Tag: Dance

The 13th National Dance Awards Nominations

National Dance Awards Critics' Circle

The Dance Section of the Critics’ Circle announced the nominations for the 13th National Dance Awards at a reception held at The Place on 9 November 2012, an extremely exciting time of year for the tutu wearing, pointe shoe-hopping dance artists and fans alike. The winners will be announced at a ceremony to be held in The Robin Howard Theatre at The Place on Monday 28 January 2013.

The nominations for the 2012 National Dance Awards are as follows –

DANCING TIMES AWARD FOR BEST MALE DANCER 

Jonathan GODDARD (Rambert Dance Company & Freelance)
Akram KHAN (Akram Khan Company)  
Vadim MUNTAGIROV (English National Ballet)
Edward WATSON (Royal Ballet)

GRISHKO AWARD FOR BEST FEMALE DANCER 

Begoña CAO (English National Ballet)
Eve MUTSO (Scottish Ballet)
Marianela NUÑEZ (Royal Ballet)
Tamara ROJO (Royal Ballet)

STEF STEFANOU AWARD FOR OUTSTANDING COMPANY

Merce Cunningham Dance Company 
New Adventures 
Royal Ballet Flanders 
Tanztheater Wuppertal Pina Bausch

BEST CLASSICAL CHOREOGRAPHY

David BINTLEY (‘Faster’ for the Birmingham Royal Ballet)
Christopher HAMPSON (‘Storyville’ for Ballet Black)
Annabelle LOPEZ OCHOA (‘A Streetcar Named Desire’ for Scottish Ballet)
Alastair MARRIOTT & Christopher WHEELDON (‘Trespass’ in‘Metamorphosis – Titian 2012 Bill’ for The Royal Ballet)

BEST MODERN CHOREOGRAPHY

Alexander EKMAN (‘Cacti’ for Nederlands Dans Theater II)
Akram KHAN (‘DESH’ for AKRAM KHAN COMPANY)
Arthur PITA (‘The Metamorphosis’)
Kate PRINCE (‘Some Like It Hip Hop’ for Zoonation)

OUTSTANDING FEMALE PERFORMANCE (CLASSICAL)

Yuhui CHOE (Royal Ballet)
Ksenia OVSYANICK (English National Ballet)
Beatriz STIX-BRUNELL (Royal Ballet)
Jia ZHANG (English National Ballet)

OUTSTANDING MALE PERFORMANCE (CLASSICAL)

Yonah ACOSTA (English National Ballet)
Paul KAY (Royal Ballet)
Zdenek KONVALINA (English National Ballet)
Dawid TRZENSIMIECH (Royal Ballet)

OUTSTANDING FEMALE PERFORMANCE (MODERN)

Azzurra ARDOVINI (Phoenix Dance Theatre)<
Teneisha BONNER (Zoonation)
Wendy HOUSTOUN  
Hannah KIDD (Richard Alston Dance Company)

OUTSTANDING MALE PERFORMANCE (MODERN)

Tommy FRANZÉN (Zoonation & Russell Maliphant Company)
Dane HURST (Rambert Dance Company)
Christopher MARNEY (New Adventures)
Liam RIDDICK (Richard Alston Dance Company)

BEST INDEPENDENT COMPANY

Ballet Black 
Ballet Cymru 
Rosie Kay Dance Company
Shobana Jeyasingh Dance 

The National Dance Awards have been organised by the Dance Section of the Critics’ Circle each year since 2000 and they celebrate the vigour and variety of Britain’s thriving dance culture. They are the only awards given by the body of professional dance critics in the UK, presented by the Dance Section of the Critics’ Circle which brings together more than 50 dance writers and critics.

Rambert Dance Company’s New Home

Rambert Dance Company Logo

To celebrate 10 years at the helm of Rambert Dance Company, Artistic Director Mark Baldwin joined the Rambert dancers on the South Bank to appeal for support in the final stages of the fundraising campaign for the Company’s new headquarters at the heart of London’s cultural quarter. The dancers, the admin team and the inspirational teaching staff will be transporting their dance tights, foot thongs and assortment of leotards and costumes to a new start next year.

The UK’s national contemporary dance company worked hard to encourage supporters to make a £5 donation on 1 November 2012, the date of Baldwin’s official anniversary of becoming Artistic Director. Those who donated on the anniversary were entered into a special prize draw to win a VIP trip to Rambert Dance Company’s new headquarters during the opening celebrations in 2013.

Rambert Dance Company has been provided with a once in a lifetime opportunity to build a new home, leaving its Chiswick headquarters next year. In return for a commitment to provide a significant community dance programme, Rambert has been given a plot of land by Coin Street Community Builders, one of the UK’s leading social enterprises. The new home will safeguard Rambert’s future and that of contemporary dance as a centre for choreography and music for dance. It will cement Rambert’s status as one of the world’s great dance companies and enable it to improve its already excellent artistic standards, be a powerhouse for new choreography and become the centre for dance and music in the UK.

Every aspect of the building’s design – by award-winning architects Allies & Morrison – operation and programme of education and outreach activities will set new standards for public engagement with the art form. Rambert will move to its new South Bank home in 2013.

 

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.

Preparing For Your Dance Audition

Dance Audition Tips

It is that time of year again, when applications to vocational dance and drama schools are starting to be filled in, tap shoes are dusted off and legwarmers are at the ready. Audition songs, monologues and solos must be prepared, forming the beginnings of nerve-wracking experiences for young, hopeful performers.

Dance auditions can be particularly intimidating, even for the most talented of dancers capable of performing triple pirouettes in their pointe shoes. Many argue that the anxiety that comes hand in hand with auditions can be very beneficial to the auditionee, increasing the adrenaline pumping round the body and firing the dancer’s performance into a new realm.

It is extremely important to prepare what you will be presenting to the audition panel down to the last detail in order to perform as well as you can. Make sure that you have fuelled your body with food that will sustain you throughout the day, in addition to making sure you stay hydrated. Depending on the type of dance audition, it is often a good idea to wear a striking outfit, such as a bright coloured leotard in order to stand out from the other candidates at the audition. You need to demonstrate to the panel why they should select you as one of their students, and the extra special quality you have that other candidates don’t have.

Arriving early to the audition is another way in which to prepare properly, and will help to settle pre-audition nerves, as well as giving you enough time to warm up mentally and physically before the day begins, going over any last minute details. Some argue that this may add to your nerves, but being late to the audition may make them even worse! Enjoying yourself is a key part of the audition, so whether your dance, speech or song is passionate, sorrowful or energetic, make sure you express yourself to the best of your ability.

Image courtesy of the Wikimedia Commons.

The opinions expressed in the above article or review are mine alone and do not reflect the opinions of my employer.

Transitions Dance Company at 40

Transitions Dance Company

In 1972 choreographer Bonnie Bird created the first generation of the Transitions Dance Company, the first course of its type in the UK to bridge the gap between studying dance and the professional world. With many dance schools and conservatoires surfacing throughout the twentieth and twenty-first centuries, observations are often made about the number of graduate dance students attempting to find work in the professional sector of the arts as a whole. However, Transitions – amongst other “bridging” companies such as the London Contemporary Dance School’s EDge – provides aspiring young performers with the opportunity to break into the work-success cycle of the dance world.

40 years, 250 students, and 100s of guest choreographers later, the latest incarnation of Transitions will return to the Laban Theatre on 7th-9th June 2012 with a special anniversary performance which is set to celebrate the inspiring work of the company for individuals embarking on the first stages of their careers. A far cry from the newly worked pointe shoes of ballet academies or New Yorkers of musical theatre conservatoires, Transitions is renowned for the bare footed, leotard-clad approach, showcasing the future stars of contemporary dance.

Eleven of the best young dancers from across the world will perform a mixed bill of choreography as part of the anniversary performance by three international artists. One, Hubert Essakow, has worked in German Tanztheater, another, Martin Nachbar, who is an ex-soloist from The Royal Ballet and the last, Shang Chi Sun, is a choreographer whose work The Others had a successful debut with last year’s company. The dancers of the company have a solid reputation of individuality and passionate enthusiasm, transforming the Transitions tour into an unmissable event.

National Tap Dance Day

Bill 'Bojangles' Robinson & Shirley Temple

November 1989 saw the declaration of May 25th as National Tap Dance Day: as Representative John Conyers of Michigan said, “there ought to be a law to make everyone love tap dancing”. National Tap Dance Day for the US has since become more widely known, and is celebrated as far away as Japan, Australia, India and Iceland, with tap shoes tapping far and wide.

Celebrated on the agreed-upon birthday of legendary tap pioneer Bill “Bojangles” Robinson, National Tap Dance Day became a symbol for African American tap, as historically many were unaware of its specific contribution to tap recognised today. National Tap Dance Day was a result of Carol Vaughn, Nicola Daval, and Linda Christensen’s passion for all things tap. After much discussion, the three picked Bill Robinson’s birthday because he was a tap dancer known and loved worldwide for his work onstage and in films. To tap insiders, Robinson was renowned for dancing on the ball of the foot, in split wooden soles, and in perfect time. Tap has evolved considerably since then, and tap shoe brands such as Capezio and Bloch have built up their images as a result.

Carol Vaughn was one of tap’s great impresarios from the 1970s tap revival and once tapped up and down the steps of the Washington Monument in “I Ain’t A’Fred A’staires”. In a 1994 article for the International Tap Dance Association’s newsletter, Vaughn and Daval emphasised that although “tap dance was experiencing renewed popularity, there was still little public awareness of tap beyond a few Broadway shows, old Fred Astaire movies, and the occasional concert or TV special featuring several of the great master tappers”. They felt there had to be a way to increase recognition of tap’s contribution to cultural and artistic heritage, to bring its special appeal to everyone.

Today, tap receives great recognition, and one can only imagine where the world’s tap shoes will be travelling next.

Dance Accessories For Injury Prevention

Injury Prevention For Dancers

To enhance your lines, for a stronger body and an improved performance we have a range of essential dance accessories for the dancer eager to excel. However, it is vitally important to warm up properly to look after your body correctly, as it is the instrument with which to fulfil your dance desires… and if it is not cared for, it can be easily damaged.

Kitting yourself out in the latest dancewear, such as redesigned foot thongs and innovative leotards will not protect your body from the rigours of dance. Dancers wearing the newest jazz trainers and cover-ups must work hard to prolong their dance training and career using the right techniques and methods for their own body.

For example, the Original Deuserband is a classic, physio-therapeutical training band which is incredibly strong, working to flex muscles and increase fitness, strength and flexibility. Specifically for increased leg flexibility, the Deuserband is used worldwide by professional dancers as an aid to their training.

Latex resistance bands, such as those designed by Bunheads, are also used by dancers of all levels to target specific areas of the body that require strengthening. They are particularly useful for young dancers who are preparing for pointe work, and for exercise aiding injury recovery, displaying their ultimate versatility and usefulness.

An additional product which aids strength, and is also extremely useful for dancers preparing to wear pointe shoes is the Wobbleboard. It is also recommended by physiotherapists, working to strengthen the ankles to prevent injury.

Another versatile product is the Theraball, which targets all the major muscle groups for a full body workout, whilst aiding stretching and strengthening. Exercise balls of all sizes are renowned for their revolutionary design and purpose, often used for strengthening the core and upper body. In this essence, the Theraball is vital to maintain and dancing body’s dynamics and prolong dance lives.

Image courtesy of adria.richards at Flickr.

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.

International Dance Day 2012

International Dance Day 2012International Theatre Institute LogoInternational Dance Day was founded by the Dance Committee of the International Theatre Institute in 1982, and has been celebrated every year in Paris on April 29th, which is the anniversary of Jean-Georges Noverre (1727-1810) who is deemed as the creator of modern ballet. The dance sector is constantly evolving, with International dance Day seemingly drawing attention to the magic of dance, and highlighting this throughout the world.

Every year a message from an outstanding choreographer or dancer is circulated internationally, known as the “International Dance Day Message”, inspiring dancers and dance fans alike to re-love their dance, be it wearing their ballet tights, tap shoes or jazz leotard. The professional is selected by the International Dance Committee of the International Theatre Institute, which collaborates with the World Dance Alliance. The message aims to celebrate dance as a common language between all people across political, cultural and ethnic barriers in the universality of the art form, emphasising its accessibility. Among many others, prestigious dance figures such as Merce Cunningham, William Forsythe, Maurice Béjart, Akram Khan and Anne Teresa De Keersmaeker have delivered the message and/or participated in the celebration of International Dance Day at UNESCO, Paris.
This year (the 30th anniversary of International Dance Day) the message was delivered from Paris by the Flemish/Moroccan choreographer and founder of the Antwerp based Eastman dance company, Sidi Larbi Cherkaoui. You can read the full message here: 2012 International Dance Day Message.

The International Dance Council, an umbrella organisation within UNESCO is also active in the support of dance and promotes Dance Day through the voice of its president Professor Alkris Raftis who also delivers a message himself every year. The Council considers that while dance has been an integral part of human culture throughout its history, it is under-prioritised by official establishments in the world, and the influence of dance should be shared throughout the world. Through the instatement of International Dance Day, it seems that the global message of dance can continue to be transmitted and enjoyed by everyone, encouraging them to grab their jazz trainers and engage with more people.

What will you be doing on Sunday?

Images courtesy of ITI.

The Royal Ballet of Flanders at Sadler’s Wells

Sadler's Wells

Sadler’s Wells is due to host the Royal Ballet of Flanders with Artifact, nearly thirty years after its premiere. American choreographer William Forsythe has created this subversive new-dance masterpiece, which is due to run at Sadler’s Wells until April 21st. As a 2009 Olivier award winner, the Royal Ballet of Flanders has been performing and touring worldwide for over four decades, renowned for their flawless technique and unconventional productions. The company specialises in classical ballet, neoclassical ballet and contemporary ballet and has done since its inception in 1969. Recently, the company has raised its international profile by adding more contemporary works to its repertoire.

Set to the music of Bach, Artifact was the first ballet that Forsythe created after becoming director of the Frankfurt Ballet 1984, and Artifact has since been described as “a masterpiece”. Forsythe is widely regarded as the most influential practitioner of the art form since Balanchine, creating works which questions the classical aesthetic of ballet and develops it further. As a ballet in four parts, Artifact features the choreography, scenography, lighting, and costumes of Forsythe, completely conveying his choreographic practices. Sporting warm yellow unitards, the dancers display impeccable classical technique, mixing pointe shoes with the bare foot. Artifact is famous for the way it subverts the traditional physical principles of ballet, and for the ways it plays with audiences’ ideas about the forms ballet can take on.

There is not a tutu to be found within Artifact, despite being performed by the only professional classically trained dance company in Flanders, engaging audiences and critics alike from Shanghai to Houston. Within the upcoming season, the company is due to tour to some of the most international ballet capitals of the world, spreading their influence… and airing their leg warmers!

Image courtesy of Wikimedia Commons