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Flatley’s Farewell

Following a sold out run at the London Palladium in 2014, Michael Flatley’s Lord of the Dance: Dangerous Games is returning to the West End at the Dominion Theatre from 13 March to begin a farewell tour following the six month run at the Dominion. The show’s 2014 run was intended to mark Flatley’s last West End appearance, but the star couldn’t resist returning for one last time to the capital’s stage.

Flatley will take to the stage for the first 12 days of performances before young star James Keegan takes over the role for the rest of the run of the hit Irish dance spectacular. Flatley will also be returning to the 3 Arena in Dublin and the Odyssey Arena in Belfast at the end of March. His only performances in the multi-date UK tour will be at the Brighton Centre from 2-5 April, where the tour begins, and at the Wembley Arena on 4 July, where the tour ends.

The production, which combines executing and groundbreaking technology, including holographs, dancing robots and world champion acrobats, also includes musical appearances from Girls Aloud’s Nadine Coyle. A new score composed by Gerard Fahy, new costumes and special effects lighting add a breathtaking new dimension to the original masterpiece. “My dancers are the real stars,” says Michael of his troupe of dancers, some of whom have been with the company for 10 years. He is immensely proud of their hard work and dedication, and to bring the show back to the West End in the magnificently refurbished Dominion Theatre is a dream come true.

The global phenomenon that is Lord of the Dance will be bigger than ever in 2015, with Lord of the Dance: Dangerous Games on a 200-plus date tour across 15 countries over the next 18 months. In the UK, the show will be performed concurrently in London at the Dominion Theatre from 13 March-5 September and on a UK tour from 2 April-4 July.

Image courtesy of Wikimedia Commons.

The Year Of Song And Dance 2015 – The Highlights

Dance in the Mainstream The year-long celebration of song and dance will begin with BalletBoyz: The Talent, documenting the work of dance company BalletBoyz, followed by the BBC Young Dancer 2015 in April with the final in May. In July, David Bintley, Artistic Director of Birmingham Royal Ballet, will investigate how the foundations of ballet were laid during the reign of King Louis XIV of France, in The King Who Invented Ballet. The autumn will focus on the story of contemporary dance told through a group of young dancers in new documentary, Strictly Modern Dance.

In terms of dance highlights, BalletBoyz: The Talent will focus on the company using footage from its 2014 Roundhouse performances – the culmination of a two-year tour during which it was awarded ‘Best Independent Company’ at the National Dance Awards. The film will also include interviews with the dancers and choreographers along with insights into their creative processes and behind-the-scenes.

BBC Young Dancer follows, showcasing the UK’s best young dancers. The award has invited dancers to compete for six places in a televised Grand Final to be shown live in May. Four programmes featuring highlights from each of the Category Finals with introductions to the respective dance styles and behind-the-scenes content will also be shown, demonstrating the demands and dedication needed for dance. The Grand Final will be judged by a leading panel of dance experts; Matthew Bourne; Akram Khan; Wayne McGregor; Tamara Rojo; Kenrick Sandy; and Alistair Spalding.

David Bintley, Artistic Director of Birmingham Royal Ballet, will investigate the foundations of dance during King Louis XIV’s reign. Bintley uncovers the critical social and cultural role ballet had in Louis XI’s French court, and across 17th-century Europe. Featuring specially shot dance sequences with insightful historical documentary, The King Who Invented Ballet brings to light the 300 year old history.

Strictly Modern Dance is the story of contemporary dance, told in a completely new way: through talented young dancers, aiming to bring an understanding of what contemporary dance is to a wider audience. Strictly Modern Dance will go on a journey with the students of Trinity Laban Conservatoire of Music and Dance, one of Europe’s leading training centres, and will feature famous alumni. Talented young dancers will learn some of the most iconic modern dances from the last 100 years and experience the shifts in the history of contemporary dance as it challenged audiences, made history and revolutionised dance.

The Professional Dancer

Professional Dancer Do you want to take your dancing to a professional level? As glamorous as it may seem, the life of a performer is a lot of hard work, pain and strict dedication to the goal. If you still wish to pursue a career in dance you must strive for it completely, as it requires a lot of passion and hard graft.

It is important to keep your feet on the ground, metaphorically speaking, and think realistically about your career. If you are the strongest dancer locally this will not make you the strongest amongst others in an audition. Open auditions are perhaps a dancer’s worst nightmare for being noticed, and a closed audition means agents put forward their very best dancers for that job – you may be one of many very similar dancers.

It is important to play up to your strengths and use them to your advantage in any dance environment, be it a class, audition or workshop. It is also important to continue learning and conquering your weaknesses in order to develop as a dancer. It’s easy to get complacent when you are responsible for keeping yourself in shape for auditioning, so keep challenging yourself and trying new things. Despite this, there will be auditions and jobs that you simply won’t get or be out forward for based on non-personal reasons, such as looks, so you must develop a tough skin.

Have a “plan B” too: make sure you have a substantial education behind you in case you must stop dancing for any reason. It is also important to have a clear idea of how you can work when you are in between dance jobs, so develop your skills, and build up professional experience. Don’t forget you also need persistence and a positive attitude: don’t take life too seriously and remember to enjoy the hard work involved in reaching your dream.

Image courtesy of Wikimedia Commons.

National Deaf Children’s Society Seeks Aspiring Deaf Dancers And Musicians

National Deaf Children's Society A new competition from the National Deaf Children’s Society – named Raising The Bar – has been announced in order to encourage young deaf dancers and musicians to showcase their performance skills. Entering is simple, just through the NDCS website, and could mean the young artists could show off their talents and attend a masterclass led by successful deaf dancers and musicians.

Young artists aged 8-16 have until 22 February to create and submit a 1-2 minute video of themselves performing a dance or music routine via the Buzz website. To do this, they must first upload the video to YouTube and then provide the link when completing the entry form. 10 lucky winners will then be selected to attend a two day masterclass on 24 and 25 May in Birmingham. There are no boundaries: it can be any kind of dance or music, from hip hop to ballet, or playing the clarinet to signed song!

The entrants must be a resident in the UK, and if an entrant is under the age of 13, the YouTube account used to upload the entrant’s video must be an adult’s. Runners up will receive prizes of Amazon vouchers worth £25, and for the winners, there will be the opportunity to meet and be mentored by current successful deaf musicians and dancers. Danny Lane, an acclaimed deaf pianist from Music and the Deaf; Ruth Montgomery, a very successful deaf flautist; and Ava M Blake and Billy Read from world famous Defmotion will all be involved.

At the end of the masterclass, there will also be a chance to take part in a variety performance to an audience, following the opportunity to meet other deaf peers with the same interests – it sounds a lot of fun!

Dance Relationship Resolutions

2015 Dance Resolutions Did you make any new year’s resolutions for 2015? Were any to do with dance, and have you managed to keep them? Some long term resolutions for the dance studio, however, may be easier to keep, as they can improve and maintain a good relationship with your teacher and fellow students.

Try not to moan too much in class – some teachers do not even allow talking! Letting everyone know you’re tired or hungry reinforces the feeling for everyone else in the class, including your teacher. Remember your teacher has probably taught several classes in a row, without any breaks, and they probably haven’t had time to eat for many hours – they are probably hungry and tired together! Try not to drag the energy of the class down therefore, to make the class as enjoyable as possible.

Make sure you are prepared for class by being fed and watered, so have a light snack beforehand if you need it. Try not to ask what time time is, or keep looking at the clock, as it implies you would rather be doing something else, somewhere else. Instead try to concentrate on enjoying what you are doing and working on your technique. Really think about how you are using your body and how to make the most of the time you have left in class.

Remember your dance teacher is there to help you learn and improve, and has your best dance interests at heart. If you are given a tricky combination or difficult barre exercise, think positively and ask for help if you are struggling – that’s what your teacher is there for! But also remember that being a dance teacher is a hard job that requires infinite passion and energy. Dance teachers are always on their feet and they are human too!

The Gifts Of Dance

Ignition Dance Festival We are all aware of how good dance is for us. As a non-verbal method of communication utilising the body’s movements, often to music, there are many dance styles practised around the world. Originally these would have represented different ways of life, different cultures, ethnicities, belief systems, social structures, and traditions, but today it seems all dance styles are danced everywhere! It is arguable too that the individual and communal benefits of dance go far deeper than the common perception of dancing just for fun.

Alongside the beneficial physical expression of dance, the emotional, mental and physical health benefits of dance are too interrelated, and are key to personal development. Warming up, stretching and the actual physicality of dance aids our fitness and wellbeing, as well as releasing endorphins to boost our mood. Dance – as a cardiovascular activity – improves circulation, boosts memory and increases energy levels, as well as improving flexibility and toning that body.

Beyond advantages of dance for the body, dance also develops personal skills and character building for children at an early age, elements which then transfer to other areas of their lives later on. Dancing teaches discipline, consistency, perseverance and creativity, and encourages them to express themselves artistically. Dance is something which is very personal to each individual, and connecting with the self is something which can also come from dance.

Dance is for everyone, and everyone can benefit from the positives of dance. Age and social circumstances are trivial in terms of dance: even on a basic level it keeps us fit and happy, and also promotes engagement with others. It contributes to us physically while giving us another way to communicate what is on the inside, and express our feelings through bodily movements.

The Dangers Of Ballet

Ballet Students

Whilst the title may appear melodramatic, the reality is that injury and accident are the very things that can prevent dancers from continuing to perform, perhaps forever. The origins of ballet are completely tame by today’s standards, with boundaries constantly being pushed, along with the number of pirouettes performed, the height of leg extensions and the steep curvature of the feet.

These gymnastic achievements come at a cost – torn Achilles’ tendons on stage, falls, injuries during rehearsals. Is ballet becoming too dangerous? To constantly present new things and remain ‘on top’, dancers are required to push themselves to – or even beyond – their limits. That is not to say dancers must become complacent, only to consider and be aware of the potential outcomes of the risks of their first love.

Recently, while dancing Kitri in the Royal Ballet’s Don Quixote, Russian icon Natalia Osipova fell on stage. While she recovered the fall quickly, it was announced during the interval that she would be replaced by first soloist Akane Takada. It is not necessarily the Royal’s tradition to rise to the occasion in a crisis – last year there was no rehearsed second cast to fix problems, so the remaining performance was cancelled – however Takada was a success as a very different Kitri to Osipova.

Ballet is a high-risk activity: a slippery stage or momentary lapse in attention caused problems for Osipova and could even lead to months of rehabilitation following injury. Other dancers have also been injured, at the Royal Ballet in particular, both in rehearsal and on stage. Osipova’s injury, and others’ during performances, is the chance for another dancer to shine and take a moment on stage in their replacement. When the understudy dancers are from lower ranks in companies, stepping in at the last minute proves their worth, something less easily gained during usual company life.

Image courtesy of Wikimedia Commons.

Dancing When Dance Cannot Come First

Dancing When Dance Cannot Come First Despite it being the worst possible scenario for most dancers, sometimes dancing cannot come first in life. Whether this is because of personal, time-restrictive or financial circumstances or even public holidays, sometimes dance must be factored into a busy life, rather than the other way round.

Make sure you use your time efficiently; don’t look back and see an opportunity for stretching time or a run round the garden. Use a calendar or diary which includes all your plans and objectives, and realistically work out when you have chance to take class or even just a ballet barre in your bedroom. Even better is a monthly planner which includes everything, even the plans of other members of your family. This will make it easier to see everyone’s schedules: everyone will be calmer if you know where to be when, and where you can expect to have free time to plan other activities.

Don’t forget to take a break too. Having a distraction from life – other than dance – can be hugely beneficial. Make sure you include some down time for yourself, such as reading, swimming, singing or even walking the dog! Knowing you have a certain time set aside for yourself can make dealing with everything that is going on a lot easier. Moreover, make sure you are realistic about what you can fit in to your schedule.

Remember that you won’t be overwhelmed forever, and that dance is something you love, so it will all be worth it! Don’t let stresses or worries get to you – enjoy the moment (if you can!) and it will make your return to dance even more rewarding.

Dance For New Year Honours

Member of the Order of the British Empire (MBE) Medal

There were three dance-related citations in the December 2014 New Year Honours list, of a total of 1,164 honours. Jeanetta Laurence, Associate Director of the Royal Ballet has been awarded an OBE for services to dance, Marguerite Porter, Director of the Yorkshire Ballet Summer School has been awarded an MBE for services to ballet and Janet Smith, Principal of the Northern School of Contemporary Dance has also been awarded an MBE for services to dance.

Jeanetta Laurence works closely with the Director of the Royal Ballet Kevin O’Hare, and was formerly a dancer with the company. During her time there she has worked alongside former directors Anthony Dowell, Ross Stretton and Monica Mason. Laurence is also a Trustee of the Frederick Ashton Foundation, which exists to perpetuate the legacy of the Founder Choreographer of the Royal Ballet, and of the Royal Ballet Benevolent Fund and the Benesh Institute Endowment Fund. Laurence has worked for the Royal Ballet for over 46 years and will retire in June 2015.

Marguerite Porter, Director of the Yorkshire Ballet Summer School, is a British ballet inspiration. She joined the Royal Ballet aged 17 and has even partnered ballet legend Rudolf Nureyev during her career. Porter’s ballet life has been full of iconic and memorable moments, and it now finds her at the helm of the Yorkshire Ballet Summer School. She took over as Director in 2005 having danced with the Royal Ballet company for 20 years. Following this period she remained with company for three further years as a guest artist.

Janet Smith left her position as Artistic Director of Scottish Dance Theatre in 2012 to become the current principal of the Northern School of Contemporary Dance. Northern School of Contemporary Dance is a unique dance training institution offering a select group of students the opportunity to develop and excel as dance artists in a conservatoire environment.

Notes On Dance

Dance Notepad As a dance student, you may wonder how you will ever remember every note, correction and suggestion you are given in class. You may even have more than one teacher; even two teachers means double the amount of notes you are given! You may have teachers who work by the same method, however they may teach in very different styles. Whilst this is beneficial to ’round’ you as a dancer, it may be tricky to keep track of everything you have to remember.

You may find it useful to keep note of everything that is said to you in class to make sure your technique and performance is as well rounded as possible. It can be hard to take everything on board, especially if you are given small corrections and subtle changes to your form. You may find you are constantly trying to please your teacher/s, but by writing things down it will help consolidate the information and process it for your body.

You don’t have to write your notes, thoughts and information down in any particular way, it is completely up to you as to how you’d like to format your notes, as long as they are useful in helping you progress as a training dance student. Looking back on your notes will also show you just how far you’ve come! Reflecting on what you have achieved will also serve as motivation for persevering in the future.

Corrections and imagery suggestions to aid your performance may form the bulk of your dance notes, so make sure you take a few minutes at the end of your dance classes to make any essential notes you may need – you may not remember them all until the next day! And if you’re learning something new, write that down too to prompt you when you’re practising outside of class.

Image courtesy of Wikimedia Commons.