Newsletter 3. Australia March 2016

Blood Tattoo Trilogy… A long term dream is looking like it’s about to become reality for this little black duck. Paul Zaidman has wanted to be in the movies for as long as he can remember, and now has been given a golden opportunity in the form of a major role as a lead character in the first instalment of the Blood Tattoo book trilogy.

Blood Tattoo is the latest brain child of writer/producer Chrys Phillips. She has gained worldwide success with several of her projects, inclusive of her award nominated books in various genres and her full-scale theatre productions. Chrys is set to give Australia yet another blockbuster story, picture novel and movie. Could Paul Zaidman be the next success story to come out of our humble little country down under? To stay in the know come to ‘Comic Con, Melbourne, Australia’ June 2016…

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WHERE ARE WE THIS MONTH…

Australia Today’s Dance Tip

Muscle memory has been used synonymously with motor learning, which is a form of procedural memory that involves consolidating a specific motor task into memory through repetition. When a movement is repeated over time, a long-term muscle memory is created for that task, eventually allowing it to be performed without conscious effort. (Wikipedia)

Now get on the floor and practice one technique over and over until you can do it without thinking. It’s as simple as that.

We all know that doing a step over and over can very quickly become tedious. It can take the passion out of your dance, frustrate you and your partner which can lead to arguments.

The fact of the matter is that if you want anything in life bad enough then you will work for it. This is a great test to see if your passion can shine through your boredom.

Practice makes perfect….Now get back to practice.

DANCE HOUSEI N T E R N A T I O N A L

Dancing your inner truth | Blood Tattoo @ Comic Con | Dance tips…

Newsletter 3. Australia March 2016

Over time, we have seen the art of dance transform itself into many interesting forms and give birth to many new styles. However, throughout all of these changes, there has been a certain constant that has kept the world of dance true and authentic…Until now. We are seeing more and more of the “look at me’s” and the “me too’s” coming out in the dance world. What we are talking about is the latest trend sweeping through the dance community which asks the dancer to go further than the dance requires, and do more than their body’s should in an effort to be noticed.

On the one side it is a great thing to have outside influences which push the dancer to become a better performer. On the other hand how far can one push their limits before the performance loses it’s original essence? So if we were to mirror this concept in the world of english literature, then what we are seeing is authors shouting and using profanities in their writing just to get noticed and sell more books.

When a dancer moves their body during a performance and holds true to their principles of communication, you see something not only courageous but magnificent. You see, dancing is a form of communication that the dancers have with the audience and this has nothing to do with a physical fete, but rather the ability to transfer ideas, intention, emotion and story to the audience. This has nothing to do with the amount of spins someone does or how they can contort their body, but rather the courage to open their souls to the onlooker’s and not be afraid of being judged.

Dancing is a form of communication, much like any art form asks the artist to add a part of themselves into a bunch of techniques and methods that have been around for years. These techniques and methods are rules of movement that have been agreed upon by masters of movement before us, in a time when truth was held in the absolute highest regard. These techniques and methods of dance are nothing without the soul of the practitioner added to them.

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Paul Zaidman’s…

transformation into

the evil assassin ‘Ranulf ’

Dancing The Truth

To purchase the download or physical copy please click on the link below:

http://www.bloodtattootrilogy.com/#!graphic-novel/c11

Newsletter 3. Australia March 2016

When the performer is courageous enough to give of themselves wholly and completely, then the truth of their performance shines through and brings scores of audiences to tears. Their performance has the capacity to touch, move and inspire people into all forms of behaviour least of all sitting on the edge of their seats in anticipation of the next movement from the performer.

You could say this is the point where, “the dancer becomes the dance”.

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“Great dancers aren't great because of their

technique, they are great because of their

Passion”

Newsletter 3. Australia March 2016

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A blast from the past

Anna began her love of dance at the ripe old age of five. She attended ‘Classique School of dance’ in a small town called Sunbury in Victoria, Australia. There she studied the Cecchetti syllabus for classical ballet and for ten years continued to pass all of her exams with honours.

After a few years of attending the school, Anna’s interests broadened to other fields of dance and she also took on the theatrical styles which included Jazz and Tap. Along with these she also took up Contemporary, Folk, Song & Dance and Hip Hop.

Pictured above is Anna with some of her classmates depicting the story of ‘The angel and the soldier boy’ which they all performed at her dance schools end of year production in December of 1995. Anna managed to attain a solo role in this production playing the part of the white cat.

Newsletter 3. Australia March 2016

So you see the person you would like to dance with next. You walk over and ask them to dance and they accept. You are now dancing to the music and that little voice inside your head jumps in and starts talking… Oh ow!!

What is it saying to you? What are you listening to?

The way we see things, is that even though that voice has decided to conveniently drop in and rescue you from disaster, you have the choice of whether to listen to it or not. You see that voice has been with you your whole life, and will be there until you die, and its primary role is to keep you safe no matter what. Its now really up to you whether you actually do what it says or simply become aware of it and say “thank you, but I got this…”

When your voice says, “show her how many times you can spin her cos girls like to be spun around a lot” Do you really want to spin her and ruin her hair do, or make her so dizzy that she loses her balance. Think carefully about what happens to the girl during a spin or better still ask someone to spin you 4 time or more in a row. See what happens to you.

On the other hand when you girls get spun 8 or more times and your voice says to you, “Hold on baby hold on, make sure you show him how good you are at spinning, don’t let go no matter what” Is that what you really want? Or can you simply relax your fingers, drop your hand and smile and say “no more than 3 spins”

Guys want to know what girls want by nature. We are people pleasing machines and cannot read your minds ladies.

Please speak up and tell us how you would like to be treated. Thats right there you go I said it. Show people how you like to be treated and they will oblige.

When we use dance moves on the floor we are actually talking to our partners. An under arm tun or ladies turn says “ Show me your dress. I think you look pretty, lets have a look at you” A dip can mean all sorts of things but mainly is taking the flirtation to the next stage right there on the floor. A cross body lead is a tactical move which both places the girl in a new position for the next lead, or can also be used as a protective element taking the girl out of danger and moving her to a safer place on the floor.

Everything you do on the dance floor reflects on the type of person you are in reality. Not many people know this or even understand this concept but when you watch a group of people social dancing, you really get to see human behaviour. This will be no different than what you would expect to see when you look at a group of people talking at a bar or a night club.

So next time you ask someone to dance or are asked to dance, will you become a completely different person and try to impress with fancy moves and tricks that are really not what you normally do? Or will you simply ease into the dance conversation with style and grace and be yourself?

So remember, don’t be fake. Don't try to impress with steps that don't work and are not you. Be real and you will be dancing all night.

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What are you really telling your partner when you dance?