Dance – Page 6 – Dance Direct Blog. News, Reviews & Advice About Dance

Conquering Stage Fright

Janet Leigh Screaming! Fear backstage is common for at least 50% of performers, regardless of performance experience. More commonly known as “stage fright”, performance anxiety can be a constant problem or something that emerges over time.

Stage fright can occur for many reasons, as well as bring unexplainable, such as because of an injury or recovery from one, a bad experience or pressure of an important performance. Anxiety can drastically affect your performance and love of dance, if not overcome and dealt with accordingly. Symptoms of stage fright include racing pulses and fast breathing, a dry mouth, tight throat, trembling, and sweaty or cold hands. Mental symptoms can affect your career if not dealt with, with fear and self-doubt taking over.

A reason behind stage fright has been suggested as a result of the brain’s fight or flight response. Most performers are able to control stage fright by controlling the lead up to a performance and controlling a certain amount of anxiety needed to perform. This can be done such as by a pre-performance routine or a specific warm up. However, too much anxiety and adrenaline will mean you turn and run, sometimes literally.

It is important to take care of your body, and in turn control and calm performance anxiety. Avoid caffeine and alcohol, especially before a performance and eat potassium-rich foods to help lower your blood pressure naturally. A familiar routine backstage, and peace and quiet, can also aid anxious feelings. Breathe deeply and try to relax.

Your Next Dance Steps

Next Dance Steps After years of dance study you’re enrolled on a dance programme! Your goal may to become a professional dancer, to teach or study dance further, so make sure you work hard and dedicate yourself to your studies.

Keep an open mind and be willing to try something new. Your teachers will come with years of higher education teaching experience in addition to their work as dancers and choreographers, and they will use those skills to challenge your perceptions: think about the body, technique, and even what dance is in a totally different way. Let yourself be pushed to becoming the best possible student you can be. There are lots of different ideas out there!

Make sure you take care of your body, and this can be challenging to ensure you stay healthy. If you’re using food services on campus, try to choose nutritious options whenever possible, or even better, teach yourself how to cook! Depending on your previous training, this may be the most dancing you’ve ever had to do, so now is not the time to deprive your body of the nutrition and fuel it needs to perform at a high level. Get enough sleep to avoid injury, illness and anxiety.

Remember all the different options available: a dance career requires years of hard work and your college experience may confirm your commitment to dance, or it may transform your dream in other ways. You might find an interest in choreography, stage production, writing, or even dance therapy. Explore lots of interests and be open to learning how dance can impact other areas of your life.

And don’t forget to plan for your future! It can be easy to forget that there is an outside world you’ll have to re-enter after you graduate. Your teachers may even be able recommend summer programmes or internships to help you meet your goals, and they might be able to connect you with professionals in the field.

Image courtesy of Wikimedia Commons.

BalletBoyz at the Opera House

The BalletBoyz are set to make their debut appearance at the Royal Opera House from 16-27 September, dancing in the Linbury studio theatre. The company will present theTalent 2014 in a brand new triple bill at the Linbury as part of Deloitte Ignite 2014, the contemporary arts festival curated by the Royal Ballet and Minna Moore Ede of the National Gallery.

Former Royal Ballet dancers Michael Nunn and William Trevitt, co-founders and artistic directors of BalletBoyz will present works by Christopher Wheeldon (Artistic Associate of The Royal Ballet), Kristen McNally (Royal Ballet Soloist) and Alexander Whitley (New Wave Associate artist at Sadler’s Wells). The triple bill is the company’s first chance to perform new work since their final performances of the award-winning double bill – Liam Scarlett’s ‘Serpent’ and Russell Maliphant’s ‘Fallen’ – at the Camden Roundhouse in July.

Mesmerics, by Christopher Wheeldon, is a piece created in 2004 for three men and two women. Wheeldon’s reworking has recreated the piece for eight of theTalent’s dancers. The old format, set to a score by Philip Glass, contained a lot of pointe work and traditional partnering. Wheeldon set about re-inventing it, working closely with Nunn and Trevitt.

Kristen McNally, Soloist with the Royal Ballet, has created Untitled. She is a fast rising choreographer and recently made the fresh, indie-ballet ‘Mad Women’ for New English Ballet Theatre at the Peacock Theatre. Nunn and Trevitt, along with Kevin O’Hare, are keen to encourage the development of new artists, including McNally. She has found new ways to work with boys and the result is highly anticipated.

The Murmuring by Alexander Whitley, in its well crafted and constantly moving structure, is relatively abstract in its nature. It is set to a low, distinctive and continuous sound, as murmurings is also the flight pattern of flocks of birds, particularly starlings.

Eyelash Heaven

Many professional dancers rely heavily on false eyelashes, however this may not be a luxury for every dancer. It is possible grow, maintain and curl your lashes quickly and easily for that dramatic wide-eyed look often only achieved by false lashes.

Nothing is more of an eye-opener than having long, thick, curled lashes. Beautiful lashes are a sign of health and as they are hair, they require good health and vitamins. Vitamin B can help increase hair growth and strength by eating foods such as cauliflower, salmon, bananas, carrots, egg yolks, sardines and mushrooms.

Curling lashes opens the eyes and makes lashes look longer. Position an eyelash curler as close to the roots of your lashes as possible without pinching your skin. Clamp gently, and hold in place for a few seconds. Move the curler a little farther out, and very lightly press again, and so on. Avoid curling them daily as this can stress lashes and don’t curl them with mascara on!

Use mascara to your advantage: hypoallergenic mascara is for sensitive eyes and this is especially helpful for contact lense wearers. Any mascara that can be irritating can also cause lashes to fall out. Remember waterproof mascara should be used just for the beach or pool, not for every day as this formula can be drying and difficult to remove, again causing stress to the lashes.

Use lengthening and volumizing mascaras to layer the formulas for longer and thicker lashes, and/or use a black, dark brown, navy or black eye liner in between the lashes and along the lash roots of the upper lashes to increase the illusion of thicker lashes at the base line. Remove mascara properly and brush your lashes with olive oil before bed to help lashes grow thicker.

New Movement Collective

New Movement Collective, an associate company of Rambert (Britain’s oldest dance company), has recently announced this year’s performances of its 2012 debut work Casting Traces. The company will be joined by a new team of talented performers including Niku Chaudhari (of the Sidi-Larbi Cherkaoui company Eastman), Hannah Kidd (Richard Alston Dance Company) and Eryck Brahmania (Rambert).

Dance, architecture, film and specially commissioned music will meet to create a world of illusion, mystery and shadow play, where nothing is what it seems, with remaining dates in Brighton and Winchester.

Founded in 2009, New Movement Collective is a new generation of choreographers with a long collaborative history. Working as acclaimed dancers and dance-makers, NMC members have a shared history through many of Europe’s leading ballet and contemporary companies including Rambert, Gothenburg Ballet, English National Ballet, Wayne McGregor | Random Dance, New Adventures, Scottish Dance Theatre and Company Chameleon.

Creating a nourishing and supportive environment for artistic growth, the collective aims to create refreshing and innovative work of the highest standard. The company aims to develop work that is directly presented in response to different and unusual theatrical settings. As a result, NMC has a strong commitment to collaborative working methods. Blurring the boundaries between dance, architecture, film and music NMC aspires to change and evolve the landscape of contemporary theatre, unlocking performance potential from the hidden parts of cities.

In 2013 the New Movement Collective was nominated for ‘Best Independent Company’ in the Critics’ Circle National Dance Awards. It’s association with Rambert sets its in good stead for success considering its support and collection of talented performance artists from across the field of dance.

Les Ballets C de la B

Founded for a dare in 1984, les ballets C de la B is mix of surrealism, slapstick and semiotics within the sphere of dance. It’s ethos has consequently made it one of the world’s most influential dance theatre companies. Since then it has become a company that enjoys great success at home (Belgium) and abroad. Over the years it has developed into an artistic platform for a variety of choreographers and the company still keeps to its principle of enabling artists from various disciplines and backgrounds to take part in this dynamic creative process.

Les ballets C de la B is not easy to classify however it is possible to pin-point a house style (popular, anarchic, eclectic, committed), and its motto is ‘this dance is for the world and the world is for everyone’. As a result, Danceworks in London is presenting a 2-day workshop with the company in September, a great opportunity for aspiring dancers.

This workshop will be taught by dancer Bérengère Bodin who was born in 1980 in Fonteenay-le-comte, France. She studied at the CNDC in Anglers and then joined leading performance companies such as Raimund Hoghe, Joëlle Bouvier, Carolyn Carlson and Euan Burnet Smith, Kubilai Khan Investigation, JoJi Inc Cy, Isabella Soupart and Robyn Orlin, before joining les ballets C de la B.

Bérengère will encourage the dancers participating to feel and even redefine the emotions of life. This will be an opportunity to enter a world of not-knowing and she will work with individuals to examine their meaning and relationship to emotion, and this will be developed throughout the workshop. There will be opportunities to improvise, share and perform and the workshop is for those who wish to move to another deeper level in their dance and emotional expression

Participants must be 18 years of age or over.

Level: Intermediate/Advanced

Ballet Bartkowski Is Launched

Ballet Bartkowski is a new professional company for ballet students working at a high level of classical dance, aged 18 to 23. Based in Croix, near Lille in France, Ballet Bartkowski was founded by Heidi and Waldemar Bartkowski with the aim to open the company in September of this year.

The new company will train talented and committed students who aspire to a professional dance career. Along with the usual daily classes in classical technique, the new students will follow a variety of workshop programmes in order to learn and develop different styles of classical ballet. The founders, Heidi and Waldemar, feel this is crucial in helping the young students to respond to the varying demands of choreographers, company directors and the industry itself.

Building up the students’ versatility is a sure fire way to make them employable and likeable as professional dancers who are able to apply themselves. The dancers will also have the chance to perform original works, including performances in both France and further afield. The combination of daily classical classes, workshops and performance opportunities looks set to develop students who are both prepared for professional careers and eager for them too.

Both Heidi and Waldemar Bartkowski had international dance careers before they began their own dance school in 2007. The reasoning behind their founding of the company is simple: the founders wanted to develop each of their students’ technical artistic talents in order for them to reach their full potential. Young dancers attending other vocational training institutions have a tough challenge on their hands in having to mature quickly enough in order to make it successfully onto the professional performing scene. The founders feel the stage experience provided by Ballet Bartkowski is essential for the students to secure their first professional engagement.

Nikyta Moreno: American Dream

Nikyta Moreno graduated from The Brit School, London, in 2008 from the Dance Strand, with a triple distinction. She then trained at Trinity Laban Conservatoire of Music and Dance, London, graduating in 2011 with a BA (Hons) Dance Theatre degree.

In 2010 she was invited to a summer Internship with the Merce Cunningham Dance Company, and in 2011, she performed at Performers House, Denmark, in ‘In The Neighbourhood’, choreographed by German born and UK based choreographer Frauke Requardt. That same year Nikyta performed her own work at Wireless music festival alongside music artist Charlotte Rene.

Nikyta then moved to New York where she continued to train, specifically at The Ailey School. From 2012-2013 she danced for SoulRebel Dance Company, based in Brooklyn, NY. She performed ‘Thread’ choreographed by Will Brown in Philadelphia and collaborated with filmmaker Geoffrey Stevens at the beginning of this year. Since January 2014, she has worked with Daniel Gwirtzman Dance Company and JD Dansfolk Dance Company (both modern companies are based in New York).

Nikyta Moreno also teaches at The School at Steps and South Asian Youth Action.

When did you begin dancing, where and why?

My parents enrolled me into ballet and tap classes at the age of 4, at East London School of Dance. The school is still running and is based in Forest Gate, East London.

What were your early years of dancing like?

They were very hectic but enjoyable. I trained in ballet, tap, jazz and modern, therefore I attended class three times a week after school. Every spring, summer or autumn term I had an RAD or ISTD exam.

How long have you been performing? Did you start young?

I have been performing for 10 years now. My first performance was at the age of 14, where I performed to Prince Phillip at the Barbican theatre. It was a very exciting experience for me. I remember feeling like a celebrity.

Where did you train and what was a typical day like?

I received my Dance Diploma at The Brit School, and then went onto receive my degree in BA (Hons) Dance Theatre at Trinity Laban Conservatoire.

My school days at The Brit School were always busy but full of laughter and excitement. There was never a dull day at The Brit School! My typical day would start at 8.45am and end at 5pm with one 15 minute break and one hour break. I trained in Ballet, Tap, Jazz, Contemporary, Modern and Musical Theatre. Each day consisted of two dance classes and one written class. Every term we ended with a showcase in the Obie Theatre, therefore our day would also consist of rehearsals.

At Trinity Laban Conservatoire my days varied from year to year. My first and second year consisted of a mixture of dance and written classes, whereas in my third year I only had dance classes and rehearsals. At Trinity Laban I trained in Ballet, Graham, Cunningham, Limon and Release Technique. My day would start at 8.45am and would end around 7 or 8pm, due to workshops or rehearsals. My day would consist of 3-4 dance classes, a written class and rehearsals.

When I moved to New York I continued my training at The Ailey School, on the Independent Programme. As I was on the Independent Programme I was able to choose what dance styles I wanted to train in and create my own timetable. I did 14 classes a week; each class was 90 minutes. I trained in Ballet, Horton, Graham, Jazz, Taylor Technique and Hip Hop.

My typical day consisted of three dance classes with a one hour break. My day would start at 8.30am with a Ballet class and finish at 3.45pm with either a Jazz or Hip Hop class.

Did you face any particular challenges?

When I first auditioned for The Brit School, I actually did not receive a place, it was after appealing I then received a place in the Dance Strand.

The Brit School was definitely the start and foundation of my dance journey and career; it is where I truly learnt about the dance art form. If I had never appealed who knows what my career path would have been, or where I would call home.

What is a typical day like now?

I usually start my day at 9.15am with a Hot Power Vinneysa class, then attend company dance rehearsals. Rehearsals could be up to fours hours a day. After rehearsals I either teach or attend open dance classes (depending on what day it is).

How do you keep on top of your technique?

I still train! I believe as a dancer you can never stop growing, there are always areas for improvement. I attend a Hot Power Vinneysa class every day and a ballet, contemporary and pilates class at least once in a week.

What’s the best part about dance?

For me the best part about dance is performing! The thrill you get when on stage! It is a very rewarding feeling to show choreography that you have complete movement ownership of, and to share your love and passion for the art form to everyone who is present in space.

What would you say was your greatest achievement to date?

My greatest achievement has definitely been moving to New York. I have been lucky to have a successful dance career here so far and to have met great practitioners. August 2014 will make it three years since I have moved, and the time has just flown by!

What advice would you give to someone aspiring to be part of the dance industry?

Never, EVER, give up! Every no you receive take it as a blessing and push harder. People are always going to say no, but one day that no will become a yes! It is your job to make that no into a yes!

Be you! Everyone else is taken. Figure out what works for you; what you like and what you don’t like, work hard and master what you are good at. Don’t compare yourself to other dancers.

Always attend class, read everything you can get your hands on! Never stop learning!

What’s next for you?

My next aim is to be in the Broadway musical ‘The Lion King’. I will continue to strive for this goal, but in the meantime I will continue to train, teach, hold workshops and work with companies, organisations, here in the United States.

I would also like to travel to different states in the U.S., and dance with different companies. I recently received the opportunity to visit the Houston Met Dance Company in Houston, Texas. It was an amazing experience to dance with a different company, in a different environment and meet and work with new dancers and teachers.

Taking Care Of Your Body During The Summer

Take Care Of Your Body For many dance students, the summer spells summer schools and dance intensives. These summer training programmes are designed to push dance students further and give them another dance experience. They can vary in length, style and structure, but it is important to make the most of the programme while looking after your body.

It is important to warm up properly, despite the fact the warm weather will make you feel like you are already warm and flexible. While your body is warm however, your muscles and joints are not. Don’t be tempted into skipping your usual warm up, in order to give your body the preparation it needs to dance and protect itself from injury.

Remember to drink enough water during summer programmes: staying hydrated is one of the most important parts of taking care of yourself during long days of dance. Make sure you drink water before, during and especially after classes, and also ensure you eat well-balanced meals. You will be dancing for many hours every day, which may be more than you’re used to, so make sure you eat enough of the right food to get you through the day.

With many different dancers around it is tempting to become competitive and push yourself beyond your dancing limits. Get enough rest to balance out the energetic days, which also means you will decrease the risk of injuring yourself. Injuries are common during summer programmes, simply because you are dancing more than your body is used to. Pay attention and listen to what your body is telling you and at the end of the day cool down and stretch.

Above all, remember to have fun! Summer intensives are designed to push you towards being a professional, but remember to enjoy the hard work.

The Dance School Dilemma

Choosing a dance school is of utmost importance for your budding dancer. For young dancers it is important they have fun in addition to learning about the dance basics before they progress further. With older dancers who are changing dance studios, it may be an idea to find out where current and former students of the studio are and what they are doing. Depending on how serious your child is about dance, it is importance to find a dance school with excellent technical training alongside a passion for developing youth dance.

Your dancers may wish to study a variety of dance techniques or just focus solely on one. Many schools offer a full range and require the students to be trained as an all-rounder, and others enable you to pick and choose training. Make sure you are able to check on your child’s progress effectively and if parents are able to watch classes. Some studios also offer the chance to be entered into competitions and other performances outside of dance school hours, but these are not usually mandatory.

Dress code or uniform is also a consideration: this reveals a lot about the dance school’s approach. The school should require close fitting clothing and appropriate footwear, no jewellery and hair off the face. Teachers must be able to see body alignment in order to provide essential corrections. Try and see this first hand before joining the studio by visiting the school to gain a better idea of how it operates, as well as the general vibe and rapport between parents, students and teachers.

In visiting the school you can also assess its cleanliness, safety and studio arrangement. You can see if there are changing areas, water accessibility and adequate materials such as mats, barres and safe floors. The atmosphere should be vibrant and the mood positive.