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Each Autumn, Kansas City Friends of Alvin Ailey present modern dance performances by Ailey II, as the official second home of the New York-based Alvin Ailey American Dance Theatre. Almost 1,700 see these performances, so dance is consequently used as a foundation to devote more time to reaching out to the local community, in order to create social change by encouraging diversity.

This particular mission of Kansas City Friends of Alvin Ailey applies to the non-profit organisation’s leadership, staff and volunteers, with the goal of uniting across racial, ethnic and social barriers to promote awareness, respect, and community-wide social change. For example, the company’s dancers from New York City recently travelled Kansas City to perform repertoire for the public – whilst Alvin Ailey’s work is well-known, this was not always the case for the audiences the dancers encountered.

Through this exercise the dancers were embodying one of Alvin Ailey’s core principals, emulating that dance came from community and should be delivered back to the community. Here, unknowing audiences in unlikely settings across the city were able to enjoy dance together, uniting diverse people. In other practices, classes were taught by the company’s teaching artists for young students in order to provide more opportunities for young people. Here they can learn about artistic expression, coordination, participation, confidence, discipline and focus. Those with particular promise are encouraged to attend the company’s Ailey Camp, another programme that focuses on youth development beyond dance. Kansas City Friends of Alvin Ailey serves 30,000 young people each year.

Earlier this month, Kansas City Friends of Alvin Ailey also focused on its day-long symposium on Race, Place and Diversity, for social change. Over the last two years, a few hundred people have gathered to try to tackle these topics, which also highlight the importance of what the organisation stands for – a stronger community when people work together.

A regular fixture since 2007, Sadler’s Wells’ Sampled will return in 2017 as the dance taster festival featuring world-class dance and a series of workshops and foyer activities, on 3-4 February 2017. The festival gives audiences a chance to experience the broad range of dance presented at Sadler’s Wells at very affordable prices. Following London, Sampled will tour to The Lowry and Birmingham Hippodrome as part of The Movement, a new producing partnership with the venues.

Sampled features a wide variety of dance, from classical ballet to hip hop, contemporary and tango, and will give the opportunity for audience members to participate in beginners’ workshops. Workshops will include Argentine tango led by Julia Hiriart Urruty and Claudio González; tap dance with World Tap Dance champion and West End performer Jack Evans; and contemporary circus with My Aerial Home, exploring how dance and circus seamlessly combine.

In terms of performance, the 2017 festival includes work from Sadler’s Wells Associate Artist Russell Maliphant, whose company will perform his work Still, last seen in 2014. Throughout his career he has set works on renowned companies and artists including: Sylvie Guillem, BalletBoyz, and Batsheva Ensemble.

Spain’s award-winning Iron Skulls Co. will present Sinestesia, a dynamic work where skilled dancers morph into post-apocalyptic survivors. The piece received its world premiere at Breakin’ Convention, the critically-acclaimed international festival of hip hop dance theatre in 2015, and toured the UK with Breakin’ Convention during the season.

Direct from New York, tap dance group Dorrance Dance will perform Boards & Chains. The troupe has performed company founder Michelle Dorrance’s works at venues including Jacob’s Pillow Dance Festival, the Joyce Theatre and Danspace Project, refreshing a uniquely American dance form in works that combine the musicality of tap with the choreographic intricacies of contemporary dance.

Also to be included is an extract from Northern Ballet’s Casanova, choreographed Kenneth Tindall. The work tells the sensational story of the infamous Italian adventurer in a seductive masquerade of passion and politics. Sampled will offer audiences a first glimpse at this major new production prior to the start of its UK tour in spring 2017.

A record number of nearly 90 international dancers from 14 nationalities are set to compete in the prestigious Genée International Ballet Competition in December 2016, when it returns to Sydney for the first time in over 10 years. Staged in a different city each year since 2002 – prior to this London saw each year’s event – the Genée will take place from 7-11 December.

The final on 11 December at the Sydney Opera House – additionally live streamed – will be judged by David McAllister, Artistic Director of The Australian Ballet, Kevin O’Hare, Director of The Royal Ballet, and Francesco Ventrigilia, Artistic Director of the Royal New Zealand Ballet. Australian dancer, former Genée gold medal winner and current Principal of The Royal Ballet, Steven McRae, was recently announced as the Genée 2016 Ambassador. McRae won gold in 2002, and went on to perform with some of the biggest companies around the world as a guest artist in addition to his work with the Royal.

The Genée International Ballet Competition is now in its 85th year, named after the Royal Academy of Dance’s first president, Dame Adeline Genée, and renowned for launching the professional careers of young ballet dancers. Past medallists have gone on to join celebrated companies around the world including The Australian Ballet, Mariinsky Ballet, American Ballet Theatre, The National Ballet of Canada, English National Ballet and The Royal Ballet. The Genée provides pre-professional dancers the opportunity to receive world-class coaching with renowned choreographers and teachers.

This year’s Commissioned Choreographer is Tim Harbour, Resident Choreographer of The Australian Ballet. He has created choreography specifically for the Genée which will be revealed for the first time in the competition final. Candidates also get to showcase their own choreography as part of the competition, with the chance to win a Choreographic Award. The competition boasts additional esteemed faculty including Lynn Wallis OBE, Artistic Director of the RAD, New Zealand-born Adrian Burnett, Leading Soloist with The Australian Ballet and international guest teacher, and Fiona Tonkin, Artistic Associate & Principal Coach of The Australian Ballet.

Last month it was revealed that training accreditation body Drama UK is set to close, following a year in which several high-profile member schools left the organisation. The decision made by the board follows a challenging period for the organisation, in losing members such as the Conservatoire for Dance and Drama – which includes RADA, LAMDA and the Bristol Old Vic Theatre School – as well as the Guildhall School of Music and Drama. This reduced the number of its accredited schools in full membership to 13.

Drama UK provides accreditation for drama training in the UK, but significant changes in higher education funding have meant its role as an accreditation body was no longer sustainable. Its relevance has also come into question, due to the fact drama schools are now funded through the higher education funding system, and are no longer independent, meaning their accreditation and quality assurance comes via the state system.

Drama UK was originally formed by a merger between the National Council for Drama Training and the Conference of Drama Schools in 2012. Since the announcement of its closure, it has confirmed that forthcoming international showcases will go ahead as planned, and plans will be formulated to ensure that showcases, careers advice and course finder tools would continue. Despite its closure, clear guidelines will still be required as to what vocational training entails, to ensure potential students have all the information they need in order to make well-informed judgements about professional training.

Within the past year, many high-profile conservatoires have joined Conservatoires UK, a membership body that has traditionally represented music conservatoires but has a growing number of drama schools on its roster. Despite this alternative, it seems there will be no way of communicating any elements of quality without Drama UK, particularly to eminent figures for graduating students such as agents and casting directors.

With Strictly fever gripping its audience, it is clear to see the some of the professional dancers have been luckier than others when it comes to their pairings. A successful ballroom dance partnership can never be taken for granted – it involves working together solidly and trusting each other, and is so much more than just avoiding arguments whilst training! The partnership requires equal investment from both sides and a commitment to both personal and professional presence.

Communication is key – focus on the steps rather than your partner if something is not going quite to plan. Building resentment in each other will see the end of the partnership, rather than neutralising any comments you need to make. This is in order to keep you both focused on your dancing, and not whether to stay in the partnership. That said, disagreements are natural and are sometimes required to move forwards with the choreography or relationship. They must not, however, become personal and unnecessary.

Your partner is not just your partner, but someone who is able to help you learn more. Each partner has skills, experience and passion that may be similar, but there will always be something that will enhance and benefit the other’s dancing. The partnership will get stronger very quickly when you seek information and ideas of the other to support your own learning. Learning is not only via the steps, but through each other too as your connection increases and reinforces your dance talents. Being able to understand and respond to the feeling and energy of your partner is paramount.

Practising together is of course vital, but practising apart will also help you grow as a couple and develop faster. This means you can work on challenging areas and aid your own skills, such as on specific goals like timing, choreography, technique or a coaches’ feedback. Through this, constructive feedback will help the process, helping you identify your strengths and weaknesses.

The UK premiere of Acosta Danza, the new dance company founded by Cuban dancer and ballet star Carlos Acosta, was announced last month by Sadler’s Wells. It is a Sadler’s Wells International Associate Company, joining fellow International Associate Companies Rosas and Tanztheater Wuppertal Pina Bausch, which were appointed last year. The company will consequently perform at Sadler’s Wells in late September 2017 before a UK tour, with Acosta making a guest appearance as part of the programme.

The debut programme of Acosta Danza includes work by Sadler’s Wells Associate Artist Sidi Larbi Cherkaoui, as well as Spanish choreographer Goyo Montero, and Cuban choreographer Marianela Boan. Following its UK premiere, Acosta Danza will tour to Salford, Birmingham, Southampton, Brighton and Edinburgh, with further cities to be announced. Internationally, the company will perform at Lodz Festival in Poland, Chekhov Festival in Russia, and at Festspielhaus St Pölten.

Acosta set up Acosta Danza in Cuba since retiring from The Royal Ballet last year. Under his artistic directorship, Acosta Danza is based in Havana and features a mixture of the finest ballet and contemporary dancers Cuba has to offer, with the company highlighting the vibrancy and richness of Cuban culture, history and its artists. The company will develop its contemporary work, whilst also using elements of classical ballet. For Acosta, the company is an aspiration that has grown out of his vision as an artist, over the past twenty-five years of his professional career.

The premiere of Acosta Danza is produced by Sadler’s Wells and Valid Productions, a co-production with The Movement and Festspielhaus St Pölten. Valid Productions has been a promoter of the performing arts in the UK and Europe since 2009. It has always worked closely with Carlos Acosta, and was the co-producer of his Classical Farewell Tour in 2016.

A new radio station dedicated entirely to musical theatre was launched on 24 October, a coup for fans of the genre who are missing this type of broadcast from their radio selections. The new station is called Encore Radio, which will feature former Blue singer Duncan James and ex-Classic FM DJ James Crick as presenters, taking audiences on a musical theatre journey as they listen.

The station will play a mix of West End and Broadway songs as well as including news, weather and features in its content. The station playlist will be changed monthly and will feature hits from current West End shows – such as Les Misérables and The Phantom of the Opera – in order to enthuse and delight the audiences that tune in. To listen to Encore, download the app for tablet and smartphones, listen online and on DAB radios across London and the south east.

The new Encore radio station is not the first of its kind in terms of the genre it covers, with others such as Jem radio also providing this sort of content. BBC Radio 2 also features its weekly Elaine Paige programme in which she pre-records a similar show to Encore’s whole premise, just part of the many features of the mainstream station. However, Encore will run for seven days a week for 24 hours a day and be constantly on air in order to deliver all it promises.

In addition to its presenters and musical theatre playlists, the station will also see lots of showbiz names dropping in to chat, interspersed with many favourite musical theatre tracks and show tunes.

Three of Salisbury’s leading arts organisations are set to join forces in a bid to secure more backing for the future: currently they collectively receive over £1m a year from Arts Council England. The Ageas Salisbury International Arts Festival, Salisbury Arts Centre and Salisbury Playhouse look likely to combine their programmes to attract greater audiences in terms of numbers and diversity, becoming more sustainable for the future.

The organisations would develop a new joint artistic offer for the city’s residents, visitors and wider Wiltshire community, with some new ideas coming to fruition. While discussions are still in the early stages, it is expected that a decision will be made by Christmas. The discussions have come about as a result of an independent report, which was commissioned by the three arts organisations and funded by Wiltshire Council and Arts Council England. It looked at how the city venues work, in light of how they could collaborate more closely.

Whilst the arts organisations already collaborate and collectively engage with audiences of over 180,000 across the year, they also raise the city’s profile at a regional, national and international level. Joining together could spell a deeper relationship between them, a closer collaboration and an even stronger arts offering for the area. As a result, the three’s trustees believe working closer together could deliver a stronger case to public funders and secure a better future for audiences, artists and participants.

The organisations therefore hope that a combined programme could attract an increased number of audiences, by expanding their geographic reach and increasing the diversity of audiences by bringing together their artistic strengths. This could also bring more opportunities to work with artists and partners at a local, regional and national level through more joint working, consequently maximising commercial potential.

Dance Consortium, the group of 17 large scale theatre venues located across the UK, recently announced its 40th UK Tour, Danza Contemporánea de Cuba’s​ ​UK Tour 2017. Last seen in the UK in 2012, Cuba’s vibrant flagship contemporary dance company will present a programme choreographed by some of today’s most sought-after choreographic names. The 2017 UK tour opens at Royal Concert Hall, Nottingham on 14 February and concludes at the Marlowe Theatre, Canterbury on 18 March.

For more than five decades, since the company was founded by Ramiro Guerra in 1959, Danza Contemporánea de Cuba’s dance blend of African-Caribbean rhythms, jazzy American modernism and influences from classical European ballet has evoked the Cuban spirit through vigorous and highly physical contemporary dance. Now under the directorship of Miguel Iglesias, the company will present three UK premieres during its UK tour- a mixed bill of recently created work by three top choreographers: Belgian-Colombian Annabelle Lopez Ochoa; the UK’s Theo Clinkard; and the Cuban George Céspedes.

The company was founded under the name of Conjunto de Danza Moderna, created from the National Theatre’s dance department. In 1962 it was renamed Conjunto Nacional de Danza Moderna, became Danza Nacional de Cuba in 1974 and Danza Contemporánea de Cuba in 1987. As Cuba’s flagship dance company, the most prominent figures of the Cuban dance scene have started their illustrious careers with it. The company’s unique style is rooted in the principles of Cuban modern dance technique, blended with a mix of black and white cultural heritage influenced by Cuba’s African and Spanish ancestors, African-Caribbean rhythms, jazzy American modernism and classical European ballet.

After Nottingham, the company will tour to Salford Quays, Newcastle, Cardiff, Plymouth, Brighton, Inverness, Edinburgh and Canterbury​. ​​