Category: News

English National Ballet will present its Swan Lake in-the-round at the Royal Albert Hall from 1-12 June 2016, a production which, in the past, has been described as “a sumptuous spectacle”. Choreographer Derek Deane’s critically acclaimed production of Swan Lake in-the-round will be presented at the iconic venue, the largest production of its kind.

English National Ballet’s Swan Lake features over 120 dancers, receiving its world premiere in 1997. The production has since been enjoyed by over 500,000 people worldwide. Many would argue that Swan Lake is the most popular ballet ever created; it tells the story of Prince Siegfried’s love for the Swan Queen, Odette, their battle against the evil magician, Rothbart, and an encounter with the manipulative Odile. Deane’s production features acrobats, jugglers and 60 swans, made up of the company’s corps de ballet and additional dancers.

Bringing the romance and high drama of this iconic ballet alive, the production is set to Tchaikovsky’s memorable score played live by the English National Ballet Philharmonic. English National Ballet’s aim of continuing to work with the very best talent from around the world will see guest artists Osiel Gouneo, who stunned audiences recently in English National Ballet’s production of Le Corsaire, and Constantine Allen, a Principal with Stuttgart Ballet, join the company. They will partner Alina Cojocaru, who makes her debut in Deane’s in-the-round production, and Laurretta Summerscales, who was recently promoted to Principal dancer on stage after a performance.

Other principal casting includes Lead Principal dancers Tamara Rojo and Isaac Hernandez, who makes his debut in the role, Fernanda Oliveira and Alejandro Virelles, Erina Takahashi and Yonah Acosta, and young emerging talent Shiori Kase and Cesar Corrales, who both make their debut in the roles.

Members of the House of Lords have recently criticised the government’s decision to exclude creative subjects from the English Baccalaureate taught in mainstream schools, additionally claiming that an EBacc without the arts should be unthinkable. This news will be welcome amongst the arts community who have supported the inclusion and importance of arts in schools, providing children with a balanced education and the chance to pursue a career in any direction.

The lack of mandatory creative subjects in the EBacc has ignited concerns regarding the effects a curriculum without compulsory arts subjects, and how that could affect the education and influence on young people. Artist and crossbench peer Nicholas Trench maintained that a core curriculum without the arts will not raise standards of young people in schools, denying them the chance to flourish within the arts and be rewarded by them, the same way a student focuses on maths is rewarded by success in that subject.

Plans for the EBacc, which the government has said it hopes will be used by 90% of secondary school pupils, requires GCSE students to study English, maths, science, a language and either history or geography, with no focus on the arts subjects of any kind. Whilst many think the EBacc should either be reformed or dropped entirely, to others it is just unthinkable as to why an EBacc with no cultural component was being encouraged by the government.

It is clear the English Baccalaureate is not a broad and balanced curriculum; schools minister Nick Gibb previously and illogically claimed that concerns over the lack of arts subjects in the EBacc were unjustified, as it allowed pupils to participate in creative subjects outside the formal curriculum. Without the support of arts from schools, the subjects will simply decline. Recent figures from the Department for Culture, Media and Sport showed that the UK’s creative industries are now worth £84.1 billion per year to the economy, something the government might miss if it dwindled.

For young dancers who aspire to become professionals, it is important to stay inspired by, and educated about, the dance world. This can often feel daunting, considering the mammoth competition in the world of dance, so how can you make your dreams a reality? How can you gain access to the world of dance? Mentorship by another member of the dance community is the best way to answer those questions and gain guidance about your next steps.

A mentor is someone who can guide you on your journey and be your very own personal life coach for dance. They will have experience and expertise in dance and can therefore help you progress towards your goals by uncovering opportunities on the way. Offering solutions to perceived problems can be a real turning point for a young dancer, gaining insight into the best way to achieve. A mentor can help you learn about key people and companies in the arts, and how they fit into your learning. Most importantly, they can help shape your dance experience through giving you confidence, which is paramount.

Finding a mentor for dance does not have to be difficult: it can be as easy as writing an email to someone you admire or a teacher you think suits your way of learning about dance. It takes just one person to shift you onto the correct path, give you that pep talk or find you that new technique class. Do your research and think about what you want to achieve, so you can find someone who has similar career path. Be proactive in your search and remain dedicated to your cause – you are serious about your career and your mentor will see that by the fact you are continuing your dance education, attending classes, auditions and seminars.

Whilst having a mentor is highly valuable, be sure you don’t rely on their expertise to propel you – it can be easy to take the relationship for granted and wait for your mentor to solve all your problems. Ask questions and pick their brains, but remain at the forefront of your learning.

Martha Graham, while perhaps not a familiar name to all dance students, was undeniably a major force in developing contemporary and modern dance we see today. She was the founder of one of America’s oldest dance companies, creating over 180 dance works and simultaneously challenged physical, artistic and aesthetic conventions. Graham technique is just part of the legacy she has left modern dance, having tackled numerous themes in her work, from the psychological to the political.

April 2016 marks the 90th anniversary of the late Graham’s pioneering dance company. The reach of the company has only increased since her death nearly 25 years ago, with her legacy still living on. The Graham company today is very much audience-led, with its leaders’ artistic decisions reflecting both tradition and a forward-thinking strategy. Whilst, for example, the late Merce Cunningham’s company disbanded following his death, Graham’s work continues to live on.

With the company at 90, it has established itself back at the forefront of modern dance, and continues to secure the Graham legacy for well into the future. Dance works by other artists have been introduced to the company’s repertory, something which has had a strong audience response. Commissioning is now an integral part of the company’s programming vision, combined with Graham classics to achieve a balance of tradition and invention.

Like many arts organisations, the company is adapting to an increasingly digital age, competing with on-demand entertainment options. Online engagement with the company is being translated into filling theatres in order to connect with audiences in non-traditional ways, such as by mixing video footage with Graham’s works to generate original interpretations. Satellite celebrations are also taking place all over the world for the company’s anniversary, such as an art installation in the Paris Opera House, commemorative performances of Graham works by the Paul Taylor Dance Company and L.A. Dance Project, and a five-country tour, which was completed last November.

MOVE IT is the UK’s biggest event for dance and the performing arts, running this year from 18-20 March in the UK’s capital. Usually attended by around 22,000 dancers, this year it is running over three days at the venue of ExCeL. The event is packed with live performances, classes in a number of different dance genres, career advice for the dance and musical theatre industry, celebrity appearances and shopping opportunities to delight even the youngest dancer of the family.

Attracting everyone from dance enthusiasts to teachers and professional level dancers, and championing dance styles as wide-ranging as ballet, Bollywood and street dance, no matter your level or passion there will be something for you at this huge celebration of all things dance. As well as a chance for potential vocational students to research their future training opportunities, MOVE IT is also a place to indulge in the world of dance and soak up the exciting atmosphere of demonstrations, performances and masterclasses. 

Shopping all things dance is yet another element of the show, in addition to the awe-inspiring performances on the Main Stage. All your dance needs will be met with all levels and styles of dance classes, performing arts workshops for acting and vocal skills and the chance to discover new dance career opportunities in the MOVE IT PRO series. 

For more information, including Main Stage line-up and class timetables, visit moveitdance.co.uk

COMPETITION – WIN TICKETS TO MOVE IT 2016

If MOVE IT sounds like something you’d like to attend, or even if you’re an experienced visitor,  CLICK HERE TO VISIT OUR FACEBOOK PAGE  before Midnight on the 2nd March and answer a simple question to be in with the chance of winning a pair of entry tickets to the show – we have 16 pairs of tickets to give away!

The tickets will be posted out to the lucky winners (selected at random) ahead of the event taking place from 18-20 March.

UK Residents only, must be 16 years or over to enter. Full terms and conditions.

The importance of dance in schools has been a hot topic of conversation recently, in politics, media and education itself. There has also been much focus on subjects which could be classed as purely ‘academic’ and how studying these alone prevents students from thinking and acting creatively; the arts would fall by the wayside. Support for creative outlets has been vast from the sector itself, thinking about how young people are able to express themselves in a way which isn’t scoring high in a test.

In some schools, dance falls into PE classes, but often led by a teacher with a sports and science background, rather than an artistic one. Dance comes into its own subject at GCSE and A level, but the support for these classes is not common outside of dance itself. Whilst there may be a school choir, band or theatre group, dance can be neglected, unless it is supported within vocational training schools. Introducing dance to a mainstream school can be challenging but it is a big step that is rewarding too, especially for students.

A specialised dance programme can often be misunderstood, purely because it is not seen as academic and of value, however the way students learn and the way they develop is completely relative, and opinions on dance are entirely subjective. For dance students, the importance of the subject is undeniable, like science is for those students and sport is for that group of students. With the incorporation of dance in the school system, the improvements in students’ school work and attitude toward school is of note, often providing a creative outlet for students to express themselves through movement, especially for those who do not gel with school.

As an academic discipline, dance is a different learning experience for everyone, creating freedom and movement. Dance creates undeniable bonds between peers which last well beyond school; and can offer a support network too. Dance should have more relevance for schools in developing students.

Dance, when considered an expression of the self and art, is far removed from the rigour of weekly dance class and the demands of technique. Despite this, to build a foundation for dance and technique it remains imperative that dancers are encouraged to develop a level of strength and flexibility in order to progress their further. A large part of technique in particular, and ballet as a foundation for all dance styles, is turnout, which many dancers aspire to improve.

Turnout is not necessarily important in all styles of dance but is at the core of the ballet aesthetic: turnout helps to provide a more stable base of support through the foot. It is easy to ‘force’ turnout by pushing the heels forward, however without the knees tracking over the toes in a plié and the hips rotating outwards, this creates a false image. It puts too much rotational action in the knee joints, ankles and feet which destabilises the knee and ankle and can result in injury.

One hundred eighty degree turnout is something few dancers have, and the vast majority of dancers work constantly to improve their degree of turnout. For the most part, this extent of turnout is something very few dancers are born with – for most, the natural skeletal structure restricts the amount of turnout they have. Despite this, it is possible for a dancer to enhance turnout, and to stretch and strengthen the hip structure to maximise this. Although genetic factors cannot be improved, tendon and muscle structures can be improved to support the lateral rotation to maximum advantage.

Factors that can inhibit turnout include imbalanced pelvic alignment, gripping or tucking the pelvis under, tension in hip muscles and overuse of incorrect muscles. Work within your physical structure to safely improve turnout by working on muscles for internal and external rotation equally. Strengthening and stretching the hip structure should be combined so as not to create an imbalance. Work on stretching the medial and lateral rotators of the hip, the hamstrings and hip flexors and releasing tension of the hip muscles not needed for rotation, such as by foam rolling.

London’s Roundhouse in Camden is due to celebrate a landmark year, having opened 50 years ago as a bold new arts centre in the capital. In 2016, a new building will act as a centre of creative excellence, with the anniversary year beginning with a world premiere for choreographer Akram Khan and a first ‘in the round’ music series. Still to be announced is a major event to celebrate the Roundhouse’s birthday in October, still under wraps.

The building could be classed as one of the most iconic performance spaces in the world, and a state-of-the-art creative centre for young people. In recognition of this momentous year, the intention to add a brand new campus as a centre of creative excellence for young people has been announced. Ahead of this however, Khan’s production of Until the Lions, a brand new intimate music series and the announcement of the return of UK’s foremost festival of international contemporary circus, Circusfest in April, will also add to the celebrations throughout the year.

The Roundhouse offers audiences of all ages new and extraordinary experiences in live music, circus, theatre, spoken word and more. Additionally, each year it helps over 3,000 11-25 year-olds realise their creative potential through opportunities in music, media and performing arts. They work with industry professionals to develop their skills in a dedicated creative centre, to be championed further in 2016. June will see the Roundhouse recognise its 10th anniversary of reopening as a charity following a huge refurbishment and the 50th anniversary will be celebrated by honouring its historic role in the UK’s live music and performing arts scene.

The Grade II* listed building and former railway engine shed was built in 1846, falling into disuse until reopening as a performing arts venue led by playwright Arnold Wesker. The cutting-edge arts venue lived for 16 years before it fell into disrepair in 1983, and in 1996 The Norman Trust bought the building and set up the Roundhouse Trust. In 2006 the building reopened with a mission of providing creative opportunities for young people. Since then nearly 30,000 young people have benefitted from the centre’s projects.

While injuries in dance can be debilitating and demoralising, learning about the most common injuries can be useful in both preventing and healing.

Tendonitis is one of the main offenders for dancers, where there is an inflammation or tear in the tendon that travels under your calf muscle, inside the ankle bone and along the bottom of the foot to the big toe. Pain is felt when the dancer goes from demi-pointe to full pointe, and can also mean the big toe clicks or gets ‘caught’. This form of tendonitis can derive from repetitive ‘pushing off’ with your foot during jumps or while going from plié to relevé, so it is important to have balanced strength and flexibility in the ankle.

Stress fractures can also be common in dancers, where tiny cracks occur in the bones due to repetitive overloading. These are often found in the long bones of the foot and the pain is most apparent when jumping or turning. To begin with, you may not see any swelling or bruising, but it will gradually become more painful to dance. Loading the bone beyond its limit causes a reaction which then heals, but with overuse it cannot heal quickly enough and cracks. Periods of increased activity, such as lots of rehearsals for a performance or during a summer intensive, can also cause the fractures, as well as having weaker bones due to poor nutrition. Strengthening exercises can help as modified rest before attempting to jump.

Straining the muscles in the lower back can feel like a dull ache on one or both sides of your spine, occurring when dancers try new things, such as a new step, style of dance or choreography. Weakness in the core muscles are partially to blame, in addition to the back, as the overuse is overwhelming when the muscles are not quite strong enough, leading to stretching or tearing the inflamed muscles. During recovery you may be able to take modified class, however you may need a complete rest period. Gently stretching the muscles and abdominal strengthening exercises, like planks, can help, in addition to targeting the lower abs.

It is important to look after the body, it is the only one you’ve got!

The hit musical Guys and Dolls recently transferred from the Chichester Festival Theatre up to London, as so many musicals have done in recent years. The theatre in Chichester appears to be a lucky charm for all productions that play there, seeing them all journey to London to play to and delight the capital’s audiences too. The hit production is also set to tour the UK, enabling audiences further afield to experience the show too.

The show will move from the Savoy Theatre – where it is currently playing – to the Phoenix Theatre in March with a UK tour running simultaneously. Having only opened at the Savoy in January, the confirmation of its transfer across London demonstrates the popularity of the show. The production will replace the musical Bend It Like Beckham which shuts on 5 March, with Guys and Dolls opening on 19 March, soon after closing at the Savoy on 12 March. The show is currently booking at the Phoenix Theatre until October 2016.

Directed at the Chichester Festival Theatre by Gordon Greenberg, the show will also tour from 16 March across the UK at the same time as the extended West End run. The UK tour will visit Liverpool Empire; Theatre Royal, Newcastle; His Majesty’s Theatre, Aberdeen; The Edinburgh Playhouse; Lyceum Theatre, Sheffield; Bord Gáis Energy Theatre, Dublin; Theatre Royal, Norwich; Mayflower Theatre, Southampton; Grand Theatre, Leeds; Theatre Royal, Plymouth; King’s Theatre, Glasgow; Milton Keynes Theatre; Theatre Royal, Nottingham; The Marlowe Theatre, Canterbury; New Theatre, Cardiff; Bristol Hippodrome; Grand Theatre, Wolverhampton and New Victoria Theatre, Woking.

While full casting details are to be confirmed, the show tells the story of gangsters in New York and the love story between a gambling man and a Salvation Army woman. It features songs such as “Luck Be a Lady” and “Sit Down You’re Rockin’ The Boat”.