Dance Direct Blog. News, Reviews & Advice About 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.

The BBC recently announced the 2016 Shakespeare Festival, with big star names involved in the celebrations including David Tennant, Judi Dench and Benedict Cumberbatch. Tennant will host the programme, which will be broadcast during the weekend of Shakespeare’s birthday in April. Directed by Royal Shakespeare Company artistic director Gregory Doran, the cast will include – aside from Dench – Ian McKellen and Joseph Fiennes. With such stars’ names associated with the plans, the programme looks set to be a triumph.

The programme will mark the 400th anniversary of Shakespeare’s death and will include the line-up for BBC Two’s Shakespeare Live! from the RSC. Shakespeare Live! will act as a variety bill, performed by some of the greatest classical actors today, to epitomise Shakespeare’s work with live performance.

Further highlights of the celebration include BBC Two’s The Hollow Crown: The Wars of the Roses, featuring a wealth of talent including Cumberbatch, Dench, Keeley Hawes, Sophie Okonedo and Sir Michael Gambon. Additionally Matt Lucas, Maxine Peake and Elaine Paige will star in A Midsummer Night’s Dream on BBC One. Back on BBC Two, David Mitchell will play the role of the bard opposite Liza Tarbuck as his wife, and Horrible Histories returns to CBBC with a special episode about the life and times of Shakespeare.

The festival will also feature new Radio 3 dramas inspired by the life and work of Shakespeare, with focuses on The Merchant of Venice, a new version of King Lear and Julius Caesar in a new three-part production. This is a fantastic initiative to bring Shakespeare’s legacy to audiences all over the UK, using household names and providing many chances for everyone to experience the work. Shakespeare fans around the world will be able to join in the celebrations with Shakespeare Day Live on 23 April, hosted in Birmingham and co-curated by the BBC and British Council. This will bring together interpretations of Shakespeare’s work in one digital space for audiences around the world to experience.

Have you been to see a show recently and wondered what the term “swing” means in the programme? While there may be star names topping the cast lists, many advocate that the unsung heroes of the show are the swing dancers, the performers who cover multiple roles in the production. These performers may have to step on stage for any track of the show at any time; they may be replacing an injured dancer or may, for any reason, have to join the show part way through. Many performers began their professional performances as a swing, requiring a lot of talent and skill.

Swings must have incredible attention to detail. When learning the tracks, cues must be picked up fast to keep abreast of the action, in addition to learning the choreography and music quickly. In performing, not only must you have the skill set to perform every track that you cover, you also need to retain every small detail and be able to draw on this at a moment’s notice. Aside from remembering the different tracks, swings must also know all the important information such as on and offstage traffic, prop details and the correct entrance and exit wings – phew!

Multitasking is an ideal attribute for a swing. You must have the ability to juggle various roles, memorise lots of conflicting details for different tracks and keep yourself organised. Keeping calm under pressure is also useful for both yourself and the other performers, making everyone on stage feel at ease and confident in your ability. While it sounds as though swings are busy all the time, there may be a few swing performers in a cast so not everyone will be able to perform every night; it can be hard for new or aspiring performers when they are not called upon, causing them to feel like they are not part of the team.

There is no doubt that the role of a swing is stressful and highly demanding, however it is also fun and extremely rewarding. Swings know the show inside out and will have gained lots of varied performance experience while doing so.

Touring in a production is a common part of performers’ lives, travelling to different theatres both nationally and internationally. Tours can last from a few weeks to a year or more, and shows can play at theatres for one night only or several weeks. Touring can suit some completely, with the excitement of being ‘on the road’ with fellow cast and travelling to new cities or countries. However others find touring tough, being away from home, family and familiar surroundings for long periods of time. Living in hotel rooms out of a suitcase is not glamorous however the experience of touring is a valuable one for all performers.

It is vital to look after your body as a performer, not only because it is your instrument but it will make life easier for you. When you’re travelling for long periods of time before a show it is important to warm up sufficiently, as only you are responsible for this. Dancers especially should know what their body needs and it should be an intrinsic part of your pre-show preparation, like putting on make up and styling your hair.

In addition to warming up, fuelling the body correctly is also important. Touring can mean that healthy habits fly out the window as these options aren’t always readily available, but going a little way to prepare for touring can be extremely beneficial. Your body is your job and it must be kept in tip-top shape to perform each week. The touring lifestyle can take its toll with long travel days, living in hotels and eating out often, however ensure you keep yourself able to perform. Drink plenty of water, eat fresh fruit and vegetables, get enough sleep and keep your body conditioned for the show you are performing in.

To give yourself the most positive experience possible, be kind to both yourself and others. Treating others well, whether they are fellow cast mates, crew or the hotel porter, enhances your experience and goes a long way. Thanking others for the work they have done for you is rewarding too, as everyone is working to ensure the show looks its best on stage. While touring means you are part of a big bonded group, travelling, living and working together, remember to also take notice of what you need to flourish on a personal level.

For some dancers, the ultimate goal is to become a performer, however others set their hearts on teaching, and others aspire to create. For the upcoming choreographers of the dance world, the shift to the creative side of dance is a result of identifying the interest and building on this choreographic experience. Some dancers move over to the choreographic side of dance after their performing career has petered out, and other choreographers are simply non-performers who are drawn to creating dance.

Amongst the many key qualities which may be required as an aspiring choreographer, it is vital to foster the desire to create, exploring this in order to shape your choreographic journey and influence the choices that choreographers make throughout their careers. Look to other choreographers to observe their work practices and work out which way of working suits you best. Take in as much information as possible and learn something from everything.

Create choreographic and staging opportunities for your work, don’t wait for opportunities to come to you. As an emerging choreographer you must recognise and seize opportunities to create and present ideas, in addition to thinking for yourself and deciding how best to present your work to audiences. Other opportunities can be in the form of workshops, residencies and grant funding, as well as competitions. And while talent, creativity and ability are essential to a choreographer, determination and persistence are just as important.

Be brave to take the steps from creating work in the studio to presenting work in space; choreography is not just the dance, it is also the staging, the lights, the music and using your dancers to the best of their ability. Ensure you network with other dance artists in the industry and keep abreast of new developments and other work being commissioned locally and more widely. Being engaged and resourceful will help with applying for funding and choreographic programmes to advance your work. The act of networking lends also itself to the collaborative nature of choreography. Create your own unique style whilst being inspired by others, working to maintain the balance between these.