Tag: Dance

ROBIA BROWN – A Harlem Dream’s CONSTANCE

Robia BrrownRobia has been performing, choreographing and teaching in London for over 10 years. She has worked with companies and choreographers such as Avant Garde Dance Company, A&R Dance, Definitives and Ivan Blackstock, as well as creating work as a solo artist.

She has taught masterclasses across the UK and Europe sharing her vast knowledge with students from across the globe. She believes dance is her life and life is her dance; this is apparent in all of her work and throughout her classes.

Where did you train and what that experience like?

I have always wanted to be involved in dance. Since I came on to Earth I was moving and grooving with my mini legs and arms! I started training properly when I was seven years old.

I started dancing with a street dance group, for five years. I then moved to another street group for three years and then trained at the Brit School from the age of fifteen until I was nineteen. It was a great experience to train in more than one style and I embraced all of it! I love learning new things and delving deeper in to my passion.

Did you start performing young?

I started performing when I was seven (minus the shows I would put on in the front room for my mum!)

What is a typical day like for you?

A typical day for me always consists of dance. If I’m not rehearsing for a performance or a video, I am either taking class, choreographing or training on my freestyle. I try not to make my days too typical as I love working on new things and developing my dance vocabulary. Unless I am rehearsing for a production, then getting into a routine for a period of time is an uplifting experience.

What’s the best part of dance/performing for you?

Honestly, there are so many things I love from doing what I do. Not just the dancing and performing but the understanding and knowledge. I love building conversation about a concept of movement or choreography and the meaning to why I am moving. I love the process of creating and rehearsing and doing it over again until it makes sense, but it also has to feel right. I love getting things wrong so I can improve. I love hearing good and bad feedback. The performing part is a bonus for me.

Dance is such a broad art in itself, it has many layers and I find the layers the best part/parts!

What are you currently working on?

Currently I am working on ‘A Harlem Dream’ at the Young Vic Theatre. I have the lead female role ‘Constance’. I am also slowly building my own company but putting my main energy in to this production at the moment.

What is the rehearsal process like for A Harlem Dream – is it a collaborative process with all the dancers and creative team?

The rehearsal process so far for A Harlem Dream has been very rewarding. I have known Ivan in the dance scene since I was seven, and to work with him now I am 22 is an awesome thing. We get to contribute ideas and collaborate on movement material as well as anything we feel needs adjusting or shifting: we can put our voice across and feel comfortable enough to speak our minds. It is a big team effort but wouldn’t be anything without Ivan and Ukweli [Roach] for their direction. I feel inspired every time I leave the studio, not just by the directors but by the whole team! The show sinks in more and more each rehearsal and I am very happy and grateful for my role and to be around such like-minded beings.

What is the hardest element of the rehearsal process?

The hardest element of the rehearsal process is putting on a show within the limited time that we have. I feel it is more a challenge for the team as a whole to really pull this off with such an in-depth storyline. We really have to understand our characters and portray that through our movement and that can also be a hard task. I have faith in all of us and believe it will only get better through time.

Do you have any advice for aspiring performers?

My main advice is to be happy doing whatever it is that you want to do. I don’t think it is healthy to just dance for the sake of dance. Find where you want to be and bask in it. Try not to get wound up in the things you don’t want to do. Everything is a choice – I made the choice to be happy and everyone is entitled to happiness.

What are you most looking forward to about the performances?

I’m most looking forward to dancing with everyone that has inspired me through the time and being a part of something that really pushes the boundaries! I can’t wait!

BBC Young Dancer 2015

BBC Young Dancer 2015BBC Young Dancer 2015 is a new award for young people that showcases the very best of young British dance talent. Young dancers will enter in one of four categories: ballet, contemporary, hip hop and South Asian dance. The competition will culminate in a grand finale at Sadler’s Wells, London, when the best dancers in each category will compete for the competition title.

It is a brand new project for young ballet, contemporary, hip hop and South Asian dancers, as part of the BBC’s continuing commitment to the arts and the support of new artists. The new award joins BBC Young Musician as a showcase for talented and dedicated young performers. Since it was first held in 1978, BBC Young Musician has helped to launch the careers of many of the UK’s most successful classical music stars.

BBC Young Dancer 2015 is placing dance centre stage by looking for dancers aged 16-20 across the four categories. To reach the final dancers must make it through three competitive rounds, where they will be judged on criteria designed to reward technical command, creative and expressive ability, as well as hard work and dedication. Each round is a performance opportunity, and after each one they will receive honest and supportive feedback from leading professionals on the judging panel.

As dancers progress through the rounds, they will get opportunities to dance for leading professionals in their chosen dance style. There will be new choreography created for the finalists, and workshops along the way where they will have the chance to work on their performances with choreographers and leading dance practitioners.

The finalists will dance on the main stage at Sadler’s Wells on 9 May 2015, in front of the house and a UK-wide television audience. The winner will receive £3,000 to help support and further their dance studies.

The Many Facets Of Dance

Zumba ClassRegardless of your favourite dance discipline, it is important to maintain your practice in other dance forms to both complement and balance your training. Whilst one discipline may be concentrated on, it is beneficial both physically and mentally to take part in other dance forms other than your main interest.

Many teachers encourage their students to try everything to ensure their dance training is well-rounded and dance interests are well-informed. The more dance styles and dance knowledge you have under your belt, the better!

Once dance students begin to venture into dance careers, the different dance styles lend themselves to performances in different ways, and can even influence the roles you are cast for and whether you may have a role created on you in the future. Having a multitude of dance skills at your disposal means dancers are even more of an asset to the dance companies they join. Dance companies demand a lot from their dancers, so the more you can offer, the better.

Despite this, sometimes extreme pressure is placed on the body (and mind) when something completely new is required. Different styles to what you are used to can be difficult to get used to, but by cross-training your body, it will become easier to manage these changes.

Daily class is one of the best ways to cope with the extremes of different styles, as it warms the body up and prepares it for the day ahead. Keeping the body strong and confident is important, so eating well and looking after your body outside of the studio is also vital to succeeding.

Don’t forget that the opportunity to work on lots of different things in lots of different styles is the best way to develop as a dancer, and keep on learning!

Image courtesy of Wikimedia Commons.

The Inner Critic

Edgar Degas - Dancer Stretching at the Barre

Dancers are perfectionists, no matter how high the achiever. Despite this, needing constant approval from your teachers, peers and even yourself can be detrimental for you both physically and mentally. It can result in doing too much, feeling anxious and not making enough time for yourself. Great results can sometimes be at the expense of other things, and it can be easy to forget what is important.

If this sounds familiar, focus on how the need for approval is causing you to work too hard – seeking approval can negatively impact your performance, as well as leading you to turn down new opportunities and challenges and even withdraw from dance or give up all together. Seeking constant approval can hold you back from doing the important things, being free to create and achieve.

It is difficult to ‘let go’ of needing others’ approval and to increase your own sense of self-worth and wellbeing. It is important to continue to build self-acceptance of yourself. Remind yourself of things you’re proud of or moments you achieved: when you feel that you’re not good enough remember those moments. Don’t let your inner critic run wild with your imagination – have confidence in your own ability and choices.

When you perform it is natural to think about and value the evaluation and opinions of others. Remember to value how you feel about the performance too, and what it meant to you – constructively evaluate how you could improve it for next time. When you take on a new commitment, think about your decision and how much of it is lead by what you want to do, don’t think too long or hard about deciding to do it for others’ approval. Do it because it’s right for you, and whether it is important to you.

Image courtesy of Wikimedia Commons.

Can Dance Ever Be An Academic Subject?

LectureWhile dance is a physically and mentally demanding subject, many people are still of the opinion that dance cannot be an academic subject and should not be included in a school’s curriculum. Dance as a school subject still faces negative perceptions despite numerous counter-arguments, and can be misunderstood as a ‘soft option’.

However, dance is just as rigorous, challenging and worthwhile as any other academic subject, holding great purpose amongst ‘arts education’ as a whole. There may not be as many students applying for dance as other subjects, but this does not lessen its worth, and the applicant number is actually rising.

Dance too requires academic thinking, with thinking required of both the brain and body. Dancers need to have good control of the body and its movements, in order to express ideas, emotions and create something artistically through the body’s physicality of muscles and joints.

The theory and history of dance also add stature to the subject of dance, in addition to studying dance criticism and dance science. These aspects must then be applied in both theoretic and physical terms. Unlike other subjects where you may not be required to show what you learn in practice or real life contexts, for dance you must know and understand the theory behind what you do on both the stage and in the studio.

Dancers are also creative, good problem solvers and quick, critical thinkers, which is useful day to day, and also as part of choreography. Dancers used methods such as risk, improvisation, flexibility and exploration to discover movement and fulfil what is required of them. Dance is full of new content and things to explore, not regurgitated every year as with other academic subjects. Students therefore make valuable contributions to the art form through what they create, actively engaging in the field.

Image courtesy of Wikimedia Commons.

The Gender Debate

The Gender DebateMany dance artists working in the industry would argue that there are still gender issues for them. Some audiences still retain the thought that dance equates to ballet for girls, full of prejudice and stereotypes. This is despite the leaps that have been made regarding gender equality in dance, leaving the uneducated public. To them, dance requires little to no training or commitment, and could not be a legitimate career.

It is clear to the participants of dance, however, that dance is a difficult vocation that is pursued with commitment, dedication and passion. We know that dance teachers are of different ages and can be women or men, and that the training provided by teachers aims to utilise a student’s potential to have a career in the world of dance.

With the increased popularity of dance over the last few years, there has definitely been an overall improvement in what the general public, students and parents know about dance and dance training. Despite this there still underlying issues with matter of gender when it comes to dance teaching.

If even dance audience and schools discriminate on the basis of gender then what hope is there for parents, students and the general public? This type of conduct is incredibly harmful to the industry and does not support the professionals already working or trying to break into the industry, as they have to fight against gender stereotypes and discrimination from the people expected to support them.

Although the rejection of a job application on the basis of gender is illegal, in the dance world this action is accepted due to the perceived normality of it. To take into account a dance teacher’s gender when considering their application is an out of date mindset, let alone unlawful, as is the refusal to hire them on the basis of gender.

Students’ Potential Is Within The Arts

Ballet Students

According to new research from University of Sydney academics, the arts are key to unlocking a child’s potential. While this may be the thought of many arts practitioners, especially of those in the education sector, it has not yet been formalised in findings. The study published in the Journal of Educational Psychology, tracked 643 primary and high school students from 15 Australian schools and assessed their academic outcomes and personal well-being over two years.

It was found that students who studied creative and performing arts were more motivated, more likely to complete homework, participate in class and enjoy school more than their peers who didn’t participate in the arts. These creative students also had a greater sense of purpose, self-esteem, life satisfaction and educational aspirations: dancing, singing, acting, playing music and so on all greatly benefit a child’s academic performance and overall creativity.

It is clear that the study provides compelling evidence that the arts should be central to education, rather than left to the outskirts of an apparently well-rounded curriculum. In short, the students who participate in the arts excel across the curriculum, so it is paramount that the arts are included in the education system. The research proves that arts education is not and should not be a bonus, but an essential part of a well-rounded education.

Teaching artistic creativity and encouraging children to participate should be mandatory from the off-set through to university, available to all students regardless of socio-economic background. Already, many Asian countries such as China, South Korea and Singapore are investing in improving their schools’ arts education to develop creativity and innovation. While these students rank highly in tests across the board, the Korean government has seen the need to increase their capacity in arts education too.

Image courtesy of Wikimedia Commons.

Wilton’s Strike!

Wilton's Strike!Wilton’s Strike!, a new dance platform, is offering emerging dancers and choreographers the opportunity to develop a piece of work with Wilton’s Music Hall and to perform on its historic stage. Wilton’s is the world’s oldest surviving Grand Music Hall and London’s best kept secret, so this opportunity to work within the building is an incredible opportunity.

The atmospheric building full of history and stories is led by Frances Mayhew and produces an exciting programme of imaginative, diverse and distinct entertainment including theatre, music, comedy, cinema and cabaret. For Wilton’s Strike!, the performances will also be live-streamed on the Wilton’s website and will remain online after the event too.

Running from 25–27 September the programmes presented include:

Ieva Kuniskis ‘They Live Next Door’ (working title)

Ieva Kuniskis creates theatrical dance pieces rooted in Lithuanian theatre, folklore and everyday experiences. Her piece explores the story of an older man embodying and pushing the boundaries of social stereotypes.

Jack Webb ‘Inside Opulence’ (working title)

Exploring the connections between animal and human nature, Jack Webb’s contemporary piece investigates the desire to be seen and fighting for survival in the setting of a modern day Vaudeville show.

Rebecca Evans (Pell Ensemble) and Lorenza Lo (Flock Collective) ‘Hiding in Plain Sight’ (working title)

This contemporary piece looks at how modern society is undergoing a metamorphosis in communication through the use of texting, how this new way of interacting is modifying our verbal and physical language and affecting our human stories.

Dane Hurst ‘Finding Freedom’ (working title)

Dane Hurst has an attraction to dramatic works driven by a strong narrative which he translates into beautiful contemporary choreography. This piece is inspired by the narrative of American death row inmate, Jarvis Jay Masters, and his metamorphosis from darkness and isolation to enlightened peace.

63% Say Dance Degrees Are “Valuable”

Dance DegreeA recent survey has revealed that 63% of UK residents consider a degree in Dance and the Performing Arts to be equally as valuable as any other theoretical subject, with a further 56% of parents stating they would take pride in their children pursuing a career in The Arts.

As university fees rose dramatically from an average of £3,225 per year to £8,400, with some universities charging the maximum of £9,000 per annum, along with the recent news that the government loses 45p for every £1 loaned to students, the actual value of higher education has been pulled into the general public’s spotlight.

For many, the opinion may be that degrees should be studied in order to secure the best possible career following graduation, which, for some, may lower the opinion of the value of performing arts and dance, along with languages and other studies of the arts.

However, a recent survey conducted by One Poll on the behalf of Dance Direct, has shown that this opinion is not overwhelmingly negative. Along with the result that 63% of the British public believe that a degree in dance is as commercially valuable as any other theoretical degree, it has also shown that more than a quarter of the 1,000 participants polled believe that pursuing a career in the subject is “sensible”.

Hobby Versus Career

While the results might not show that the British public see a degree in dance as a guaranteed investment for a career path, it is vital that the study of a degree of any kind is not seen purely as an investment for employment.
Underemployment is a significant issue for many graduates, as a study conducted in November 2013 found that almost half of graduates were working non-degree related jobs. While the figures may prove to be depressing for many, they should not necessarily be considered a death toll for those looking to study dance at a high educational level, as the proof shows that the value of the vast majority of degrees has been brought into focus.
In a response to the survey, Paul Franklin, Head of Marketing at Dance Direct, stated: “For the dance industry to continue, we need budding performers not to lose sight of the extremely rewarding career path that dance can bring”.

“Rising university fees are unfortunately a barrier many young people are facing at the moment, and it’s understandable for parents to think that a job in a more theoretical discipline would stand their child in better stead for the future.”

He added: “However, this is not the route many young people want to go down. If their talent lie in dance, they should be actively supported in following the career path that they want to follow.”

Passion in the Arts

A career in dance must be realistically viewed as difficult, with strict competition between those hoping to work in the industry. However, as studies show, there is competition in every role, no matter what the industry is.
Ultimately, passion should be considered as the main indicator of the value of a degree in the performing arts. As a recent study published in The Telegraph shows, 19 out of 20 graduates have changed their career before turning 24, with “creative skills” cited as one of the most valuable assets a potential employee can have.

The noted value of creativity and passion for any role is universally acclaimed, as those students who have perhaps conducted a career which they do not ultimately care for, do not have the motivation to continue in the career.

As an industry, performing arts has always been considered somewhat cut-throat, but through the commitment shown by studying a degree, along with talent and passion, will undoubtedly give young dancers the boost that they deserve into a career.

What Makes A Good Teacher?

Teachers are an integral part of a dancer’s development. Not only do they aim to build up the dancer’s talent and ability but they also act as a mentor and inspiration to the student.

Teaching any subject of dance requires the teacher to be resourceful and flexible in their approach in order to get the best out of their students, particularly for students with various standards and styles of learning.

Teachers in vocational schools play a specialised role in student development, taking time to develop the skills of their students by giving information and guidance to progress quickly, building on what earlier teachers have taught the students.

At vocational schools specialist teachers apply both experience and theory to teaching lessons where physical skills are used to train in the dance subject. Vocational teachers help to rectify bad physical habits and engage students intellectually.

Teaching in vocational institutions is the subject of much discussion with many training options available, be it a more academic course or a more practical course. Vocational school is available both as full-time and part-time schools. A full-time vocational school teaches core curriculum subjects and specialist subjects, such as acting, dance and drama full-time, whereas part-time vocational schools work alongside traditional schooling, teaching specialist subjects after school or at weekends. There can be academic and vocational grades awarded, depending on what each school offers. Many teachers share industry contacts and careers advice with their students in order to enhance their training.

It’s important that vocational schools ensure high standards of teaching, not only because vocational schools are expensive to attend but also to help children progress onto specialist further education schools: vocational schools are important for young people to learn the skills needed for entry into performing arts if they have not had prior experience.