dance edAUSTRALIA AND NEW ZEALAND’S EDUCATIONAL DANCE MAGAZINE

EDITION # 1, 2010

IMAGE | THINKSTOCK | 2010

RRP Price $5.95 AUST $8.95 NZD

ISSN 1838-2282

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A Summer School Scholarship with JasonColeman’s Ministry of Dance. All you haveto do is register as a dancer or dancebusiness on www.dancehub.com.aubetween September 4th and October 31st2010 and you will be entered into a draw towin! This awesome prize is valued at $550.A runner-up will win a Ministry of Dance Hoodie.

Winners will be announced on theDancehub website November 1st, 2010.

Register today, for your chance to win

www.dancehub.com.au

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Dance Education 08 Using stories in primary dance education 10 The Ausdance skill set of teaching dance 12 Secret Agents 17 The Commonwealth Society of teachers of dancing

Nutrition Advice 30 Nutrition with Natasha from Dancealicious 34 Dancer body types 35 Fueling the dancer Health and Wellbeing 32 Beating Fatigue – Training Dance Fitness

Dance Professionalism 06 Alive Entertainment 18 Classical Ballet with Robyn White 29 Glenn Wood Tap 44 Performance recording

Official Program 23 Australian Dance Festival

Careers 05 Preparing to dance with a plan B 14 Careers in dance 28 Little achievers Events 36 Six Hot Events Performance Review 38 LOcREaDo’s –Troubled

Question Time 21 Ask Colin 43 Quick 10 with Phillipe Whitana

Feature Article 39 Rebekah – African drum and dance camp instructor 40 Kat Risteka

Studio Focus 42 JTV Dance Academy

The Dance Shop 46 4 great dance products

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Welcome to our very first edition of Dance Ed.

Dance Ed is a national publication that focuses

on dance education. We source information

from dance experts across the world with a view

to bringing you factual educational information

and inspiring stories that will enhance the career

prospects of dancers across Australia and New

Zealand. In this edition we take a sneak peak at

JTV Dance Academy, we review Locreado dance

companies debut performance “Troubled” and

highlight our Top 6 Must See Events that are set

to rock the Australian dance community. Our feature story comes from

Rebekah at Global Pulse Events. Find out how the West African Drum and

Dance Camp will benefit underprivileged children in Africa.

Dance Ed also talks to renowned health professionals about nutrition and

avoiding fatigue and injury. We feature some gorgeous photography from

the like of David Barnes, Kimene, Belinda Wright and Aaron Couch. Dance

Ed offer some great advice on careers in dance and what it takes to “make

it”. If you’re a dance teacher your in for a treat, we have loads of ideas on

how to jazz up your teaching and keep the little ones enthusiastic. We also

chat with SYTYCD stars and ask them for advice on furthering your career

in dance and the SYTYCD audition process.

Finally we focus on a “Little Achiever” - this issue it’s Britney from JTV Dance

Academy in Qld. To celebrate our first edition we are giving away a summer

school scholarship to Jason Coleman’s Ministry of Dance. Don’t miss out!

Get your entries in quick! Last but not least no great magazine would be

complete without shopping! Check out our shopping page - it’s got some

great dance products.

Cheers and Enjoy.

WelcomeEditor | Philip Reece

advertise@dancehub.com.au

Art Director | Rikki Lancaster

artwork@dancehub.com.au

Directors | Philip & Jan Reece

Contributing Writers | Rachael Jefferson-Buchanan (NDTA UK), Sue

Cottam (Freelance Writer for NDTA UK), Natasha Teys (Dancealicious),

Dancehelp.com, Priscilla Clarkson, Melanie Fuller, Glenn Wood (Glenn

Wood Tap), Carmel Evans (CSTD), Colin Peasley (Australian Ballet), Robyn

White (Queensland Ballet) and Ausdance Victoria.

Contributing Photographers | David Barnes (Melbourne Dance

Photography) - www.melbournedancephotography.com.au

Aaron Crouch (Brisbane) - www.dancephoto.net.au

Kimene Photography (Dance Portfolios) - www.danceportfolios.com.au

Belinda Wright (BWP Studios) - www.bwpstudios.com.au

Contributing Artists | Sally Dupliex

Publishing | GT Print Pty Ltd, Kunda Park, Sunshine Coast QLD

Subscriptions: 12 months (AUD $66 inc gst or NZD $88 inc gst) plus

postage/freight. To subscribe email: subscribe@dancehub.com.au

Dancewear Outlets/Dance Studios: Can purchase in packs of 50 at a

wholesale rate to on-sell. To purchase under a wholesale agreement

contact subscribe@dancehub.com.au

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A career in dance is undeniably creative,

exhilarating and rewarding but is also

relatively short and sees even the most

successful professional dancers retired

and facing life after dance by their

mid to late thirties. There is incredibly

fierce competition for dance company

contracts and commercial work in

Australia and always the possibility of

injury. So the reality is that students,

and indeed parents, need to understand

the importance of being prepared and

educated for the future.

The Queensland Dance School of

Excellence, established almost 30

years ago, has provided talented dance

students in Years 11 and 12 with the

opportunity to pursue full-time dance

training without forgoing face-to-face

academic studies. The school not

only aims to develop highly skilled,

pre-professional level dancers but also

enables them to achieve the academic

levels required to gain tertiary entrance.

QDSE Diploma of Dance students,

enrolled as full-time members of Kelvin

Grove State College, are eligible to

receive the Queensland Certificate

of Education and an Overall Position

(Tertiary Entrance Ranking) at the

completion of Year 12. They spend

their mornings engaged in intensive

dance training and afternoons hitting

the books at school.

This unique, dual-faceted course also

offers its students the many benefits of

its close and long-standing association

with Queensland Ballet. Sharing the

Company’s facilities and receiving

advanced supplementary training from

Queensland Ballet’s Artistic Staff has

seen many students travel the path from

QDSE to the Company’s Professional

Year, on to Trainee and then full

Company Dancer. In fact, there are

currently nine QDSE graduates working

within Queensland Ballet’s ranks.

Other graduates are dancing with

The Australian Ballet, West Australian

Ballet, Bangarra Dance Theatre, ADT,

Dance North, Royal New Zealand

Ballet, English National Ballet, Scottish

Ballet and many other commercial

engagements both national and

internationally. QDSE is equally as proud

to have offered broad outcomes to its

graduates who have pursued careers

in dance teaching, choreography,

medicine, law, journalism, arts

administration, fitness and more.

Auditions for QDSE attract students

from across Australia as well as from

overseas and this year will be held on

Sunday 31st October. For full details

and application forms please visit

www.kelvingrovesc.eq.edu.au

| By QDSE

Preparing to Dancewith a Plan BYoung students driven by the overwhelming passion to become

professional dancers inevitably consider moving into full-time dance

training which may even involve moving away from home. Unfortunately,

it is all too common for them to overlook the importance of completing

their academic studies and acknowledge the need for a ‘Plan B’.

Welcome

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Performance: The more skills, tricks, abilities you have

under your belt, the better equipped you will be to be

the wanted dancer of today. You need a competitive

advantage in this industry as everyone in the industry is

already assumed to be good, its those that can do what

the masses cant that stand out and have their success

fast tracked, so never stop. One of the two simple

responsibilities of a dancer is know your work, there are

no short cuts in knowing something, you either know it

or you dont, and if you let it get to the stage before you

decide to “know it” you’ll be lucky to booked again.

Professionalism: The second responsibility of a dancer

is to show up (on time), if your not there you cant do it,

sounds silly, but since the responsibility list for dancers

is so long (sarcasm) it therefore doesnt attract the most

responsible of people.

Persistance: If you are doing all this, its only a matter of

time. No matter your age (to a point), look, size (to a point)

there is a job for everyone.

Alive Entertainment’s ‘3 P Success Plan’

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Story books are highly accessible resources in primary

schools and they can be used in many different ways to

provoke ideas within the dance environment. In particular,

they provide a ready-made narrative structure for a

dance, from which the teacher might choose to build their

learning outcomes in relation to a current classroom topic.

The benefits of using stories in the dance lesson are

numerous, since dance is a physical art form through which

many young learners can explore their growing bodies and

their new-found technical skills and competencies. For some,

this might be their preferred way of expressing themselves,

while for others, dance can help them to expand and enrich

their range of learning styles.

By using stories in a dance context, primary teachers can

integrate previous unconnected knowledge and initiate new

situations that will prompt interest and fresh enquiry. Stories

in the classroom environment can stimulate children’s

imaginations, foster their curiosity, teach them about life

issues and values, give them historical and cultural insights,

scaffold their acquisition of new words, ideas and concepts,

and help define a child’s world. However, by using dance as

a story medium, children’s kinaesthetic horizons can also be

broadened, giving them the opportunity to investigate and

reinvestigate their physical selves in relation to the text and

its contents.

In this way, A story can help to enhance a child’s artistic,

physical and creative capacities, so that their magical

thinking and kinaesthetic potential are nurtured hand in hand.

Some ‘ordinary’ stories can become quite extraordinary

when they are danced. Similarly, some ‘ordinary’ dances,

when underpinned by a story can be brought alive. This

symbiotic relationship between dance and stories should

be investigated regularly at each stage of the primary

curriculum, since it serves to broaden young children’s

sensory experiences. Even though they readily become

mutually enhancing vehicles that promote cross-curricular

learning, dance and stories still retain their distinctive nature

and value when they are taught in parallel. The use of words,

in the form of stories, poems, or rhymes, can thus be a rich

resource in the primary dance context, since dance is a widely

embracing subject that impinges upon many areas of learning.

There is no limit to the possibilities for all types of learners

in the primary dance lesson that centres on stories. Indeed,

dissolving the boundaries between subjects and fostering

Literacy through dance and dance through Literacy will help

sprinkle some magic back int the world of primary teaching.

For more information contact Rachel at r.jefferson-

buchanan@bathspa.ac.uk

Ways to access stories though dance:

• Create the dance form from the text’s structure;

• Develop dance actions that are derived from specific

word/phrases in the text;

• Dance about a particular story character;

• Explore a character’s feelings through movement;

• Examine the relationships between the story

characters;

• Review the flora and fauna within the book and create

appropriate actions for them;

• Focus upon the mood or atmosphere in the story;

• Consider the historical, geographical or socio-cultural

context of a story;

• Investigate the meaning or layers of meaning in the

text;

• Explore the qualities (strong, soft, linear) of certain

objects, people, or landscapes;

• Investigate the rhythm or repetition of certain words,

shapes, or colours.

Rachael Jefferson-Buchanan, Senior Lecturer in Dance and Ehysical Education, Bath Spa University

Using stories in primary dance education

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We all know that great teachers, and dance, changes lives. Most professional dancers, even those who seem

to be performing all year round, supplement their incomes with teaching. It’s part of the professional bag of

skills that we carry around and use throughout our careers in dance.

Whilst many dancers learn teaching skills by observation

and “on the job”, others prefer more formal training. In

Australia there are numerous courses that train dancers

to become teachers of dance. Most are excellent at

providing quality information, instruction and resources,

particularly within dance syllabus organisations. Generally,

teacher training is offered at certificate three or four level

with Universities and TAFEs providing further higher level

qualifications and degrees that equip a dance teacher for

a career beyond the studio.

For many dance artists however, performance schedules,

finances and other factors can limit long term engagement in

dance education training and many dance artists don’t wish

to enrol in teaching degrees or long courses. Under these

circumstances, some dancers would prefer to undertake

more intensive quality dance teacher training which will equip

them with the essential skills to do a good job. Ausdance,

the peak body for Dance in Australia, and Ausdance Vic,

via its RTO and training arm, has responded to this need

by developing a nationally accredited vocational training

program called the Ausdance skill set for Teaching Dance

which provides dancers with the skills to successfully teach

dance in community, recreation and social settings.

The Ausdance skill set for Teaching Dance has been

developed as a hands-on program drawn from the findings

of three benchmark reports commissioned and developed by

Ausdance and the dance sector: the Safe Dance Report, The

Australian Guidelines for Dance Teachers and the Australian

Standards for Dance Teaching. The core of these reports and

of the Ausdance skill set for Teaching Dance, reflect three key

areas of learning:

Dance Teaching Methods | Dance Teaching Methods is the

heart of this hands-on program. Through a range of activities

we explore dance workplaces, plan and deliver lessons,

develop units of work, trial a range of teaching strategies

for different learning styles, choose appropriate themes for

differences in age, culture, aspiration, and apply up-to-date

teaching methods and styles.

Safe Dance | The unit on Safe Dance teaching focuses on

how a teacher demonstrates and communicates information

about dancing safely. This includes studying basic anatomy

and the principles of growth and physical development of

children and adolescents, as they relate to the dancers’

changing physiology. It also includes OH&S, understanding

and applying appropriate warm up and cool down, nutrition

and psychological factors that can impede or support the

healthy development of a dancer.

Ethical and Legal issues and Good Business Practice |

Dance teaching involves respecting the rights of others and

behaving in a way that is legal, ethical and reflects well on the

Dance Industry. No matter how much teaching you do, or who

your students are you are obliged to understand and abide by

the law. The units also investigates duty of care, privacy issues,

mandatory reporting, teacher student relationships, inclusive

practices, OH&S, Workcover, superannuation, copyright and

the legal requirements for working with children. We also look

at managing confidential information, creating transparency

in business and practice and managing conflict. For further

information about the Ausdance skill set for Teaching Dance

contact your local Ausdance office or visit www.ausdance.

org.au or contact Ausdance Victoria on 03 9417 1200 or visit

www.victoriandancedirectory.com.au

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Dancer | Bryoni Collison | Photographer | Kimene@AustralianDancers.com.au | www.AustralianDancers.com.au

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SecretagentsstarinmanypopularTVprogrammes,films

and literature. Young people will have a fair understanding of

the stories behind the actions but the main aim of this dance

idea is not to create a narrative dance but to select exciting

positions and movements, then link them together to form a

visually dramatic result which also involves facial expressions

and emotions.

The dance ideas are based around the development of

choreographing, appreciating and performing a dance. These

three strands are used throughout.

Introduction | Open discussion with participants about

favouritesecretagentcharactersinbooks,filmsand

programmes. Outline the aim - to create an energetic, exciting

dance which has an impact upon the audience.

• Resource ideas.

Thisiscultfiction-28TVandfilmclassics

• Mission Impossible by Lalo Schifrin (is 5/4 time the more

recentfilmsoundtrackisin4/4)

• James Bond by John Barry The Avengers by Laurie

Johnson Orchestra

• Shaft by Isaac Hayes

Warming up & generating movement material |

1. Start with high energy walking (following someone in a

busy street), Build up to jogging (the person you follow jumps

ontoabus),Joggingonthestop(trafficlights),Stopandhide

with interesting freeze frame photo image (on surveillance

camera CCTV). Repeat similar until all focussed and warm.

2. Teacher uses narration, speaking over music playing

quietly. The students move independently alongside the

teacher!s story telling eg “You are each a secret agent. You

are alone. It is dark. You are in a strange environment. You

are being chased. You have to travel across dangerous terrain

without being seen or heard. You start with your back against

a wall. Your hands can feel the bricks. Your body is taut and

straight. Your head turns quickly to the left and right as you

hear a noise. You edge slowly along the wall and peer round

it to your right, once, twice. The coast is clear. You carefully

creep to a tree, go to a crawling position and, in slow motion,

go across the twiggy ground so as to make no noise. You

slide onto your stomach, moving forward, roll onto your back

and push yourself under a fence. Pull yourself up and peer

carefully over the wall. You see a movement and go for your

weapon. Sharply you point forwards then behind...”

by Sue Cottam

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Creating the dance | A. SOLO - Students work in a

personalsquareoffloorspaceandchoosefavourite

movements from the warm up and/or create and develop

ownideas.Askthemtolinkideasfluentlytogethertocreate

a short solo (eg 16 counts or 4 bars of music). Encourage the

useofdifferentlevels,speedanddirections.Practise.Refine.

Half class watch half class to appreciate, share & evaluate

progress.

B. DUOS - Students work together to create a duo piece

using appropriate movements of their choice which could use

unison, mirror image ( contact work if they have already been

introduced to it). Encourage dynamic extremes of movement -

highkicks,turns,jumps,combatmoves.Again,giveaspecific

amount of counts or bars of music.

When ready pair up two duos to watch each other and give

constructive criticism.

C. SMALL GROUP - Use freeze frame, slow motion, high

speed. Use each others! body shapes as obstacles to jump

over, move around or through. Encourage action and reaction

withfluencythroughout.Eachgroupwatchesanothergroup

to improve performance skills.

D. WHOLE CLASS taught sequence - Teacher allows students

to select particularly good movements from the work of their

peers which they have observed. Learn these together, led by

teacher, linking them together to make a phrase of movement

which can be used in unison or canon, within or between the

SOLO, DUO and GROUP work.

Forming the dance | Teacher works collaboratively with

the students to link together the movement material into a

complete dance eg

A. students enter individually to perform their SOLO then

move to their DUO position

D. taught sequence repeated until all students are in DUO

positions (this will create a natural canon effect) Freeze when

all in duo positions.

B. Duo work. Then move to small groups.

D. Taught sequence as a small group

C. Small group work.

D. Taught sequence in unison.

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Creating and producing a dance performance is a collaborative effort. Many individuals are involved in coordinating all necessary elements of a production. An exploration of various dance related careers can help students develop an awareness and appreciation for the cooperation needed to produce a performance, as well as the variety of careers associated with dance.Here are some dance-related careers :

Artistic Career The Artistic Director | Sets the artistic vision and direction for a dance company. Often in a modern dance company, the artistic director is also the primary choreographer.

The Choreographer | Creates and in some cases performs the dance pieces. Also, he/she teaches the movement style or repertory of the company.

The Rehearsal Director | Helps the choreographer run and schedule rehearsals and also gives the choreographer artistic feedback or criticism.

The Dancer | Learns and performs the works. The dancer may have a lot or a little creative input when the dance is being made. Also, the dancer may teach the dance style or repertory.

The Composer/Musician | Creates music to accompany the dance. The composer may collaborate with the choreographer on a new work or may have already written the score before the choreographer started making the dance.

The Set Designer | Works With the choreographer to design set pieces. The sets provide a more specific atmosphere for the works and are often tools that enhance the movement itself. The Lighting Designer | Works with the choreographer to create an atmosphere of light. The lighting designer can create effects like color wash, silhouette, making the stage look outside, or inside, night, day or dusk.

The Costume Designer | Works with the choreographer to design then construct clothes for the dancers to wear. This can add important elements of setting, or atmospheric texture and color. The Make-up Artist | Designs and applies make-up to the dancers. They can make a person look young or old, human or otherworldly. The Wig/Hairstylist | Designs and creates wigs or hairstyles for the performer. The Dance Teacher | Teaches the technique of dancing. The technique may be specific like Vaganova ballet, Graham, or Cunningham or the technique may be a conglomeration of the teacher’s own style and others.

Therapeutic Support CareersA Dance Therapist | uses movement as a means of therapy for people with mental or emotional difficulties. Dance therapy can help people express themselves or release energy

Careers In Dance

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The Physical Therapist | Rehabilitates injured dancers. They may use a wide variety of techniques for example physical therapy, acupuncture, or massage.

The Masseuse / Masseur | Massages the members of the dance company. A massage is great for both preventing injury and rehabilitating one. A masseuse\masseur can work for and travel with the company or work independent of the company.

Administrative CareersThe Administrator | Organizes performance tours and outreach programs. Also, the administrator is responsible for overall financial, business and legal issues.

The Fund Raiser | Generates income for a dance company by writing grant applications to corporations and foundations, encouraging individual donations and organizing special events like benefit parties and auctions.

A Researcher | Seeks out information about a variety of topics including grant requirements, performance venues and marketing ideas.

Public Relation personnel | Are responsible for promotion of the company. They do this either through marketing like making posters, flyers and websites or through media like newspapers, television and magazines.

Documentary CareersThe Videographer | Films the dance both in performance and rehearsal. The video is used for documentation or promotional purposes.

The Photographer | Takes pictures of the company during the performance or dress rehearsal or in a studio. Usually the purpose for the pictures is for documentation, promotion, and in some cases personal, or office use.

The Dance Notator | Records the dances on paper much like music notation. The two main forms of dance notation are Laban and Benesh. These records are very useful when reconstructing older works.

The Critic | Watches the dance performances then writes reviews for a newspaper or magazine describing and\or giving an opinion about the company or individual pieces.

Technical Careers The Production Manager | Coordinates the different aspects of the theatrical (as opposed to business) side of dance, such as lighting, set, costume and sound design. They can work for either the theater or the dance company.

The Stage Manager | Calls the lighting and sound cues during the show, communicates between the performers, the technicians and the front of house staff and sometimes recommends adjustments to the staging.

Stage Hands | Raise the curtain, arrange the props and execute any technical elements required prior to and during the performance.

The Electrician | Hangs and focuses the lights in the theater. The electrician also deals with the various sound and light wires and cables. And in some cases helps with the sets and/or curtains.

The Carpenter | Builds sets (not necessarily made of wood) for the dancers to dance in, on or around. This helps the dances have more specific settings or atmosphere.

Public Service CareersThe Ticket Seller | Is responsible for the front of house. They make reservations, sell tickets, and handle complementary tickets. They also are responsible for arranging standing room for or turning away people if a house is full.

The Usher | Takes the tickets of the audience members and directs them to their seats. Many theaters will give the ushers free tickets to the performance.

In the Classroom1. Discuss the skills needed to perform these jobs and their impact on the performance.

2. Have students investigate a career of their choice by:• using the library or internet• visiting a local dance company or

performing arts school• inviting a guest speaker to the

class• taking a backstage tour of a

theater; or• interviewing someone about their

career

| By Lar Lubovitch lubovitch.org/index.html

Careers In Dance

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Dance, like music is a universal language which unites

people of all ages and cultures. Whether a recreational

dancer, a performer or the student working towards

professional qualifications and a career in teaching

dance, all share a love of dance and the challenge

of the pursuit of excellence. The C.S.T.D. is unique

amongst the great international dance societies,

providing an examination system covering all major

dance disciplines. The Society’s primary objective is to

“encourage the art of dance”.

The C.S.T.D. is an authoritative examining body whose

high standards are internationally respected. Exams are

offered not only in Australia but also in 9 of the South East

Asian regions. Examinations are offered in Classical Ballet,

Modern Jazz, Theatrical, Tap and Ballroom. The Society’s

philosophy of dance is that teachers and the examination

system should provide enjoyment, encouragement,

education and expression through dance.

Children particularly should enjoy learning to dance

beyond just moving to music. A child who is stimulated

will learn more readily and perform better. Tuition by

C.S.T.D. qualified teachers is formulated to achieve this.

Encouragement is an important element within dance.

Whether in class, in an examination or on stage, it is

important to encourage pupils to give of their best to

the level of their own ability without being seen to be in

competition with unrealistic standards.

The educational aspect of dance cannot be overstressed.

Students need to understand what they are doing, how

their bodies are working and to know dance terminology

and how the various elements can be joined together in

different ways. Expression too is important, the aim is to

develop the personality and creativity of every student,

both through their own efforts and interaction with other

students and their teachers.

It is readily recognised that not all students will become

professional dancers but the aim should be that every

student who is well taught and encouraged leaves a dance

studio with their own sense of achievement, poise and

personality. The success of the various syllabi offered by

the Society can be gauged by the fact that many graduates

have gone on to international success in the professional

ranks in ballet, stage and musical theatre.

The Society had its beginnings in 1931 & 1933 respectively

with the formation of firstly, the Victorian Society of

Dancing and shortly after, The National Examination

System. Both organisations were founded to raise the

standard of dance. The later amalgamation of these two

societies created the democratic society now known as the

Commonwealth Society of Teachers of Dancing. The affairs

of the Society are managed by an Executive Committee

elected annually by the membership.

Examinations are conducted in all syllabi from beginners

to professional level including Teachers’ Certificates and

Teachers’ Diplomas. Students receive written reports and/

or certificates, medals or trophies. There are five (5) levels

of credit from pass to honours plus. As a member body of

the Australian Dancing Board (ADB), the C.S.T.D. has an

influential role in the administration of Ballroom Dancing in

Australia.

In addition to its examining role the Society conducts

competitions, Festivals, workshops and International

Summer Schools in all states of Australia and in the various

overseas countries. The Festival in Victoria celebrated it’s

73rd year in 2010.A dilemma often facing parents is the

choice of a dance teacher for their children. The Society’s

website has information titled “How to choose a dance

teacher” which may assist people in this task.

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Robyn White was born in Townsville and received her early dance training in Mackay before becoming the

first Queensland winner of The Australian Ballet Society’s bursary to the Australian Ballet School. She was

one of the first graduates of the School to be offered a contract with John Cranko, then Artistic Director of the

Stuttgart and Munich Ballet Companies.

Through her work with young dancers in Queensland Ballet’s

Junior Extension Program, our Artistic Associate, Robyn

White, is often asked about careers in classical ballet. We

thought other young dancers, and their teachers and parents,

would like to also share in Ms White’s professional knowledge,

and so over the next six weeks or so we will answer some of

the most frequently asked questions on this topic.

This week’s question: What is the best way to manage my

child’s dreams of becoming a professional ballet dancer?

Promising dance students are almost always ambitious and

focused. The role of the family is to provide stability and

balance. The view of Queensland Ballet’s Artistic Staff is that

common sense and a moderate approach is best for both

the child and the family, and that careful consideration needs

to be given to what is going to be beneficial for the child in

the long term because dance is not a career for life – the

physical demands of the profession mean that most dancers

retire before the age of 40, and many leave the profession

much earlier.

Queensland Ballet’s Artistic Associate, and Junior Extension

Program Coordinator and teacher, Robyn White, answers

common questions about young dancers thinking about a

career in classical ballet. Here is part 2 of our 6-part series:

How can I tell whether a career in classical ballet is a

realistic prospect for my child? It is almost impossible to

predict whether a child aged between 11-14, no matter

how promising, will be able to have a career in ballet. This

is because their instrument is the body, and at the time of

puberty the body undergoes profound change.

Classical ballet requires a slight but strong body type with

flexibility in specific areas. This type is necessary because the

body is expected to achieve certain extreme and harmonious

lines. It is also necessary because classical ballet involves a

great deal of partnering which requires the female dancer to

be lifted into extreme positions by her partner.

Until the age of 16 or 17, the best approach is to enrol the child

with a good dance teacher, supplementing that training with

extra activities such as master classes and summer schools,

while continuing full-time, face-to-face academic studies.

| By Robyn White

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| By Robyn White

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Want to know how to look after your pointe shoes, how to become a

professional ballet dancer, or where the term ‘chookas’ came from? Colin

Peasley, The Australian Ballet’s Artist in Residence, answers all your bal-

let questions. Visit behindballet.com to read the range of questions Colin

has answered, and ask him your own!

Hi Colin,

I’m an 18-year-old professionally trained dancer. I have just been accepted

into a performing arts company, but I have taken three months off and start

in one month. Do you have any tips for getting back into shape, especially

in terms of flexibility? I am also coming back after having knee and back

problems. What can I do to help this?

Regards, Emma Blare

Dear Emma,

I am surprised you have lost your flexibility but, no matter, both strength and

flexibility can be regained. Because you’ve had problems with both your back

and knees it is essential that you recommence training under the watchful eyes

of a professional trainer. Until you know exactly what you can do, and what you

shouldn’t do, it’s important that you have personal attention. The good news is

that dancer’s bodies have muscle memories allowing us to spring back into full

form very quickly.

All the best,Colin

Ask Colinat behindballet.com

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Britney asked to dance at the age of 3, By the age of

4 she commenced dancing on the Sunshine Coast in

Queensland. Britney entered a program that covered

Tap, Ballet, Jazz, Song and Dance. Even though Britney

didn't want to cover all genre's the teacher explained

to both the parents and students that being an all round

dancer helped you further your career.

Britney excelled at Ballet from a young age and enjoyed

the end of year concerts. Britney started off as a shy girl

with little or no confidence, however dance became a way

of expressing herself and in time her confidence grew and

the performer arrived on stage. Britney did CSTD and RAD

exams between the ages of 5 and 9 in her former school.

When her ballet teacher moved to teach at another school

she followed and took up the RAD exams plus ATOD and

Glenwood Tap syllabuses.

Paris Opera Ballet | Last year Britney turned 9 and

auditioned to dance with The Paris Opera Ballet. She

auditioned with 130 children at QPAC in Brisbane and got

through to the second round with another 29 dancers. She

waited three weeks for the Master of the Paris Opera Ballet

to arrive so he could select the final 16 dancers to perform

at QPAC. When asked how she felt about this experience

she quoted, "It was an amazing experience. I got to meet

the beautiful ballet dancers from Paris, I received gifts from

the ballet company, had pointe shoes signed and wore

incredible costumes during the 5 nights I performed. I think

every young ballet dancer should be given the opportunity

to go for these auditions".

Russian Imperial Ballet | This year Britney, along with

another 15 performers from her dance school were invited

to perform with the Russian Imperial Ballet in their rendition

of "The Nutcracker"at Caloundra Events Centre. The

Russian Imperial Ballet have included children from dance

schools around Australia and New Zealand as part of their

national tour.

Australian Ballet | Last month Britney's ballet teacher put

her forward to audition for a an Interstate Placement in the

Australian Ballet School. Britney said, "Fingers crossed I

get in ..." Britney dances 6 nights a week and just wants to

keep performing on stage.

Little

Britney Reece | Sunshine Coast, QLD | Age 10

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Consisting of 9 levels (beginner to professional) Glenn

Wood Tap – the syllabus is comprehensive and user

friendly, designed for both teaching and evaluating tap

dance. What sets it apart from other syllabi is that it is

founded on solid technique, whilst being fluid, relaxed

and enjoyable. Each level contains a complete programme

of tap dance containing individual steps, combinations,

performance quality routines, barre activities and turning

technique. It’s a dynamic tap dance syllabus that is fun to

teach and for the students to learn.

Glenn Wood Tap – the syllabus engenders a love and

appreciation of tap dance. Glenn Wood wrote the GWT

syllabus after many years of teaching and adjudicating

tap. He noticed that there was a need for a dynamic and

exciting tap syllabus. After years of scribbling notes,

tapping away and teaching many young dancers who have

gone on to both win local and international competitions,

Glenn launched Glenn Wood Tap – the syllabus in 2004.

GWT currently has 10 examiners Australia wide and

conducts exams via video and the internet for international

dancers. There are over 300 schools that enjoy teaching

the GWT syllabus - with many of those studios competing

in the annual GWT Scholarship and participating in exams.

The GWT exam process is enjoyable and rewarding for both

students and teachers.

Goal setting is an important element in the learning and

development process. Exams help enable students to

see the rewards of their hard work and provide them an

acknowledgment of their achievements. All GWT examiners

are professionals in tap dance - with extensive experience

as performers and entertainers, studio teachers and

owners. Each exam is fun and exhilarating for the students.

GWT exams provide students with the encouragement and

enthusiasm to continue learning.

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Glenn Wood Tap

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Natasha Teys is the director of Dance-a-licious, a dance-fitness studio in Surry Hills, Sydney. A dancer of

25 years, she is also a qualified nutritionist, personal trainer, group fitness instructor, Zumba instructor,

and children’s dance & fitness coach. Dance-a-licious aims to make dance, fitness, and nutrition services

available to all bodies, ages and abilities.

As aspiring dancers, there are two key issues to address

when your dance career and body is on the line – energy

and muscle recovery. Getting your nutrition right and

knowing your body, will help you perform at your best,

fight fatigue, reduce injury, and eliminate disordered

eating habits.

Dancers need to consider their energy requirement for class,

rehearsals, auditions and performances. On an average

training day, it is recommended that female dancers consume

45-50calories per kilogram (kg) of body weight, and male

dancers - 50-55calories/kg of body weight, in order to achieve

an energy balance (energy out = energy in). So, if you are

a48kgfemaledancer,yourdailycalorieintakewouldbe

between2,160-2,400calsor9,028kJ–10,032kJ*.

How do I meet my energy requirements?

There are many forms of dance. Most styles are considered to

be highly aerobic and interval-based in nature. In other words,

dancers often use repetitive ‘bursts’ of explosive energy.

For muscles to function explosively they require glycogen.

Carbohydrates break down in the body to produce glucose

which is then stored in muscles as glycogen and used as a

fuel for movement. The International Association for Dance

Medicine and Science (IADMS) suggests that a dancer’s

diet consist of 55-60% carbohydrates (mainly complex

carbohydrates – wholegrain breads and cereals, pasta, rice,

most vegetables, and some fruits – bananas, apples, pears,

berries, melon fruits).

At times when the body is continuously exercising for over

20 minutes at a time, fatty acids may be used as a source

of energy. Fats are stored in the muscle and adipose (fat)

tissue as triglycerides – which are metabolised and used as

fuel during endurance activities (i.e. long rehearsals). It is

recommended that between 20-25% of your diet, be sourced

through ‘good’ fats these being; mono-unsaturated and poly-

unsaturated fats - particularly omega-3.

Examples include:

• Oilyfish-salmon,herrings,sardines,tuna

• Nuts & seeds (preferably raw).

• Avocado

• Olive & canola oils

A diet too low in fat can impair performance. A good measure

of whether you need more ‘energy foods’ in your diet is

fatigue. Learn to listen to your body and feed it more when

necessary.

• Pre-class/rehearsal ‘energy food’ snack (1-2hrs prior

• Banana (1/2 – whole)

• 2 x wholegrain toast with spread (honey/almond or nut

spread/vegemite/¼ - ½ avocado)

• Dried fruit & raw nuts/seeds mix (1-2 handfuls)

How do I aid muscle recovery and perform at my best?

15-20% of your daily energy intake should be sourced from

lean proteins including: chicken or turkey breast, fresh oily

fish,leanredmeat,soyproducts(e.g.tofu),beansandlentils.

Proteins are important for muscle repair and recovery. Enjoy

a complete meal - packed with lean protein, a complex

carbohydrate and some good fats - post-class/rehearsal to

restore energy and aid muscle recovery.

Post-class/rehearsal meal (preferably within 1hr)

small - medium bowl of roast chicken breast (remove skin),

steamed/baked vegetables (1-1 ½ cups) with tomato-based

pasta, parmesan cheese sprinkled on top

Tomaintainahealthy,lean,andfitbodyitisimportantfor

dancers to have a balance between ‘energy out and energy

in’. Enjoy a variety of nutritious foods regularly, and stay well

hydrated throughout your busy dance schedule to give your

best performance, for life! Further information on serving sizes

and meals can be found on our website - www.dancealicious.

com.au . For a more personalised assessment please consult

with a dietitian or health professional.

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Fatigue is considered to be a major contributing factor to

dance injury. Most dance injuries are of an overuse nature &

fatigue can contribute when technique may decline, adding

stress to certain structures. If you are tired & not controlling

turn out from the hip, compensation can occur at the

foot. This poor posture places added stress on tendons &

structures of the inside of the foot & ankle. Less commonly

dance injuries are traumatic, such as rolling your ankle. A

sprain of the outside ligaments of the ankle is a very common

acute or traumatic injury in dance. Fatigue may contribute to

this type of injury by influencing your reaction time.

How do we beat fatigue? The important contributors to

fatigueincludecardiovascularfitness,nutrition,hydration,

recovery & environment just to name a few. Nutrition should

includesufficientcaloricintake&hydration,trainingschedules

should allow for adequate recovery & environmental

conditions such as humidity should be considered. This article

willfocusontrainingourcardiovascularfitness,specifically

forthedemandsofdanceasonewayidentifiedtoreducethe

effects of fatigue.

Let’s consider the physiology behind fatigue. Fatigue occurs

when there is an inability to maintain the intensity required for

an activity. Fatigue can be related to a mismatch of energy &

oxygen supplied to muscle cells or an accumulation of waste

products already consumed by working muscle. It makes

sensethatdancerswithpoorcardiovascularfitnesscannot

maintain the same intensities for as long as those who are

trained for the demands of the activity. Class tends to be the

time of the day set to ‘train’ dancers. The traditional structure

of class focuses on skill development & aesthetic & perhaps

neglectscardiovascularfitnessasapossiblelimitingfactorto

performance.

Findings have been cited in the Journal of Dance Medicine &

Science1 that the demands of class & rehearsal do not match

that which is required in performance. Heart rates attained in

performance have been found to be higher & maintained for

longer than during rehearsal periods & class. Other research

hasshownthatdancer’sfitnessimprovedoveraperformance

season.2 This demonstrates that running the dance piece, as

opposed to a stop/start approach to rehearsal may improve

fitnessspecifictowhatisrequiredfortheperformance

season. An ideal scenario may be to adopt this practice prior

tothecommencementofaseasontoensurefitnesshas

been developed by opening night. However, funding & artistic

constraints may limit this as a possibility.

Supplementaltrainingmayreducethedeficitthatexists

between class & performance. Dancers could participate in

cardiovascular training outside their usual dance activities.

Bio – Melanie Fuller M Phty, B Ex Sci, Adv Dip PA (Dance) is a Physiotherapist working at Pondera Physio

& Pilates in Brisbane, Australia. She has a strong background in dance which aids her treatment of injuries

sustained by dancers. Having dual qualifications in Exercise Science, Melanie is passionate about the aspects

that contribute to dance related injury & developing strategies to reduce their occurrence.

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However,themodechosenmaynotbeasspecificas

utilisingdancetotrainfitness.Anyactivitythatincreasesan

individual’s heart rate may be chosen such as cycling, running

& swimming. Swimming is useful to train with out the loads

of gravity on the body, however it could be said that this

formoftrainingisnotspecifictodancebeingalandbased

activity. Running has been considered to be quite impacting

& could contribute to other musculoskeletal concerns. Some

have concerns for developing muscle bulk when utilising

cycling, but if low resistance is selected & higher revolutions

maintained this will not be of concern.

Dance activities tend to be high intensity, & intermittent

in nature, meaning that both aerobic & anaerobic energy

systemsarerequired.Improvingindividuals’aerobicfitness

will lead to less dependence on the anaerobic system which

utilises short supplies of energy, whereas the aerobic system

uses oxygen & energy of enduring supply. You can increase

thespecificityoftrainingtodancebyusingintervaltraining,

working at increased heart rates for three to six minutes at a

time & lower heart rates for the same period of time on a one

to one ratio.1 Heart rates of 90 to 95 percent of heart rate

maxhavebeencitedintheliterature1specifictodanceor16

to 17 out of 20 on a Rating of Perceived Exertion Scale. An

individual’s maximum heart rate can be roughly determined via

the calculation, 220 minus age & working out the percentage

desired. The Rating of Perceived Exertion Scale is a commonly

used & practical 15 point scale going from six to 20. Six is

considered to be no perceived exertion & 20 to be the greatest

amount of exertion ever experienced. Exercising at these

intensity guidelines & of an interval nature for 20 to 40 minutes

isconsideredtobespecifictodanceactivities.1Afrequency

of three times per week is cited in the literature1 to improve

fitness&onetotwosessionsperweektomaintainfitness

levels. This training should be introduced in a periodised

fashion, where performance periods should consider training

of higher intensity & decreased time incorporating all aspects

of a dancers day ie. class & rehearsal.

Improvingdancers’cardiovascularfitnessisconsideredto

beonetrainablefactortoinfluencetheeffectsoffatigue

on performance & injury. Consideration can be made to

incorporate these training guidelines into class, to reduce

the development of fatigue from the increased hours of

supplemental training. A trend exists today towards training

dancers as athletes, using the knowledge of sports sciences

whilst respecting the realm of this beautiful art form.

References Rafferty, S., (2010). Considerations for integrating fitness into dance training. Journal of Dance Medicine & Science. 14(2):45-49.Wyon, M., Redding, E. (2005). Physiological monitoring of cardiorespiratory adaptations during rehearsal and performance of contemporary dance. Journal of Strength & Conditioning Research. 19(3):611-614.

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Dancer body typesEvery dancer is made up of genetics that determine their body type. Regardless of this body type, every person

that loves to move and is willing to work hard, can dance. The so-called body structure police in the dance

world are fading quickly (thanks to modern dance mainly).

More and more choreographers and company owners

are employing dancers based on their talents over their

body type or looks. Dance is here to represent the soul

through the body – not to get carried away with the

aesthetics of the body alone in our image-obsessed

culture. Your body type will certainly determine which

diet, exercise regimen and work load will work best for

your dancing. It is best to know which body type you

are so you can put it all into perspective as to remain

ahead of the game. There are three body types, see

which one you fit into:

Ectomorphs | Generally Thin/delicate build with not a lot of

fat on the body. They are usually, lanky, flat Chested and

lightly muscled. Ecdomorphs do not easily gain weight or

muscle. Slouchy shoulders and posture problems are also

common. If you’re an Ectomorph, you most likely need

more protein, need to concentrate on body alignment and

need to add weight bearing exercises to your routine.

Mesomorph | Generally have well developed muscle and are

of mature appearance. Mesamorphs lose and gain weight

easily and have no problems developing muscle. They tend

to have have good posture, thick skin and a hard body.

A Mesomorph just needs to watch the fat and keep the

diet very balanced. Consistency is the key. The Endomorph

needs to work on a good cardio routine outside of dance

and needs to have a very lean diet with a lot of protein and

vegetables.

Endomorphs | Tend to have a rounded body shape, holding

weight around the stomach. They have a soft body but

develop muscle easily. Endomorphs commonly have an

over active digestive system and have trouble loosing

weight.The Endomorph needs to work on a good cardio

routine outside of dance and needs to have a very lean diet

with a lot of protein and vegetables.

No matter which type of body you have, you can be

healthy, in shape and can look and dance great. Use your

body type to your advantage and be the best you can be.

And if you still don’t have the perfect ballerina body? Then

join the club! Just keep on dancing your heart out! It is

you that we want to see represent the dance world. Real

life people, flaws and all are beautiful to watch in all their

dancing glory.

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To perform at their best, dancers need to be well fueled

for classes, rehearsals, and performances. This paper will

present a strategy for obtaining the energy needed for dance

training and the right balance of carbohydrate, fat, protein,

micronutrients, and fluids.

One important challenge facing many dancers is ingesting

sufficient quantities of food to meet the energy demands of

dance. The first step in planning a high performance diet is to

be sure that the dancer is obtaining adequate caloric intake.

The easiest rough estimate of how many calories a dancer

requires during heavy training is 45-50 calories per kilogram of

body weight for females and for a more accurate assessment,

dancers should consult a dietitian. A low caloric intake will

not only compromise energy availability, it can also lead to

an under-ingestion of many micronutrients that could affect

performance, growth and health.

After calculating the number of calories needed, the next step

is to estimate the necessary amount of carbohydrate, fat, and

protein, the building blocks of the diets. More on this topic in

the next issue. 50-55 calories per kilogram of body weight for

males.

AUTHOR | Priscilla Clarkson, PhD©2003-2005 International Association for Dance Medicine and Science (IADMS)

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2.

5.

Events

2. The Nutcracker Date: Saturday 11th December – Saturday 18th December Venue: Lyric Theatre, Queensland Performing Arts Centre Tickets: 36 246 or www.qpac.com.au At the Stahlbaum family’s Christmas celebrations, Drosselmeyer weaves his magic and conjures a cast of imaginative characters, including a Prince, a Snow Fairy, and festive dancers from all corners of the globe. Young Clara is swept into a fantasy dream world where toy soldiers come to life and snowflakes dance. At the Stahlbaum family’s Christmas celebrations, Drosselmeyer weaves his magic and conjures a cast of imaginative characters, including a Prince, a Snow Fairy, and festive dancers from all corners of the globe. Young Clara is swept into a fantasy dream world where toy soldiers come to life and snowflakes dance.

1. First Ritual Date: Wednesday 22nd – Thursday 23rd September 2010 Venue: Judith Wright Centre of Contemporary Arts, Fortitude Valley. Tickets: Judith Wright Centre 07 3872 9000 or visit www.brisbanefestival.com.au Brisbane will witness the startling baptism of a new work by Natalie Weir when Expressions Dance Company presents an open rehearsal of First Ritual, a formidable dance creation about the rituals that define us - personal and shared, religious and secular. This exclusive insight into the creative process reveals how Natalie and EDC’s six incredible dancers develop a work from a rehearsal idea to a performance. Be the first to see work-in-progress before it goes overseas for development in China. In China it will become the first act in a work based on the two companies’ varied responses to the commonality of ritual across the globe.

1.

4.

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2.

3. Sutra Date: Tuesday 16th – Sunday19th September Venue: Sydney Opera House Tickets: Bookings on 02 9250 7777 or sydneyoperahouse.com A new work by Belgian choreographer/dancer, Sidi Larbi Cherkaoui and monks from the Shaolin Temple. Performed by 17 monks, it is a fascinating exploration of the philosophy and faith behind the Shaolin tradition incorporating Buddhism and its relationship with the more forceful Kung-Fu. Having performed to over 70,000 people world-wide and receiving unanimous critical acclaim, Sutra has a striking set consisting of 21 boxes designed by Turner Prize-winning artist Antony Gormley.

3.

4. Of Earth & Sky Date: 24th September – 2nd October 2010 Venue: The Arts Centre, Playhouse Melbourne Tickets: www.bangarra.com.au Bangarra Dance Theatre’s presents a Stunning new Double Bill ‘of earth & sky’. A Contemporary Indigenous Theatrical Experience not to be missed. This performance is fueled with passion and is said to be an “exploration of spirituality, culture and the body... The real beauty of this production is that nothing is ham fisted or overdone. It seems as if each member of the production team appreciates the importance of subtlety and the value of creating enough space for an audience to contemplate. of earth & sky will make you think and make you feel. So make sure you see it” says The Age writer, Summer Tothill.

5. Fame Date: From 9th October 2010 Venue: Capitol Theatre, Campbell Street, Haymarket Tickets: 1300 723 038 or ticketmaster.com.au A new high-energy production of FAME THE MUSICAL is coming to Sydney’s Capitol Theatre from October 9, directed and choreographed by So You Think You Can Dance’s Kelley Abbey. A classic of cinema, television and music theatre, FAME follows the story of a diverse group of students at New York City’s celebrated High School of the Performing Arts. This musical that inspired new generations to light up the sky like a flame is back!

5. 6.

6. Nowhere Fast Date: Wednesday 29th September – Friday 1st October Venue: Dancenorth, Corner of Walker and Stanley Streets, Townsville CBD Tickets: 4772 2549 or dancenorth.com.au Inspired from the photographic works of Gregory Crewdson, Nowhere Fast represents the loneliness of urban life and the struggle to communicate; a place where one finds themself watching others watch others to see if they’re on the right track.Fuelled by the power, strength and versatility of six dancers pushed to their emotional and physicals limits, Nowhere Fast presents individuals forced together to co-exist in a dead end. With Choreography by Ross McCormack you will not want to miss this amazing performance.

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Critics and audience members alike

cannot say enough about LOcREaDO

Dance Company’s debut Sydney

Performance of “TROUBLED’ – July

22-24th, 2010. It is sensational,

honest and exceptionally moving.

A powerhouse of energy exploding

from meticulously rehearsed dancers

across NIDA’s Parade Theatres’

Playhouse stage. Cutting-edge

choreography by Director Loredo

Malcolm engages the audience from

first movement to final bow and leaves

the audience begging for more!

Conceived from LOcREaDO’s own life

journey, his new show ‘TROUBLED’

takes the audience from the depths

of his soul-destroying despair to

the exhilarating heights of personal

freedom and beyond. Born in

Jamaica, LOcREaDO’s narrative

explores the sadness and difficulties

he and his best friend face in his

native country. The audience is

led through a series of personally

traumatic experiences for both

characters, underpinning the misery

imposed on him and his loved ones

through misunderstanding and

disrespect by others.

The dance-based chronicle

explores the physical, emotional

and psychological courage required

to escape such personal suffering

and to triumph over seemingly

insurmountable adversity.

LOcREaDO’s is expertly qualified to

lead his burgeoning Contemporary

Dance Company to the professional

stage. He began his career

understudying the role of ‘Simba’

in Disney’s ‘The Lion King’ touring

Australia, Shanghai and London’s

West End for over 4 years. In 2009,

Loredo became Top 9 Finalist for

‘So You Think You Can Dance’ and

went on to play ‘The Spirit of Bob

Fosse’ in ‘Chicago the Musical’

touring Australia, Singapore and Hong

Kong. Currently he undertakes the

role of understudy for ‘Seaweed’ in

‘Hairspray’ and continues corporate

work for top company labels such as

Colgate, Nokia and Smirnoff Black.

LoCreAdo Dance Company is now

set to tour Melbourne, Brisbane

and NSW Central Coast venues

with TROUBLED and is looking for

corporate sponsorship to do so. For

all enquiries and upcoming show

details, visit www.locreado.com.au.

A quote from the talented Jason

Winters after seeing TROUBLED- “A

force of heartfelt realism, with gut

renching commitment from every

person on that stage. I was moved,

and greatly impressed by such a

young and vibrant choreographer, and

his talented dancers!”

REVIEW - LOcREaDO

“A force of heartfelt realism, with gut renching

commitment from every person on

that stage” - Jason Winters

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Rebekah's Profile | Afro Dancer

Choreographer & Events :

"I treat my body as a temple, not a day

goes past where i do not honour my

Vechile: My Body. Without a fine tuned

Body, like a car, if its not well oiled &

greased...your not going to get far! In

this Body: Our True vehicle, resides a

Huge Spirit, which comes even more

alive through Dance ,Movement and

Music”.

“When I teach I like to feel that i

inspire all my students. I impart my

knowledge from a deep space as big

as the African continent! I tell each and

everyone, that Dance is like lighting a

candle or lighting a fire inside.....dance

FEEDS the SPIRIT that resides inside

of us all... dance lights-up our lives so

that we feel exhuberance & joy. Dance

tones the Body, Dance enlivens the

Spirit, Dance nurtures our Soul”.

Life is a dance of personal

choreographies....Dance is LIFE in

movement.....and i approach dance

in a wholistic sense...and start from a

very primal space using Earthy African

Rythyms....i take each student on a

journey, where we get in touch with

our own limits and fears, and learn

to EXTEND our selves through big

powerful movements and breath-work.

African Dance, wether traditional or

Afro-Groove, is a powerful tool for

expression, expansion, growth &

understanding how to free our bodies

and mind. African Dance unifies us as

a tribe to feel Joy together!

Rebekah has been teaching African

Dance & Afro Mooves & Grooves for

over 20 years; and has studied with

master West African tutors les Ballets

National de la Cote Ivoire: YAO EBY

and Guinean Master Abdoulaye EPIZO

BANGOURA. She has been Staging

an Annual event with African Masters

from West Africa: in Drumming

& African Dancing on Bundagen

Sanctuary NSW.

This years camp is to be held be

held Sunday the 3rd of October till

Saturday the 9th of October. Part

of the proceeds of these events go

back into Sustanable Living Projects

and buying Solar panels for under-

developed areas in Africa, To find out

more visit www.globalpulseevents.org

Global Pulse Events presents our 15th Successful year to celebrate and stage another superb electrifying “Epizo Bungoura” west African Drumming and Dance Camp.

To register visit our website and email RebekahDON’T MISS OUT BOOK NOW!!!!Early birds rates till the 13th of September only!!!!www.globalpulseevents.org

Contact Rebekah at

GLOBAL PULSE EVENTS

on: 0413 663 315

Sunday 3rd October 2010 – Saturday 9th October 2010With final night Performance Party “Bundagen” SanctuaryMid-North Coast N.S.W.Contact: Rebecca on 0413 663 315rebekahzammitross@yahoo.com.au

Early Bird: $680 Drum or DanceEarly Bird Groups x 10 people(group Bookings must have group deposit)

REVIEW - LOcREaDO

Photo taken by Andrew Stewart of "Mesmereye"

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As most of you are probably aware Kat Risteska was in the

Top 6 in Season Two’s famous SYTYCD Australia series

on Network Ten. It’s late Monday night, long after all the

children have gone home, one lone dancer appears from

the dance studio and not a hair is out of place. She’s still

bouncing from the routine she just crunched. Welcome to

the floor Kat.

At the tender age of just 19, Kat oozes the kind of

personality that magnetises you. She has a warm smile

and openness that comes from a dancer with passion.

Let’s face it, she has been dancing since the age of 3.

When asked about what led her to dance, she replied “I

was inspired by watching my brother when we use to take

him to dance class I would watch him through the crack

in the door and copy his steps. It didn’t take my mum

longtoputmeintoclasses”.In2008Katwasdoingher

full-time course at Brent Street Studios and had already

started to diversify her skills and record music for an up

and coming album. If that wasn’t enough pressure for a

16 year old she also appeared in Home and Away and her

first feature film “The Combination”.

Kat had no intention of auditioning for SYTYCD. In fact,

she was up till 2am in the morning at a family function on

the day of the audition. Her dance friends convinced her

to make a snap decision to audition. Her mum raced her

down to the studios. At that point Kat had no idea what

she was going to do, but she felt that deep down it was

the right things to do. Kat went on to say, “The music

started, Jason Coleman said “PLAY” and I improvised a

routine I had never done before. The rest is history”. I

heard a Christina Aguilera song earlier. Do you like her

style of music and dance? Yes, absolutely. I would love

to dance for Christina Aguilera, but who knows what

the future holds. The songs I am writing and recording

are influenced by her style somewhat, although I’d like

to think that I add my own flavour too. After SYTYCD I

danced beside Kylie Minogue on Hey Hey it’s Saturday.

That was cool. She is a good dancer too.

You are a strong Hip Hip dancer. How did you manage

the first few weeks on SYTYCD given you had to adapt

to different styles of dance? I was thrown straight into

contemporary in the first week so lucky I have had some

training or I just don’t know if I would have gone as far

with the competition. I think everyone has some style that

they are really good at but on a show like SYTYCD you

have to be able to adapt to every style if you want to

excel in the competition.

Teaching for me is about inspiring the upcoming

generation of dancers not just about teaching a routine.

I do like dancing, teaching and Choreographing as each

one of them satisfies a different part within me but

dancing and performing is where my heart is at. f I was

to describe Kat to you in one word it would be “Driven”.

At 19, she has realised that in this industry you have

busy periods and quiet periods. It’s what you do during

the quiet periods that will determine what opportunities

present themselves.

Keep working hard, teach classes, do workshops, look

for new work opportunities maybe like acting or singing

and who knows – you could be Australia’s next superstar

…Half an hour has passed. Kat has recovered enough

to hit the play button again. She disappears back into

the studio to choreograph another routine for her next

workshop to the tune of “Not Myself Tonight”, by Christina

Aguilera.

Bio - A trained triple threat in singing, dancing and acting, Kat is determined to make a name for herself

both in Australia and internationally. With the incredible support of her single mum, Kat started dancing

at the young age of three; dancing, singing and acting are the cornerstones for her dreams. She has just

completed a full-time Performing Arts Course and now plans to build on that with her time in SYTYCD.

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Studio FocusThe School | The object of JTV Dance Academy is

to provide students with the opportunity to learn a

high standard of dance and theatre skills in a friendly

atmosphere. Students are placed in classes according

their ability. Classes are designed to build confidence and

to encourage students to excel in skills of dance. We see

dancing as a kind of sport, to be enjoyed at whatever level

the student wish to participate.

The Principal |JoyVargabeganteachingin1982ather

own studio, which operated for nine years. Later Joy

performed with artists like Jimmy Barnes & Jenny Morris,

danced full time at Australia’s Wonderland, travelled

around Europe & America with the Australian Cheer Squad,

performed with Cliff Richard at Wembley Stadium.

Joy was also a main dancer in the Opening Ceremony of

the Sydney Olympic Games. Fully qualified with Australian

Teachers of Dance, Joy is a member of the Australian

Association for Dance Education and a highly respected

dancer, Choreographer and teacher.

The Curriculum | Training is available in Hip Hop, Jazz, Tap,

Modern, Classical, Pilates, Singing, Ballet, Ballroom, Drama

& Theatrical, Acrobatics,Toddlers Rhythm & Movement,

A.T.O.D Syllabus andR.A.D Syllabus.

Studio Locations | Mountain Creek State High School

Campus, Lady Musgrave Drive, Mountain Creek

Chancellor Park Secondary College,

Sippy Downs Drive, Chancellor Park

P: 07 5444 1505

F: 07 5444 1507

E: jtvdanceacademy@bigpond.com.au

W: www.jtvdance.com.au

Photo | The Sunshine Coast Daily

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Q1. Congratulations Phillipe on reaching the Top 20 for

SYTYCD 2010 series. I was very impressed with your

dance technique and ability to adapt to different dance

genres given your relevant lack of dance experience

compared to other contestants in the series. Please

elaborate on this ? Going into the competition I trained

as much as I could to prepare for what I thought was

ahead of me.... I took as many classes as I could to work

on technique and flexibility ect... and it definitely helped, I

really dont think I would have done as well had I not trained

as much as I did....

Q2. What inspired you at a late age to take up dancing

and then enter the audition process for SYTYCD? I

had not intended to take up dancing at any specific time

it really just happened when it was meant to.... I fell into

the whole dance thing thru a few friends and as natural as

walking it just took over from there...

Q3. Your dance strength is Hip Hop and you owned the

stage when you did that genre, How did you feel about

the other genres? What ones did you like and dislike

and why? I had fun with every genre I was given because

I love the challenge, I did set the record for doing the

most contemporary dances in one season, so I should be

somewhat of a professional by now! haha.... I think I really

enjoyed ballroom tho cos it let me venture into a different

world I wasnt use to....

Q4. Explain a day in the life of a contestant in SYTYCD?

A day in the life of a ‘stytcd’ contestant is quite hectic. It

starts very early morning and you dance for around 12hrs

a day, then you have to rehearse soon as you get home

to get a foot ahead on the following day... You dont get

much time with choreographers so you have to utilise every

moment..... It’s pretty much live , eat, breath dance.....

Q5. What doors opened as a result of this exposure

and what are you doing now? Since the show it has been

non-stop gigs, workshops ect. I have been a dancer on the

production of “Happy feet 2” for the past 2 months and

have just secured a dance contract in monte carlo for the

next 7 months, which I leave for in a few weeks..... So the

exposure thru the shows and opened so many doors it’s

quite overwhelming.

Q6. If you could dance with anyone who would that be?

If I could dance with anyone it would be with anyone who

wanted to dance! haha

Q7. Who do you listen to on your I-Pod? My i-pod

consists mostly of michael jackson, and all the motown

classics.....

Q8. As a dancer you need to also build a profile. How

have you grown your profile? Landing specific jobs like

backing up “kylie minogue’ ‘happy feet 2’ ‘jessica mauboy’

has helped build my profile here, but it just came down to

auditions.... I still had to work for it like everyone else....

Q9. You like making films and were influenced by

Michael Jackson. What other influences have added

value to your dancing?

like experience has most certainly added value to my

dancing, it helps me enjoy it more and bring what I learn in

life to the dance floor.

Q10. Finally, what advice can you give to aspiring male

and female dancers looking to extend their career?

Advise to young dancers!!!! “dream big” anything is

possible but you have to believe it for yourself........

Quick 10 with Phillipe Witana

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Make sure you get some samples of their work, in particular

see if they have any examples of concerts from the venue

you will have your concert at. First thing to consider

is whether you will get a two-camera or one-camera

production. If you expect 50 or more DVD orders a two-

camera production should fall into a reasonable price range.

Two Cameras means you will get close ups, which the

parents love and also the wide shots to see the whole dance.

Check if the company will offer a proof before the DVDs are

copied so you can change any camera angles that don’t

work. There are a lot of so-called professionals offering very

poor quality DVDs. One of the questions to ask is are they

using Professional Cameras. The standard camcorder will

not cut it in the concert setting. Can they offer the Concert

on Blu-Ray as well as DVD? With more and more HD TVs the

quality difference will be noticeable straight away.

One of the complaints year after year of Concert DVDs is the

poor lighting; it’s just too dark. This can’t all be blamed on

the Video Company. It is really important that you talk to your

venue about lighting. You will need an even white light over

the whole stage, which stays constant, and the coloured

andflashinglightsgooverthetop.Ifyoucanorganisethis,

a good cameraman will produce some stunning footage of

your concert.

Finally how much? Most Concert DVDs are charged based

on the number of orders, so the more you order the cheaper

it becomes. Don’t just look at the price; look at what you get

for that price. This isn’t exhaustive, but hopefully it will help

on the road to getting the right company producing your

Dance Concert Video. David Mezey is the Director of Alpha-

Omega Video and has 12 years of experience producing

DVDs and Blu-rays of Dance Concerts.

Finding the right Video Company to produce the DVDs of your Dance concer t can be quite a challenge.

This month we look at some key questions and things to consider to get the best quality DVD of your

concer t at a reasonable price.

Performance Recording

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