Category: News

Pivot Dance, a European creative collaboration initiative, was recently announced by The Place, London. It is a three year project looking at the value of creating dance performances in consultation with audiences, artists and producers, funded by the Creative European Programme of the European Union. With such huge backing, the initiative looks set to introduce new work for even more dance audiences.

This project is running simultaneously at The Place in the UK, CSC Centro per la Scena contemporanea di Bassano del Grappa in Italy and Nederlandse Dansdagen in The Netherlands. The three partners aim to represent a cross-section of organisations in Europe, made up of a producing theatre, a national platform and an international festival. The partnership is synchronised in terms of the organisations’ objectives towards dance artists and audiences, going further to embrace wider objectives around deepening artists and audience relationships.

Pivot Dance will culminate in the creation of six brand new dance shows made with the help of an ‘Audience Club’ in each country, hitting each of its objectives in working towards the future of dance. Specifically, Pivot Dance aims to create a shift in behaviour in the dance industry for the next generation of makers and audience, where they go on a creative journey together, rather than meeting at the end in the performance space. The three project partners are international leaders in supporting emerging artists and so are ideally placed to shift artistic behaviour across Europe.

The three key dimensions of Pivot Dance are therefore artists, producers and audiences to develop an artistic voice and entrepreneurial instincts from the very start of the creative process. Over the course of the project, the selected artists and producers will work with the Audiences Clubs and experienced dance professionals. This project tests new models for this three-way relationship: how it can impact the dances that are made, and how audiences connect to them.

The artists and producers who have been selected to participate in Pivot Dance are:

Sivan Rubenstein and Xavier De Sousa (UK) Joseph Toonga and Emma Beverley (UK) Giorgia Nardin and Irene Bedin (Italy) Elena Giannotti and Lisa Gilardino (Italy) Dario Tortorelli and Fred Bax (The Netherlands) Iván Pérez and Joriene Blom (The Netherlands)

The chairwoman and executive director of the International Association of Blacks in Dance, an organisation that has existed in the United States for over 25 years, has recently voiced her opinions on the lack of female African-American dancers in ballet companies. Denise Saunders Thompson held auditions as a result, in conjunction with the association’s annual conference for women seeking contracts with American companies.

Attending the audition were representatives from Ballet Memphis, Pennsylvania Ballet, San Francisco Ballet and Washington Ballet, amongst others, in addition to the Pacific Northwest Ballet School and the School of American Ballet. Thompson’s aim was to attract 50 dancers who were aged over 15 with at least two years experience en pointe. Ahead of the audition Thompson maintained that there was room for many more dancers and that there was no application deadline, opening the opportunity further to more dancers.

The objective of Thompson’s work was to demonstrate to companies’ artistic directors that there are many minority dancers available to them, in addition to being a call to action for these dancers, fulfilling the need identified for the artistic directors. There has recently been much focus on equity, inclusion and diversity in dance – as well as the celebration of Misty Copeland’s talents as a ballerina – so the audition comes as a follow-up to that.

The audition has been lauded as a positive and worthwhile experience for both the auditionees and the panel; it is a rare moment to have Houston Ballet Academy, Dance Theater of Harlem, Ballet Memphis and Washington Ballet in the room at the same time. Thompson aims to continue in this vein and strengthen the process in alignment with the companies. Ultimately she is looking to bridge the two parties together and work further to diversify the landscape of the ballet world, particularly in the United States.

RADiate, the Royal Academy of Dance’s initiative which offers subsidised dance classes to children on the autism spectrum, and to those with learning difficulties – and those who are non verbal – is set to expand into more schools across South and South West London. Recent funding will mean the RAD can consolidate and expand this inclusive outreach project into more schools, and meet more students’ needs beyond the London boroughs of Wandsworth, Hammersmith and Fulham, and Southwark.

RADiate classes allow children to benefit creatively, educationally, physically and socially, since the specific nature of dance particularly suits their more visual, non-verbal learning style. RADiate currently provides weekly dance sessions in ten special needs primary schools and mainstream primary schools with Autism Spectrum Disorder bases, delivered by a small team of highly-experienced teachers on a weekly basis. Many of the RADiate children find it difficult to engage in group activities so tutors are experienced in using activities which will attract the children into the group, so that taking part becomes a fun experience.

The children additionally benefit from the opportunity to develop at their own pace, with the support of a teaching assistant in ongoing weekly classes. These particularly give children with severe and complex learning difficulties the opportunity to make gradual progress within the routine and structure of the class. The class repeats movements each week and develops them slowly, as appropriate for children with autism who find change difficult.

As a new addition to the RADiate work, Michael Nunn OBE, co-founder of BalletBoyz, will also take on the role of RADiate ambassador. Whilst there are no plans yet to expand the project further across the country, offering the opportunity of dance even to a small proportion of children goes some way in practising and championing inclusivity in dance.

The hit and award-winning television show So You Think You Can Dance is set for a return to the public’s screens this year, with Fox announcing recently that the dance-based reality show will be back for a 13th season. However this time there’s a twist; 2016 will see younger dancers featured more than ever before.

Branded as So You Think You Can Dance: The Next Generation, the new focus of the show will look at dancers between the ages of 8-13 in more detail. Those focused on in particular will be those who are skilled in dance styles like contemporary, tap, hip-hop, ballroom or break dancing, opening the pool of talent wider and casting the net farther.

The young dancers will perform for their chance at a place in “The Academy,” where only the best will move on to the next round. Each member of the top 10 will then be partnered permanently with a SYTYCD All-Star to learn routines across all styles of dance, with one contestant going home each week. The judges – Nigel Lythgoe, Paula Abdul, and Jason Derulo – are set to return to the show, adding continuity to the show’s now changing face.

The brand new format will refresh the look of the show for its loyal fan base, which has stuck by the popular programme for over a decade. As a result of inspiring young dancers across the country, the focus on younger dancers looks like it will be a welcome change. The common perception of dance has changed dramatically in the twenty-first century, with it becoming much more mainstream and appealing to wider audiences.

The young and passionate new group of performers on the series will see much more talent hit television screens, who will potentially go on to shape the future of dance.

With January and the ‘new year’ well and truly over, dance classes are back to normal and the usual dance training for many dancers has resumed. Sometimes with new classes and extra training, other areas of technique and conditioning can slip a little further down the priority list: something which is usually neglected is a focus on flexibility.

With added dancing workload, new muscles are being used and they can become tight and sore as a result. There are certain flexibility improvements, however, that can be made in order to maintain flexibility and nurture it throughout additional training or classes you may take on in 2016.

Dynamic stretching can have a big impact on overall flexibility and help to retain technique previously built up. Dynamic stretching, and the movement that comes with it, helps to prepare the body for work on flexibility levels by increasing the flow of blood and oxygen to the muscles, warming up the muscles and mobilising the joints. Once the body is warm, dynamic stretches take the body through movement – such as walking lunges and hugging the knees to the chest – to begin increasing the elasticity of the muscles.

Alternatively, static stretching must only really be undertaken once the body is fully warmed up, as the stretches are still and held for much longer than dynamic stretches. These stretches should be held for around 30 seconds to increase flexibility, whereas dynamic stretches are held for around a third of this time, such as touching your toes. Gradually lengthen the muscle, breathe deeply and allow your muscles to relax into a deeper stretch throughout the stretch period.

Research continues to show that a combination of both dynamic and static stretching is most beneficial for increasing flexibility when your muscles are warm, however the stretches should never feel painful.

The award-winning collaborative duo Stiles and Drewe have recently announced a new Mentorship Award for musical theatre writers. What is tipped to become an inaugural award will help the next generation of musical theatre writing talent, following the success of the pair themselves.

The new award aims to help support and develop musical theatre writing in the UK, initiated by the Olivier Award-winning writing duo George Stiles and Anthony Drewe, who know a thing or two about writing for the stage, and successfully. Named as the MTI Stiles + Drewe Mentorship Award, the accolade will help to raise winners’ profiles in the industry and provide them with mentorship and support to help develop a new musical over a twelve-month period, culminating in an industry showcase.

There is no doubt that writing and developing a musical, be it for the West End, Broadway or Fringe theatre, is difficult work. Stiles and Drewe have acknowledged this too and have been championing new writers in the UK, now able to offer them support. The new Mentorship Award is hoped to make a significant difference to the quality of musical theatre writing in the UK: the pair will mentor the next generation of musical writers using their knowledge of the industry and the work required.

Stiles and Drewe found success as a partnership after winning the first Vivian Ellis Prize in 1985 for their musical Just So and their credits since then have includes Honk!, Betty Blue Eyes and Mary Poppins. Producer Cameron Mackintosh was an individual who provided Stiles and Drewe with advice and support during the early years of their careers, and even produced their first musical. Mackintosh has worked with the duo for over 30 years, so can vouch for their successful writing collaboration.

Submissions for the award are now being accepted, closing on 9 March. Winners of the award will be selected by Stiles and Drewe and a panel of judges.

The most important dance event in Italy reached a milestone last year, celebrating its 10^th anniversary. Danzainfiera is an annual international trade show dedicated to dance, hosted in the romantic heart of Florence, and has attracted over 1 million visitors in its lifetime: the success of the event speaks for itself. With dance students, teachers, companies and professionals attending from across the globe, it is the perfect platform for maximum exposition and networking within all areas of the dance sector.

Last year’s event was celebrated with true Italian flourish and style, and was certainly one to remember. For starters it opened with the fantastic Italian-born ballerina, Alessandra Ferri, representing her home country. As always, there was an abundance of entertainment to enjoy. For those wanting to get involved there were exciting competitions, fitness classes and dance workshops. Catering to the avid observers were lively parades and performances from amateurs and professionals alike. There was also a strong male presence, with huge talents from the professional dance world including Federico Bonelli, principal dancer in the Royal Ballet, and Nikolay Tsiskaridse, dancer in the Russian Ballet and newly appointed director of the Vaganova Academy in St. Petersburg. Representing the celebrity realm, the popular and charismatic Rafael Amargo, judge of Dancing with the Stars, hosted flamenco lessons for visitors to partake in.

We were thrilled to be able to attend last year’s event, and it was a pleasure to meet and interact with so many of the dancers who inspire us. With Danzainfiera 2016 only a few weeks away, the excitement is building at Dance Direct headquarters as we prepare for another year. There’s plenty to look forward to for the upcoming event; big names from the dance world include ballet master Liez Chang, the beautiful Elena D’Amario of the Parsons Dance Company, and YouTube ‘dancer on high heels’ sensation, Yanis Marshall. Representing street dance, locking and popping legend Suga Pop, and Mamson from hip-hop crew The Wanted Posse will be raising the roof with their masterclasses. Other exciting workshops include tap dance with Ruben Sanchez, and special sessions in ballet with renowned dancer and artistic director of The Royal Ballet School, Christopher Powney. Many young performers will be dancing their hearts out for the renowned ‘Expression’ competition – a unique opportunity to showcase up-and-coming talent, with amazing prizes and scholarships awarded. There will be a unique range of dance and fitness classes to get involved in, ranging from sensual Burlesque workshops, to Reggaeton fitness, to Hip-Hop and fusion dance styles. Parades and performances are sure to elevate the atmosphere, and the prestigious fashion show will be a feast for the eyes, flaunting the height of style from world famous dance brands.

If we had to say what we’re most looking forward to about Danzainfiera 2016, we’d be spoilt for choice – there’s such a fantastic line-up for this four day extravaganza! What makes this event so much fun to be at is the energy that the people there bring – there’s a real buzz and it’s magical to witness so many people coming together, united in their passion for dance; to inspire, and to be inspired by what they love. This year’s event is sure to build on the huge success of last year, for another phenomenal event bursting with excitement for visitors and exhibitors alike. If you’re lucky enough to be near Florence between 25^th and 28^th February, then come and visit us at Fortezza da Basso – Firenze, we’ll be at stand A4. We hope to see some familiar faces from last year, as well as meeting many new ones too!

The 16th Critics’ Circle National Dance Awards were presented at The Place on 25 January – hosted by Arlene Phillips CBE – highlighting many achievements in dance for 2015. There was a great breadth of nominations, with over 400 dancers, choreographers and companies deemed of such high quality by critics to be recommended for an award this year from a range of genres, surpassing last year’s record.

The awards celebrate excellence across a rich diversity of dance forms that have both entertained and challenged audiences throughout 2015. This year it was unusual that the judges presented two De Valois awards for Outstanding Achievement, in recognition of the unique achievements of two women. Sylvie Guillem, the most famous ballerina of her generation, brought her 30 year dance career to an end with her Life in Progress tour; and over her ten year tenure as the Chief Executive of Dance UK, Caroline Miller gave dance a political voice and merged together four major dance organisations to produce one to represent all facets of the national dance profession.

Although this ceremony generally saw new winners, choreographer Wayne McGregor picked up his fourth award, winning the Best Classical Choreography for Woolf Works. The 52 year old Italian ballerina, Alessandra Ferri – formerly a principal dancer with the Royal Ballet – returned as a guest artist to star in Woolf Works, for which she won Best Female Dancer. Sir Matthew Bourne’s New Adventures, won the award for Outstanding Company, and New Adventures dancer Zizi Strallen won Outstanding Female Performance (Modern) for her portrayal of Lana in The Car Man.

Other highlights included the award for Best Modern Choreography going to Canadian choreographer, Crystal Pite, and a high commendation for exceptional artistry went to two great contemporary flamenco artists, Israel Galván and Rocío Molina. The Dance UK Industry Award, determined by a separate panel of judges chosen by Dance UK, went to Tamara McLorg, the internationally-renowned dance educator and choreographer.

Last seen in the UK in 2012, one of the world’s most celebrated contemporary dance companies, Nederlands Dans Theater 2, will return to the UK this spring. As part of a Dance Consortium tour, the company will begin in Woking in April and conclude at Sadler’s Wells, London in May. While the tour programme is subject to alteration, the company will also visit Southampton, Salford, Edinburgh, Newcastle, Bradford, Birmingham, Plymouth, Nottingham and Brighton.

Under the artistic directorship of British-born Paul Lightfoot, Nederlands Dans Theater has its headquarters at the Lucent Danstheater in The Hague. Since its foundation in 1959, this pioneering company has built a rich repertoire of more than 600 works by choreographers Jiří Kylián and Hans van Manen, renowned house choreographers Sol León & Paul Lightfoot, associate choreographers Crystal Pite and Marco Goecke and high-profiled guests such as Gabriela Carrizo, Hofesh Shechter, Johan Inger, Alexander Ekman and Sharon Eyal & Gai Behar.

In 1978, Nederlands Dans Theater founded NDT2, its junior division specifically focusing on talent development for young dancers aged 18-23. Over a three year period NDT2 prepares 16 classically trained dancers (plus two apprentice dancers for the UK tour) from around the world for NDT2. Working with more established choreographers, the dancers perfect a range of styles and genres in which technique is a means to achieving their artistic aims as world class performers.

At various venues during the tour, three works will showcase the choreographic relationship between NDT’s artistic advisor Sol León and artistic director Paul Lightfoot. León & Lightfoot started creating work together over 26 years ago and since then have created over fifty pieces for NDT. As part of the Dance Consortium tour, the work will be experienced by thousands of people across all parts of the UK, as Dance Consortium is made up of a group of 17 large scale venues. Since its formation in 2000 Dance Consortium has presented 37 tours by 22 different companies.

As the Australia Day celebrations subside, The Australian Ballet are busy preparing for its London performances in July 2016, with Graeme Murphy’s Swan Lake on the bill from 13–16 July and Alexei Ratmansky’s Cinderella from 20–23 July at the London Coliseum. Under the artistic helm of David McAllister, The Australian Ballet was last seen in the UK in 2008, and 2016 will see a thrilling two-week season of ballet following sell-out performances around the world.

Both productions to be presented have become signature works for the company, remaining true to tradition whilst daring to be different. With choreographic challenges and multi-layered characters, the company drives the storytelling. Murphy’s critically-acclaimed Swan Lake sees the tale unfolding with a contemporary twist, produced to mark the company’s 40th anniversary in 2002. Odette is betrothed to Prince Siegfried, but she is apprehensive about his relationship with Baroness von Rothbart. Odette is committed to a sanatorium where she finds comfort and escape amongst white swans in a frozen dream world.

With an ever-developing repertoire, The Australian Ballet is known for producing new versions of the classics and inviting the finest contemporary choreographers to produce exciting new works. Ratmansky is one of the world’s most sought-after dance makers and his production of Cinderella for The Australian Ballet will be the first time it has performed in Europe. Commissioned by McAllister in 2013, Ratmansky’s Cinderella is re-imagined in 20th-century Russia and in an abandoned theatre. When Cinderella loses her slipper the Prince must embark on a world-wide journey to find his lost love, visiting many tempting lands before they are reunited.

Founded in 1962, The Australian Ballet prides itself on a commitment to artistic excellence, a spirited style and a willingness to take risks, defining the company both on and offstage. The company hosts 79 dancers, and presents over 250 shows and audience engagement events each year. It tours regularly overseas and has performed to critical acclaim around the world to cities including New York, Tokyo, London, Paris and Beijing.