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The 14th National Dance Awards

2014 National Dance Awards Critics' Circle The Critics’ Circle National Dance Awards for 2013 took place at The Place’s Robin Howard Dance Theatre on 27 January 2014. A prestigious event for acknowledging dance talent, the awards recognise an array of talents throughout the previous year.

The awards are decided by the 60 members of the Dance Section of the Critics’ Circle after an extensive round of nominations and voting. To be eligible, performances had to be given in the UK between 1 September 2012 and 31 August 2013. The awards were hosted by former NDA winner, Tommy Franzèn, and Bennet Gartside of The Royal Ballet.

CRITICS’ CIRCLE NATIONAL DANCE AWARDS WINNERS 2013

BEST CLASSICAL CHOREOGRAPHY
Christopher Wheeldon for Aeternum by The Royal Ballet

BEST MODERN CHOREOGRAPHY
Russell Maliphant for Fallen by BalletBoyz® The TALENT

OUTSTANDING MALE PERFORMANCE (CLASSICAL)
Nicolas Le Riche for Le Jeune Homme et la Mort / English National Ballet

DANCERS PRO AWARD FOR OUTSTANDING MODERN PERFORMANCE (FEMALE)
Julie Cunningham for New Works 2012 / Michael Clark Company

OUTSTANDING FEMALE PERFORMANCE (CLASSICAL)
Yuan Yuan Tan for RAkU / San Francisco Ballet

DANCERS PRO AWARD FOR OUTSTANDING MODERN PERFORMANCE (MALE)
Paul White for The Oracle / Meryl Tankard

JANE ATTENBOROUGH DANCE UK INDUSTRY AWARD
Amanda Chinn, General Manager of Scottish Dance Theatre

GRISHKO AWARD FOR BEST INDEPENDENT COMPANY
BalletBoyz® The TALENT

STEF STEFANOU AWARD FOR OUTSTANDING COMPANY
Mikhailovsky Ballet

THE DANCING TIMES AWARD FOR BEST MALE DANCER
Dane Hurst / Rambert Dance Company

GRISHKO AWARD FOR BEST FEMALE DANCER
Natalia Osipova / Mikhailovsky Ballet

DE VALOIS AWARDS FOR OUTSTANDING ACHIEVEMENT
Leanne Benjamin
Matthew Bourne

The awards are a celebration of brilliance amongst the diversity of dance forms. More than 200 nominations of companies, choreographers and performers were received from dance critics and the eventual 40 short-listed for the awards came from a wide spectrum.

The 15th National Dance Awards will be held on Monday 26 January 2015.

Steven McRae Named Young Australian Achiever of the Year

Steven McRae and Miyako Yoshida Performing in The Nutcracker The Royal Ballet’s Principal dancer Steven McRae has been awarded Young Australian Achiever of the Year in the UK by the Australia Day Foundation. Marking Australia Day abroad has taken in a whole new meaning for him being named with this prestigious title, as he continues to aim inspire children to chase their dreams too.

Just 28, McRae has a dream dance career. He began with jazz and tap classes as a child following an impromptu dance class aged seven. He went on to tap at the Sydney Olympics, and later become the Royal Ballet’s youngest Principal dancer. He has performed as a guest Principal with many renowned international ballet companies and still has a notable number of years to achieve even more.

The Australia Day Foundation accolade is especially significant for McRae in 2014, as he will be performing his favourite role of Romeo in Romeo and Juliet with the Queensland Ballet in July. For someone of McRae’s age to have achieved so much and to have represented Australia on the world stage is truly remarkable and an inspiration to young people everywhere, prompting the award from the Australia Day Foundation. Steven’s long list of dance achievements include the top prize at the Prix de Lausanne in Switzerland. The Royal Ballet School offered him a full scholarship in 2003 and he graduated and joined the Royal Ballet Company the following year.

The Young Australian Achiever of the Year in the UK has been awarded annually since 2005, recognising the achievements of a young Australian in the UK. Australia Day marks the day in 1788 of the first Governor of the colony of New South Wales. Australians across the country and overseas celebrate Australia, reflect on achievements and what they are proud of. In the UK, it is also a day to celebrate British heritage and the close links between the nations.

Image courtesy of Wikimedia Commons.

The On Pointe Enrichment Series

American Repertory Ballet will present its first ‘On Pointe Enrichment Series’ event on 7 February, specifically aimed at children from 2 years, and their families, entitled “Telling Stories Through Dance”. The American Repertory Ballet Trainees and members of American Repertory Ballet Workshop (ARBW), a performing group comprised of Princeton Ballet School’s advanced students, will perform Matthew Keefe’s Grumpy Bird and selected variations from Princeton Ballet School’s spring 2014 production of The Sleeping Beauty. All American Repertory Ballet’s On Pointe events are free and open to the public.

Grumpy Bird is a lively and humorous one act dance programme based on the children’s book. The Sleeping Beauty is a full-length classical ballet: it’s renowned tale tells the story of Princess Aurora, who sleeps for 100 years as a result of the sleeping spell cast by bad fairy Carabosse, and the Prince who breaks the spell with a kiss. Grumpy Bird has been performed as part of an assembly programme at numerous preschools and schools as a result of ARB’s Access & Enrichment initiatives, including planning ARB’s school time matinees and assembly programmes.

Discussion of the art of storytelling in dance will be led by ARB Resident Choreographer Mary Barton and ARB Director of Educational Programming Lisa Beth Vettoso. Barton is a long-time faculty member at Princeton Ballet School and also serves as a ballet master for the ARBW programme. She also directs the students’ rehearsals, namely oldest and most advanced groups. Barton also trains and coaches the Trainee division, which performs and rehearses with American Repertory Ballet in addition to ARBW. As Director of Educational Programming, Vettoso works extensively with ARB’s DANCE POWER programmes, including rehearsing the DANCE POWER Scholars and Dance Mix students.

Where Are All The Budding Ballerinas?

Dancer turned choreographer Carlos Acosta has warned that ballerinas are causing a crisis in the dance world because too few are making the leap to a career as top-level professional dancers. This sweeping statement seems rather unsupported, with Acosta claiming there are no female dancers of a sufficient stature for him to perform opposite, with girls becoming ‘non-existent’.

It is widely known that there are hundreds of thousands of females dancers all competing for the top spots in dance companies, with considerably less males vying for this. However, Acosta maintains that with various pressures for female dancers it is difficult to meet the challenges required. Female competition is constantly increasing, and even the Royal Ballet School has confirmed Acosta’s observation, with directors finding it increasingly difficult to find really talented girls in the past few years. While girls are the overwhelming majority of applicants to the Royal Ballet School’s junior years, there are currently more boys than girls among the intake by the age of 16.

Despite Acosta’s claims, 2013 marked his 40th birthday and Acosta has not hidden the effects of dance on his body, admitting that pain and aching joints are the by-product of a career devoted to dance, regardless of gender. Acosta consequently believes the Government should play an active role in encouraging more female dancers, with financial implications a big factor in children beginning ballet. Subsidising the arts and awarding scholarships would encourage more young dancers and their parents to continue in the ballet streak.

If the UK is unable to produce female stars, they will be encouraged from overseas. Acosta feels it would be better to do more to look elsewhere and give people a chance to flourish.

Image courtesy of Wikimedia Commons.

Ballet Beautiful

Mary Helen Bowers is the ballerina behind Ballet Beautiful, a dance-inspired workout that she teaches to Victoria’s Secret supermodels helping them attain those trademark tight abdominals and lean legs through the carefully crafted dance-inspired workout moves. Bowers is a former dancer who joined the New York City Ballet in her teens and became a prima ballerina, passing this knowledge onto the models with a ballet-inspired workout that sculpts swan-like arms and tones abdominals for the revealing lingerie.

Bowers often trains with the models backstage at runway shows, as well as on-site: for the most of the year she trains the models three or four days a week, depending on what is going on their schedule and if there’s a big photo shoot. Most of the sessions are a one-hour workout, but the schedule increases to longer sessions before a big event, such as the annual Victoria’s Secret Fashion Show.

The movements in Ballet Beautiful combine modified fitness positions and resistance work with classical ballet moves that target the muscles dancers use, for example Bowers swaps thigh-building gym squats in favour of thigh-slimming ballet basics like the Grand Plié. Another move that targets “ballet muscles” – inner thighs and the buttocks – can be achieved by placing both shins on a mat with one hand on a chair and drawing the opposite knee out to the side in a modified arabesque.

Bowers’ client list isn’t just limited to Victoria’s Secret models; she also instructed actress Natalie Portman for her Oscar-winning role in “Black Swan”. Bowers had to turn to online sessions and bring in extra backup to free up her time to coach Portman for the grueling role in 2010. Following the release of “Black Swan,” Bowers hired professional dancers to teach Ballet Beautiful private lessons to handle the demand.

Mariinsky Ballet To Visit London In 2014

Mariinsky Logo The Mariinsky Ballet has announced plans for its London season in the summer of 2014: the season will run from 28 July to 14 August at the Royal Opera House, opening with the classic tale Romeo and Juliet. The company will also dance a triple bill of The Firebird, Marguerite and Armand and Concerto DSCH, Swan Lake and a George Balanchine double bill of A Midsummer Night’s Dream – the first time the company has danced this work in the UK – and Apollo. The season will end with the London premiere of Alexei Ratmansky’s Cinderella, a production eagerly awaited by London audiences.

The Mariinsky Ballet is a classical ballet company based at the Mariinsky Theatre in Saint Petersburg, Russia. Founded in the 18th century and originally known as the Imperial Russian Ballet, the Mariinsky Ballet is one of the world’s leading ballet companies. Internationally, the Mariinsky Ballet is most commonly known by its former Soviet name the Kirov Ballet; the Mariinsky Ballet is the parent company of the Vaganova Ballet Academy, a leading international ballet school which has recently been subject to employment scandals.

The Imperial Theatre School as it was originally known, was established in 1738 and was the predecessor of today’s Vaganova Ballet Academy to create a school which would train young dancers to form the first Russian ballet company. The first group of students went on to form what would become the predecessor of today’s Mariinsky Ballet. In the late 18th and early 19th centuries, the Imperial Russian Ballet soon rose to prominence and would employ some of the most influential and famous names in ballet history including Marie Taglioni, Enrico Cecchetti, Jules Perrot, and Carlotta Grisi.

Despite later name changes and pressures of the Russian revolution, the present day Mariinsky Ballet is still linked to the school, which is now known as the Vaganova Ballet Academy.

August Bournonville

Iconic classical ballet productions such as Swan Lake, La Sylphide, Giselle, and The Sleeping Beauty are all the work of one choreographer: August Bournonville. It is arguable that La Sylphide is perhaps the most internationally famous representative of classical Danish ballet, created by Bournonville and paying homage to the distinct Danish style of classical ballet. The style was prolific, having engendered the ‘Bournonville school’ or ‘Bournonville ballet’.

Bournonville was born in Copenhagen, Denmark, in 1805. He went on to dance with the famed Marie Taglioni and became a soloist with the Royal Danish Ballet, eventually serving as its balletmaster. He remained there until the end of his life, in 1879, having made 50 ballets for the company in the unique style he created from his studies in the Italian, French, and Danish schools.

Bournonville movement is characterised by the use of petit allegro (fast, intricate footwork with small jumps) rather than by big, virtuoso lifts or grand allegro. Bournonville believed that dancing should be understated, graceful, and light, epitomised by the lowered eyes of the Bournonville dancer, giving the overall appearance of graciousness. The dancer must be directly on top of the music, meaning there is very little rhythmic freedom to speed up or slow down movement. Despite this, Bournonville ballets remain expressive.

Today the Bournonville style is surrounded by the sky-high extensions and dazzling turns and jumps of other choreographic styles however the beauty and difficulty of the dances must not be underestimated. Bournonville’s ballets continue to be performed throughout the world and the Royal Danish Ballet upholds the Bournonville style as one of its proudest traditions. The style encompasses both high technical demands and an infectious celebration of life.

Image courtesy of Wikimedia Commons.

News for British Ballet Organisation

John Travis, the director of the British Ballet Organisation, recently announced significant news which will enable the BBO to develop, secure its future and enhance the support and service provided to its members and the dance profession. It’s current home, Woolborough House, has been a much loved home for the organisation; however the BBO has outgrown the building and it is no longer fit for purpose. After a lengthy and complex process the sale of Woolborough House has been agreed and will be completed early in 2014.

Established in 1930, the British Ballet Organization is proud of its heritage and continues in the tradition of its famous founders: the name Espinosa is recognised worldwide as one of the most important influences in the development of dance and the training of dancers. Woolborough House in London was the Espinosa family home from 1913. On the formation of the BBO, it became and remains today the Headquarters of the organisation. Many famous students studied with Espinosa at Woolborough House, including Phyllis Bedells and Ninette de Valois. In 1932 a studio was built alongside the house which has continued to host classes and BBO examinations and provides rehearsal space for many leading dance companies and professional artists.

The exciting opportunity for BBO has become possible with the support of the Espinosa Memorial Fund, and will allow the BBO to retain a freehold headquarters in central London as a long term safeguard for future generations.Their support allows the organisation to fully utilise the legacy of Edouard Espinosa and the family.

The BBO Board and the Chief Executive Officer have been working with the EMF and the Trustees of Woolborough House to formulate a development strategy, which reflects the charitable objectives of the organisation and the values that have underpinned the BBO throughout its history. During this process the Trustees have identified some exciting opportunities that will ensure BBO retains and enhances its position as a major teaching and training organisation both regionally and internationally.

Johan Kobborg Appointed Director Of The National Romanian Ballet

Johan Kobborg has recently been appointed as director of the National Romanian Ballet, taking up his new post in February 2014. This announcement came after the first night of Kobborg’s production of La Sylphide for the company, which opened on 7 December, meaning Kobborg will be at the helm of the company, steering it in an exciting direction.

Both Kobborg and his fiancé Romanian ballerina Alina Cojocaru, who danced the first night La Sylphide with The Royal Ballet’s Steven McRae, left The Royal Ballet as Principals this summer in order to pursue other artistic challenges: Cojucaru joined English National Ballet and has since danced Principal roles in Le Corsair and The Nutcracker.

Born and trained in Denmark, Kobborg joined The Royal Ballet in 1999, along with Cojucaru, where they danced throughout the classical, Ashton and MacMillan repertoire and in many new ballets. The dancers gave many memorable performances as members of The Royal Ballet, both at the Royal Opera House and around the world. Over the past ten years, their unique partnership has developed and the couple’s last UK performance as members of The Royal Ballet was in Kenneth MacMillan’s Mayerling on 5 June. In July they danced on tour with the company in Tokyo.

Kobborg has praised the National Romanian Ballet company, saying on Twitter that “Romanian Ballet has more natural born Sylphs than any other company I ever worked with”; his directing of the company looks set to hold lots in store for the lucky dancers. In recent years, Cojocaru has staged galas to raise money for Romanian Hospices of Hope and she has also given the Romanian National Ballet 50% of its annual supply of pointe shoes.

In the past Kobborg has also worked around the world as a producer and choreographer, staging Bournonville’s La Sylphide and Napoli and creating his own ballets.

Image courtesy of Wikipedia.

Scottish Ballet’s App

Scottish Ballet's iPad App Scottish Ballet has recently launched an app for iPad, free to download for users and full of secrets from behind the scenes of Scotland’s company. The app can be downloaded by browsing for Scottish Ballet in the App Store and tapping FREE followed by INSTALL APP. Once installed, your new app will be sitting on your Newsstand shelf waiting to be read!

The app enables users to uncover the spectacular secrets behind the making of Scottish Ballet’s productions, from choreographic processes to musical scores, with Scottish Ballet’s brand new release on the iPad Newsstand. Audiences can find out more about their favourite productions and the process of staging them for Scottish Ballet.

For this free issue, the app takes a look at Scottish Ballet’s next production of Hansel & Gretel, offering a glimpse backstage with features on the making of the Company’s newest production, including fascinating video interviews, photo galleries, audio excerpts, set and costume designs and the chance to find out more about this enchanting show before you go.

As subscription is free, any changes made to the app will be made evident by notifications of all future Scottish Ballet Newsstand apps for iPad when they’re launched, instructing users to download the new version. New issues will also be complete with free behind the scenes galleries, interviews and much more.

In another strand of success for Scottish Ballet, it was recently announced that three finalists from the prestigious Genée International Ballet Competition are now working alongside Scottish Ballet for their new production of Hansel & Gretel. Pascal Johnson, from Tring Park School for the Performing Arts, has been offered a temporary contract, and Natasha Watson (bronze medallist) and Katie Rogers are on student secondment from Ballet West and Royal Conservatoire Scotland respectively.