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New Movement Collective

New Movement Collective, an associate company of Rambert (Britain’s oldest dance company), has recently announced this year’s performances of its 2012 debut work Casting Traces. The company will be joined by a new team of talented performers including Niku Chaudhari (of the Sidi-Larbi Cherkaoui company Eastman), Hannah Kidd (Richard Alston Dance Company) and Eryck Brahmania (Rambert).

Dance, architecture, film and specially commissioned music will meet to create a world of illusion, mystery and shadow play, where nothing is what it seems, with remaining dates in Brighton and Winchester.

Founded in 2009, New Movement Collective is a new generation of choreographers with a long collaborative history. Working as acclaimed dancers and dance-makers, NMC members have a shared history through many of Europe’s leading ballet and contemporary companies including Rambert, Gothenburg Ballet, English National Ballet, Wayne McGregor | Random Dance, New Adventures, Scottish Dance Theatre and Company Chameleon.

Creating a nourishing and supportive environment for artistic growth, the collective aims to create refreshing and innovative work of the highest standard. The company aims to develop work that is directly presented in response to different and unusual theatrical settings. As a result, NMC has a strong commitment to collaborative working methods. Blurring the boundaries between dance, architecture, film and music NMC aspires to change and evolve the landscape of contemporary theatre, unlocking performance potential from the hidden parts of cities.

In 2013 the New Movement Collective was nominated for ‘Best Independent Company’ in the Critics’ Circle National Dance Awards. It’s association with Rambert sets its in good stead for success considering its support and collection of talented performance artists from across the field of dance.

Bolshoi Ballet On Stage And Screen

Bolshoi Theatre at Night The Bolshoi Ballet have plans for both stage and screen during their 2014-15 season, with its stage plans including a new ballet based on the Shakespearean story of Hamlet, Yuri Possokhov’s new Hero of Our Time, and a major revival of Yuri Grigorovich’s The Legend of Love. For the screen, Grigorovich will also dominate the company’s cinema season with two ballets and several productions also included in the programme.

The production of Hamlet will be staged by choreographer Radu Poklitaru and director Declan Donnellan, the team which was behind the Bolshoi’s controversial production of Romeo and Juliet. Hamlet will have its premiere on 11 March 2015, with audiences eager to discover the new production. Negotiations are currently underway as to the use of two Shostakovich symphonies to be used as the production’s music.

Possokhov’s new ballet will also be made for the Bolshoi’s new stage – in addition to Hamlet – and will premiere on 13 June 2015. It is based on Mikhail Lermontov’s novel which is set within the Caucasus mountains and features a Byronic hero. The Legend of Love, which will return to the stage on 23 October of this year, will also be the first broadcast in this season’s cinema programme. Many of the productions will be related live from the Moscow theatre to Cineworld and Picturehouse cinemas on Sundays.

The Legend of Love will be followed by Pierre Lacotte’s staging of the production Pharaoh’s Daughter, and Grigorovich’s stagings of La Bayadère, The Nutcracker, Swan Lake, Romeo and Juliet, and Ivan the Terrible.

Image courtesy of Wikimedia Commons.

Les Ballets C de la B

Founded for a dare in 1984, les ballets C de la B is mix of surrealism, slapstick and semiotics within the sphere of dance. It’s ethos has consequently made it one of the world’s most influential dance theatre companies. Since then it has become a company that enjoys great success at home (Belgium) and abroad. Over the years it has developed into an artistic platform for a variety of choreographers and the company still keeps to its principle of enabling artists from various disciplines and backgrounds to take part in this dynamic creative process.

Les ballets C de la B is not easy to classify however it is possible to pin-point a house style (popular, anarchic, eclectic, committed), and its motto is ‘this dance is for the world and the world is for everyone’. As a result, Danceworks in London is presenting a 2-day workshop with the company in September, a great opportunity for aspiring dancers.

This workshop will be taught by dancer Bérengère Bodin who was born in 1980 in Fonteenay-le-comte, France. She studied at the CNDC in Anglers and then joined leading performance companies such as Raimund Hoghe, Joëlle Bouvier, Carolyn Carlson and Euan Burnet Smith, Kubilai Khan Investigation, JoJi Inc Cy, Isabella Soupart and Robyn Orlin, before joining les ballets C de la B.

Bérengère will encourage the dancers participating to feel and even redefine the emotions of life. This will be an opportunity to enter a world of not-knowing and she will work with individuals to examine their meaning and relationship to emotion, and this will be developed throughout the workshop. There will be opportunities to improvise, share and perform and the workshop is for those who wish to move to another deeper level in their dance and emotional expression

Participants must be 18 years of age or over.

Level: Intermediate/Advanced

Ballet Bartkowski Is Launched

Ballet Bartkowski is a new professional company for ballet students working at a high level of classical dance, aged 18 to 23. Based in Croix, near Lille in France, Ballet Bartkowski was founded by Heidi and Waldemar Bartkowski with the aim to open the company in September of this year.

The new company will train talented and committed students who aspire to a professional dance career. Along with the usual daily classes in classical technique, the new students will follow a variety of workshop programmes in order to learn and develop different styles of classical ballet. The founders, Heidi and Waldemar, feel this is crucial in helping the young students to respond to the varying demands of choreographers, company directors and the industry itself.

Building up the students’ versatility is a sure fire way to make them employable and likeable as professional dancers who are able to apply themselves. The dancers will also have the chance to perform original works, including performances in both France and further afield. The combination of daily classical classes, workshops and performance opportunities looks set to develop students who are both prepared for professional careers and eager for them too.

Both Heidi and Waldemar Bartkowski had international dance careers before they began their own dance school in 2007. The reasoning behind their founding of the company is simple: the founders wanted to develop each of their students’ technical artistic talents in order for them to reach their full potential. Young dancers attending other vocational training institutions have a tough challenge on their hands in having to mature quickly enough in order to make it successfully onto the professional performing scene. The founders feel the stage experience provided by Ballet Bartkowski is essential for the students to secure their first professional engagement.

Nikyta Moreno: American Dream

Nikyta Moreno graduated from The Brit School, London, in 2008 from the Dance Strand, with a triple distinction. She then trained at Trinity Laban Conservatoire of Music and Dance, London, graduating in 2011 with a BA (Hons) Dance Theatre degree.

In 2010 she was invited to a summer Internship with the Merce Cunningham Dance Company, and in 2011, she performed at Performers House, Denmark, in ‘In The Neighbourhood’, choreographed by German born and UK based choreographer Frauke Requardt. That same year Nikyta performed her own work at Wireless music festival alongside music artist Charlotte Rene.

Nikyta then moved to New York where she continued to train, specifically at The Ailey School. From 2012-2013 she danced for SoulRebel Dance Company, based in Brooklyn, NY. She performed ‘Thread’ choreographed by Will Brown in Philadelphia and collaborated with filmmaker Geoffrey Stevens at the beginning of this year. Since January 2014, she has worked with Daniel Gwirtzman Dance Company and JD Dansfolk Dance Company (both modern companies are based in New York).

Nikyta Moreno also teaches at The School at Steps and South Asian Youth Action.

When did you begin dancing, where and why?

My parents enrolled me into ballet and tap classes at the age of 4, at East London School of Dance. The school is still running and is based in Forest Gate, East London.

What were your early years of dancing like?

They were very hectic but enjoyable. I trained in ballet, tap, jazz and modern, therefore I attended class three times a week after school. Every spring, summer or autumn term I had an RAD or ISTD exam.

How long have you been performing? Did you start young?

I have been performing for 10 years now. My first performance was at the age of 14, where I performed to Prince Phillip at the Barbican theatre. It was a very exciting experience for me. I remember feeling like a celebrity.

Where did you train and what was a typical day like?

I received my Dance Diploma at The Brit School, and then went onto receive my degree in BA (Hons) Dance Theatre at Trinity Laban Conservatoire.

My school days at The Brit School were always busy but full of laughter and excitement. There was never a dull day at The Brit School! My typical day would start at 8.45am and end at 5pm with one 15 minute break and one hour break. I trained in Ballet, Tap, Jazz, Contemporary, Modern and Musical Theatre. Each day consisted of two dance classes and one written class. Every term we ended with a showcase in the Obie Theatre, therefore our day would also consist of rehearsals.

At Trinity Laban Conservatoire my days varied from year to year. My first and second year consisted of a mixture of dance and written classes, whereas in my third year I only had dance classes and rehearsals. At Trinity Laban I trained in Ballet, Graham, Cunningham, Limon and Release Technique. My day would start at 8.45am and would end around 7 or 8pm, due to workshops or rehearsals. My day would consist of 3-4 dance classes, a written class and rehearsals.

When I moved to New York I continued my training at The Ailey School, on the Independent Programme. As I was on the Independent Programme I was able to choose what dance styles I wanted to train in and create my own timetable. I did 14 classes a week; each class was 90 minutes. I trained in Ballet, Horton, Graham, Jazz, Taylor Technique and Hip Hop.

My typical day consisted of three dance classes with a one hour break. My day would start at 8.30am with a Ballet class and finish at 3.45pm with either a Jazz or Hip Hop class.

Did you face any particular challenges?

When I first auditioned for The Brit School, I actually did not receive a place, it was after appealing I then received a place in the Dance Strand.

The Brit School was definitely the start and foundation of my dance journey and career; it is where I truly learnt about the dance art form. If I had never appealed who knows what my career path would have been, or where I would call home.

What is a typical day like now?

I usually start my day at 9.15am with a Hot Power Vinneysa class, then attend company dance rehearsals. Rehearsals could be up to fours hours a day. After rehearsals I either teach or attend open dance classes (depending on what day it is).

How do you keep on top of your technique?

I still train! I believe as a dancer you can never stop growing, there are always areas for improvement. I attend a Hot Power Vinneysa class every day and a ballet, contemporary and pilates class at least once in a week.

What’s the best part about dance?

For me the best part about dance is performing! The thrill you get when on stage! It is a very rewarding feeling to show choreography that you have complete movement ownership of, and to share your love and passion for the art form to everyone who is present in space.

What would you say was your greatest achievement to date?

My greatest achievement has definitely been moving to New York. I have been lucky to have a successful dance career here so far and to have met great practitioners. August 2014 will make it three years since I have moved, and the time has just flown by!

What advice would you give to someone aspiring to be part of the dance industry?

Never, EVER, give up! Every no you receive take it as a blessing and push harder. People are always going to say no, but one day that no will become a yes! It is your job to make that no into a yes!

Be you! Everyone else is taken. Figure out what works for you; what you like and what you don’t like, work hard and master what you are good at. Don’t compare yourself to other dancers.

Always attend class, read everything you can get your hands on! Never stop learning!

What’s next for you?

My next aim is to be in the Broadway musical ‘The Lion King’. I will continue to strive for this goal, but in the meantime I will continue to train, teach, hold workshops and work with companies, organisations, here in the United States.

I would also like to travel to different states in the U.S., and dance with different companies. I recently received the opportunity to visit the Houston Met Dance Company in Houston, Texas. It was an amazing experience to dance with a different company, in a different environment and meet and work with new dancers and teachers.

Taking Care Of Your Body During The Summer

Take Care Of Your Body For many dance students, the summer spells summer schools and dance intensives. These summer training programmes are designed to push dance students further and give them another dance experience. They can vary in length, style and structure, but it is important to make the most of the programme while looking after your body.

It is important to warm up properly, despite the fact the warm weather will make you feel like you are already warm and flexible. While your body is warm however, your muscles and joints are not. Don’t be tempted into skipping your usual warm up, in order to give your body the preparation it needs to dance and protect itself from injury.

Remember to drink enough water during summer programmes: staying hydrated is one of the most important parts of taking care of yourself during long days of dance. Make sure you drink water before, during and especially after classes, and also ensure you eat well-balanced meals. You will be dancing for many hours every day, which may be more than you’re used to, so make sure you eat enough of the right food to get you through the day.

With many different dancers around it is tempting to become competitive and push yourself beyond your dancing limits. Get enough rest to balance out the energetic days, which also means you will decrease the risk of injuring yourself. Injuries are common during summer programmes, simply because you are dancing more than your body is used to. Pay attention and listen to what your body is telling you and at the end of the day cool down and stretch.

Above all, remember to have fun! Summer intensives are designed to push you towards being a professional, but remember to enjoy the hard work.

NYT Perform at Commonwealth Games

Glasgow Commonwealth Games 2014 At the recent opening of the Glasgow 2014 Commonwealth Games, young performers from the National Youth Theatre appeared as part of the ceremonies to welcome the countries’ teams. The cast of 60 NYT members were involved in the Village Ceremonies, which included the opening of the athletes’ village, the team welcome celebrations and the imminent farewell ceremony, meaning the performers will have much exposure throughout the Games and will be present during many parts of the ceremonies.

The outdoor performances are created entirely by the NYT, holding much prestige throughout the Games in the demonstration of the group’s creative and artistic talents. Performers aged 15 to 25 were selected from NYT’s social inclusion programme in Glasgow and other areas of the UK it works in, creating links to the Glasgow 2014 Commonwealth Games geographically, artistically and culturally.

In 2012, the NYT performed as part of the London 2012 Olympic and Paralympic Games welcome ceremonies, so the Glasgow 2014 Commonwealth Games has added to their growing experience of performing at large-scale cultural events. For the Glasgow 2014 Commonwealth Games NYT has staged youthful and inventive ceremonies full of spectacle and style that capture the spirit of Glasgow.

The opening ceremony of the athletes’ village is one of the first experiences for the competitors when they arrive in Glasgow for the Commonwealth Games, so it is a fantastic experience for NYT to be involved in such a primary and important event for the competitors, some being welcomed to Glasgow for the first time by NYT and the other performers. The ceremonies will not only represent the spirit of Glasgow and the Commonwealth Games but will be an unforgettable experience for all those who take part.

NEBT Round-Up

The recent performances of the New English Ballet Theatre were a breath of fresh air for its spread of audiences. Opening night at the Peacock Theatre, London, saw a multitude of audiences vying for a taste of the company’s work, still reasonably new and fresh on the dance and ballet scene. The cast were all a credit to the company, well trained dancers who ate up the stage.

The company began as a summer festival of productions, looking to becoming a full time company. It is neo-classical in genre and encompasses a huge variety of styles and vocabulary in as wide a spectrum as possible. The company employs over one hundred classical dancers, giving them lots of support from the dance world at a high level. This company of emerging dancers was born from the huge talent pool of the industry and the lack of jobs available.

The company is solely dedicated to producing neo-classical work but as a cross-discipline company, commissioning a number of young artists, musicians and designers to work alongside the company. It is clear the company is going from strength to strength, especially evident from the mixed programme recently presented in London. Following the Peacock Theatre, the company will be performing at the Lantern Studio Theatre in Canary Wharf: it has recently been rehearsing five world premieres!

In terms of long-term goals, the company aims to expand its programming and build up the company’s repertoire of commissioned works of exciting new neo-classical choreography, becoming the number one company for this style of work. It has been lucky recently to receive an arts council grant for audience development and touring to arts festivals in Europe, and delivering larger programmes in the UK.

The Dance School Dilemma

Choosing a dance school is of utmost importance for your budding dancer. For young dancers it is important they have fun in addition to learning about the dance basics before they progress further. With older dancers who are changing dance studios, it may be an idea to find out where current and former students of the studio are and what they are doing. Depending on how serious your child is about dance, it is importance to find a dance school with excellent technical training alongside a passion for developing youth dance.

Your dancers may wish to study a variety of dance techniques or just focus solely on one. Many schools offer a full range and require the students to be trained as an all-rounder, and others enable you to pick and choose training. Make sure you are able to check on your child’s progress effectively and if parents are able to watch classes. Some studios also offer the chance to be entered into competitions and other performances outside of dance school hours, but these are not usually mandatory.

Dress code or uniform is also a consideration: this reveals a lot about the dance school’s approach. The school should require close fitting clothing and appropriate footwear, no jewellery and hair off the face. Teachers must be able to see body alignment in order to provide essential corrections. Try and see this first hand before joining the studio by visiting the school to gain a better idea of how it operates, as well as the general vibe and rapport between parents, students and teachers.

In visiting the school you can also assess its cleanliness, safety and studio arrangement. You can see if there are changing areas, water accessibility and adequate materials such as mats, barres and safe floors. The atmosphere should be vibrant and the mood positive.

Musical Hits Cats And Evita To Return To The West End

Cats The Musical West End superstars Cats and Evita are set to be returning to the West End for limited runs at the London Palladium and Dominion Theatre respectively.

The original creative team for Cats will reunite for the December opening, with direction from Trevor Nunn, design by John Napier and superb choreography by Gillian Lynne. According to sources Andrew Lloyd Webber is re-writing a couple of songs. Further information has now been confirmed. The team are taking the Cats show that is currently touring, and will be working on it afresh.

Tim Rice and Andrew Lloyd Webber’s Evita will also be retuning to West End for limited run at the Dominion starring Marti Pellow & Madalena Alberto to open in September. The production will run for 55 performances only until 1 November however Marti Pellow and Madalena Alberto will reprise their performances from the UK Tour as Che Guevara and Eva Peron, with direction by Bill Kenwright and Bob Tomson.

Evita will be the first show to run at the Dominion following its renovation work and the closure of We Will Rock You. Evita charts the story of Eva Peron, wife of former Argentine dictator Juan Peron, from her humble beginnings through to the extraordinary wealth, power and iconic status which ultimately led her to be heralded as the ‘spiritual leader of the nation’.

For over 30 years Marti Pellow has enjoyed global success as the lead singer of Wet Wet Wet and as a solo artist. He has appeared in The Witches of Eastwick, Chess, Jekyll & Hyde, Chicago and Blood Brothers. Madalena Alberto’s theatre credits include Les Misérables (25th Anniversary production), Jekyll and Hyde and Fame. Her first album Don’t Cry For Me will be released to coincide with Evita’s opening.