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On 15 January Birmingham Royal Ballet played host to a day of new dance creations as a result of the newly formed Midlands Dance Hub. The day welcomed a varied selection of Midlands-based dance practitioners and creators into its home studios for a day of combined classes and workshops focused on the creation and presentation of new works.

Choreographers and dancers from Birmingham Royal Ballet and other prominent Midlands dance companies such as Motionhouse, Rosie Kay Dance Company and Sonia Sabri Company, among others, presented works in progress on the platform for emerging dance makers to meet, share and experience each other’s work in the Midlands.

The day also offered all dancers involved the chance to take part in a ‘class mash’ which involved three teachers leading and teaching a classical ballet barre, a contemporary dance element, and segments based on other international styles in one class. In particular, the class mash paid homage to the focus of the day on the combination of dance from widely differing traditions.

It is clear that the technique demanded by modern ballet today enables the body to do extraordinary things, resonating in the gathering of new choreographers and external companies at Birmingham Royal Ballet’s base, very different to the company and its work. The event, and the sharing of work in particular, highlighted the importance of taking inspiration from different sources and dance hybrids. It offered upcoming and established choreographers within the region an opportunity to meet and share their current work with peers, highlighting influences from other dance disciplines that make up the rich mixture that is dance in the Midlands.

Originally from Australia, Ashley grew up in Nelson Bay where she first began dancing at the age of three. She trained in classical ballet, contemporary and jazz at the Marie Walton-Mahon Dance Academy in Newcastle, where she studied fulltime for two years. At 15 she was awarded the Royal Academy of Dance Solo Seal and competed as a semi-finalist in the Genée International Ballet Competition, held in Athens, Greece.

In 2005 she moved to the UK to attend Elmhurst School for Dance in association with the Birmingham Royal Ballet. She graduated in 2008 with a Diploma of Dance. She then spent two years dancing on cruise ships around the world with Royal Caribbean Productions based in Florida.

Now with Matthew Bourne’s New Adventures, Ashley has danced in Swan Lake (2009/10 and 2013/14 tours) and Cinderella (2010/11 tour) where she danced the title role. She then played Princess Sugar in the 20th anniversary tour of Nutcracker! (2011/12), and Aurora in the 2012/13 international tour of Sleeping Beauty. Most recently Ashley has performed the principal roles of Kim Boggs in Edward Scissorhands (2014/15) and Lana in The Car Man (2015).

Ashley is currently dancing Aurora in Matthew Bourne’s Sleeping Beauty at Sadler’s Wells.

 

Have you always wanted to perform?

Absolutely! I first got up on stage when I was about three or four and never looked back – I absolutely loved it!

 

How did you get into dance?

I think my mum just thought it would be cute to send me to dance lessons so I could wear pretty tutus! Then I guess the teachers saw some potential and it very quickly turned into to something much more serious for me.

 

Where did you train and what was it like?

I trained at the Marie Walton-Mahon Dance Academy in Newcastle, Australia until I was 15, then I moved to England to attend Elmhurst School for Dance which was in association with the Birmingham Royal Ballet. Both were excellent schools that made me the dancer I am today. Lots of hard work and long hours though.

 

What was a typical day like?

We would usually start around 8.30am with Pilates or warm up, then ballet class every morning at 9am. We would work until about 8pm that night, having five or six different classes through out the day. Pointe, repertoire, jazz, contemporary, pas de deux, solos, musical theatre, tap, choreography, rehearsals… It was quite full on! Plus we would sometimes have academic classes in the evening too.

 

When did you decide you wanted to dance professionally?

I always knew I wanted to be dancer… I never imagined I’d be anything else. But it was probably when I was about 15 and made the move from Australia to the UK that I actually really made that decision. It was such a huge commitment I had to be sure.

 

What is a typical day like now?

On a normal show day with New Adventures we are usually called at around 3pm for class. (11am if we have a double show day.) We have class everyday, either ballet or contemporary, for about an 1 hour and 15 minutes. We would then usually have rehearsal or notes with Matt. We have lots of note sessions so we always get feedback about the shows. It’s great because the show is always developing and changing… Keeping it fresh is very important.

After that we’d have an hour meal break and get ready for the show at 7.30pm. It’s nice to go for a drink after the show too, unwind and socialise with everyone. Plus you’re on such a high when you finish the show you’re not quite ready for bed even though it’s late. I’m such a night owl… I’ll usually go to bed around 2am.

 

What is dancing with New Adventures like?

Dancing for New Adventures is absolutely a dream come true for me. We do lots of shows and work very hard, but the repertoire and the company are just brilliant! There’s a real family vibe, we always look after each other and have a good time.

Matthew Bourne is known for creating ‘Dance Theatre’ and giving traditional ballets a modern twist. So it’s just incredible to be part of these amazing, unique shows… And the public loves them! We perform to a packed house almost every night and get to tour the world dancing, what could be better than that?!

 

Do you have any pre-show rituals?

I’m not superstitious or anything like that, so I don’t really have any ‘rituals’, but I have a fairly similar preparation each night. I’ll always start with a nice hot shower and use a lavender shower gel… I like to feel relaxed and calm before a show. My dressing room buddy Didi, and I like to watch trashy TV whilst we do our make up too. Shows like Made in Chelsea or Don’t Tell The Bride are a perfect background to put us in a good mood! Once I’ve got my make up done, wig on and been very tightly laced up into my Aurora corset… I’ll then go down to stage and do a good warm up or ballet barre. It’s the one thing I’m quite particular about before a show. I know exactly what I need to do for my body before stepping out on stage and I like to stick to it!

 

What has been your favourite dance moment to date?

My favourite has to be the first time I went on as Cinderella. I was the cover and it was the first time I’d ever got to perform a principal role. The love and support from everyone was just so overwhelming. You have those moments in life where you look back and remember yourself dreaming of this exact moment and you realise how far you’ve come. That’s what it was for me, a dream come true.

 

What’s the best thing about dance for you?

The best thing about dance, for me, is the joy and freedom it brings. There’s no better feeling than being on stage and completely losing yourself in the movement and music.

 

And the worst thing?

All the aches and pains! Dance can be very tough on your body. As Aurora I dance barefoot for the entire show and my feet constantly split and bleed. That’s the only bit that’s not so fun.

 

What is your advice for an aspiring performer?

Just to work hard, grow a thick skin and never give up on your dreams! Also, explore different genres of dance and performance, and be open to new things. There’s so many wonderful shows and companies out there, don’t restrict yourself. Learn as much as you can.

 

What’s next for you?

Well, I don’t really know for sure yet! But I love working with Matthew Bourne and New Adventures and still have a lot I want to do with the company. Matthew is choreographing a brand new show next year that I’d love to do. Being part of the creation would be very exciting! As long as I’m dancing though, I’ll be happy… Watch this space!

The Royal Ballet Benevolent Fund and the Dance Teachers’ Benevolent Fund have recently announced the merging of the two organisations, following extensive liaison between the charities. In the joining of the organisations, the Royal Ballet Benevolent Fund will continue as a registered charity, remaining as an important dance welfare organisation for dancers.

The Royal Ballet Benevolent Fund was founded almost 80 years ago, in 1936. It aims to provide grants, bursaries, advice and support to current and former members of the UK dance profession. More recently, the Dance Teachers’ Benevolent Fund was founded in 1979, and provides financial and practical assistance to qualified dance teachers of any age. The aim of the merger is for the new organisation to serve the needs of deserving professionals in the world of dance more fully, offering a cohesive level of support to a wider range of professionals who are in need of it.

In 1936, the Vic Wells Ballet Fund was established to help the struggling company at Sadler’s Wells Theatre recover its financial difficulties. At this time, the focus of the fund was on the funding of ballets which were being created. In 1942 it gave grants to dancers serving overseas in the war, and in 1943 the first welfare grant was given to a Sadler’s Wells dancer, following a knee injury, so the dancer could be financially supported while they were unable to work. The fund changed its names too when Sadler’s Wells Ballet became the Royal Ballet in 1956, and since then the fund has reached out to more dancers, beyond the original grants made only to members of the Royal Ballet.

As a result of its work, the Royal Ballet Benevolent Fund is the largest UK welfare charity offering support for professional dancers in the classical and contemporary dance fields, during their careers and also once they have retired. The fund aims to support dancers despite any problem, be it injury or illness, or even the effects of financial hardship or loneliness. The fund also offers support and help for choreographers, choreologists and dance teachers.

Dance competitions, whether hugely popular and mainstream on the television or in a small town attended by 50 people, can be very positive experiences for the dancers who take part. Many may suggest any number of reasons why competitions may be detrimental to a dancer’s progression, even stating that the competitive element is not healthy, however competitions are a dance activity enjoyed all over, and can provide a well-rounded dance experience.

For dancers young and old, competitions provide on-stage experience, usually alone. Whilst this is useful for your future dance experiences and once you are back practising in the studio, it also means it develops skills such as thinking on your feet (literally!) and presenting yourself well to the audience. This in turn promotes confidence both on stage and off – if you can perform alone on stage it is likely you can do anything!

Winning a competition is, of course, an experience that dancers aspire to, however there can only be one winner amongst the many entrants. When you begin to compete you may find that your confidence and performance levels are not quite up to the standard of others’, meaning it may be a while before you are awarded first place. However, even after lots of stage experience and practise, it may be the case that you simply did not win the judges over. Competitions therefore teach graciousness, in congratulating the winner and accepting any constructive criticism you may receive.

If it is a dancer’s aim to make a professional career from the fun they have performing, competitions are an ideal way to gain more experience of the outside dance world, opening your eyes to what other people are doing with their routines, where they are training and the dance influences they are exposed to. It is easy to learn a lot while watching others dance, so competitions are a good way to hone your performance. In turn this raises your standards as you work harder and strive for more.

Von Aroldingen will work with current principals of New York City Ballet for the two recordings, accompanied by the solo pianist of the New York City Ballet Orchestra. Under the working methodologies of the George Balanchine Foundation, the recordings of the two pieces will be supervised by a former NYCB dancer and now a George Balanchine répétiteur, along with the Foundation’s director of research.

Von Aroldingen’s career with NYCB spans 22 years, and a further 30 years as one of the company’s ballet masters. She joined American Festival Ballet at 16 and Frankfurt Ballet at 17. At NYCB she worked her way up the ranks and was named principal dancer in 1972. Balanchine choreographed 18 roles for von Aroldingen, and now she is a trustee of the Balanchine Trust, overseeing the distribution of Balanchine’s ballets worldwide.

The George Balanchine Foundation was established in 1983 to create programmes of work that educate the public and further Balanchine’s work. The Foundation’s Video Archives include the Interpreters Archive, in which dancers who worked closely with Balanchine teach their roles, and the Archive of Lost Choreography, recreating Balanchine ballets that are rarely performed and in danger of disappearing.

Harry Smallman, at just 14 years old, has been dancing since he was nine. In the year preceding his GCSEs at school, Harry obtained a Music and Dance Award, however his real achievement lies in his part in the hit television show ‘Dance Mums’.

Dance Mums has seen Harry awarded the Inspiration Award as a result of his time on the show, having successfully auditioned for a full time place. For now Harry hopes to continue to excel in his dance and singing career and enter more competitions. Despite the short life of his performing career to date, Harry has achieved so much and has set the bar high for himself.

 

Have you always wanted to be involved in dance?

Since I was about six years old I wanted to dance.

 

How did it start?

I was inspired by watching High School Musical when I was younger, but I didn’t actually start dancing until I was nine years old.

 

What is a day in your life like?

I go to school at 9am and I am there until 6pm everyday. Also on Saturday mornings I have to do my academic classes, and fit in my dance classes. We have around an hour and a half of ballet during normal school hours then we have two hours dancing from 4pm until 6pm. Sometimes I also attend other dance classes at night.

 

What is it like being a dancer?

I love being a dancer: it’s hard work but also really enjoyable and keeps you very fit. I spend all my time dancing.

 

What is your favourite thing about being on Dancemums?

I loved being at the competitions and competing. Being part of the Jennifer Ellison Dance Team is amazing. I love dancing with all of the girls. It was so much fun, and hard at the same time.

 

What is your favourite style of dance and why?

I love Contemporary and Lyrical as you can express yourself with the music and style of dance. I also love to try and get some acro into the dance too.

 

What’s the best thing about dance?

Learning new moves, and taking classes with different choreographers. I have met some amazing people and friends through dance. I love trying new things and challenging myself.

 

And what’s the hardest?

Learning lots of new routines at the same time. And staying focused as I tend to daydream a bit!

 

What are your dance dreams?

My dream is to be the best I can and hopefully make it to the West End/Broadway one day. I would also love to teach others how to dance and maybe one day have my own dance school.

 

If you could dance with anyone, who would it be?

I would love to dance with Maddie Ziegler or any of the Dance Moms girls.

 

Do you have any advice for a young dancer who would like to be a professional?

Just don’t give up and try your hardest. Even if you have a bad day, keep going. Train hard and enjoy doing it.

 

What’s next for you?

I am going to keep training hard and hopefully have a good future.

Vidya Patel is a Kathak dancer from Birmingham, learning under the tutelage of her teacher Sujata Banerjee. After graduating from the Centre of Advanced Training Kathak strand at Birmingham’s DanceXchange, Vidya represented the South Asian category in the Grand Finals of BBC Young Dancer 2015 held at Sadler’s Wells. Recently, Vidya performed at the Sadler’s Wells Gala at the Renaissance Hotel, as well as Dance Proms at the Royal Albert Hall.

Vidya will be appearing in Sadler’s Wells Sampled on 29 and 30 January 2016, the dance taster festival featuring world-class dance and a series of workshops and foyer activities. In March 2016 Vidya will join Richard Alston Dance Company to perform in the new creation ‘An Italian in Madrid’. After Vidya’s classical Kathak dance graduation in 2016 she hopes to continue to represent the Indian classical dance form, eventually creating her own work and collaborating with other dancers and choreographers.

 

Have you always wanted to dance?

I’ve always secretly wanted to become a dancer since a very young age. I was initially going to study Fine Art at university knowing that I’d be able to steer my way to performance eventually. Instead of going to university I decided to take a gap year after sixth form to further pursue dance. It was a lucky coincidence that BBC Young Dancer was starting in the same year.

 

How did you get into dance?

Just like many Indian parents, mine wanted me and my sisters to retain something of our culture being British Asians, so they enrolled us into the local Indian Classical dance classes from a young age. When I was twelve I auditioned for the Centre of Advanced Training Kathak strand at Birmingham’s DanceXchange and attended until 2015, my graduating year. I looked forward to every intensive and the different workshops working with professionals. CAT was one of the reasons I wanted to become a dancer.

 

Where do you train now and what is it like?

I train in London with Sujata Banerjee, based in Harrow. Classes are twice a week and other days involve rehearsals and training. It’s brilliant because my dance teacher has a dance studio in her back garden and if rehearsals spanned over a few days I would just stay and use the studio when I can. Currently under the Sujata Banerjee Young Dance Company we’re rehearsing a piece to present at the ‘Vasant Utsav’, a very prestigious dance festival held in Delhi in celebration of Pandit Birju Maharraji – a Kathak legend.

 

What is a day in the life of Vidya like?

It usually varies depending on whether I’m in London where I go to classes, or in Birmingham where I live. When I’m in Birmingham I usually fit in some practice in the mornings, go to the gym and then in free time meet up with friends and spend time with my family. When I’m in London it’s always for dance practice or rehearsals. Currently I’m rehearsing with the Richard Alston Dance Company for the new creation ‘An Italian in Madrid’ which is such a privilege.

 

What was competing in BBC’s British Young Dancer like?

It was one of the best experiences! It was a positive challenge which pushed me mentally and physically. Through the process I’ve met some amazing people, including all the other finalists. Normally, meeting other dancers training in other styles doesn’t happen so easily and through the competition this was possible. One the other great things was to able to train with my teacher and have her create new pieces on me. After contacting one of my favourite music artists, Shammi Pithia, I was able to dance to live accompaniment played by him in both the category and grand finals which was unbelievable.

 

How do you think you have changed as a dancer as a result?

BBC Young Dancer has acted as a catalyst for me and has led onto amazing opportunities. As a dancer it has given me the recognition of being a South Asian Classical dancer which otherwise would have taken several years to establish.

 

Do you have any pre-show rituals?

When I start getting ready – applying my make-up, jewellery, costume – that’s when my pre-show ritual begins. Warming up and getting mentally ready means I always do some deep breathing, go through the choreography and visualise it. If I’m performing and my Guru/teacher is away, I always give her a last minute call for some wise words and blessings.

 

What are your dance aspirations for the future?

I would really like to inspire more young dancers to take up Indian classical dance professionally and provide opportunities for other dancers doing it. I’m starting to teach children this year which I’m really looking forward to. Hopefully I can inspire them and make dance important and enjoyable in their lives too. Ultimately, as a performer I would love to work with more dancers and choreographers, one day going on to create my own work.

 

What has been your favorite dance moment to date?

My favourite dance moment was on the stage of Sadler’s Wells at the end of the BBC Young Dancer Grand Finals. I remember the audience all applauding as the other finalists, judges and myself all stood together on stage – it was an overwhelming moment that I won’t ever forget.

 

What’s the best thing about dance for you?

It’s enriching experience. The dancers you watch, the people you meet and the memories you create through dance is something really special and rewarding.

 

What’s the worst thing?

The worst thing is being over-critical when trying to improve your dance. Sometimes you just have to be realistic and learn to be patient with yourself.

 

What is your advice to an aspiring performer?

Perform sincerely. Hard work and effort will lead to success.

 

What’s next for you?

This year I’ll be performing with Richard Alston Dance Company in March at Sadler’s Wells. I’ll be preparing for my ‘Manch Pravesh’ (Indian Classical dance graduation) which is a performance by the student once the teacher feels the student is ready. There are also some exciting projects and collaborations in the making which I’m really looking forward to.

With the new year not quite behind us, there are resolutions continuing to come out of our ears. It is without a doubt that dancers continue to aspire to better themselves (not just at new year), and a common area they wish to improve is their flexibility. Stretching in order to achieve this can be a contentious subject, with different ideas about how to create a safe and successful stretching routine.

Many dancers constantly stretch to push themselves past the limits of their flexibility, in hopes of extending their physical capabilities, however the way this is done must be safe. Over-stretching can be a very real problem, especially for dancers whose muscles are still developing; it can even limit flexibility through causing unnecessary damage to muscles. It is important not to fall into bad stretching habits, especially if a stretch routine has been built up over time. Here there is a danger of simply going through the motions and not connecting the body with the mind to inform the routine with how we are feeling.

Make sure you prepare for deep stretches sufficiently, in a way that means you will get the most flexibility results and the smallest risk of injury. Respect your body and its ability – you only have one! – by paying attention to how you enter a stretch. Start from a stable place to keep you safe and secure throughout the stretch and take note of the pathway of how you enter a stretch. Tune into your breath while stretching, and lengthen your spine as you breathe in. As your breathe out, go deeper into the stretch and try to maintain the deeper position after that breath cycle.

It is vital that stretching is not rushed: take care of your timing to avoid the risk of injury. Work with your body rather than against it, and don’t force it into a place it isn’t ready to go. Not only can this overstretch and strain muscles but it can also hinder your flexibility progress. Stretching causes tiny tears in the muscles, and the muscle lengthens when the fibres heal and re-connect longer than they were before. Ensure your body has time to recover, rather than continue to stretch and cause scar tissue which causes soreness and fatigue.

BalletBoyz has recently announced it will tour its brand new production Life, which will receive its world premiere at London’s Sadler’s Wells in April 2016, from 20 April to 4 June this year. Additional tour dates have also been announced, meaning the company’s work will reach further than it has done previously amongst its contemporary-loving audiences.

The show features new commissions by choreographers Javier de Frutos and Pontus Lidberg, shifting the focus of the company as a result of the extensive and varied experience of the pair. After opening the production at Sadler’s Wells in April – where BalletBoyz is an Associate Artist – the production will embark on a UK tour, followed by a tour of the USA in 2017. In further excitement, taking the production overseas to the USA means that the Boyz will reach even further, extending their talent across the Atlantic.

Marked as one of the world’s most forward-thinking dance companies, it is hoped the new piece will generate engaging material and ideas to delight its audiences. The piece is co-produced by Sadler’s Wells in association with artsdepot and it will be performed by the award-winning all-male company of ten dancers. The show features an original score and the evening will take an elegant, powerful and provocative look at life and death, presented in BalletBoyz’ notable style.

After premiering in London at Sadler’s Wells, the production will tour to Worthing, London (artsdepot), Oxford, Exeter, Guildford, Yeovil, Edinburgh, Dundee, Southport, Lichfield, Cheltenham and Cambridge, and tickets for most venues are now on sale. Tickets for the Octagon Theatre in Yeovil and the Everyman Theatre in Cheltenham will be on sale soon.

A hotel specifically geared towards the arts is set to open in spring 2016 as the first of its kind. Named Green Rooms, the hotel has been designed to inspire creativity in those that stay there, situated in the country’s capital against the arts-heavy backdrop of the city of London. The hotel will be the first of its kind, acting as a creative hub, hosting artists and encouraging exhibitions, events and performances.

Green Rooms will be a four-storey hotel dedicated solely to the theatre and the arts. It will have 20 double rooms, two studio apartments and two dormitory rooms which each sleep up to 12 people. The hotel will be located in North London in Wood Green which has fast tube connections into the city centre, and rooms start from £18. Double rooms are priced a little higher at £50 per night, however still far below the prices of budget hotels across the city.

With prices in London ever-increasing, and fees for artists remaining the same, it is all too apparent that London is an expensive place to stay in. Many of those people securing themselves a place in the creative industries do not have a lot of disposable income after they have paid for living, food and travel. The rooms of the hotel aim to be far more positive places to stay, becoming a creative hub for those that stay there.

Green Rooms has developed relationships with Somerset House, LIFT, Create London and the Royal Court Theatre to plan their programme of happenings, including a free monthly programme of cultural events, artist in residence opportunities, and even a rotational restaurant residency for upcoming chefs. The hotel will become a creative and inspiring environment, making way for new collaborations and projects devised in its rooms.