Tag: Ballet

The Pointe Shoe Puzzle

Bloch Axis Pointe Shoe

As ex-professional ballet dancers at Dance Direct, pointe shoes are carefully selected as essential elements of the young dancer’s dance journey. As foot strength and technique increases, young dancers are able to make the transition onto pointe and expand their dance capability.

Stocked by Dance Direct are pointe shoes from brands Bloch, Capezio and Sansha, which are suitable for both beginners and advanced dancers alike. Each shoe and its design have their own specification which is extremely important, as each dancer is different, and requires different things in order for their pointe work to be successful. Each foot is different, and some shoes even require a little personalisation on the part of the dancer to make sure the shoe fits their foot perfectly. Many dancers, both professional and non-professional, have been known to cut, modify and completely renew their shoes, even in order to make them last longer.

It is often useful to know a little bit about each of the brands’ shoes before going to try them on for the first time:

Specifically, Capezio’s shoes have been crafted to offer maximum support for balance and comfort. The top quarter of the shank is shaved so the sole follows the foot enhancing the instep on and off pointe, increasing fluidity of movement for the dancer.

On the other hand, in Bloch’s revolutionary new pointe shoe the Axis comes with a TMT toe box and TMT shank. The Axis is a tapered shoe that looks delicate, light and beautiful en pointe. It is a quieter shoe with cushioned pleats to reduce noise, and it is built on a curve last. This new pointe shoe from Bloch is more suited towards professional and serious students.

Finally, Sansha’s unique pointe shoes are designed for dancers at all levels of training: the shoe has a large platform and supportive shank for all kinds of work.

And don’t forget… there is 15% off the following pointes shoes until midnight on Sunday 3rd Feb:

15% Off Pointe Shoes

Sansha 202: http://bit.ly/X7IvdS
Bloch SO135: http://bit.ly/WwIVtm
Bloch SO190: http://bit.ly/Way5fW
Bloch SO131L: http://bit.ly/112qCUv

To see our full range of pointe shoes visit this page: Dance Direct Pointe Shoes .

MOVE IT 2013

MOVE IT 2013

MOVE IT, the UK’s biggest dance event is the ultimate dance experience for dance fans, students, teachers and parent alike. Whether your interest is flared jazz pants-style commercial, pretty-in-pink ballet shoes or rock-and-ready street dance complete with the latest dancewear, MOVE IT has something for you.

Taking place between 8 and 10 March 2013, MOVE IT is gearing up to welcome 20,000 dance fans to Kensington, Olympia in London. Visitors to the venue will be able to watch performances in the showcase theatre and on the main stage, take part in classes or the freestyle stage, shop for dancewear, meet dancing stars on the interview sofa and talk to experts for advice in one of the biggest celebrations of dance.

There will be a huge variety of dance classes (over 200) and taster sessions on offer. The UK’s leading dance teachers will be presenting classes, covering everything from Ballet to Lindy Hop, Krump to Ballroom. The range on offer is enough to satisfy every dance enthusiast, no matter your ability level or aim for taking part. Also on offer is the chance to learn the routines from A Chorus Line set to hit the West End this year, develop your ballet technique with English National Ballet, and try out the latest hip hop moves with ZooNation’s Kate Prince to build up your style. Also appearing at MOVE IT will be Sean Cheesman (previous choreographer to Janet Jackson), Kenrick ‘H2O’ Sandy of Boy Blue Entertainment, Twist and Pulse, Shobana Jeyasingh dance, Got To Dance finalists Boadicea and many more!

New this year will be the chance to discover a career in dance with CDET as a new series of dance classes and interviews. These will offer advice and guidance for anyone thinking of working in the dance industry.

Dust off your dancing shoes and get your tickets!

Is Dance Becoming Mainstream?

Dance in the Mainstream

From the dazzling tutus and glittering tiaras of the big ballet classics to the modernised works of flesh-coloured leotards and soft ballet shoes, the popularity of dance appears to be increasing rapidly. Arguably as a result of the viral nature of social media and the innovative experimentation that is taking place in studios all over the world, the dance world and its audience are privy to fantastic creations and experiences which provide for their expectations.

Despite the modernisation that ballet is undergoing, for example as a result of Wayne McGregor of Random Dance’s instatement as Resident Choreographer of The Royal Ballet in 2006, it is clear that the classics of the ballet world are also able to satisfy the hungers of audiences. McGregor’s influence over twenty-first century dance is undeniable, and whilst his work is technically outstanding and completely compelling, the repertoire of the Royal is also made up of works that have resided there for centuries. Classics such as Swan Lake, The Sleeping Beauty and The Nutcracker are three of a number of well-known and loved productions which are presumed to stay within ballet repertoire for years to come.

Classical ballet was once seen as a high culture, rather than a popular one, yet this is also changing. The Royal Ballet LIVE was screened online in 2012, providing 200,000 dance-lovers and non-dance fans alike with the opportunity to take a peek into the working lives of professional ballet dancers. The iconic film production Black Swan starring Natalie Portman also took the ballet world by storm, depicting a violent and manipulative ballet environment, but ultimately extending ballet’s reach to wider audiences, increasing its popularity. The London 2012 Olympic Games also demonstrated a cultural shift, with ballet proving to be an influence in more than one area. Team GB swimmer Liam Tancock revealed that regular ballet classes were included in his cross-training, and Birmingham Royal Ballet’s principal Matthew Lawrence created a routine for the five times British champion gymnast Frankie Jones for the Rhythmic Gymnastics British Championships ahead of the Games. Dance is clearly demonstrated to appeal to and provide for a wide audience reach.

Dance has also been able to reach audiences through social media, making it ultimately accessible. Facebook, Twitter, YouTube, and various other platforms are able to translate the art of performance and reception to many who may not have the opportunity to access dance originally. For example, many dance companies have Twitter accounts clocking up thousands of followers, who are able to connect with and access a valued insight into the life of the company, rehearsals and classes – even the founder of Twitter is a ballet fan!

The Evolution of Dancewear

Evolution of Dancewear

Whilst there is much negative stigma about the dance experiences in Physical Education, dance within P.E. lessons has proven itself to be successful, not only encouraging students to take part, but also contributing to today’s dancewear scene. Many teenage girls who were perhaps unwilling to participate in sports have been seen to thoroughly engage in dance and consequently excel, in parallel to, for example, disruptive boys who have found their forte in the strength and skill of break dance during P.E. Many lessons also, for example, consist of street dance, appealing to students as they are able to express themselves through the up-to-date movement and their urban dance sneakers, tracksuit bottoms and the occasional sweatband, meaning dancewear has received more attention and popularity. The days of gym knickers are far behind us!

Dancewear has evolved significantly, however early influences can be identified. Early ballet, dating as far back as the 1800s, saw courtly influences of much longer skirts than are seen today and satin ballet slippers for females. Similarities here as well as that of male tights and long-sleeved shirts demonstrate the loyalty dance has to its originators, and how practical the first instances of dance were. The mid-1800s saw choreographer of La Sylphide August Bournonville designing the ballet slippers for males that are still worn today with a V-shaped vamp to give the illusion of a long and pointed foot. The Romantic tutu also made an appearance, but under another name originally. Today, the traditional ballet style has been adopted and also brought into the fashion world, with ballet pumps and tutu style skirts echoing ballet’s origins.

The 1890s saw the emergence of Jazz dance, and it became increasingly popular, taught in numerous dance studios. Costumes were experimented with, open to more adventurous design work and became more practical, highlighting the dancers’ lines in addition to looking effective and eye-catching, also mirrored in practice wear. In addition, Modern dance, now known as contemporary dance, developed as a result of Isadora Duncan’s rejection of the tight bodices of the tutus of classical ballet in favour of Greek-style tunics. She believed tight clothing was a restriction to the body’s natural movement and to this day we see this trend, especially clothes of the hip hop world and on television programmes such as So You Think You Can Dance.

The Promotion of Vadim Muntagirov

English National Ballet Logo

Following an outstanding performance of The Nutcracker this December, Vadim Muntagirov of English National Ballet was awarded with a new Lead Principal title on stage by Artistic Director Tamara Rojo, in recognition of his exceptional dance ability. This new category for Muntagirov makes way to acknowledge the Company’s new artistic direction under Rojo, who has lots in store for 2013.

Muntagirov comes from a family of ballet dancers – both his mother and father were Principal dancers – and was trained at the Perm Ballet School, of which his father and sister were both graduates. In 2006 Muntagirov joined the Royal Ballet School and in his final year Wayne Ealing (former Artistic Director of ENB) offered him a contract with the Company as a First Artist. Muntagirov progressed through the ranks, promoted to First Soloist in 2010 and Principal in 2011.

Muntagirov’s first performances with the Company were in Barcelona where he partnered Senior Principal Daria Klimentová in the lead role of the Poet in Les Sylphides as part of the Ballets Russes centenary celebration. He has continued this phenomenal partnership with Klimentová across his career with ENB, including roles such as Albrecht in Giselle, and as her Prince in The Nutcracker and The Sleeping Beauty. With ENB, Muntagirov has received the challenging role in Derek Deane’s Swan Lake at the Royal Albert Hall as Prince Siegfriend, originally intended to partner world renowned Polina Semionova, but later dancing with Klimentová on opening night.

Muntagirov is captivating on stage, having flourished as a technically assured and commanding performer, attacking the most difficult roles in classical ballet repertoire. It seems his work has only just begun, presenting even more challenges by ENB and encouraging him to emerge even further as one of the most prominent male ballet stars of the twenty-first century. Muntagirov was the winner of the Critics’ Circle National Dance Award for Outstanding Male Performance (Classical) in 2010.

The Truth Behind Shin Splints

Shin Splints“Shin splints” is the term for the ache and pain around the tibia and fibula which are the bones at the front of your leg that run from your ankle to your knee. They can be treated and prevented, but here’s the low down on the truth behind this troublesome condition.

Dancers are prone to shin splints because dance puts repeated stress on the lower leg. However, some dancers are more susceptible to shin splints than others which can be the result of many factors. Poor bone alignment, feet which roll in and joint laxity are all genetic factors in determining whether you may suffer from shin splints when you dance so it is easy to get caught up in the pain of the problem rather than working to solve it.

Shin splints can cover a whole host of problems such as stress fractures (tiny breaks in the bone which occur when the muscles around the bone become too fatigued to absorb shock, such as the impact from landing from a jump), periostitis (an inflammation of the outer lining of the bones caused by repeated stress on the muscles attached to bones) and chronic exertional compartment syndrome (caused by the muscles around the bone swelling and the lining encasing those muscles getting too tight, cutting off the oxygen and blood supply, causing an ache after dancing). These conditions can be caused by similar factors (in addition to genetics), such as your dance environment (such as a floor that doesn’t provide shock absorption or is “raked”), your dance shoes (which may lack support for your arches), and the level of activity your dancing encompasses (such as the amount of jumping you do, or simply how much you dance).

Despite the worry that shin splints cause, they can be treated, with recovery times varying through the intensity of the condition. Resting, icing and elevating your legs for a few days may be enough in some cases of shin splints, but more severe injuries may require therapy or even surgery. Most importantly, shin splints can be prevented! Shoes with support for your arches and sprung floors mean that the dancing you do and your body will be aided in its work, and you will have the best possible start.

My First Cinderella

My First Cinderella

English National Ballet’s My First Cinderella tells everyone’s favourite rags-to-riches story in a beautifully adapted version for young audiences, introducing the magic of ballet and all its ballet slippers to children from the age of three. Transformed into a glittering Princess who shall go to the ball, Cinderella leaves her tatters behind and embarks on a life of tiaras and sparkle.

My First Cinderella is choreographed by George Williamson, recently appointed as English National Ballet’s Associate Artist. Earlier this year, at the age of 21, he created Firebird which had a fantastic reception, and was a new work set to Stravinsky’s classic score for the company.

The “My First…” series brings young audiences their first taste of ballet through the magic of fairytales, captivating music and beautiful dance in collaboration with the English National Ballet School. After presenting My First Sleeping Beauty at the Peacock Theatre in 2011, ENB2 returns with its graduating dancers and their tutus of outstanding potential from the School.

The concept of My First Cinderella was dreamt up by Williamson and Loipa Araujo, being generously supported by the Leverhulme Trust. Lighting the production will be Richard Howell and musical direction will be by Gavin Sutherland, well known for his work with English National Ballet. Starting at the Peacock Theatre, My First Cinderella will tour to the New Victoria Theatre in Woking, Aylesbury Waterside Theatre, The Churchill Theatre in Bromley, the New Theatre in Oxford, The Hawth Theatre in Crawley, the Opera House in Manchester and the Richmond Theatre, Richmond.

Image courtesy of English National Ballet.

Dance in the Media

Dancers

Having seen a huge influx of dance and the performing arts in the media recently such as So You Think You Can Dance, Got To Dance and Dancing with the Stars, it comes as no surprise that the number of participants engaging in dance classes has increased considerably. A survey conducted by YouGov in 2011 in the prelude to the Dance Proms at the Royal Albert Hall found that just over 1 in 5 British adults have become interested in dancing as a result of shows such as Strictly Come Dancing and So You Think You Can Dance, not considering those throughout the rest of the world and of alternative age groups, donning their dance shoes and pulling on their leotards.

The appeal of dance runs far and wide and today dance seems to have taken on a more of a popular culture persona as more people are becoming aware of it and its benefits. Pirouetting against the stereotype, ballet, for example, does not have to be girly and strictly disciplined; there are a huge variety of dance class choices meaning that there is an option for everyone. No sooner had gym culture taken over our lives, dance cults began to make an appearance, such as Zumba and Bokwa, reinforcing the notion that engaging in physical activity does not have to involve a treadmill.

Naturally, open classes such as those at Pineapple Dance Studios and Danceworks to name just a couple of dance studios in the capital, regardless of those throughout the rest of the country, mean that dancers new and existing will dig out their legwarmers or invest in some shiny new ones, obtaining those essentials to embark on or continue their dancing lifestyle. Dancewear is also increasingly becoming ideal for gym and leisurewear, making it versatile, up-to-date and inspirational, be it performing high kicks, squats or champion chill-outs.

It seems the dance bug is here to stay!

Image courtesy of Wikimedia Commons.

Men’s Dancewear

Male Dancewear

Often male dancers feel hard done by, simply due to the fact there is considerably less choice of dancewear for men than there is for women. Whilst the general basics are covered by more or less each dancewear brand available to purchase from, females are met with huge varieties of leotards and cover-ups, for example, than men. Often, dance shoes are not gender specific, and male and female dancers wear the same brand and style of tap shoes, ballet shoes and jazz shoes. However, it seems there is an overriding imbalance of the ratio of female to men’s dancewear.

Despite this, at Dance Direct, a full range of boy’s and men’s dancewear items are very well stocked, offering designs from Plume, Sansha, Só Dança, Wear-Moi and Bloch, all at affordable prices. From dance trainers, unitards and men’s leotards, to men’s ballet tights, dance shorts and dance belts, there is a wealth of choice for male dancers to suit both professional and informal needs. This huge variety can conveniently be located online, providing even more access for dancers to a great selection of dancewear, suitable for many types of dance. Additionally, the emergence of “dance fashions” has also determined the styles of dancewear purchases, and the popularity of those deemed most versatile and useful at that time.

Dancewear for ballet has evolved considerably in recent years, for studio practice or on stage. For male dancers traditionally, their role on stage was to support the female dancer and help her heighten the illusion of performance quality. Whilst this remains, the spotlight for male dancers has extended, focusing more attention on them simultaneously. Dancewear such as unitards, or leotards and tights emphasise the body’s alignment, line and placement, defining the body for the audience and teacher alike. For males, dancewear can be adapted to suit either the studio or the stage, so despite the fact there may be less choice of dancewear for them than females, what males do wear is extremely versatile to suit a variety of needs.

The Youth America Grand Prix

Youth America Grand Prix The Youth America Grand Prix was formed in 2000 as a non-profit educational organization in order to support and develop world-class dancers from the ages 9 to 19, of all backgrounds and styles of leotards. YAGP aims to provide educational opportunities and scholarships to the world’s leading dance schools for young dancers as a global network of resources and opportunities which connect students, teachers, schools and dance companies.

YAGP has been known to provide students with top-quality education and training from the directors and faculties of some of the world’s foremost companies, such as Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet and Paris Opera Ballet. As a result, YAGP refers to itself as the “internet of the dance world”, working to maintain and extend the dance network of the United States, and provide a multitude of prospects for the next generation of dancers, encouraging more to pull on their practice tights and engage with ballet.

Each year, YAGP conducts 12 regional semi-finals competitions throughout the US, and an additional 4 international competitions in Brazil, Mexico, France and Japan. Each season culminates in a week-long ‘New York City Finals’, where only around 500 of the 5000 hopefuls will compete for scholarships and professional job contracts offered. The dancers are renowned for representing 30 different countries on 5 continents, emphasising the sheer expanse of YAGP in the dance world, and just how prestigious the organisation has become since its inception.

First Position

First Position is a documentary film which focuses on seven young, international dance students preparing for the competition, working to showcase the exceptional talents of the dancers rather than focusing on the controversy of ballet competitions and the pressure they create for young people. Director Bess Kargman was inspired to create something that challenged the stereotypes of ballet and highlighted the sheer social and economic diversity of the industry. In choosing the candidates, Kargman felt it was imperative to feature students who would hold audiences’ attentions regardless of their performances throughout the competition, and – for example – the sacrifices made to facilitate ballet training such as parents making tutus and other costumes in order to save as much money as possible.

It is clear that the YAGP is one of the largest, most celebrated and influential dance competitions, presenting young dancers and their pointe shoes with the potential to truly succeed, with a fantastic opportunity in their first steps towards achieving their dance dreams.

Image courtesy of Youth America Grand Prix.