Category: News

Iconic British dance company Rambert will present The Future, an evening of new choreography co-curated with its partner venue The Lowry, Salford, on 3 October 2015. The Future is part of Rambert’s choreographic programme to develop a generation of diverse artists who are ambitious to work in large scale spaces and collaborate with artists from a variety of disciplines. The programme also provides choreographers from within Rambert with performance platforms, access to technical knowledge, mentoring and the opportunity to create work with world-class dancers.

2015 will see Rambert extend these opportunities to external dance artists for the first time, as well as to Leeds-based choreographer and founder of DeNada Dance, Carlos Pons Guerra, to create a new work with Rambert dancers. The programme will then include works by Rambert dancers Luke Ahmet, Simone Damberg Würtz, Patricia Okenwa and Pierre Tappon. The Future will also feature new works by Leeds-based company the MiddletonCorpus and Newcastle-based Lo-Giudice Dance. This is the first time Rambert has worked with young choreographers from outside the company in this particular way, and it is the first time it has presented choreographic platform events in north west England.

Choreographic development is fundamental in Rambert’s work: it has nurtured generations of choreographers who have gone on to have long-standing careers such as Rambert’s Artistic Director Mark Baldwin, Rafael Bonachela and Christopher Bruce. Emerging choreographers such as Miguel Altunaga, Malgorzata Dzierzon and Alexander Whitley have also been supported at the start of their careers, and The Future will extend this by opening platforms up to young choreographers.

Rambert’s choreographic programme is consequently developing its national reach, through collaborations with regional venues such as The Lowry, producing performance platforms for both Rambert choreographers and emerging dance makers across the UK. The Lowry’s reputation as a regional hub for dance performance makes it ideal for presenting this unique insight into the future of dance.

The biggest dance show in television has returned to BBC One this autumn, with its celebrity dancers now confirmed. Ainsley Harriott, Anita Rani, Anthony Ogogo, Carol Kirkwood, Daniel O’Donnell, Georgia May Foote, Helen George, Iwan Thomas, Jamelia, Jay McGuiness, Jeremy Vine, Katie Derham, Kellie Bright, Kirsty Gallacher and Peter Andre will all be taking part in the highly anticipated competition.

Returning for another year is Strictly’s much-loved judging panel: Head Judge Len Goodman, in addition to Darcey Bussell, Bruno Tonioli and Craig Revel Horwood, who will again be the panel of dance experts that this year’s celebrities will be dancing to impress. At the launch, the celebrities discovered which professional dancer they have been paired up with for the competition, in a bid to win the Glitter Ball Trophy.

Once the celebrities and professional dancers pair up, they have three weeks to train before returning to the ballroom to perform live every week. Each week the two couples with the lowest combined scores, from the judges and public vote, will face each other in the dance off, with one couple leaving the competition. At the halfway stage the show will travel to the international home of Ballroom dancing where the dancers will perform at the world famous Blackpool Tower Ballroom.

The professional dancer line-up welcomes three new dancers: Russian-born Dancing With The Stars favourite Gleb Savchenko, 2012 Italian Champion Giovanni Pernice and eight-times South African Latin American Champion Oti Mabuse. They will be joined by Aliona Vilani, Aljaž Skorjanec, Anton du Beke, Brendan Cole, Janette Manrara, Joanne Clifton, Karen Clifton, Kevin Clifton, Kristina Rihanoff, Natalie Lowe, Ola Jordan, Pasha Kovalev and Tristan MacManus. This year Joanne Clifton will join the It Takes Two team as their resident dance expert, hosted by Zoe Ball.

American Repertory Ballet has recently announced its events taking place in September based around the community. Along with Princeton Ballet School, American Repertory Ballet will be participating in community events throughout Central New Jersey with a multitude of events. Community events are an important part of the company’s activities, giving it the opportunity to connect with neighbours and share the happenings of the stage in the studios and in schools.

Cranbury Day is an annual event at the heart of the town, and each year, American Repertory Ballet Workshop students perform in Princeton Ballet School’s Cranbury studio. Additionally, American Repertory Ballet takes part in the festivities in the street, with giveaway items, chances to win free tickets to an upcoming performance and photo opportunities. American Repertory Ballet Workshop is a performance group made up of pre-professional Princeton Ballet School students, including members of the American Repertory Ballet Trainee programme: ARBW Juniors dancers are advanced Princeton Ballet School students.

As part of the city-wide Hub City Sounds summer arts series, American Repertory Ballet’s international Trainee dancers and George Street Playhouse actors will present “Be Unstoppable: Celebrating Healthy Kids in the Arts.” This interactive day of theatre, dance, food and family activities is ahead of performances from ARB’s dancers of a children’s ballet. The performance will include opportunities for participation and Q&A with the dancers as part of the day of free activities.

13 September will see American Repertory Ballet and Princeton Ballet in attendance at Septemberfest – an annual autumn festival at Veterans Park in Hamilton, NJ. Later on the company will also be present at Arts in the Park, where dancers will also provide a children’s performance. Attractions at both Septemberfest and Arts in the Park will include crafters, organisations and funfair games, as well as more giveaway items and an opportunity to enter to win free tickets to an upcoming performance.

Birmingham Royal Ballet’s Director David Bintley is swapping the stage of the Birmingham Hippodrome for The Palace of Versailles in his latest TV appearance. ‘The King Who Invented Ballet: Louis XIV and the Noble Art of Dance’ and Birmingham Royal Ballet’s newest work ‘The King Dances’ is set to be broadcast on BBC Four on 13 September at 8pm.

Bintley will present his second programme for BBC Four in 2015, following the success of the March 2014 documentary ‘Dancing in the Blitz: How World War II Made British Ballet’. The King Who Invented Ballet is an hour long documentary showing how Louis XIV’s patronage and passion for dance in 17th century France brought about the evolution of ballet, from propaganda in the French royal court to a professional art form in its own right.

Bintley goes about discovering the roots of classical ballet as it is known. Ballet significantly developed during the reign of Louis XIV; it was central to the lives of the nobility and Louis ensured that it would develop into an art form that could be taught, preserved and shared, commissioning the invention of dance notation and the foundation of the world’s first ballet school – the Académie Royale de Danse.

Also focused on is Bintley’s creation of The King Dances, a new one-act ballet for Birmingham Royal Ballet which received its world premiere at Birmingham Hippodrome in June, and will receive its television world premiere following the documentary. The piece explores Louis’ journey to kinghood, inspired by the Ballet de la Nuit, a 1653 dance work. Featuring an original score by Stephen Montague, costumes and designs by Katrina Lindsay and lighting by Peter Mumford, The King Dances is performed by fourteen male dancers and one female dancer.

A new international opportunity for emerging dancers and choreographers in 2016 will be formed by the Pina Bausch Fellowship for Dance and Choreography, for the attention of dancers and choreographers all over the world. The Pina Bausch Fellowship is being offered for the first time next year, and applications for this new scholarship close on 1 October 2015.

The home of the late Bausch’s company is Wuppertal in Germany, however amongst its benefits, the Pina Bausch Fellowship for Dance and Choreography will offer grants for a temporary residence at renowned institutions for dance and choreography abroad. It will also offer a placement in an ensemble or with a choreographer at home or abroad in order to provide much hands-on experience, yet this opportunity is as yet unpaid. The Fellowship will also provide the opportunity to study with renowned dance teachers either at home or abroad, furthering training and offering a different perspective to dance and performance.

The recipients of the Fellowship are not receiving a completely ‘free package’, however if the scheme is feasible to those who apply, it will offer a huge wealth of experience as part of the arts industry and working with a European dance company. As a result of the Fellowship, the recipients are expected to discover new forms of expression and to extend their repertoire of dance movements, gaining worldly experience whilst practising their art. Their artistic development will be further developed too, creating well-rounded dance artists of today.

The minimum length for each Fellowship is three months, with the maximum at six months. The Fellowship, of which up to four are granted each year, will also include a monthly allowance of €2500, in addition to one-time travel expenses. For more information visit https://fellowship.pinabausch.org/en/fellowship

It is rare for a music video not to involve dance, and the twenty-first century is seeing more and more recognisable dancers feature in the videos. Whilst music stars would perform in front of professional dancers regardless, today dance is featuring largely in the videos, the most well-known recent example being Sergei Polunin, the notorious ballet dancer, taking centre stage in Hozier’s Take Me To Church.

The balletic display by Polunin in the video is a delight for dance fans, likely used to escape the convention of backing dancers. For Hozier, Polunin created an alternative music video for Take Me to Church that was later sanctioned by the singer. It has been said he used Hozier’s hit song ‘to explore the agony of the discipline involved in his career’, having previously abandoned two prestigious ballet companies in a bid for personal freedom for his incredible – yet rebellious – talent.

Similarly, Tree of Codes, choreographed by the iconic contemporary choreographer Wayne McGregor, was testament to the ambition of pop star Jamie xx. This plainly shows that pop stars and musicians are turning to dance, and particularly ballet and contemporary, for alternative visuals. McGregor has since worked with Mark Ronson, Alison Mosshart, Boy George and other pop artists, to great critical success. One of McGregor’s dancers has even danced for Paloma Faith at the Brit Awards and with Thom Yorke of Radiohead in a video.

Another high profile example of particularly contemporary dance in a music video is Sia’s Chandelier, featuring young dancer Maddie Ziegler. The Australian singer went on to make two more videos with Ziegler in the same style, ‘almost like three acts of a ballet’. Despite this, it is clear that the dance world is still a long way away from pop music, even though the genres of dance are now crossing each other more easily.

Applications are now open for The Old Vic 12, a new scheme to support 12 emerging artists looking to make the next step in their careers, supported by the London theatre. The scheme will offer the lucky Old Vic 12 an opportunity to expand their networks, receive first class mentorship and benefit from association with The Old Vic – a prestigious theatre of the capital – through Matthew Warchus’ first season as Artistic Director of theatre.

As part of the scheme, three directors, three producers, three writers, one designer, one composer and one choreographer will work alongside each other to develop their skills and eventually present a work in progress to an audience. The scheme will take place over a year, in which the 12 artists will gain paid experience in the theatre. Through the exciting new project the artists will be encouraged to share their learnings through 12 masterclasses aimed at artists at the very beginning of their careers.

Spanning the year, the artists will explore their creative potential and carve out the next stage in their artistic careers. To mark the end of programme, three brand new pieces of work will be created and then presented by the participants in a culmination of a lot of hard work.

It is vital for new talent to be encouraged and supported in their endeavours in order to create the next generation of artistic talent. In The Old Vic inviting emerging talent to join the theatre for Warchus’ first season, it is hoped that working in a creative hub will inspire the first Old Vic 12. The scheme is the first for the theatre, embracing the many talents across many artistic disciplines, encouraging collaboration and a positive result.

Stretching can often have a ‘good cop, bad cop’ reputation. Whilst it is something dancers partake in regularly, research and results over the years have marked out the boundaries of stretching in terms of what and when to do it. There is no illusion: stretching safely has a number of benefits, both in terms of dance technique and flexibility, as well as the health and wellbeing of the body.

Stretching after the body is warm (not before) means the muscles have sufficient blood flowing through them and this decreases the risk of injury when dancing. The improved range of motion allows the body to move more efficiently, improving physical performance and then reducing the risk of injury as the muscles are pliable. Stretching improves the body’s suppleness and as a dancer becomes fitter and more flexible, movements come with more ease.

After a class, rehearsal or performance stretching enables the body to cool down effectively and work the muscles that have been performing hard. This reduces the muscle soreness that often occurs after trying new movements or having to work hard in a new routine to achieve what is required, limiting the delayed onset muscle soreness. After working the body, gradually stretch your muscles through full range of motion and hold in a static stretch for up to 30 seconds. Deep breathing provides the muscles with oxygen and relaxes the body into the stretch. Look after the body and ensure it can continue working at its peak for as long as possible.

Stretching the legs specifically also improves the body day-to-day, reducing the stress on the back and lengthening your posture. Not only does it significantly increase flexibility in this area, it will also improve everyday movement. The muscles in the back are contracted throughout the day to support the body and can become tight, so ensure you work to combat this, and keep on dancing!

A new 900 seat theatre overlooking Tower Bridge is set to open in the spring of 2017, as a result of the partnership between the former National Theatre team, Nicholas Hytner and Nick Starr. The pair’s new London Theatre Company is the brains behind the new venture, in an iconic and and brave venture.

The venue, which – according to the London Theatre Company’s website – will answer the needs of contemporary audiences and theatre-makers alike, will also provide a playing house which is both innovative and most certainly eye-catching. It will be part of the One Tower Bridge development which is taking place, and will be designed by Steve Tompkins and Roger Watts of Haworth Tompkins. The architects previously worked with Hytner and Starr on the NT Future renovation of the National Theatre, in addition to the NT’s Temporary Theatre.

Following 12 years of leading the world renowned National Theatre, Hytner – who himself has won an Olivier Award – left the organisation following a number of impressive achievements. Starr himself left in 2014, and during their time at the venue between them the pair introduced initiatives such as the Travelex seasons, NT Live and produced hit productions including War Horse; One Man, Two Guvnors and The Curious Incident Of The Dog In The Night-Time.

It is hoped that the new theatre will be a home for ambitious new work predominantly, providing the ‘modern comfort and facilities’ that will introduce new audiences, playwrights, directors and actors to the capital’s audiences. The Tower Bridge theatre is not the only venture the pair have set their sights on; their ambitions reach far beyond the development, despite it becoming their flagship theatre. In the years following its opening, the pair hope to launch other theatres of different scales following similar principles.

Ballet Barre fitness is taking the world by storm. With a multitude of different fitness classes popping up in gyms across the world, Ballet Barre is no different. A number of distinct benefits set barre fitness aside however; for those unfamiliar with the technique, an alternative way to get in shape can be ballet.

As with dance for the aesthetics of professional dancers, barre fitness works to sculpt lean muscle, which make the body appear more toned. It is particularly effective for toning the hips, calves, thighs and buttocks, as well as flattening the abdominals as the back and stomach are naturally strengthened. In turn this improves posture, making the body taller and appear leaner as the muscles support the body in a much more efficient way. It is a workout that is easy on the joints: controlled movements add strength and flexibility without the danger of injury, so you can have a great workout without bouncing or jumping.

Ballet barre fitness requires constant awareness of posture and alignment to be part way towards performing the required movements correctly. With increased body awareness and longer, leaner muscles, the technique naturally gives way to improved confidence and poise. In mastering the more difficult moves this will also aid confidence in addition to looking and feeling better to improve self-esteem. Once you’ve been performing a barre routine for a while, you’ll discover that you are walking taller and experiencing greater overall strength. When you’re working at the barre, your core muscles are always engaged so you’ll definitely feel it the next day!

Additional benefits include improved flexibility and reduced stress levels as you are concentrating on the body and its ability. Barre exercises can be done at home, whenever they fit into your schedule, and the routines can be changed often. There are a wide variety of exercises that can be performed to any style of music, so you can change the content in keeping with your mood for the day, your musical preference, or simply your ability level.