Category: Uncategorised

Choreographer Jirí Kylián – at 69 years old – recently returned to ballet leadership with Lyon Opera Ballet. Here Kylián is taking up a position as associate artist with a three-year contract, following a stint of focusing on film and photography. He first started working with the company in the early 1980s, when director Françoise Adret was in place. He is now returning under the current artistic director, Yorgos Loukos.

Prior to this Kylián was artistic director of Nederlands Dans Theater for 24 years, and then stood as resident choreographer for another ten. In 2009, he parted ways with the company and his works were no longer performed by 2014. Despite this – and his focus on a separate area of the arts – his choreography made up of classical lines and contemporary fluidity remains a cornerstone of neoclassical ballet worldwide.

In terms of Lyon Opera Ballet, the company will continue to present existing ballets in Kylián’s absence. When the choreographer is working directly with the company work will also be done on pieces he created for older dancers, and a photography exhibition, Free Fall. He does not plan to create any new work, instead concentrating on film and photography. However,such close proximity with the dancers may mean Kylián will be in the studio once more.

In the meantime is seems Kylián has withdrawn his works from the repertoire of Nederlands Dans Theater for three years until 2017. There are no plans to reintroduce the work, with the company now working with a new artistic director and consequently in a new direction. There is regular renewal of the company in this sense, and Kylián supports the move to new and different work.

This year it was reported that teenagers in England sat 44,000 fewer GCSEs in arts subjects, with a 7.7% drop on 2015 figures. There was an overall fall of 0.4% in the number of GCSEs taken, significantly lower than the arts figures drop. In addition, there was a drop in the number of young people taking A levels in arts subjects, which appears to be linked to falling GCSE entries. Some believe this drop is due to the new EBacc already having an adverse impact on study decisions, with less students sitting exams such as drama, dance and music.

At present the Government plans to make at least 90% of pupils take the EBacc – a set of seven or eight GCSEs, which includes history or geography but not the arts – which presumably will discourage young people’s artistic ambitions and undermine the UK’s creative industries. This is already indicated by the falling exam numbers for 2016. This news contradicts assertions made by the Schools Minister that there is little evidence that the take up of arts GCSEs is declining, and that the EBacc will have no affect on numbers.

The EBacc was introduced in 2010 as a performance measure; since then there has been a 20.3% fall in the number of young people taking GCSEs in art and design subjects, design and technology, drama, media film and TV studies, music, and performing/expressive arts – equivalent to 133,500 fewer GCSEs. This year, design and technology suffered the greatest fall in students, with 18,600 fewer entries, representing a 9.7% drop. Drama entries fell by 3,200, a 4.6% drop, and there were 1,800 fewer entries for music GCSEs, a 4.1% decrease.

The fall in arts GCSEs coincides with a rise in the number of young people taking subjects included in the EBacc. Here 16,700 more pupils took a GCSE in geography last year, a 7.9% rise for example, and 15,200 more pupils took history, a 6.7% increase.

When performers feel sad and even depressed after a show, it is usually a case of post-show blues. There is so much investment in the creative process, rehearsal process, peers you share the stage with and the performance itself, dancers and performers can often experience an empty feeling afterwards. Sometimes a performance run can be so much fun that normal life feels less fulfilling in comparison.

There are so many hours spent in the studio rehearsing with the same group of people, practicing choreography and forming bonds. The performances themselves pass by in a flash, both rewarding and exhausting. However there is not always a content feeling following this, but what can be described as grief and loss from closing the show. Even though the loss of performance is temporary, the feeling can be very real.

To avoid getting stuck in a rut after a performance finishes, dancers can learn to cope in individual ways. It is important to accept the feeling of post-show blues as normal, and that you are not the only one that feels like this. Aim to return to a steady life routine, catching up on good eating and sleeping habits and looking after the body by resting and rejuvenating. It is then imperative to have something on the horizon, be it another job that has already been planned for, a new project or something personal to look forward to achieve.

Equally, it is important to stay in contact with fellow company members: the camaraderie outside the studio is just as important as in it. If you find little remedy for the feelings after a show, try to channel the sad feelings into gratitude, and be grateful you are able to do what you love with ease. Make the most of each moment in the studio, backstage and on stage with your fellow performers.

Producer Cameron Mackintosh has recently clamped down on understudy performers – in particular – publicising information about their performance schedules on social media: many post dates they will be performing lead roles on their accounts. As a result new guidance has come into play with regards to performers’ social media use, which works to reinforce an existing clause in contracts. This states that show-related information cannot be distributed without management’s consent, including when understudies will be performing roles.

The increased control covers all Cameron Mackintosh Ltd shows running both in the West End and on tour. Understandably, social media is an important tool for promoting shows, so the clamp down is logical in order to control the release of potentially commercially sensitive information. For management, the argument is that it should not be an understudy broadcasting when a principal is going to be off (on social media), ahead of any formal announcement from the company. They went on to reason that there was nothing to stop performers informing friends or family, as long as the information was not in the public domain.

For other industries, social media policies and guidelines are familiar and already in place; the rapid expansion of social media has meant theatrical organisations have also had to take action. Despite this, an agreement between Equity and the Society of London Theatre has been in place for some time stating that any policy is down to individual productions, meaning there are a range of clauses around social media in use.

Equity went on to confirm that the issue of inconsistent social media policies had been raised with its West End deputies committee. As a result the union is in talks with the Society of London Theatre to create standard guidelines for social media use.

Sadler’s Wells’ critically acclaimed international festival of hip hop dance theatre, Breakin’ Convention, is back from April to June 2017. At both London’s Sadler’s Wells and on a national tour, the festival will include performances from UK and international companies and crews. Now in its 14th year, this hugely popular event is once again hosted and curated by Associate Artist Jonzi D.

Breakin’ Convention has firmly established itself as one of the major highlights of the British dance calendar, and one of the world’s greatest celebrations of hip hop culture. The London festival from 29 April – 1 May will see Sadler’s Wells’ foyer transformed with live DJs, freestyle dance jams, graffiti exhibitions, workshops from top international artists and live aerosol art. The participatory activities take place pre-show and during the interval, and for the fourth year running Breakin’ Convention will host an outdoor party for all the family in Spa Fields Park on bank holiday Monday.

Breakin’ Convention ’17 embarks on its eighth National tour in 2017, taking in nine venues across the UK. Venues include newcomers Norwich Theatre Royal, Southampton’s Mayflower Theatre, Leicester Curve and Birmingham Rep, in addition to the Edinburgh Festival Theatre; Royal Concert Hall, Nottingham; The Lowry, Salford; Grand Theatre Blackpool; and Brighton Dome. The UK tour has been made possible following a grant from Arts Council England, and offers local dance companies the opportunity to perform alongside International acts.

Whilst the full Breakin’ Convention line-up will be announced in Spring 2017, the tour line-up includes Soweto Skeleton Movers, a highlight of last year’s festival. Joining them is Canadian group Tentacle Tribe. Founded in 2012, the Montreal-based dance company will also perform at Breakin’ Convention in Charlotte, North Carolina in autumn 2016. Spearheaded by Jonzi D, Breakin’ Convention works with the most respected, innovative and inspirational hip hop artists in the industry, and is committed to celebrating, elevating and supporting hip hop dance theatre.

Ianthe is a professional dancer from Bedford, England. She began to dance from the age of three, and at five she was performing all over the UK. She later trained in Latin American dance, where she received the creative dance award for her choreography. When Ianthe was 12 she joined Bedfordshire Youth Dance Company, and was introduced to contemporary dance, working with Henri Oguike.  

Ianthe studied dance at Middlesex University where she received a First Class Bachelor of Arts in Dance Studies. Ianthe was selected to study abroad at Goucher College in Baltimore where she was introduced to African dance and stepping. Ianthe later furthered her training by travelling to New York to train at Broadway Dance Center. 

Ianthe has had the priviledge of working on stage, in film and television, such as for a national NBA Playoff campaign. She worked on the opening ceremony for the USA Special Olympics, Good Morning America, the Columbus Day Parade choreography live on ABC, and with Shirlene Quigley, one of Beyonce’s Dancers, on Czech TV. She also performed along the East Coast and Off-Broadway as a member of IndoRican Multicultral Dance Project, Kalamandir Dance Company, Sho Off Dance Company and AATMA.

Ianthe is an accomplished choreographer and teacher, instructing classes in a variety of dance styles to both adults and children, in the UK and USA. New York consequently fuelled Ianthe’s passion to immerse herself in as many dance styles as possible, and inspired her as a performer. She is excited to return to continue to grow as a performer and choreographer.

—

Have always wanted to be on stage?

Pretty much; I was always the first one up dancing in competitions or at parties, and always practicing any and every dance move I learnt in class that day.

Where did you train, and what was it like?

I trained at Middlesex University, Goucher College and Broadway Dance Center. All very different experiences. At Middlesex I mainly focused on contemporary and choreography, but there were two modules that I loved; Dance Culture with Jeanette Bain, and Jazz with Vicki Igbokwe.

At Goucher College, in Baltimore, I was dancing from 9am until 10pm then I would often have midnight step team rehearsal. I focused on Modern, African dance and drumming and Ballet.

Broadway Dance Center, in New York, allowed me to train even more diversely. As a participant in the International Student Visa Programme I had a focus, and was encouraged to take a diverse range of styles as part of my 12 classes per week.

Describe a day in your life now. 

Wake up at 6am to teach a dance-based fitness class in the morning, do my own workout whether it be ballet-inspired, high intensity interval training or reformer pilates. Then I will take a dance class or two, or practice choreography from rehearsals that week. Teach street dance or ballet at an after school club then have a rehearsal. Often an Epsom salt bath to end the day!

How important is your diverse training in your work today?

Very important. I have just moved back from New York where I was part of three very different dance companies. I love all aspects of dance so I try to immerse myself in as many styles as possible. I think diversity is important in my strength and conditioning work also. I make sure I mix up my training so that I am not limited in my movement or stamina, and can do whatever the choreography requires of me.

What has been the defining moment of your career?

Touring South Africa with Mystic India the World Tour. I have always wanted to tour internationally with a dance company, so in January I made it one of my goals. In February I auditioned – having never danced Bollywood before – booked it, and had the most intense rehearsal period. I learnt 10 pieces, formations and costume changes in a very short amount of time. It was big challenge but a great experience.

What has been the most challenging?

Just before graduation from Middlesex University I was in a car accident. I couldn’t dance for a year. When getting back into dance I had to retrain myself to do things that used to be second nature, and found that I physically wouldn’t be able to do what I used to, so I had to adapt my focus and training. I found a great physiotherapist that understood the demands on a dancer’s body, so I stayed focused and am now stronger than before.

Where do you hope to be in five years?

In New York performing, creating work and teaching.

What’s the most rewarding thing about the performing arts?

The escapism we give the audience.

What’s the worst thing?

I want to say occasionally, but in actual fact it’s often, people expect you to work for free.

Do you have any pre-show rituals?

I always foam roll and plank.

Who or what inspires you?

Vicki Igbokwe. How she teaches, the energy and confidence she gives her students, the work she creates and produces and her movement vocabulary.

What is your advice to an aspiring dance artist?

Be kind and support each other. There is plenty of work for us all and if there isn’t, create opportunities. Be hungry. Absorb all the information that your teachers, peers and mentors give you and be open to it. In an audition you want to book the job, but find a way to enjoy it and learn from each one. Don’t be afraid to take risks, fight that negative inner voice and always show up.

What’s next for you?

I’m currently training with Boy Blue Entertainment Adult Company so performing and teaching in London.

This Christmas, English National Ballet will present its acclaimed production of (newly named) Nutcracker as a national tour culminating in London, from 23 November 2016 – 7 January 2017. This follows 2015 which saw English National Ballet’s most successful Nutcracker run on record. It is estimated over 73,000 audiences members saw the festive production at the London Coliseum, so this year Wayne Eagling’s version of the iconic work will be seen on tour also.

Part of English National Ballet’s ethos is to provide as many people as possible with great ballet, highlighted by the decision to tour the production in 2016. This continues the Company’s tradition of presenting a Nutcracker production every year since 1950, its founding year, this year taking it further afield. The production will visit the Milton Keynes Theatre (23 November – 26 November) and the Liverpool Empire (29 November – 3 December). Following these regional visits the company will return to the London Coliseum (14 December 2016 – 7 January 2017).

English National Ballet’s version of the classic ballet sets the scene on Christmas Eve in Edwardian London. Clara and her enchanted Nutcracker doll discover a magical world where she battles with the Mouse King and meets a handsome stranger. Clara and her Nutcracker then take a hot air balloon ride across London to the glistening Land of Snow where her adventure begins. The production is brought to life by the well-known Tchaikovsky score featuring the Dance of the Sugar Plum Fairy and Waltz of the Flowers.

To coincide with Nutcracker, English National Ballet will host a range of workshops and events, aimed to provide a pathway into the world of ballet. Activities held in Milton Keynes, Liverpool, and London include on-stage workshops for all ages, Live Drawing, Family Events, and Behind-the-scenes Talks.

Night Fall, created by virtual reality company &samhoud Media – in collaboration with Dutch National Ballet and Samsung – is a very different ballet that intends to immerse audiences in a dance story via virtual reality. As ballet is ultimately theatrical, it seems a perfect fit in guiding audiences through movement virtually.

The ballet was choreographed by Peter Leung, a former dancer with Dutch National Ballet and the music was composed by Robin Rimbaud. It will be the first virtual reality ballet, and will premiere at The VR Cinema in Amsterdam. In terms of virtual reality content creation, creating a ballet or dance work for this is a huge step; it will be interesting to see if and how others in the industry may follow this.

Night Fall is the first virtual reality ballet, having never been created before. During its creation, the team were aware of limitations such as not being able to see how a take had gone, as they were not able to be in the camera’s sightline at all. The limitations for the technology account for many challenges, especially when attempting to capture something such as dance, which is so fleeting. The separate elements were challenging to coordinate as part of 360° content, and furthermore judge if it had been successful, however it seems the creation is a huge coup.

The piece tells the story of a living creature – represented by fog, travelling around the stage speckled with dancers – which weaves itself in and out of the scene, bringing dancers to the forefront and taking them away again. The main musician, a violinist dressed in black, interacts and engages with the dancers, luring them into the music he creates. The wispy lighting and lack of scenic design adds to the mystery to immerse the audience in the action, rather than behind a fourth wall in a proscenium arch theatre.

A recent study has suggested that dancers are more emotionally sensitive humans, indicating that the arts can play a significant role in potential empathy training. The study was published earlier in the summer by the Journal of Experimental Psychology: Human Perception and Performance, and the evidence gleaned demonstrates huge potential for dance. It seems general empathy training programmes have not shown similar results, and whilst activities such as yoga and meditation have some effects, it is hard to see reliable results.

During the study, brief video clips of ballet were shown to two groups of people: professional ballet dancers, and a control group of those with no dance experience. The clips were silent, black-and-white, and a few seconds long, and the dancers’ faces were blurred so no facial expressions were visible. The participants therefore had no context other than the shapes of the bodies.

The participants were asked to rate their emotional response to the dancing, whether they liked or disliked the moves, or found them to be happy or sad, for example. The participants wore electrodes on their fingers to detect sweat responses triggered by emotional reactions, and the groups consequently “read” the emotions of the ballet clips correctly. As might be expected, the dancers had much stronger reactions to the emotional content, responding more sensitively and recognising the emotions easily.

The evidence therefore suggests that training in physical expressions made the dancers more sensitive to them, indicating that neurocognitive mechanisms that make people more sensitive can be trained, heightening awareness of emotions. Dance could even make people more empathetic, however further testing is required for this. It may be that dance training is not required to produce the same result, one could simply watch dance to develop greater emotional sensitivity.