Mikhailovsky Ballet in St. Petersburg.

Image courtesy of Wikimedia Commons.

Sandrine Monin At the Yorkshire Festival

Sandrine Monin, who will be performing in Ghost Peloton with NVA & Phoenix Dance Theatre, is a professional dancer anticipating the upcoming performance of the Yorkshire Festival.

When did you begin dancing, where and why?

I started dancing when I was about 3 years old in France. I think it was kind of a love at first sight with dancing. My Mum and I went to pick up a friend at a dance school and apparently I started twirling around and imitating them. Then I just told her that I wanted to dance.

What were your early years of dancing like?

I began dancing so young that my early years dancing were mostly for fun, enjoying moving, learning routines. I started with modern dance and when I was about 7 I went to ballet classes, but then I was just having a blast dancing, regardless of any technique.

But slowly, deep inside, I kind of knew that I wanted to become a dancer, even though it seemed more like a little girl’s dream back then. But the idea stuck on and I knew I needed to start focusing on my technique.

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

It seems like I’ve always been performing. As kid we would have a dance school show every year, then I had performances within my training and it went on until I started performing professionally five years ago.

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

At 16, I started my vocational training in the Conservatoire National Superieur de Musique et de Danse de Lyon in France where I trained in mostly ballet, but also repertoire, partnering work and contemporary dance as well as theoretical subjects (history of dance, anatomy, music) from 9am until 6pm. Meanwhile I carried on with my academic studies at home through a distance learning organisation.

After I graduated at 19 I wished to extend my skills in contemporary dance. I moved to Germany and entered the Dance Apprentice Network aCross Europe where I worked with choreographers such as William Forsythe and Wayne McGregor. There I kept working on my contemporary and ballet training and was opened up to theatre and new technologies used.

What is a typical day like now?

Now as part of a company, my day officially starts at 10am with an hour and fifteen minute class, but I would always be in the studio at least half an hour earlier to warm up. Then we have rehearsals until 5.30pm, with one hour lunch break. In rehearsals we learn and create new pieces or work on existing ones, getting ready for the next performance to come.

How do you keep on top of your technique?

I take class every working day, contemporary or ballet according to which teacher we have. In the company we consider classes an integral part of the training and not just warm up. So everyday class is a way to improve your technique. In rehearsals, we are pushed to never be comfortable in a piece and to always challenge our own limits. We are also encouraged to try and use other techniques (yoga, pilates, gyrokinesis) and we go to the gym to build strength and stamina.

What would you say was your greatest achievement to date?

I’m just thankful to be able to live of my passion. And at the risk of being cheesy I’m glad I realised that little girl’s dream.

Which part of dance do you enjoy most?

My favorite part is definitely being on stage. It’s such an exquisite feeling to get into a character, abstract or not, and show its story to an audience. I also love how any new piece forces you to rise to a new challenge.

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

I think first of all you have got to love it. It’s a hard and competitive world and sometimes it feels unreachable but don’t give up.

Then, just be curious, make your own research, watch as many shows or videos as you can, surround yourself with all kind of arts. Stay open to anything, any style, don’t make preferences because you never know when it can be useful.

What’s next for you?

We are – at the moment – on tour with our new programme, but preparing the “Ghost Peloton” on the side, a performance for the departure of the Tour de France in Leeds. Then we are going to start creating a new programme very soon, so just a lot of dancing for now!

Events of the Yorkshire Festival run across Yorkshire between 28 March and 5 July 2014.

Photo Credit: Richard Moran.

Ieva Kuniskis: contemporary culture

Ieva Kuniskis is an emerging choreographer from Lithuania currently living and working in London. She makes physical theatre work that draws on her heritage, theatre and the folklore tradition of storytelling. She makes dance for stage, film and sited performance. A double bill of her work is at Blue Elephant Theatre 7-9 May.

When did you begin dancing, where and why?

I am originally from Vilnius in Lithuania, so my first taste of dance was there. One summer (I was about 16), I made a friend who’s sister taught contemporary dance and was immediately intrigued – prior to that I had been going to a yearly contemporary dance festival (The New Baltic Dance), but never considered it for myself. I went along that autumn and it all made perfect sense in my head and for my body, I felt that I found the right place for myself.

What were your early years of dancing like?

Before taking up contemporary classes I didn’t really dance, so my early years dancing looked like this: a few moths of Lithuanian folk dance and a month doing ballroom (from where I was kicked out for chatting – I was 6!)

I did more theatre; a company my dad knew needed a child for a role in Moomins and they cast me as one of the little twins who spoke a made up language. I was less than 10 years old and got to spend a whole season with a professional theatre company!

But movement was never completely alien to me – my dad was involved with mime and theatre, taught Tai Chi, so generally I was still somewhat physical, though not taking the typical route into dance.

How long have you been choreographing?

I started choreographing at university. I got there already sensing that this is where my interests lie. I graduated just over 3 years ago and went straight into making work.

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

I went to Middlesex University in North London. For at least the first term I remember standing in the corner of the studio waiting for my turn to do a travelling sequence and looking around with this heady feeling ‘Am I actually doing this?!’. It took me a whole year to get used to the thought that this is my life now. (I worked in photography for several years before making the switch to dance).

The course is part academic (I did BA in Dance Studies), so sometimes there was only one technique class a day to make room for library time; we had the option to join other classes in our year and the years below, so by the final year you could really fill up your schedule. And during the summer or half term I’d go to the professional classes at The Place or GDA to keep the momentum going.

Our campus was inside the beautiful Trent Park with a lake, wildlife and hordes of hikers, so sometimes we’d rehearse or do class outside on the grass. We were the final year before the campus closed; by the end all the other courses had already moved and it was just us, so we lived in our pretty little dance bubble.

What is a typical day like now?

The only typical thing now is that my week is completely unpredictable from one day to the next. I might do a morning class followed by an admin afternoon of writing projects, applications or generally catching up on emails (there is a lot more computer time involved in being a choreographer than I ever anticipated!); one day I’ll be working out some material in the studio, at the Southbank or in my kitchen, then going to see a show somewhere. The next – it’s meetings with potential collaborators followed by 6 hours of rehearsals, followed by an exhausted collapse into bed.

I also work as a photographer’s assistant, so when it’s quiet with dance projects I can spend a lot of the time in a photo studio or on location. That can be quite deflating, so I recently resolved to take at least one class per week to remind myself how much I love dance.

Do you still take classes?

After graduating I didn’t do any technique, just Contact Improvisation and Gaga – I was a bit fed up with the structured ‘face the mirror, do as I say’ dancing. But after a year I began to miss the brain and body training that comes with working out somebody else’s material and figuring out how to apply it to your own body.

I had an injury last summer, so I didn’t take class for a while. But I am back and trying to take one regularly – for training, for motivation, to remind myself how much I love it, for creative inspiration and the social aspect of it, too. I just returned from a week-long Gaga Intensive in Belgium, so am feeling refreshed and inspired.

Do you prefer choreographing to performing?

Yes, definitely choreographing. Although sometimes I miss performing, too. I do maybe one performing project a year or have to take over in one of my own pieces.

If I take on a performance project I try to find one that gives me an opportunity to learn something new in the creating process; that’s what I love most about making dance, whether as performer or choreographer – the time in the studio.

What’s the best part about choreographing your own work for yourself?

I love working in the studio with other people. I love the ‘making’ time – bringing an idea, unpeeling the layers; seeing how suddenly (and it always seems to catch me by surprise!) an idea becomes a movement phrase, then moulds into a whole section – a trace of something you know is unique and special. It’s the rush of those moments that I love; maybe it’s a kind of adrenaline rush?

What would you say was your greatest achievement to date?

I think just the decision to stick with dance is a pretty big achievement! Everything I do feels like small gradual steps towards making my career into something that keeps me stimulated and last into old age. Some of these steps are very considered and strategic, others feel completely accidental.

On reflection I can name some things as achievements; for example, the fact that my first piece Gone To Get Milk was invited to perform in Austria and Lithuania (at that same prestigious New Baltic Dance festival I used to go to for my dance fix). Having the first solo run in May – a double bill evening of my own work – must be an achievement in the official books, but I can’t tell yet. I think it’s too early in my career to talk about achievements.

Which part of dance do you enjoy most?

This is a difficult question; there is no one part. I can answer which part I enjoy the least; it’s being glued to my computer doing admin, writing project plans, trying to verbalise ideas – it feels isolating and keeps me away from the studio (although I understand that in the long run it is part of the preparation that gets me into the studio and closer to the sustainable career I want).

I like the people I get to meet and work with – they are passionate and inspiring. There is also a sense of shared understanding and respect there, nobody will dismiss you. I once got an email from a choreographer whom I never met before; she had recently seen my work. She has been working in dance longer than I and invited me for a drink, just to chat and offer to share her experiences and advice. It’s really comforting to feel this sort of support! I think it’s quite unique within any professional industry, but I see a lot of it in contemporary dance. We are a peculiar type.

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

You have to really, really love it (neurotically, obsessively!) and keep trying to re-find that love whenever you feel fed up with being penniless or feel like friends with ‘normal’ jobs are moving ahead with their lives while you’re still serving drinks in a pub.

Take class, it gets you into the pool of like-minded people, who are just as mad as you for choosing this career – apart from training it’s reassuring and inspiring, it is also great for networking. Stop thinking about taking class or seeing a performance as a luxury, it’s part of your continuous development, like keeping your practicing license up to date.

Make a schedule, know that you will do a class every Wednesday and see a performance or an exhibition, or a play once a month. Having a routine is good – you have something to look forward to and work towards, and you can plan around it. This is something I am still trying to implement in my life, talking with friends it seems that routine is hard to master for creative heads.

What’s next for you?

I am going into rehearsals for Gone To Get Milk and Women’s Tales, that’s a double bill evening running 7-9 May at the Blue Elephant Theatre; then, a few days off to spend with my dad, who timed his visit so that he can see the show.

I am working on a really exciting collaboration with a violinist Abe McWilliams exploring and re-imagining Lithuanian folk music. There are also seeds being planted for a really interesting male duet, which I am getting really excited about.
And in my dreams – a full length piece for 2015.

Oh, and I am seeing Eva Recacha’s Easy Rider next week – that’s my once-a-month thing for April.

Matt Flint: Reach For The Stars

‘So You Think You Can Dance’ winner Matt Flint is a ball of energy. Having won this prestigious competition and having danced alongside many well-known music artists, it is any wonder Matt has time for anything else. Despite this, he is running a dance competition named “Can You Dance?” with dancer Tom Shilcock, which will be held in Norwich, Nottingham and Leeds.

Here Matt talks about his training, winning SYTYCD and his latest dance project…

When did you begin dancing, where and why?

I started dancing in 1994 at the age of 12 (now you know how old I am!). I went along to the local dance school in Scarborough and did their new boys street dance class. I was quite sporty and always up for something new – I loved it instantly.

What were your early years of dancing like?

I was taught early on from my dance teacher just how hard you had to work and believe me, she took no prisoners. I struggled at first having to perform in front of friends but I loved dancing most nights of the week and was excited to get to London.

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

I have been dancing for 20 years now. Wow, it has flown by! I started fairly late by comparison. I have always been into choreography – I started just by choreographing myself but now I thrive on the challenge of choreographing whatever is put in front of me!

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

I trained at Laine Theatre Arts. It has always been one of the top colleges, my time there was fantastic. The training was intense, you could be dancing for 7 hours a day.

What is a typical day like now?

Never the same, which I love! Aside from the choreography work, Can You Dance? fills my day. We are just about to enter the 2014 season so things are really starting to build up nicely!

Tell us a bit more about Can You Dance?

CYD? is what the regions have been craving for a few years… In a nutshell, we are bringing top Choreographers, Dancers, Colleges & Dance Organisations to counties that haven’t been able to experience anything like it before! The day consists of Masterclasses, a Showcase, an Industry Exhibition and is the perfect opportunity for young dancers to discover what the next step is for them.

Where can we find the conventions this year?

We will be in Norwich, Nottingham and Leeds – so come and say hello.

Do you still take classes? How do you keep on top of your technique?

I do a lot of Bikram Yoga, a couple of gym sessions a week, plus all of the dancing I still do.

What would you say was your greatest achievement to date?

Probably So You Think You Can Dance. Not because of winning, but because it has opened lots of doors which I’d been struggling to open for many years.

Which part of dance do you enjoy most?

The fact it’s my passion and I feel like I’ve never worked a day in my life. The social aspect. The fitness.

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

Get your head down and work hard. Sweat in every class. Look for inspiration outside of your bubble. Luck favours the prepared!

What’s next for you?

Last week I was choreographing Kylie on Sport Relief. This week I am in pre-production for a new musical. Over the next month I’m working on an advert!

Sunanda Biswas: A Credit To Hip Hop

Sunanda Biswas One of UK’s foremost B-girls and founder of ‘FLOWZAIC’, the UK’s first all-female breaking crew, Sunanda has performed, judged and hosted at some of the biggest Hip Hop and B-Boy events from UK B-Boy Championship, Nike Dance Clash to BOTY and B-Supreme women in the Hip Hop festival at the South Bank Centre.

She was the co-choreographer for the NHS segment of the London 2012 Olympics Opening Ceremony and is now Associate Director of ‘Grounded’ which gave its début performance at Sadler’s Wells Breakin’ Convention’s 2013 tenth anniversary.

When did you begin dancing, where and why?

I began dancing when I was three years old, doing ballet and tap, but then also trained as a gymnast from six years old. I then went to Lewisham College at 16, and then London Studio Centre.

What were your early years of dancing and training like?

I remember copying dance moves from old hip hop videos, Michael Jackson, Janet Jackson and Madonna, and there was a guy at my gym that used to do a UK version of Locking, so I used to copy his routines! I also loved breaking back in the day, but never learnt it properly until the late 1990s. My training was good; I had to do basic ballet, contemporary, and Matt Mattox jazz that really enhanced my dance career.

What does dance mean for you?

I guess it’s my life as this is what I have done as a living since I left college, but it is my passion also and I love the history involved in dance, and the social side of it.

How long have you been working as performer and choreographer? How did it begin?

I have been working professionally for about 20 years and some of my first jobs were doing commercials, videos, teaching and performing in a casino in Italy!

What is a ‘typical’ day like?

I always try to get up and do yoga and pilates exercises at home before I go and either teach, choreograph or do a job. Some days I don’t have work so I train or take other people’s classes as it’s always good to keep up with the knowledge.

What’s the best part of dance for you?

I love training but the performances are great, also battling and free styling as you can be yourself and have your own character.

What would you say was your greatest dance achievement to date?

It has to be choreographing and performing in the London 2012 opening ceremony in the NHS section: myself and my long-term dance partner, Temujin Gill, got to work with Danny Boyle and create our own choreography and style, and also got to perform on the night!

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

I think you have to be motivated and work hard, it’s not always easy but if you put enough time into it, you can achieve what you desire, Also, be versatile and learn different styles, but it is good to specialise in one or two so you can really shine and be different.

What’s next for you?

I am currently doing a research and development project with my dance company Grounded where we are exploring ideas to create a new show. We are working with the styles of lindy hop, breaking and tap, and training up more dancers throughout the process.

Blazing Ivan Blackstock

Ivan Blackstock is a well-respected hip hop artist within the dance theatre world, the commercial world, as well as on the hip hop battle circuit. He undertook training at two prestigious dance conservatoires, namely the Urdang Academy and London Contemporary Dance School, during which he took a gap year to join The Pet Shop Boys on their world tour.

Ivan has worked with many well-known names of the dance world, such as Arlene Phillips, Jasmin Vardimon, ZooNation Dance Company, Kylie Monogue and Breakin’ Convention, in addition to working as part of the BirdGang Dance Company creative team. Here he shares stories of growing up with dance and his life as part of Blaze…

When did you begin dancing, where and why?

I have always been dancing since I can remember. I have always been a fan of Michael Jackson, MC Hammer & Bobby Brown but I took my first dance class at the age of eight in a dingy hall in south London, after seeing my cousin performing and opening for a well known US boy band at the time.

What were your early years of dancing like?

Very crazy; I remember travelling from my old home in Old Kent Road
to Battersea at 10 or 11 years old twice a week to make rehearsals and training by myself. My Mom would drop me off when she could but she was juggling two jobs and my younger sister.

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

My first performance was quite soon after I joined my cousin’s dance crew but professionally it started at 17 years old, and I was on a world tour with the Pet Shop Boys at 19.

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

I trained with many established street dance companies and teachers in London, from Sisco Gomez to Boy Blue Entertainment. I also studied dance at a few schools… Lewisham College, Urdang Academy and London Contemporary Dance School.

My typical day was getting to ballet for 8:30am, taking various dance technique classes and also contextual studies until about 6pm, then taking a street dance class or rehearsing with my dance company BirdGang from 7-11pm. I would get home and be in bed for about 12:30am and would then repeat.

What is a typical day like now?

My typical day now is prepping for the next choreographic project. Having meetings, writing emails, seeing shows. Very fun I must say.

Do you still take classes? How do you keep on top of your technique?

Yes, I always take class when I can. When you get older you have a lot more responsibilites so it’s not so easy to commit to dance classes as you would when you are younger. Wednesday is the day I religiously take time to take class and I also try to train by myself at home: I find it therapeutic.

Do you prefer choreographing to performing?

I love both to be honest, but at this stage in my career I prefer choreographing. I like working with different types of people as I find it really stimulating – each project is very different from the last. Also seeing the birth of my ideas from my head actually come to life with people paying to come and see it and walk out satisfied. That really does it for me.

What’s the best part about performing in Blaze?

Working with such a diverse pool of talent. Everyone brings something unique and special to the table. Also, my colleague from BirdGang Kendra Horsburgh is resident choreographer and dance captain and she is doing a great job putting the show together.

What would you say was your greatest achievement to date?

Winning the Guardian & Hospital Club 100 award. Being a winner alongside Steve McQueen, The Rolling Stones, Helen Mirren, I feel very honoured especially as it was a public vote. So I must be doing something right!

Which part of dance do you enjoy most?

This might sound selfish but the feeling when I hear music that touches my soul. It’s very self indulgent. I can’t really explain it but that’s the best part of dancing, I feel.

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

The road is long, the road is tough, but if you have patience, perseverance, humility, and foundation you will reach your destination.

What’s next for you?

Working with my dance company BirdGang on future projects such as Breakin’ Convention and a few shows in Europe. Secondly I will be working with Dance Umbrella and the Young Vic in October.

Kloé Dean: No Rest For Dancers!

Kloé Dean (c) Hugo Glendinning Kloé Dean, is a passionate and unique hip hop dancer, choreographer and freestyler; as part of one of the UK’S leading street dance companies, Boy Blue Entertainment, Kloe also leads her own all-female Dance Collective ‘Myself UK Dance’. She is currently a cast member of the street dance sensation BLAZE.

Kloé has performed in numerous productions, showcases and competitions in the UK and around the world and has performed as well as showcased her own choreography at the International Dance Festival Breakin’ Convention at Sadler’s Wells.

Here Kloé talks about her unconventional but admirable training and her life jam-packed full of dance…

When did you begin dancing, where and why?

I began dancing from a young age, around 3, just copying what I saw on TV and music videos. When I was around 11 I started a class at a small performing arts school, and participated in various creative after school clubs where I grew up in South East London. At the age of 15 I took my interest in dance, Hip Hop/Street dance especially, a little more seriously. I dedicated the majority of my time to dancing in my crews at the time “Millitree”and “Vortex”. I then went on to audition for Boy Blue Ent and have been dancing with the company ever since. That also inspired me to create my own company, Myself UK Dance. I was inspired to dance as I felt I could freely express my emotions and put my all into it. I loved the feeling of working hard and seeing the outcome of rehearsing for weeks.

What were your early years of dancing like?

My early years of dancing were fun, they consisted of hundreds of rehearsals in car parks, back gardens, outside shopping centres, anywhere we could dance. We were always inspired by other crews and dancers but all had healthy competition and wanted to be the best!

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

I started performing at primary school in weekly assemblies, at the age of around 7 or 8 years old.

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

I mainly trained in hip hop crews put together by fellow dancers and trained myself. I attend many (and still do) open classes in various hip hop disciplines and freestyles at clubs, battles and jams. I started training at WAC performing arts College but was unable to finish my studies unfortunately.

What is a typical day like now?

A typical day can differ everyday! Some days will be made up of training, teaching, and rehearsals. Or teaching, training, auditioning, rehearsals. Or training, rehearsals and performing. Or travelling, training, teaching, performing. It!s crazy sometimes!

How do you keep on top of your technique?

By training and sharing with others. Competing, showcasing, performing and practicing.

Do you prefer choreographing to performing?

I love both.

What’s the best part about performing in Blaze?

Dancing with the amazing cast, learning from them, being able to tour different countries and share your craft!

What would you say was your greatest achievement to date?

I think it would be performing at the Sydney Opera House with Blaze, doing the Olympic opening ceremonies in London, and seeing my own choreography on the Queen’s stage at Buckingham Palace for Coronation celebrations.

Which part of dance do you enjoy most?

The feeling of doing a good job on stage and banging out some good choreography.

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

Work hard. Don’t let anyone stop you from fulfilling your goals and keep going! Never Give Up!

What’s next for you?

Blaze Taiwan! Also, my own company, Myself UK Dance, will be holding our show ICON, celebrating International Women’s Week on Friday 21 March 2014 at Stratford Circus. Then I’m off to Brussels to perform with my company for a project called 7 Steps.

Rachel Burn – Freedom And Fulfilment In Freelancing

Rachel Burn Rachel trained at Middlesex University, and the Merce Cunningham Studios in New York, where she also performed with the Repertory Understudy Group. She has choreographed for Cloud Dance, Actual Size, Middlesex University Students, Switchback Productions and currently a variety of her own projects, including ‘Pull Through, Flick’ performed at Woking Dance Festival, G Live and Cloud Dance Sundays, and ‘Threshold’ at Emerge’13 and Resolution! 2014.

Rachel currently creates and performs with/for Delve Dance and The People Pile, and has recently finished working on a dance film for musician Tiny Leaves. She has also worked with H2 Dance, Laila Diallo, Douglas Dunn, Shobana Jeyasingh and Gary Clarke.

When did you begin dancing, where and why?

I don’t really consider myself to have properly started dancing until I was at university at Middlesex in north London. I was a very small ﬁsh in a big pond with terrible feet, no ﬂexibility, a pronounced arch in my lower back and sticky out ribs. I was encouraged to focus on dance particularly by a youth worker I was close to as a teenager – I owe a lot to her.

Once there I just absolutely LOVED the live musical accompaniment and the massive energy that was required, in Graham class in particular, and with this like-minded tribe of people. That’s one of my favourite feelings still. That felt like I was really ‘doing’ something. I loved feeling strong and I worked really hard.

What were your early years of dancing like?

I took Saturday dance classes as a child, because my Mum was a dance teacher and I think that’s a really normal thing for little girls to do (hopefully little boys too!), I did acro at a smoky, rundown school in Grantham that possibly still turns out amazing gymnasts. I didn’t really start to take it seriously until a teenager, about 15. I had dropped the acro and the little bit of ballet I’d done and taken on modern and tap (I LOVED tap!). Then I thought I should begin some ballet classes and enjoyed the autonomy of getting buses after school to the next town to take my dance classes. I felt pretty empowered by that!

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

I’m sure I did a couple of productions when I was little but my head is very scatty and I think I was always the little girl who didn’t know we had to stay for rehearsals, or who hadn’t got my Mum to sign the permission slip, or those sorts of things, I only remember one or two. In school I always loved drama and did quite a few LAMDA exams to a good standard – I loved costuming crazy characters, improvising sketches, and also won a few medals for playing traumatised autistic children… which is curious…!

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

I trained at Middlesex University and as the years went on the days became fuller and fuller, mostly with rehearsals and extra classes. We’d be on campus from 8.30 until the theatre closed at 10 – before that there was no closing time on the theatre so we were sometimes there until midnight and back again at 8.30. I slept quite a lot in the canteen…

We would have one or two technique classes a day – Graham and Humphrey in the ﬁrst year, then with Cunningham or Skinner added in in the second year, and then our choice of the three in the third year. Ballet also happened a little between those techniques (I wasn’t mature enough yet to take proper advantage of ballet, I had decided I didn’t like it so was a very grumpy ballet student!).

For me though, in dancing 24/7 I had found the thing I really felt empowered and energised by so my focus became pretty strong and from the word go I joined as many extra classes as I could. In ﬁrst year that meant joining the other groups’ Graham classes, in second year joining the other groups’ Cunningham classes (Cunningham was a hallelujah wake up call to me – ﬁnally somewhere my body felt at home!), and in third year joining everything I had a chance to, plus a lot of rehearsals. I did 7 day weeks there most of the time.

After I graduated I took a year to train at the Cunningham studios in New York until they closed and we all got sent home! Doing nine classes a week in that beautiful roof top studio was like dancing on clouds. It was one of the most difﬁcult and rewarding years of my life and I would encourage everyone to make a scary jump like that. You can choose whether it’s good for you or not – choose it to be good.

What is a typical day like now?

Now there is absolutely no such thing as a typical day. They consist almost arbitrarily of class, meetings, rehearsals, so much more emailing and computer time than I ever imagined – they don’t teach that at uni… pub shifts, events work, teaching, researching, train trips to visit companies or locations I want to make a new work in, more emailing, more meetings. I can regularly be found working at the South Bank Centre, or downstairs doing class for myself if I’ve missed it, or working out some new choreography.!

I’d say a lot of my time is spent in making contact with people for possible opportunities in the future – they may be other local dancers, musicians I’ve met, photographers, ﬁlm makers, other choreographers, costume designers. There’s a lot of coffee drunk in the freelance world!

Do you still take classes? How do you keep on top of your technique?

I would absolutely say that taking class is one of the most important things a freelancer can do – for the ongoing technique and for networking. That’s the only way I made any of my initial contacts in London when I ﬁrst moved back here from New York. Class, class, class.!

Having said that, I’ve actually let class slip a bit recently – which is why I talk about taking it for myself, I ﬁnd it so helpful having the semi-ﬁxed vocabulary of Cunningham in my system which I can do in my living room, or Lloyd Park or the South Bank centre or wherever, if I haven’t been able to get to class. I also ﬁnd it very meditative in busy/stressful periods.

Do you prefer choreographing to performing?

Whenever I’m doing more of one I miss the other! When I graduated I stupidly decided that I would only choreograph and a year later I was CRAVING a performance opportunity. There’s a big gap in my CV as a result which now I think can be overlooked but in the early years was a regrettable problem.

What’s the best part?

Of being a freelancer? I would say the sense of self-empowerment and freedom. There are so many restrictions on this lifestyle choice, of course – in terms of ﬁnance, opportunity, distraction, loneliness etc – but if you have a strong sense of self then I think it’s actually one of the most empowering decisions you could make. Although to be honest I don’t think I really ‘chose’ it, I just saw a lot of other options that I knew I didn’t want to do, or maybe I didn’t even notice the alternatives, I just kept gravitating towards ‘part-time work plus my own work’ until I found that my own work had become my priority and ‘other work’ could ﬁt around that!

What would you say was your greatest choreographic achievement to date?

This is tricky… I would say with my most recent piece, Threshold, which was performed as part of Emerge Festival in November and Resolution! in January, that whilst I believe it holds absolutely to tenants that make something ‘contemporary’ in nature – which is not a quality set in stone but probably something about authenticity, integrity, and an effort at originality – it was genuinely enjoyed and ‘understood’ by audiences that are not at all otherwise engaged in dance. For them to have felt connected to it, inspired by it and free to bring their own understandings to it, that’s a great choreographic achievement to me. I hope I empowered audience members in that way. To be honest, I think I saw it a lot in my poor parents who have supported me for years, with my Dad groaning about coming to performances because he never ‘gets them’, and then with this piece, both of them really celebrating that they had felt all the things I had hoped people might, without me having to articulate anything verbally. That was really encouraging.

I think there can be a big gap of misunderstanding between the dance world and the ‘real’ world where people think that we dancers must be trying to confuse them or outwit them, make them feel a bit stupid; and sometimes as choreographers we can be a bit too submerged in our beautiful little community to realise that our work can just be a bit too ‘out there’ for audiences… There is absolutely a place for that experimentation and boundary pushing – it’s integral to contemporary work – but showing it to the wrong people as a ﬁnished product actively dwindles audience numbers. We need audiences! So I’m really happy that I feel like I made a piece of work that achieves both without losing integrity. Possibly it was a one-hit, who knows.

Which part of contemporary dance do you enjoy most?

I love the community of dancers, I think we all share a sort of common understanding. I work with some wonderful people who are genuine, who never make each other feel stupid, who are respectful; when you’re working with a group people with all sorts of different bodies and training and backgrounds, sharing work can make you very vulnerable so respect is needed. I love that about contemporary dance because I ﬁnd it consistently. They’re some of my favourite kinds of people.

I also absolutely LOVE nailing a sequence in class and throwing my body around really energetically to some really loud live music :-)!

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

Get to class and talk to people. Say yes to everything at ﬁrst. Be easy to work with and reliable. Over time you can begin to engage people in creating work with you. Let your reputation be known and be good.

What’s next for you?

Right now? A few days off with my nephew! That’s the freelance advantage, taking midweek days off 🙂

Professionally it is following up on contacts to getting Threshold seen and seen and seen. I have a few new projects being offered to me at the moment too, one musical collaboration, one sculptural and one architectural! And I’ve recently started the choreographic residency at Clarence Mews so am committing to regularly getting back in the studio and Pattern Making, as I like to call it. I also want to start a ﬁlm project, which will require a lot of organisation. There are a couple of separate teaching projects I want to start too. Those are a few of the things – there are always so many ideas! In many ways that’s the disadvantage of being freelance – you can do anything! So what do you do?? 🙂 It’s difﬁcult to decide which one requires prioritising in the now.

Daria Klimentová: End Of An Era

Daria Klimentova © Laurent Liotardo Photography Daria Klimentová, one of English National Ballet’s Lead Principals has announced she will retire after dancing the role of Juliet at the Royal Albert Hall in June with long-time partner Vadim Muntagirov. Despite his recent departure to The Royal Ballet the pair have formed one of the most admired ballet partnerships. He will return to the Company to play Romeo in Derek Deane’s spectacular production of Romeo & Juliet in-the-round and partner Klimentová in her final performances.

Performed by a huge company of 120 dancers, actors and sword-fighters, the production is an epic staging of Shakespeare’s timeless tragedy. This acclaimed production brings to life all the emotions of the world’s greatest love story, from the majestic sweep of the masked ball to the passion and intimacy of the lovers’ balcony scene. Klimentová has recently named dancing Juliet with Vadim Muntagirov as one of her favourite roles.

Klimentová has become one of the most respected and accomplished stars of classical ballet over her professional career spanning 25 years, 18 of those spent with ENB. She has performed many of the greatest roles in classical ballet to critical acclaim due to the technical precision, virtuosity and dramatic quality of her performances.

Klimentová danced first with the National Theatre Ballet Company, Prague (joined 1989, Soloist, Principal); going on to the Cape Ballet Company, South Africa (joined 1992, Principal) Scottish Ballet (joined 1993, Principal) and before joining English National Ballet as a Principal in 1996. She has the won Paris Dance Foundation Prize at Prix de Lausanne, first place Tokyo (1989), International Ballet Competition, Pretoria (1991), and received The Patron’s Award from Dame Beryl Grey (2011). Daria won the 2011 Critics’ Circle National Dance Awards for Outstanding Female Dancer.

Image courtesy of Laurent Liotardo Photography.