DANCER: MORGAN ROSE HOLT | PHOTOGRAPHER: KIMENE

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Feature Article8 JointheTrambWagon

Dance Advice14 WhenCanIStartPointeWork?17 FundamentalMovementSkillsin

Dance28 HowtoChooseaDanceStudio31 YouthDance32 Children&ProfessionalDance

Dancers Health18 TheChallengeoftheAdolescent

Dancer22 BoneHealth24 UnderstandingHypermobility

Syllabus Information23 GlenWoodTap

35 CSTD38 NationalDanceQualifications

Choreography26 withReeceHopkins

Australian Ballet34 AskColinPeasley

Events for 201140 SixSizzlingEvents

Snapshot6 IlonaFabiszewski37 Quick10withGazGriffiths42 LittleAchiever

My Genre10 HipHop

Studio Focus12 EnPointeBalletSchool

Program Guide20 UtopianDreamFestival

Studio Setup36 SprungDanceFloor

Review27 DanceNorth

Shoppers Guide43 Thelatestproductsand

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Editors NoteWehavehadahecticfewmonthshere at Dancehub. Our DanceEdmagazinewas launched justin time for theAustralianDanceFestivalinSydney.Whowould of thought that themagazine only took 8 weeksto produce from concept tocompletion.It’satestamenttothewonderfulstaff we have on board here atDancehub. The magazine has

flourished since September and now we have over 60outletsaroundAustraliawhostockourmagazineincludingdance schools, dancewear outlets and tertiary danceproviders.Ourdirectsubscribersaregrowingdaybyday.Infact,ifyou’dliketoreceivethismagazinebeforeanyoneelsedoes simply visit ourwebsite:www.dancehub.com.au/shopandpurchaseoneofoursubscriptionpackages.Inthiseditionwehavesomeamazingarticlestosuitdanceteachersincluding:“UnderstandingHypermobility”andthenewNationalDanceSyllabusinformationreleasedbyIBSAinVictoria.WereviewDancenorths’twoweekresidencyinNYunderMikhailBaryshnikov.Enterourcompetitiontowinaphotoshoot with BelindaWright from BWP Studios valued at$450.WealsotakealookatourstoryonFullTimeBalletSchoolsandmuchmore.Youcanmeetusat theUtopianDreamDanceFestival inCoffs Harbour in January.We are supporting this eventandhopethatwecanencourageandinspiremoredancersfrom regional and remote Australia.We are also at theNationalDanceChampionships“Showcase2011”on theGoldCoastaftertheUDevent.Andfinally,abigthankyoutoourauthors,photographers,distribution network and advertisers who continue tosupport us inmaking thismagazine possible.TheDanceEd magazine is all about educating our dancers, danceteachersandthedancecommunityasawhole.Ifyouwanttobecomeacontributor,offerfeedbackorwanttoadvertisepleaseemailmeat:advertise@dancehub.com.au

YoucanfindusonFacebook,Twitteranddancehub.com.au

EditorPhilipReece

DirectorsPhilip&JanReece

Contributing WritersRachaelJefferson-Buchanan(NDTAUK),SueCottam(FreelanceWriterforNDTAUK),NatashaTeys(Dancealicious),Dancehelp.com,PriscillaClarkson,MelanieFuller,GlennWood(GlennWoodTap),CarmelEvans(CSTD),ColinPeasley(AustralianBallet),RobynWhite(QueenslandBallet),TraversRoss,IADMS,ReeceHopkins,Dancenorth,KarenKieferandExpressionsDanceCompany

Contributing PhotographersDavidBarnes(MelbourneDancePhotography)-www.melbournedancephotography.com.auAaronCrouch(F-Stop)www.dancephoto.net.auKimenePhotography(DancePortfolios)www.danceportfolios.com.auBelindaWright(BWPStudios)www.bwpstudios.com.auKateWhatman(PictureThisPhotography)www.picturethis.com.auNicole“Lamb”Iovinewww.nicolelamb.com

Subscriptions12monthsAUD$66incgstorNZD$88incgst(Includespostage).Tosubscribeemailsubscribe@dancehub.com.auDancewear Outlets/Dance Studios:Canpurchaseinpacksof50atawholesaleratetoon-sell.Topurchaseunderawholesaleagreementcall0422190683

DanceEdMagazineispublishedbyDancehubAustralia.advertise@dancehub.com.au M:0422190683

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Photographer: Nicole “Lamb” Iovine | www.nicolelamb.com | Dancer: Jason Winters

“The reason I read Dance Ed magazine is to keep up to date & read interviews with other dance professionals. I also like the informative syllabus information and the reviews.”

SundayDayoff!Timetospendwithmyhusband,familyandfriends...

MondayIstartmyweekoffwithayogaclasstogetmymindandbodyintotherightzone.Ithencatchuponallmyemails,choreographyandheadtomybeginnerclassat6.30pm.

TuesdayUsuallystartsoffwithchoreographyformyintermediateclass. I thenteachthefulltimestudentsatUrbanDanceCentrefrom2.45pm–4.15pm.DuringthebreakofclassIworkonmusicmixesbeforeIteachtheintermediateclassatUrbanDanceCentrebetween6pmand7.30pm.FromthereIrushofftheSydneyDanceforanotherclassfrom8to9.30pm.Abigdayforme!!

WednesdayYogaagaininthemorning!Trytorelaxintheafternoonandcatchupwithemailsand facebook friends. I head to Parramatta for beginner and intermediateclassesIruntherefrom6pmto9pm.

ThursdayItrytovisitthebeach,meetupwithfriendsordosomethingformyself.YogaifIfeellikeitbeforeheadingtoBollywoodandIndianClassicalrehearsalswithSirensDance,whomIhavedancedwithforfouryears.IlovethechallengeofIndianDance.

FridayIteachaprivatelessoninthemorning.HaveabreakorpreparechoreographydependingonwhatIhaveonatthetime.SometimesI’lldoagigatnight!

SaturdayKidsDay!!UYPatUrbanDanceCentreandthenmyopenkidsclassatACE.Ialsotrytovisitthebeachorhavesomespecialtimeinbetweenthesetwoclasses.

My passion, or should I say focus changes at different times. At themomentIamreallypassionateaboutbeingcreativewithmymusicchoicesand choreography. I also like learning new things and taking riskswithmychoreographyanddance.Idon’tliketosayIcan’tstandsomethingbutbeinginjuredhasbeenmybiggestsourceoffrustration.IrecentlyhurtmybackandwasinbedforaweeksoIgotfrustrated.IfeltunproductivesoIstarteddoingmytaxwhichhadbeenneglected!Itreallymakesyouappreciateyourbodyanditsvalue,that’swhyyogaissoimportanttomenow.Dancingespeciallyhiphopisso“jolty”andit’snevereven on your body. Your moves impact different locations on your body,sometimes leftandsometimesright.Yogagivesmebalance,relaxationandstretching.

A w

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September8th2010,justanotherday...

Oksoanotheryearhasnearlycometoanend,anotherdecadehasalmostpassedyetwewonderhasanythingsignificanthappenedyet?

Wellwhatwouldyousayifyouwheretoldanundergroundmovementofdancehastouredthewholecountry,notjustinonestateorcity;everydirectionontheaustralianmap.

Wellithas,andeverybodyhashadaccesstotheTRAMBWAGON.

What is the tramb wagon you ask, well its a new concept developedby the partnership or two of Australia’s most notable and active dancer/choreographersTravers‘DaeTRAVoo’RossandNicole‘LAMB’Iovine.

TheTrambWagonisamobiledanceandchoreographyexperiencefortheyouthanddancersofAustralia,it’snotjustsitandwatchbutalsotogetinvolvedinanewdancemovementofpositiveselfexpressionthroughusingyourbody.

LambandTravarefromPerthandCoffsHarbourandhavedancedatsomeofAustralia’smostgeographicallyisolatedlocationsinAustraliaandnoticedthehiphopdancemovementhadactuallyreachedthefarcornersofAustralia.They developed theTrambWagon to return and reach these kids and alldancersofvariousbackgroundsincludingmanyindigenousgroupstoletthemknow,andtheworldknowthattheyarehereandtheyarenow.NotonlyhastheTrambWagoninspiredthesekidsbutalsoinspiredNicoleandTraverstohonetheircraft,seekinginspirationfromthedesolatelocation’ssortofaselfrediscoverypersonallyandartistically.

They visited and brought their dance workshops toDarwin, Katherine, Beswick, Burrunga, Tennant Creek,Tully, Innisfail, Sunshine Coast, Tambourine Mountain,BrisbaneGoldCoast,TweedHeads,ByronBay, Lismore,EvansHead,Grafton,Woolgoolga,CoffsHarbour,Armidale,Kempsey,Dubbo,Gosford,Hursville,Kirrowee,Yarrawonga,Albury, Hobart, Launceston, Perth, Wanneroo, Padbury,Kalamunda.

They travelled by plane, scooter!, Juicy rental van, andseveralhirecarstobringthedancetothousandsofpeople.Bringingthekidstogetherusingpositiveexpressionasanoutputforasenseofcommunityandbelonging.

TheyalsobroughtUtopianDream‘Scholarships’valuedat$400eachforadultsand$150forkidstouptofourselectedworkshopstudentsineachtown.FormoreaboutUtopianDreamseepage[Insertpage.]

NicoleLambIovineandTraversDaeTRAVooRossmetwhenLambpromotedthePerthworkshopswhenTravwasonanAustralian tour teaching andnoticed theyhad the similarpassionsandgoalsinlifeandbuiltonthattomakedanceaccessibletoeveryoneinAustralia.

Havingtravelledoverseaspreviouslyandtogethertomanyinternational destinations including New York, London,NewZealand,Japan,Brazil,LasVegas,andofnaturallyLosAngeles.

TheydecidedtheyshouldbringitallbacktoAustralia,and give something back to the people in countryareas.

TheTrambWagon workshop has been recorded inmany locations and Nicole Lamb and Travers arecurrently in talkswith theABC, SBS and any othernetworksover thepossibilitiesofadocumentaryonthewholeprojectandit’sperformances.

The TrambWagon hit to the roads from August -November 2010. BothTravers and Lamb would liketo thank Beyond Empathy, Slippery Cirkus, EduardoMurilloDesign,ArtworkbyDanielMilanovic,PepperPrint, Ice Graphics, Michael Iovine Consultancy,Dance Schools, Students, all the Councils visited,TheNorthernTerritoryandallthoseinvolvedfortheirsupport and contribution towardsTheTrambWagonthisyear.Thankyou!

TRAMBWAGON-SINGINGOFF!

WANT THE TRAMB WAGON TO COME TO YOU?Contact|Travers“Daetravoo”Ross-info@traversross.com.auwww.traversross.com.au |www.utopiandream.com.au

Nicole“Lamb”Iovine-info@nicolelamb.comwww.nicolelamb.com

Email:thetrambwagon@gmail.com

Of all the keywords dancers enter into Google related to dance, the most popular search term is “hip hop”. Why? Well we think it’s more than a fad, we think Hip Hop has grown to develop new boundaries and styles.

With the advent of TV shows like SYTYCD, Dance Academy and America’s Best Dance Crew, hip hop has increased it’s profile from the streets to the TV set. In this article we uncovered the origins of hip hop and explain the journey of hip hop in our dance culture.

Hip hop today can be foundeverywhere. It’s become a regular andwell known formofdance.Wefinditingymswheremembersdancejustforfitness;wefinditindancestudios, inmusicvideosandon filmaswell.Allwehear is that it isa formof ‘streetdance’.Thisstreetdancehasquiteahistoryofdevelopmentthat leduptothecoinedphrase‘hiphop’.Mostpracticingdancerstodayaretrainedinthehiphop‘technique’andtakeclassestoperformaspecificexecutedseriesofstepstohiphopnaturedmusic.Thisisactuallyafarcryfromtheorigins.

The phrase ‘hip hop’,was coined by DJAfrika Bambaataa, in reference to the urbanmovementthatwashappeninginthe80’s.Thewords‘hiphop’werealsousedbyearlyDJ’sasaformofrhymingandaudiencehype.TherootsofhiphopwereformedinNewYorkCityandBrooklyn;thepublicsawitasa‘funkmovement’.Alotofelementswereformedonthewestcoastaswell,buttheeastcoastiswhereitallstarted.Whethercalled‘b-boying’,‘uprocking’,‘breakin’or‘toprockin’,itallledtotheverydanceformweknowtodayashiphop.Themovementdevelopedfromamixtureofbreakdancing,turntableDJmusic,martialarts,jazz,poplockingandhiphopmusicdevelopment.Breakdancingisahugepartofhiphop; ithasnowdeveloped intoan independentformofdance. Itbeganasanimprovisationalbattlebetweendance‘crews’thatwouldcoveranythingfromgymnasticsand intricatebalances,tosimulatedassaultandaggressivephysicalhumorto ‘break theopponent’.Thewinnerwouldbe thecrewwith themostdifficultmovesspanning from back and head spins and balanced ‘freezes’, to fast sharp aggressivemovementandroboticbodytrembles.Whenhiphopmusicstarteddeveloping,sodidhiphopdance.Assoonasitbeganbeingstagedforanaudience,asidefromtheoriginal

interactiveaudience,itbegantotakeonanewform.

AnotherinfluenceonhiphopwasamartialartsformfromBrazil,originatedbytheAfricanAmericanslaveslivingthere.Theslaveswouldpracticethisfightingtechniqueformanddisguiseitasdancewheninallreality;theyweregettingstrongtofight.Manyglorifiedmartialartsmovementsareveryprominatein thehiphoptechnique.Thismovementwas inspiredbynotonlymartial

arts, but street fighting aswell.A lot of this dancingwas performedwith‘crews’,andwouldbedoneto‘humiliate’theopponent.Theywouldformlines

andwouldcallthedancinga‘battle’.

Hip hopmade it’s most recentmark in films today such as ‘Bounce’, ‘Hustle &Flow’,‘Honey’,thedocumentary‘TheFreshestKids;AHistoryoftheB-Boy’,‘YouGot

Served’,aswellasmany,manymore...Thehiphopstyleisstilldevelopingtodayandnowweseeanewstyleadditionstarting togetnationalacclaim.Thisstyle isknownas‘krumping’whichwashighlighted inthedocumentary ‘Rize’.Thisstyleoriginated inSouthCentralLosAngeles.KrumpinghasadeeperAfricantribalinfluenceincludingfacepainting,tribalmovementandgroupdance.It’saveryaggressiveyetpositiveenergeticdancemovement that has served as an evolvement in the dance style. Hip hop is amovementanditcontinuestogrowandchangewiththetimes.

Mostpeopleusuallythinkofrapvideoswhentheythinkofthedancerelatedword‘hiphop’,butitismuchmorethanthat.Ithasathickhistoryandanendlessfuture.Itisoneofthemost innovativedancestylesouttheretoday.Dancershavequitea

respect for thisdance form; it’sbynomeanseasyand requiressuchalarge amount of energy to execute, that it’s actually one of themostdifficultformsoutsideofballet.Itisexcitingenoughtoentertainmillions

ofpeople,difficultenoughtodazzlethemostseasoneddancers,yethasasidetoitthatcanreachouttothenon-danceraswell.

Hiphop is adancestyle that hasmany faces.Tomorrowmightproducea completelydifferentmovement;it’sonetowatchandtoenjoy.

En Pointe Classical Ballet Coaching(Qld), isaninnovativeanduniquedancecurriculum,tailoredspecificallytonurture,naturally gifted, talented and dedicated,eliteyoungclassicalballetstudents.

EnPointeClassicalBalletCoaching(Qld),offersstudentsfromtheageof11years,a unique opportunity, to study their artform with personalized, professionalcoachingonadailyBasis.

During these formative years, it isimperative that gifted students, whoaspiretoacareerinClassicalBallet,obtaina strong classical technique, supportedby associated practical and theoreticalsubjectswhichwill heighten, their levelofaccomplishmentandsuccessinfutureyears.

This“bridgingschool”or“middleschool”,is extremely unique and innovative.Students who successfully audition,are groomed and trained for a classicalcareerfromanearlyage.

This has many advantages, but nonemore important than by the end ofapproximately 5 years training at theschool, students will have a realisticoutlook, of whether their goal andambitionsof a career inClassicalBalletareontracktobecomereality.

Upon successful audition, a minimumnumber of places are offered, tothose students who are identified aspossessingoutstandingpotential,naturalabilityandastrongmentalandemotionalcapacity,toundertakesuchademanding,yetrewarding,dancecurriculum.Theseplaces are reassessed every year.Medical certificates are required toaccompanyauditionapplications.

FacultyEn Pointe Classical Ballet Coaching(Qld) prides itself in providing themost qualified, professional and caringteachers, coaches, trainers and tutorsforit’stalentedyoungstudents.Allstaffhave been carefully chosen, to ensure

that thehigh levelofnurturingandcarethat En Pointe creates and desires forits students, is upheld and fostered atall times. Allstaffsharesimilarbeliefs,goals and aspirations for the studentsand this is reflected with outstandingresultsthatspeakforthemselves.

Academic EducationDue to the tenderyoungagesof thesegiftedstudents,muchemphasisisplacedoncontinuinganextremelyhighlevelofeducation.After years of experience with bothmainstream schooling and distancelearningwithintheEnPointeCurriculum,Distance Learning has proved to bethe most efficient, up-to-date, andmost effective and most flexible wayof delivering a high level of academicachievementamongstthestudents.This academicopportunity isofferedoncampus,forfull-timestudentsfromYears6to12,throughtheacclaimedBrisbaneSchoolofDistanceEducation.

Studio Focus

The En Pointe Dance Centre boasts 3fully equipped, purpose built, dancestudios. All studios possess the latestin hi-fi sound systems, including 4 flatscreen televisions,wi-fi technology andthefull-timestudents,havefullaccesstoallareasofthecomplex,atalltimes.The Centre is complete with a fullyequipped student lounge, withmodernkitchen facilities including microwave,fridge, TV, DVD Player and 3 lounges,wherestudentsretreatinbetweentheirdailyclasses.Themajorityofthecentreis air-conditioned for students comfortthroughoutthewarmermonths.Each studio is fitted with wall to wallfull length mirrors and quality, sturdyTasmanianOak2tieredballetbarresarefixedto3wallsofeachstudio.The full-time students are allocatedpersonallockersfortheirbelongingsandseparate change rooms are providedalongside the students restrooms.Students have access to the extensivedance library located in the foyer andstudentsaremostwelcome touse thefitnessroomatanytime,toworkontheirown,intheirowntime.The“FitnessStudio”inStudio3,isdesignedspeciallytohouseequipmentvitaltothetrainingofthesededicatedandcommittedyoungdancers. Studio2hasbeen fittedwithtap friendly “tapi-flex” tarkett, to allowfortheflexibilityofallstylesofdancetobeconductedundertheoneroof.

Facilities

When CanI Start Pointe Work?GuidelinesforInitiatingPointeTraining

AbstractTheinitiationofpointetrainingfordancestudents should be determined aftercarefulevaluationofanumberoffactors.Theseinclude:thedancestudent’sstageof physical development; the quality ofher (or his) trunk, abdominal and pelviccontrol (“core” stability); the alignmentof her legs (hip-knee-ankle-foot); thestrength and flexibility of her feet andankles; and the duration and frequencyofherdancetraining.Forstudentswhomeettherequirementsrelatedtoallofthesefactors,beganballettrainingatageeightor later,andwhoare takingballetclassatleasttwiceperweek,pointeworkshouldbe initiated in the fourthyearoftraining.Studentswithpoorcorestabilityorhypermobilityofthefeetandanklesmayrequireadditionalstrengtheningto allow them to safely beginpointetraining.

Forthosewhoareonly takingb a l l e t

c l a s s e sonce per week,or who are not

truly pre-professional, pointetraining should be discouraged. Nostudent with insufficient ankle and footplantar flexion range of motion or withpoor lower extremity alignment shouldbeallowedtodopointework.

Photographer: David Barnes | www.melbournedancephotography.com.au | Dancer: Ebony Ziccardi

The young dancer asks, “When can I begin pointe work?”

Theanswerusuallygiven,almostwithoutthought,is“at12yearsofage.”Itwouldbe better if the response were “Whatkindofdancestudentareyou?”Startingpointe at age 12 presupposes that thechild is beginning her fourth year ofballet classes at a dance academywithaprogramdesignedtotrainprofessionalballet dancers. Acceptance to such aprogramwouldindicatethat,atageeightornine,thechildhadsufficientanatomicfacility.

The program itself would consist ofclasses progressively increasing indifficulty and frequency over the firstthreeyears.Byage12thestudentwouldbetakingfourclassesperweek.

Herfeetandankleswouldbestrong,hertrunkandpelvic controlwouldbegood,and her proprioceptive skills would beproperly developed. Pointe work wouldbeginwith15minutesofexercisesattheendofeachclass.

Thisstudentshouldbedistinguishedfromthechildwhobeganclassesatagefiveatalocaldanceschoolandnow,atageten,takesoneballetandonetapclassaweek.Sheissmallforherage,withweakfeetand ankles. She is very “loose-jointed”(hypermobile) in her spine, knees, feet,and ankles. Her teacher wanted her tostart pointe work two years ago, butthe mother thought she wasn’t seriousenough about her dancing. Her cousinbegan pointe work at age ten and shewantstoknowwhyshecan’tstartnow.

Growth and DevelopmentCananyoneagebe thecorrectanswerforallstudents?Areallgirlsatthesamestage of development at age 12? Theanswertobothquestionsis“No.”There

may be significant differences in girls’physiologic development, dependingon the onset and tempo of puberty.Afterage five lineargrowthproceedsatapproximately 5.5 cm/year (two inches/year). For girls, the growth velocityincreases sharply around age ten andreachesapeakofapproximately10.5cm/year(fourinches/year)atage12.

Peakweightgainvelocityof8.5kg/year(18.7pounds/year)isreachedatage12.5years, and quickly decelerates to lessthanonekg/year(2.2pounds/year)atage15.Duringthisrapidgrowthperiodthereare inevitably significant differences indevelopmentfromonechildtothenext.

Mr. Justin Howse, retired ConsultantOrthopaedicSurgeontotheRoyalBalletSchools and the Royal Academy ofDancing (London, UK), says that “theonly factor which matters is the stateof development of the child, and to bedogmatic about an age does not makeany reference to the child’s maturity orimmaturity.”

The completion of growth in a tubular(long) bone is signaled by the fusion orclosureoftheepiphyses(growthplates).Thisoccursinthefootslightlyearlierthanintheleg.Theappearanceofossification(bone formation) centers in the footbeginsatagetwomonthsinutero.Thelastepiphysistocloseinthefootdoessoatanaverageageof16yearsinboysand14yearsingirls.

Fromagefivethroughage12theaveragegirl’sfootgrows0.9cm(0.35inches)peryear, reaching an average foot lengthof23.2cm(nineinches)atage12.Thereaftertheaveragegirl’sfootgrowthrateslowsto0.8cm (0.31 inches)per year for thenexttwoyears.

Thecompletionofbonegrowthinthefeetis often given as a reason for choosingthe age of 12 for beginning pointework.However,thisconceptisbasically

erroneous,asbonegrowthintheaveragegirl’sfootisnotcompleteatthatage.

How far along in bone maturation isany one girl at age 12? A knowledgeof statistical averages is not accuratelypredictive, as chronological age doesnotnecessarilycorrelatewithboneage.Althoughx-rayscanshowthecompletionofgrowthinthefoot,theyarelessexactindeterminingthestageofbonematurationpriortoclosureoftheepiphyses.

Ifbonegrowthinthefootisnotcompleteat age 12, and if this is a common ageatwhichgirlsbeginpointework,istheremedical evidence for damage to thebonesofthegrowingfootresultingfromtrainingonpointe?Nottoourknowledge:not from studies, anecdotes, or theauthors’collectivepersonalexperiences.This is not to suggest that initiation ofpointework before age 12 is harmless;indeed, by way of analogy, studiesinvolvinggymnastshaveestablishedthepotentialharmofrepetitivemicrotraumatogrowingbones.

If neither chronological age nor bonematuration alone determines when tobegin pointe work, what other factorsmustbeconsidered?Inthefifth(andfinal)editionofherseminalbookAnatomyandBallet:AHandbookforTeachersofBallet,Celia Sparger writes: “It cannot be toostronglystressedthatpointeworkistheendresultofslowandgradualtrainingofthewholebody,back,hips,thighs, legs,feet,co-ordinationofmovementandthe‘placing’ofthebody,sothattheweightisliftedupwardsoff the feet,withstraightknees, perfect balance, with a perfectdemi-pointe, and without any tendencyonthepartofthefeettosickleeitherinoroutorthetoestocurlorclutch.

Thismomentwillarriveatdifferenttimesindifferentchildren,notonlybyvirtueofprevious training but according to theirphysicaltype,andinthismaybeincludedthegrowthofthebones.”

cont’d next page ...

Risks Associated with Starting Pointe Too Early

AsMs.Sparger’sstatementsuggests,thepotentialdangerstothechildfrombeingplacedonpointebeforesheisreadyhavelesstodowithactualboneorjointdamage(althoughthesearereal)thanwithinadequaterangeofmotion,strengthandstability.Thesefactorsmaycauseunduestressontheleg,pelvicgirdle,andtrunk.

Thechildwithhypermobilefeetandanklesisparticularlyatriskifplacedonpointetooearly.Thiscondition,commonlydescribedasthe“over-arched”or“over-pointed”foot,canbedeceptive.Thesestudentshavethesupplenesstoachieve,orevenexceed,therequiredpointeposition,andthustheyaremorelikelytobeselectedforballetingeneralandpointeworkinparticular.However,theyoftenlacktherequiredstrengthandposturalcontroltoworksafelyonpointe.Priortobeginningpointeworkinthesestudentsallthemusclesofthelegmustbestrengthened,andadequateproprioceptivecontroldeveloped,tofacilitatecorrectalignment.

Attheoppositeendofthespectrum,thechildwithaninflexiblefootandankle,resultingininsufficientplantarflexion range ofmotion, is also at risk. To ensure proper alignment on pointe the line of themetatarsals(representedbythetopsurfaceoftheforefoot)shouldbeparalleltothelineofthetibia(frontoftheshin)whenthefootispointed(combinedankleandfootplantarflexion).Attemptingtoperformpointeworkwithoutsuchanatomicfacilitywillplaceexcessivestressesnotonlyonthefootandankle,butalsoontheleg,pelvicgirdle,andtrunk.Ifthereishyperextension(“sway-back”)oftheknees,evenmoreankleandfootrangeofmotion(plantarflexion)isneededtoassureproperalignmentonpointe.Unfortunately,insufficientrangeofmotionmaynotimprovewithtime,andchildrenwiththeserestrictionsmayneverobtainsufficientflexibilityforpointework.

Assessing the Pre-Pointe Student

Oneof the factorsaffecting thedevelopmentofmuscularstrengthandproprioceptiveability is theageatwhichthechildhasbegunstudyingballet.Althoughmovementclassesbeginningatagefourmaybebeneficialforotherpurposes,noproperballettrainingcanbeaccomplishedbeforeageeight(bothCecchettiandBalanchineagreedonthis).Anotherfactoristhefrequencywithwhichthechildtakesballetclass.Ingeneralstudentstakingballetclassonceaweekwillprogressmoreslowlythanthosetakingtwiceaweek.Thosetakingfourballetclassesaweekwillprogressfastest,butthisfrequency isusuallyfoundonly inprofessionalschoolsoracademies.

Withinanygivenclassof13-year-oldstherewillbegirlsindifferentstagesofpointework,justastherewillbeavarietyofphysiquesandabilities.Thisplacesaheavyresponsibilityonthedanceteacher.Thegrowthanddevelopmentofeachstudentneedstobeconsideredwhendeterminingreadinesstobeginpointework.Teachersshouldperformtheirownpre-pointeassessment toascertainwhether thestudenthasproperposturalcontrol(withgoodabdominalandtrunksupport),sufficientlowerlegstrength,andappropriateleg(hip-knee-ankle-foot)alignment tobeginorcontinueworkingonpointe. Communicationwithparents isessentialtoexplainthereasonsbehindeverydecision,therebypreventingmisunderstandings.

Finally,weoffertwoobservationsthatemphasizetheimportanceofmakingaproperassessmentofwhentostartpointework.First,thedancerwhoisstrugglingtoworkonpointemayhavedifficultydevelopingotheraspectsofherballettechnique;second,duetoinabilitytoexecutethemovementsrequiredtodanceproperlyonpointe,shemaybepronetopsychologicalproblems,includingdecreasedconfidenceandpoorself-esteem.Hence,wesuggestthatitiswisetobeconservativeinchoosingwhentobeginpointework.AsHowsenotes:“Therearecertainlywell-knowndancerswhowerenotstrongenoughtostarttheirpointeworkuntiltheywereovertheageofsixteenandthishasprovednohandicapintheircareer.”

This Resource paper was written by David S. Weiss, M.D., Rachel Anne Rist, M.A., and

Gayanne Grossman, P.T., Ed.M., under the auspices of the Education and Media Committees of IADMS.

When Can I Start Pointe Work?

Fundamental Movement Skills in

DanceBy Rachael Jefferson-Buchanan

Senior Lecturer in PE, Dance & Primary Professional Practice, Bath Spa University, UK

NotwithstandingthedistinctiveartisticnatureofDance,therearebasicmotorskillsinDancethatareakintothoseinotherphysicalactivities.IntheFMSResource(Handsetal.2004),twenty-twoskillsarecategorised,butseveralof these could be considered as ‘dance-oriented’. Forexample,undertheheadingofBodyManagementSkills,astaticbalance (‘balanceonone foot’) andadynamicbalance(‘walkonaline…’)areclearlyimportantskillstonurture in theyoungdancestudent.WithinLocomotorSkills,‘thesprintrun’,‘hop’,‘jumpfordistance’,‘jumpforheight’,‘skip’,‘gallop’,‘sidegallop’,and‘continuousleap’arealsoskillsthatmanydanceeducatorsendeavourtocultivatewithintheirstudents’movementvocabularies.Kimmerle & Côté-Laurence (2003: 94) confirm suchdescriptivecategoriesofFMSandtheirassociationwithdance:“Danceskillsarespecialised,complexskills,builton the fundamental skills of stability, locomotion, andmanipulation”.

Young children love to move, and dance can makean essential contribution to children’s physicaldevelopment.FMScaneasilybeintegratedintoexistingdanceprogrammes, inaneffort toencouragethenextdancinggeneration tobecomeskilled life-longmovers.Our goal should surely be to provide students withthe skills, knowledge, and confidence to participatein a health-enhancing physical activity such as dancethroughouttheirlives.Groundingourartisticendeavoursin the physicality of dance in this way should helpour young students to realise their dancing potential.Movement creates the context inwhich children learnabouttheirworld. Itwouldthereforeseemappropriateto intermittently shift the focus of our dance lessonsto include the development of FMS, thereby workingtowardstheimprovedhealth(initsholisticsense)ofourstudentsintheirformativeyears.

BibliographyHands,B.,Martin,M.&Lynch,P.2004.FundamentalMovementSkills.PreparingChildrenforanActiveandHealthyLifestyle.WesternAustralianMinisterforEducation:WesternAustralia.(UKSTEPSProfessionalDevelopmentwebsite:http://www.steps-pd.co.uk/).

Kimmerle,M.&Côté-Laurence,P.2003.TeachingDanceSkills.AMotorLearningandDevelopmentApproach.J.MichaelRyanPublishing,Inc:NewJersey.

The adolescent growth spurt often occurs just as dancestudents are committing to career paths and increasingthe intensity of their dance training. During the growthspurtenormousphysical,psychological,andsocialchangescorrespond to a time when the young dancer is veryvulnerable. Sudden increases in height and decreasesinmuscle strength and coordination are compounded bydramaticallyfluctuatinghormonechanges.Takentogether,these changes can overwhelm both male and femaleteenagers.

Choicesmadeduringtheadolescentgrowthspurtcanhaveaprofoundimpactonadancer’sprofessionaldevelopmentand long-term health. Parents, teachers, and the youngdancersthemselvesallneedtobeawareofthefollowing:physiological changes, psychological issues, nutritionalconsiderations,andtheneedfortrainingmodifications.

Physiological Changes During the Adolescent Growth SpurtDuringtheadolescentgrowthspurt,physiologicalchangesincludeincreasedheight, increasedbodymass, increasedarm and leg length, and changing proportion of limb totorso length. As the nervous system struggles to keepupwiththesemuscularandskeletalchanges, thedancerexperiencesfluctuationsincoordinationandbalance.

Thelongbonesofthearmsandlegsgrowpriortothetrunk,challengingthestabletorsorequiredindanceclasses.Thisgrowthcanalsobeasymmetrical,withonearmgrowingmore rapidly than the other. Since themuscles often donot lengthenasfastasthebones,strengthandflexibilitycandecrease.Growthplatesattheendsofbonescanbevulnerabletoinjury,particularlyinareassuchasthekneeswherestrongtendonsattach.

Theageofonset,lengthandpaceofthegrowthspurtareallhighlyindividual.Thegrowthspurtusuallytakesplaceatages11to14(sometimesearlierforgirlsandlaterforboys)andcanlast18to24months.Whilesomeyoungstersgrowslowly andmay notice no dramatic changes, others cangrowasmuchasonecentimeterormoreinamonth.

Asonemightimagine,thesecomplexphysicalchangescanhaveasignificanteffectondanceabilities.Manystudentswill experience an overall decrease in technical skill andcontrol.Specifically,ayoungdancermaynoticeadecreaseinstrengthandflexibility,resultinginlowerlegextensions.Decreasedcoordinationandbalanceoftenmakepirouettesandlongbalancesdifficult.Theincreasedlengthofthelegsin relation to thespinechallenges thestudent’s ability tomaintainproper(neutral)alignmentofthepelvisandtorso.Astechnicalcontroldecreases,theriskofinjuryincreases.

Psychological IssuesThe adolescent dancer in a fast paced growth spurt iscopingwithrapidchangesinhis/herworld.Thecombinedpressuresofdramatichormonefluctuationsandaperceiveddecreaseinabilitycanmakethisanemotionallychallengingtime.Unlessheorsheiswellinformed,thestudentdanceris likelytofeela lossofconfidenceindanceabilityanda

corresponding decrease in self esteem, compoundedbybeingunabletoperformata level thatwaspreviouslytakenforgranted.This in turncanbeperceivedasa lossof talent, especially when fellow students appear to beimproving. Changes in body shape and size may alsochallenge a dancer’s positive self-image, particularly in adanceenvironmentthatvaluesaslenderphysique.

The young dancer should be informed that this is atemporary rather than a permanent state, and that theprevious ability will return once the body has begun tocatchupwith thegrowth rate.Thedancer alsoneeds tounderstandthelengthytimeframeofthegrowthspurtandacceptthatthisprocessmaylastayearormore.Teachersandparentscanboostthedancer’sconfidenceandmoraleby acknowledging the student’s efforts and maturity,providingapositiveperspectivewhilereinforcingtheneedforpatience.

Nutrition: Avoiding the Female Athlete Triad Recentresearchsuggestsarelationshipbetweenexerciselevels, nutrition, hormone levels and bone density.Adolescentdancers,likeallphysically-activeyoungwomen,areatriskfordevelopingtheFemaleAthleteTriad,asyndromecomprised of disordered eating, amenorrhea (absence ofmenstruation), and osteoporosis (loss of bone density).EmphasisonlowbodyweightasaprerequisiteforsuccessasaprofessionaldancercanencouragetheeatingdisorderslinkedtotheFemaleAthleteTriad.Thissyndromemayhavelong-termhealthramifications,withachronicenergydeficitordisorderedeatingcontributingtoamenorrhea,whichinturnmayleadtoreducedbonedensityandearlyonsetofosteoporosis. Young dancers should be educated abouthealthyeatinghabitsandencouragedtopursueahealthylifestyletoimproveandprolongtheirdancecareers.

Suggested Class ModificationsTeacherscanaccommodatetheadolescentgrowthspurtintheirclassesbymodifyingtheclasscontentandstructureon an individual basis, making the class less physicallystressful.Thisperiodcanbeusedtoconsolidatetechnicalunderstanding,enhanceartistry,learnaboutthebody,andworkonindividualneeds.

Sectionsoftheclassthatshouldbelimitedincludeimpactworksuchasjumps,pointeworkinthecenterononeleg,challenginglifts inpartneringclasses,kneelingsequencesin modern and jazz classes, and other movements thatstresstheknees,suchasgrandpliés.

Otheraspectsofclasscanbeexpanded.Teacherscanfocusthe student’s attention on trunk and pelvis stabilizationthrough postural corrections, facilitating a deeperkinestheticawareness.Attentiontotrunkcontrolinclassesmayproduce thedualbenefitsofminimizing injurywhileestablishinggoodmovementpatterns.Similarly,spendingtimeondevelopingproprioceptiveskills(awarenessofthepositionandmotionofthebodyinspace)throughsimpleexerciseswillhavelong-termbenefits.Bodyconditioningtechniquesareespeciallyusefulatthistimeastheycanbenon-weightbearingandexecutedduringclass.

The Challenge of the

Adolescent Dancer

Thechallengeforthedanceteacheristocontinuethedanceclassasnormalforthemajorityofstudentswhileaccommodatingthoseinagrowthspurt.Teachersshouldencouragestudentstomodifytheirparticipationonanindividualbasisandprovidealternativeformsofclassparticipation,suchasfloorbarresandsupplementalconditioningtechniquesaimedatmuscularcontrolratherthanexcessiveflexibility.Teachersalsomightpostponehighprofilecompetitionsorexaminationsduringthistimetolessenthepressureontheyoungdancer.

Medical SupportItisimportantthatdancestudentshaveaccesstoinformedmedicaladviceduringtheadolescentgrowthspurt.Ascreeningprogrammayhelp to identifyproblemareasandprevent injuries;physical therapistsorotherexercisespecialistscandesignpreventiveandrehabilitativepersonalexerciseprograms.Medicalpractitionersshouldworkcollaborativelywithteachersandstudents toestablisha teamapproach.Theresearchworkofdancemedicineandscienceprofessionalsshouldbesharedwithdanceteachersandstudentsinawaythatisapplicabletodailytraining.

SummaryPhysiological changes associated with the adolescent growth spurt can temporarily diminish a dancer’s technicalproficiencyandincreasevulnerabilitytoinjuries.Thelossoftechniqueincombinationwithnormaladolescentemotionalchallengescanleadtolackofconfidenceandlowself-esteem.Adolescentdancersshouldbeencouragedtolearnabouttheirchangingbodieswhiletrustingthattheywillregaintheirtechnicalcontrolandresumetheirprogressoncethegrowthspurthasended.Teacherscansupporttheirstudentsduringthesechallengingtimesbyprovidingflexibleindividualclassmodificationsandencouraginghealthynutritionalhabits.Parentsshouldbeprovidedwithinformationaboutthechangesthatoccurduringthegrowthspurtandencouragedtosupplyasupportiveenvironmentathome.Healthcarepractitionersshouldworkincollaborationwithdanceteachers,students,andtheirparentstobuildabridgebetweenthescienceandartofdance.

Produced by:Education Committee (Kathryn Daniels, Chair)

International Association for Dance Medicine and Science

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Is your calcium intake adequate?Do you have a rigoroustraining & performanceschedule? Do you indulge inhigh risk behaviourssuchasenergydrinksor smoking?As aspiringdancersyourbonehealthcouldbeatrisk!

Dance isa formofweightbearingexercise.Weightbearing exercise is any activity that works muscles andbones against gravity. As a result of such impact, bones becomestronger and bone mineral density (BMD) increases. Despite dance being a suitable activity for preventingosteoporosis,thereisresearchtosuggestalinkbetweenpoornutrition,disorderedeating,andexcessivetraining-andsub-optimalbonedensityinbothyoungdancersandfurthermore-retireddancers.Dancersneedtobeawareoftheirnutritionalrequirementstoensureoptimalbonehealthandcareers.

Low energy availability in dancers is often due to a rigorous training schedule and dietary restrictions. Earlysymptoms of a negative energy balance (energy expended exceeds energy consumed) may include: fatigue,lowered concentration, and in female dancers a loss of menstrual cycle. Dancers with prolonged low energyavailabilitywherebycalciumintakeisreduced,havehigherincidencesofstressfractures,scoliosis,osteopenia,andosteoporosis.

Highcaffeine intake (i.e.coffee, tea,andenergydrinks),highalcohol intake,andsmokingarecommon lifestylecausesofreducedbonemineraldensity.Adequateamountsofcalcium,vitaminD,magnesium,phosphorus,andpotassiumfromawellbalanceddietwillreduceadancer’sriskofpoorbonehealth,stressfracturesandosteoporosisinboththeshort-andlong-term.

Dancers are active and their bones endure rigorous mechanical stress. Under normal circumstances, weight bearing activity enhances bone density, but restricted energy intake and poor nutrition may lessen these effects. For a more personalised dietary profile it is recommend you seek the advice of a qualified health professional.

The Importance of only using good tap shoes.Tapdancingisallaboutfeetandthewonderfulrhythmicsoundthatwecreate.Besideshavingall thetechnicalskill intheworldyouneedthebestpossibleshoestodeliverthegoods.Flatshoesarepreferable–sportheelsandhigherheelsmightlookgoodbutputtoomuchpressureontheanklesandsoarenotfreeandloosetocarryoutadvancedtechnicalmoves.Intheoldmovies,Ginger,EleanorandAnnallworehighheelsbuttheirsoundsweredubbedinlater.

Laceup“Oxfords”aremypreferredshoe.AndonlycertainbrandswillIrecommend.Thesolerequiresadoublelayerofleathertobeputon.Tapplatesneedtobeflatandlargetocoverthefrontportionoftheballofthefootandtheheel.Attachingtheplatesisaverydifficultskill.Theplatesneedtobeloose(thescrewsstillrecessedbelowthelevelofthetaptoavoidscratchingthedancefloor).Theshoeneedstorattlewhenyoushakeit.Findingabootmakerthatcandothishighlyspecialisedjobisdifficult,infactIonlyknowofone.Youcanbuytapshoesalreadysetupforuse.Checkthattheyhavetheabovequalities.There’sonlyonebrandofshoethatsatisfiesmycriteriaforprepared tapshoes.Nearlyallof theprepared tapshoeshave tapplatestoothin,screwedontootightandtheleatherusedfortheshoeischeapandblisterencouraging.Shouldyouhaveanyquestionsregardingtapshoesandwhatbrandsandwheretobuythemfeelfreetocontactmeglenn@glennwoodtap.com.

Understanding Hypermobility MelanieFullerMPhty,BExSci,AdvDipPA(Dance)

Danceisanartformthatattractsthosewithhypermobility.Thismaybeduetotheirabilitytoachievethedesiredaestheticofdancewithgreaterease.Hypermobilityisageneticconditionthataffectstheextensibility&fragilityofconnectivetissuesuchastendons&ligaments.Insomedancerstheappropriatestrengthisachievedtosupportthesemobilebodies,othersmaydeveloppain& injury relatedto inherent jointhypermobilitysyndrome.Clinicalscalesexistinratingthiscondition,butthosewiththisconditionmayberecognisedashavingaverylimberspineorbendyfeet&hyperextensionintheirknees&elbows.

ReferencesMcCormack,M.,Briggs,J.,Hakim,A.,&Grahame,R.(2004).Jointlaxityandthebenignjointhypermobility

syndromeinstudentandprofessionalballetdancers.JRheumatol,31(1):173-178.

Thosewithhypermo-bilitymaybeexposedtoincreasedstress&strainonalreadyfrag-ile tissues. Hence,the importance fordancers to recognise& understand hyper-mobility. Developingawarenessatayoungage aides to engraingood motor patterns& adopt strategiesthatmayprove tobeprotective in the fu-ture.

Good technique &exposuretoappropri-ate choreography arekey to training theseindividuals. Faults intechnique such asover turning out, re-sultinginexcessturnout from the knee&foot & hence rollingthe foot should beavoidedbyall intheirtrainingbutmore im-portantly in the veryflexible. It is tempt-ing to ‘show off’ theextremesofflexibilitybutthisappealshouldbe avoided when

guidingyoungindivid-ualstolookaftertheirbodies.

Research from TheRoyal Ballet (McCor-mack et al., 2004)showed a greaternumber of dancerswith hypermobility& a history of injurywere in the schoolcompared to a lowernumberofdancersintheprofessionalcom-pany. This researchsuggests that hyper-mobile dancers thathavebeeninjuredarelesslikelytoprogressintotheprofession.

Seek advice from ahealth professionalexperienced with hy-permobility manage-mentifyouthinkyoumay have more thanusualjointmobility.

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dance edAUSTRALIA AND NEW ZEALAND’S EDUCATIONAL DANCE MAGAZINE

EDITION # 1, 2010

IMAGE | THINKSTOCK | 2010

The official guide to the Australian Dance Festival

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Interview with Phillipe Witana

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“Dancers are like instruments, like a piano the choreographer plays.”-GeorgeBalanchine.

Reece started dancing when he was 5. He did his first professional dancing as an 8 year old in The Wizard Of Oz in 1990 and got a taste for the stage. From here he became more driven to perform and a desire to create and share his gifts with others led him to choreography. In 2002 he auditioned for Raw Metal, now Raw Dance Company, in Brisbane and has been involved ever since travelling all around Australia and overseas.

I lovehowonesentencecandescribewhatyouhaveneverbeenableto,insuchsimpleterms.Asadancerandchoreographer,itismyfirmbeliefthatwearemusicians.Iapproachchoreographyanddancewithamusicalmindset. Iwant tocreateacatchy,entertainingandmemorableroutinethatexpressessomethingthatispartofme.Iwanttotellastorywhetheritbesomethinglightandfluffy,orsomethingdrivenbydeeperemotions.Adancerislikethelyricsinasong.Ifthesonghaswordstheyareanextensionofthosewords.Inmymainareaofexpertise,asatapdancer,creatingmusicandrhythmtakesonamoredirectmusicalcorrelation.Thefeetbecomeadrumkitandtheirownsourceofmusic.

Choreography,however,isnotrocketscience,andislessaboutyourbrainandmoreaboutyourheartandyourexperiences.IfindmymostsatisfyingworkcomeswhenIdanceandcreate toexpressmyself, I startwithinbeforemyheadstarts tointerfere.Whileknowledgeandtechniqueareimportant,wearealldifferentandallhavesomethinguniquetooffer.Inapracticalsenseitisalwaysgoodtostartinagenreyoufeelcomfortableinbothindancestyleandmusicstyle.Themistakemanychoreographersmakeistryingtobewhattheyseearoundthem,ratherthansettlingintowhotheyare.

Speakingstrictlyfromatapdancechoreographicpointofview,I lovetocreaterhythm.Sometimesapieceofmusicwill inspire,aparticularbeatprogressionoremotionwillgrabmyattention.FromthereIcreatemovesthat both compliment and contrastwith themusic, butmatch the song.Sometimes the stepswill match the beat, other times theywill match aparticularinstrumentsrhythmwithinthebeat.

Our favourite stepor sequencemaynotgo toour favourite song,soiliketostarteachpiecewithacleanslateandtrynottoreusestepsunlesstheyfitwell.Ialsolistenforwherethesongbuildsandfadesandcreatestepswhichflowwiththesong.Itisimportantthatthemusicandthedancearecommunicatingtogetherotherwiseanaudiencewilllosetouchwithwhattheyarewatching.

Yourchoreographyisthevocabularyyouteach,theexpressionofthatis within each dancer and is spoken out during a performance. Evenif someonewatching doesn’t understand thewhole story, theywill still beinvolvedintheemotion,beitanythingfromexcitementtohurtandloss.

Overall, being creative is a rewardingexperience. Choreography should, andcan be fun, at the same time as it ischallenging. Enjoy the process anddon’tbeafraidtotrynewthingsandbeyourself!

ReeceHopkins

Unit 5/8 Exeter Way, Caloundra West, Qld 4551Contact Artistic Director Leticia Polinelli A.R.A.D. on 0430 544 746 or Email: L_polinelli@austarnet.com.auwww.enpointeballet.com.au

Images: Picture This! Kate Whatman Photography

En Pointe Dance CentreThe Centre for Artistic and Technical Excellence in Dance!

O�eringpractical dance training, supplementary dance training and associated theoretical subjects for those dedicated students, serious about their dance training.

Academic education is o�ered on campus for full-time students from academic years 6 to 12.

Classical Ballet Coaching (QLD)

Leticia Polinelli A.R.A.D. Artistic DirectorWorld Class, purpose built, 3 studio complex

TheDancenorthteamhavehailedtheirNewYorktripasuccessafter establishingAmerican dance contacts and performingto industry representatives including Mikhail Baryshnikovhimself.Thecompanyrecentlyreturnedfromatwoweekresidencyat theBaryshnikovArtsCentre (BAC). Established in 2005,BAC houses the core activities of the Baryshnikov DanceFoundation, incorporated in 1979 by dance great MikhailBaryshnikov, and is a creative space for development andperformances.Whilst there, Dancenorth spent time developing work forthe2011seasonandhadtheopportunitytopresentashortshowingof theirwork to invitedguests includingAmericandance industry representatives, actor Dan Heyada, andMikhailBaryshnikov.DancenorthArtisticDirectorRaewynHillsaidbesidesoneofthe dancers falling ill, she couldn’t have hoped for a betterexperience.“ToworkinBaryshnikov’sbuildingwasamazingandthentohavehimcomealongtotheshowingandbeabletoshareourworkwithhimwasanabsolutehonour,”saidHill.HillsaidBaryshnikovwasenthusedbywhathesaw,engagingwithquestionsandcommenting“it is verybeautiful, thankyou,bravo”.Directors from thecentrewerealso impressed

bythecompany’sdedicationandhumilitydescribingtheworkasraw,sincereandhighlytechnicalandwereamazedatthedancers’fluiditywithfloorwork.“We’resoveryproud tobe the firstAustraliancompany toberesidentatBACandtohaverepresentedAustraliancontemporarydanceandarehumbledbytheresponsesofBACrepresentatives,”saidHill.Dancenorthwouldliketothankthepublic,businessesandallthosewhosupportedtheirfundraisingeffortsandeventsthatmadetheNewYorkresidencypossible.ThecompanycamebacktoTownsvilleforjustafewweeksbeforetravellingtoChinawheretheyperformedtheinternationaldebutoftheirproductionNowhereFastattheMacauCulturalCentre.FormoreinformationcallDancenorthon47722549orvisittheirwebsitewww.dancenorth.com.au

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How to choose a Dance StudioWhen choosing a particular studio ormethod of learning to dance you mustfirstanswerthefollowingbasicquestions.Your answers will determine the keysneededtoevaluateastudio,andwhetheritisafitforyou.

What is the most important element in your dancing?Thisquestionisthemostimportantone.If your answer is to learn to dance forFUN, pure enjoyment -- stay with theinexpensivewaysoflearningtodance.However,ifyouranswertothisquestioninvolves elements of learning to be thebest, learning the proper technique,learning to dance for enjoyment but toalsobe“betterthantheaveragebear”,orpossiblycompeting--yourbestdecisionwould be to choose a studio in whichyoufelttheparticularelementwasbeingaddressed.

What is the monthly or yearly total you are willing to spend?Beforemakinganydecisionsastowhichstudio,youmustdecideforyourselfwhatyouryearlyormonthlybudgetcanafford.Doyourbudgetnumbersbeforeyoulookforastudio--thiswillbeonelesshassleifyouknowupfrontwhatyoucanafford.Aswell, itwill help you to bewise andnotgetstraddledwithapaymentthatisuncomfortable.

Why do you dance?Ensure that you understand why youenjoy dancingor at leastwhy youwanttodance.Onlyyouknowthetruereason--butaslongasyouknow-thiswillhelpyouindecidingwheretoattend.Forexample,somepeopledancebecauseitgivesthema“workout”timewiththeirspouse, somedance because they lovetomovetomusic,somedancebecausethey gain self-confidence from learning

motor activities, others dance to meetpeople,etc.Thesearejustafewreasons-determineyours.

Do you need or want the social benefits of belonging to a particular studio?Belonging to a particular studio, is justlikehavingamembershipat theGlencoor the Winter Club. It’s a place youbelong to -- it meets your social needsandgivesyouthebenefitsyou’relookingfor. Is this something that you believeyouwantinyourlife?Doyoulikehavinga membership? Ensure you know theanswer.

NOW, ARMED WITH YOUR ANSWERS TO THESE QUESTIONS herearesomecriteriatohelpyouchoosethestudiothatwillmeetyourdancingneeds:

1. What is the philosophy of the studio and its owners?

Check out what the basic philosophyof thestudio is. Is thenumberonegoalto teachpeople todance? Is it to teachpeople to dance technically correct? Isit to teach people to enjoy dancing anddo it correctly? Is it tomake the studioowners lookgoodatacompetitionwithstudentswhodowell?Isittosupportthecompetingprofessionalsinthestudioandensuretheyareadvancing?Isitrunasaprofitablebusiness?Isitacombinationofthe above?All you have to do isASK --andthenLISTENtotheanswer.LISTEN to hear the answer and thencompare the philosophy that is statedwiththewaythebusinessisoperatedandwiththeansweryouhavetoyourquestionofwhatisthemostimportantelementinyourdancing.Ensurethatsomewhereinthephilosophyofthestudioyoufindtheelement you determinedwas importantforyou.

2. What services are available?What various kinds of lessons areavailable -- privates, groups, practicesessions, 10 week specialized courses,coaching lessons, floor time forindividual practice?What other servicesare provided -- information on shoes,competitive dresses; information ondance organizations in town; outsidefunctions,socialdances,etc.What special activities is the studioplanningtoparticipatein?Doesthestudioregularlyattendcompetitions?AGAIN, see how the answer to thisquestionmatches upwith your reasonsfordancingandthesocialaspectsyouarelookingtofulfillinyourlife.

3. What level of training/accomplishment have the owners and teachers attained?

Thisisacriticalquestionwhetherornotyouwould like to compete. Ensure thatthe individuals who are teaching youhavequalificationsthatwillimproveyourdancingcompetitiveedge.Ask for a history on the training of theinstructors,askabouttheirownpersonalaccomplishments in dancing. A keyhereisthattheabilitytoTEACHanotherindividual is not inherent in a GOODDANCER.Thetopcompetingcouplesarenotallequalwhen it comes to teachingothers.Winning competitions does notmake you a better dance trainer thansomeone who is skilled at TRAININGANDTEACHINGskillstoothers.

By: Karen Kiefer (Calgary, Canada)

Askforsomeinformationonthemethodofteachingthatisusedinthestudio.Askforthepolicytheyadheretowithrespecttooutsidecoaches--especiallycheckintothechargefortheselessons.Carefulthatwhenyouarequotedapriceforanoutsidecoachthatyoualsoknowwhetherthatisinadditiontoachargeforaprivatelessonor not. This makes a difference to thedollar amountyouwill bebudgeting for.Askforinformationregardingwhetherornotstaffparticipateincoachingsessionsfortheirownimprovement.Ifcompetingisaprimeobjectiveofyourdancing -- check out the ability of thestudio to offer choreography. Especiallycritical to a well-performed routine isoften themovements and the transitionbetween steps. Not all individuals areequallytrainedorhavethecreativeabilitytoofferGOODchoreography.

4. What is the atmosphere/environment of the studio?

Is the physical setting of the studiopleasing to you?Does itmake you feellikedancing?Doesitrelaxyou,calmyouandyetenticeyourfeettomove?

Sit back and enjoy the setting of thestudio, look around at the surroundingsand observe the “atmosphere” of thestudio.Ensureyoufeelgoodwhenyou’rethere.Do the owners/teachers make you feelcomfortableandwelcomeonaconsistentbasis? Are students treated equally --fairly? Iseveryone,nomatterwhatsize,orshape,orage,orcolourtreatedequallybyallthemanagement?Checkitout--itmattersinthelongrun.

Anotherissue,dotheownersencourageagoodattitudetowardsallotherstudios?Dotheysupportthedancecommunityasawhole?Thechoiceofanyindividualtoattendotherclassesorparticipateinotherfunctionsshouldnotmeanthatthe individualshouldbe treated any differently than anyone else. People are stillpeople--nomatterwheretheyworkorwheretheychoosetotake their dance training. Courteous treatment of all people,acknowledgment that you know someone, saying “hello” isnot a form of treason or disloyalty to your own studio -- it’sCOMMON PEOPLE COURTESY.What is the attitude of thestudioyouattend?

5. What is the student body’s opinion/feelings about the studio?

Arepeoplehappywiththeservicethey’vereceivedfromthestudio?Didtheyreceivewhatwaspromisedtothem?Aretheyhappywith how they are treated? Do they believe they aregettingtheirmoney’sworth?Isthereanunduepressureappliedtostudents--doeseveryonehavetocompetetobe“special”intheschool?Istherealwaysapush forstudents tospendmoremoney?Thesepressurescanmakeituncomfortable.Thesaying --Youcan’tpleaseall thepeopleall the time -- ISVERYTRUE.Ifastudenthasacomplaint,theymustaddressitwithmanagement,aslongasmanagementiswillingtoLISTENand attempts to either address the issue or explain to thestudentwhythepolicyexists.Ifyouhaveacomplaint,ensurethatyougivetheownersafairchanceandbeforeyoudiscussthecomplaintwithothers--letthemknowandseeiftheycanaddresstheissueforyou.Thiswillgiveyoutwosuccesses--one,isthatyouhavetakentheissueupwithsomeonewhocaneffectachangeandsecond,ifanyotherstudentinthestudioishavingthesamefeelingsperhapstheownerscanhelpthemtoo.

Most importantly, however, is that students feelwelcome inthestudio,thattheyfeelasiftheyareapartofthestudioandthattheycancontributepositivelytotheexperienceofotherswhochoosetoparticipateinthestudio.

6. Fees for ServicesThelastquestionthatmustbeanswerediswhatarethefees.HowmuchwillitcostmetodotheamountofdancingI’dliketodointhemonthoryear?All youhave todo is ask ... studioownerswill give you thisinformation.Ensurethatpricesaretheysameforeveryone.Arethere any special deals?Be careful if the pricing informationvariesfromstudenttostudent--askforthecriteriathatisused.Whatdetermines special circumstances?Specifically, ensurethat you completely understand exactly which lessons areincludedinthepricesthatarequoted.Theabovesixquestionsaresimple--butyouneedtogetananswerforyourself.Don’teverdecideonwhichstudiotoattendbasedonsomeoneelse’scriteria--knowwhatyouwantandthenGOSHOPPING.ThebestadviceIcangiveyouisensurethatyouareawareofwhatisimportanttoyou,exactlywhatitisthatyouarelookingfor,andthengoandfindit.Trythemalloutuntilyoufindaplacewhereyouarehappyandyourneedsare being met. Never forget that you, the student, are theCUSTOMER--youhavetherighttochoose.Personally,dancingisanenjoyment--itrelaxesmeandallowsmetodisappear fromthestressesofeveryday life fora fewhourstoaplaceofserenityandjoy.Forme,astudioshouldbeaplacethatprovidesmetheopportunityto learn,to improvemydancing,andtomeetnewfriendsinlife--allofthisandIcanhaveFUN,too!

How to choose a Dance Studio con’td

Youth Dance Companies leap forward|bySueCottam

An evening full of original, exhilarating, inspiring danceperformances,givingshiversdownthespine.....aprofessionaldance company? No .......all participantswere agedbetween11and19years.ThedancersweremembersofYouthDanceCompanies (YDCs). Dances were either choreographedcollaboratively with their leaders or created whilst workingalongsideprofessionaldancers.Mostwereofacontemporarynature but many blended other dance genres. Some werehumorousandsometouchedonsensitiveissues.

Theworktookplaceonaprofessionaltheatrestage,givingtheyoungpeopleawonderfulexperience,bringingtheirperformanceto high quality,whilst being enhanced by lighting and a largeappreciative audience. Opportunities for young people toparticipateinYDCshavecomealongway,greatlyenhancedbyYouthDanceEngland’swork(www.yde.org.uk)

These opportunitiesmean that youngpeople havemore timetodeveloptheirskills,keephealthy,meetwithotherinterestedpeers, have continuity during their formative years and thepossibilitytoextendtheirdanceexperiencestowardsapossiblecareer.YDCs inEnglandcanexistwithinaschool,youthclub,privateorcommunitysettingbuttheyallofferthesamepossibleadvantages.

A new, informative Resource pack, Managing a Successful Youth Dance Company,byHannahWheeler,editedbyMelaniePrecious & Sophie Amstell is an excellent purchase forYDCleaders, teachers or dance practitioners who are consideringstartingone.

The45pagesarepackedfullofessentialinformation,coveringbasicplanningideasforstartingacompany,fundinginformation(not all relevant outside UK), a list of dance organisations,legal and safety considerations, evaluation help, glossary ofuseful terms,sampleconstitution,mediaconsent form,andarisk assessment template. Sample Youth Dance CommitteeTermsofReferenceandTips forWriting aYDCBusinessPlanshouldbeparticularlyhelpful,coveringallnecessarypointswithclarity. The pack also includes 9 detailedCase Studies aboutrealYDCs,theirleader,whenestablished,members,howtheysurvivefinancially,companyhistoryandtheirethos.Gridsshowstatementsfromtheir leadersaboutwhattheyconsidertobetheirstrengths,weaknesses,challengesandopportunities.Therealistic answersmake very interesting reading and giveYDCleaders first hand reflection on positive ways forward. Seewww.hampshiredance.org.ukforanorderform£15.00plusp/p

Queensland Ballet’s Artisitic Associate and Junior Extension Program teacher, Robyn White, answers the question:

What determines whether my child will get a job as a professional dancer?

Directors of companies will invariably engage good dancers, regardless of whatschooltheyhaveattendedorcurriculumtheyhavestudied.Theywillconsidersuchthingsasmusicality,coordination,flexibility,focusandconcentration,andtechnicalabilityaswellassuchqualitiesastheirabilitytoworkinateam,willingnesstoacceptcorrectionanddirection,andabilitytorelatetoothers.

How do I give my child the best chance of succeeding?

StudentsinandaroundSouthEastQueenslandreceivetrainingthatisatleastequaltothatavailableinothercities,witharichchoiceofdanceschoolsandcurricula.Inaddition, there aremany former professional dancerswho are available as guestteacherstoaugmentthetrainingprovidedinthoseschools.Danceteachersareusuallypreparedtobeveryhonestabouttheleveltowhichtheycantakeachild.Mostdanceteacherswouldbeabletotakestudentsuntiltheageof15,especiallywiththeextratrainingpossibilitiesthatareavailable.Someareabletooffertrainingbeyondthisage.Somefamiliesfeelpressuredtosendtheirchildawayfromhomeataveryyoungagetoadanceschoolelsewhere.Theemotionalandpsychologicalimpactofsuchadecisiononapubescentchildneedstobecarefullyconsidered,especiallygiventhatthechild’sbodymaynotdevelopinthedirectionthattheprofessionrequires.Thishasledinmanycasestolong-termdepression,eatingdisorders,andasenseoffailure.There can also be pressure for children to undertake full-timedance training andeither abandon academic studies prematurely, or study via distance education.Familiesneedtoconsidercarefullytheimpactonthechildofremovingthemfromtheprocessofsocialisationwiththeirpeerswhichisanimportantlife-longbenefitofface-to-faceeducation.Dancersusuallyhavetomakeatransitiontoanothercareeratsometimebetweentheagesof32and45.Whilesomewillfindworkindance-relatedjobs,othersmaywanttotakeupacompletelydifferentcareer,sogettingasmuchformaleducationastheycanisimportant.

DANCER: BRITTANY LESTER | PHOTOGRAPHER: KATE WHATMAN

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HiColin,Iwaswonderingifanyfootinparticularmakesforbetterpointework.Forexample,dotoelengthorhigharchesgiveanyadvantageinballet?

Lucinda

DearLucinda,Adancerenpointestandsontheentirestretchedforefootsothatthedancer’sweightisevenlydistributedonandaroundthemetatarsalareaandoverthesole.Thisiswhyitissoimportanttohaveyourpointeshoesfitted by a professional.There are hundreds of different fittings and styles somost dancers’ feet can beaccommodatedcomfortably.High arches, although lovely to look at, are frequently onweak feet.Whatmakes a foot beautiful is thewayit isused.Youcangainthemostadvantageinpointeworkbycarefullypreparingyourselfbeforeyoucommence.Askyourteachertoshowyousomesafeexercisestostrengthenyourfeetandtoincreasetheirflexibilitysothatyougainwhateverydancerdreamsof–lovelyfootwork.

Happydancing,

Colin

Ask Colinat behindballet.com

Colin Peasley is a founding member of The Australian Ballet. He retired as a Principal Artist from the company, a position he had held from 1987, to concentrate on establishing an Education Programme for The Australian Ballet, which he currently manages while continuing to perform character roles with the company as well as maintaining a busy international schedule as coach, teacher and adjudicator.

Commonwealth Society of Teachers of Dancing

NewsDanceisourbusiness.TheCommonwealthSociety of Teachers of Dancing is oneof the world’s great international dancesocieties proudly serving dance for over78years.The Society was founded in 1933 toexceedtheExaminationStandardsandtoraise the standard of dance inAustralia.We cater for all major forms of danceincluding: Modern Jazz, Classical Ballet,Theatrical Stage Dance, Tap Dance,Jazz Ballet, Ballroom Dance, TeachersCertificate and Full Teacher Diploma.Thesestylesarealllearntandtaughtfromby their own individual syllabuswhich iskept thesamethroughout theAustralianandAsianPacificRegion.The CSTD is constantly updating theirsyllabustokeepupwiththenewrangesofmovementsandstyles.Weareinvolvedincompetitions,festivals,championshipsand other member activities which areprogrammedeachyeartomeettheneedsofstudentsandmembersineachstate.Tofindoutmoreaboutoursocietypleasevisitourwebsite:

www.comdance.asn.au

Ph: (03) 9570 1651 DA

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Hi Gaz, when did you start dancing and what inspired you?Istarteddancing9yearsago,myfriendsaremybiggestinspiration, theyhavecontinued tobeandhavekeptmegoingthroughoutthelast9years.

Before SYTYCD what were you doing?BeforeSYTYCD Iwasdoinga fulltimedancecourseandworkingasadancerteaching16classesaweekplusalsodoinggigs.

How did friends and family take to you dancing? What adversities did you face and how did you overcome them?Myparentshavealwaysbeensupportiveandencouragingand friends have always stuck by me with any kind ofventure Ihavetakenwithmydancing. I justsmilewhensomethingget’smedown.

You are famous for your one armed salute. What does that mean to you?Itunitesourmates,anddrivesustodothebestwepossiblycaneverytimeweperformorbattle.

What advice can you give to young hop hop dancers?Becreative–Beyouandstayoriginal.

You are quite a tall guy and physically strong too. Do you find that helps you in hip hop to control and sustain certain moves?Actuallymyheightgoesagainstmewithbreakdancingasitiseasiertomovewhensmaller.I’veneverletitbringmedown.Strengthhelpsmetodothepowermovesonstagesoworkingoutisanimportantpartofmyroutine.

Who was your idol growing up in the dance scene and why?Ididn’treallyhaveone!ThroughouttheyearsIhavefoundmyinspirationfrompeoplewhoIfoundstepoutofthebox.

What do you listen to on your I-Pod?Ilistentoalotofeverything,butrightnowI’mabigfanofRnB.

What was the last dance event or show you went to see?RecentlyIwasinVegasandIwatchedCirquedeSolai.Oh,thatwasinsane...

Other than supporting events like the Hypa Hip Hop Festival here on the Sunshine Coast, what else do you do now?I look to support other events likeTraversRoss’UtopianDreamEvent inCoffsHarbour. Ialsocompete invariouscompetitionsnationallyand internationallyandalsotravelaroundteachingandperforming.

Gaz Griffiths

November 2010 Update: We are pleased to announce aftermonths of consultation and input from Australia’s diversedance industry and training providers, on September 6th thequalificationsandunitsweresignedoffonbytheNationalProjectReferenceGroup.ThematerialsarecurrentlyundergoingaqualitycheckprocessbeforetheyaresubmittedforendorsementtotheNationalQualityCouncil.

Verve – Knowledge and Skillsmanagedtheprojectonbehalfof Innovation&BusinessSkillsAustralia (IBSA) and consultedwithAustralia’sdiversedanceindustry.Theprojectranforoverayear,withinwhich8-9monthswasprovidedforconsultationandfeedbackontheframeworkforthequalificationsandunitsofcompetency.Background

The proliferation of dance genres, the rise of competitiontelevision shows and high profile dance events has led to anincrease in demand for training in all styles of dance.As theIndustrySkillsCouncil responsible fornationalqualifications intheculturalindustriesinAustralia,IBSAcommencedaprojecttodevelopaLivePerformanceTrainingPackage,whichincorporatesa dance stream. Verve – Knowledge and Skills, the industrytrainingadvisorybodyforthearts,culture,sportandrecreationindustries in Victoria, has been contracted to undertake theNationalDanceQualificationsproject.

Additionally a National Project Reference Group withrepresentatives from industry, training providers and StateTrainingAgencieswasestablishedtooverseethemanagementof the project.This groupworked together to ensure that thedancecommunityand trainingprovidersacrossAustraliawereengagedinthereviewprocess.Theprojectbuildsonthevaluablework undertaken by industry organisations and Ausdance todevelop the Australian Guidelines for DanceTeachers, whichincluded the development of interim national competencystandards for dance teachers. A large number of accreditedcoursesindanceareofferedacrossAustraliaandtherehasbeencloseconsultationwithtrainingproviderstoensurethatnationalqualificationsreflectbestpracticethatalreadyexists.

National Dance Qualifications

Project ComponentsTheNationalDanceQualificationsdevelopmentspannedovertwelvemonths,withnationalconsultationsconcludinginJuly2010.Keyaspectsoftheprojectincluded:

• researchandanalysisofexistingcurriculaandunitsofcompetency(September-November2009)• atrainingneedsanalysisandskillsprofileofthedanceindustry(October-November2009)• a discussion paper on options for qualifications and skill sets in dance performance and teaching (mid-December2009)• nationalconsultationonthediscussionpaper(December2009-March2010)• developmentofdraftunitsofcompetency(April-May2010)• refinementofalldraftmaterials(qualifications,skillsetsandunits)toincorporatefeedbackfromindustryandtraining providers(May-July2010)• submissionof final qualifications, skill sets anda case forendorsement to theNationalQualityCouncil(September2010)

ItisunderstoodthatfurtherinformationwillbesenttoDanceEdin2011aboutthestatusofthisproject.Staytuned.

Events

1. WICKED Date:11thtothe30thofJanuary(exceptthe26th)

Venue:LyricTheatre,QPAC,SouthBank,Brisbane

Tickets:$69.90to$134.90(a$4.95feeappliesforeachtransaction)atwww.qpac.com.au

SomuchhappenedbeforeDorothydroppedin.

WICKEDtellstheuntoldstoryoftheWitchesofOz.LongbeforeDorothydroppedin,twoothergirlsmeetintheLandofOz.One,bornwithemeraldgreenskin,issmart,fieryandmisunderstood.Theotherisbeautiful,ambitiousandverypopular.WICKEDtellsthestoryofhowthesetwounlikelyfriendsgrowtobecometheWickedWitchoftheWestandGlindatheGood.

WhenWICKEDopenedonBroadway,itworkeditsmagiconcriticsandaudiencesalike.Winnerof35majorawardsincludingaGrammy®,threeTonyAwards®andsixHelpmannAwards®includingBestMusical,WICKEDhasbeendescribedasthe“BestMusicaloftheDecade.”(Entertainment Weekly).

2. TAP DOGS Date:Tuesday4thJanuary2011

Venue:Sydney,CapitolTheatre,12CambellStreet,Haymarket

Tickets:from$106.90-Getthemfromwww.packages.showbiz.com.au

Ifthisistheonlyshowyouseethissummerthen...“Killtogetaticket”

TapDogstheglobaldancephenomenon,hasbeenseenworldwidebyover11millionpeople.Winnerof11majorinternationalawardsincludinganOlivierforBestChoreography,TapDogshasexhilaratedtheatreaudiencesacrosstheglobeandenergisesandhydratestheCapitolTheatrethissummerwithanexplosionofdance.LeadingthepackoftheworldssexiestdancersisAdamGarcia,starofBootmen,CoyoteUglyandtheWestEnd’sSaturdayNightFever.

Theadrenalinpumpedcastinjectrawpowerandpassiontopresenttheultimatevisualdancespectacular.Upsidedownorevenonwater,theyperformworld-classroutinesinthismostoriginalandrevitalisedtapsensation.

3. MARY POPPINS Date:22ndOct2010–Sun27thFeb2011

Venue:HerMajesty’sTheatre,219ExhibitionStreet,Melbourne

Tickets:from$135.50-Getthemfromwww.packages.showbiz.com.au

BrilliantlyadaptedfromthebelovedbooksbyAustralia’sownP.L.Traversandtheclassic1964WaltDisneyfilm,MARYPOPPINSisnowplayingatHerMajesty’sTheatreMelbourneforastrictlylimitedseason.DisneyandCameronMackintoshinviteyoutoletyourimaginationtakeflight-asyourediscoverthepoweroffamily,thejoyofyouthandtheindeliblememoriesthatcometolifeatCherryTreeLane.

ComeandstepintothemagicalworldofMARYPOPPINS.ThisspectacularproductionincludesallofthebestlovedsongsfromthefilmincludingCHIMCHIMCHER-EE,ASPOONFULOFSUGAR,JOLLYHOLIDAY,FEEDTHEBIRDSandSUPERCALAFRA-GILISTICEXPIALIDICIOUS.

5. ALICE IN WONDERLANDDate:19thtothe22ndofJan2011

Venue:Playhouse,QPAC,SouthBank,Brisbane

Tickets:$35.00to$40.00*(a$4.95feeappliesforeachtransaction)atwww.qpac.com.au

ThisballetadaptationofLewisCarroll’sAliceinWonderlandwilldelighttheentirefamily.Themagicofthisclassicchildren’sbookarecaptureddramaticallyonstage.JoinAliceonheradventuresthroughthenonsensicalWonderlandasshefollowstheWhiteRabbitintoaworldofenchantment.

Alicewillleadyoutoacrazytea-partywiththeMadHatter,throughanintriguingCorridorofDoors,whereyouwillcomefacetofacewithanabsurdCaterpillar.Preparetobeawedbythespectacleofamagicalgardenofliving,dancingflowersandabizarreballwiththefearsomeQueenofHeartsandaprincelyKnaveofHearts.PerhapsmostmemorablewillbeacuriousCaucusracewiththemostextraordinaryandextravagantcastofanimalsevertogracethestage.

4. CIRQUE DE SOLEIL Date:Allthrough2011.

Venue:Allstates

Tickets:$177.20to$218.00atwww.showbiz.com.au

CirqueduSoleil®returnswithSaltimbanco™,theshowwhichstartedAustralia’sloveaffairwiththecelebratedcompanywhenitfirsttouredherein1999.

Saltimbanco–fromtheItalian“saltareinbanco”(tojumponabench)–featuresaninternationalcastofover50performersandmusiciansfrommorethan20differentcountries.Presentedinpremium‘intimate-mode’arenavenues,thisisclassicCirqueatitsbest-athrilling,kaleidoscopiccelebrationofawe-inspiringartistryandagility.

Setinsideanimaginarymetropolisofcolourfulinhabitants,Saltimbancowillenthralwiththeseeminglyimpossiblebalancing,jumpingandspinningoftheChinesePolesandRussianSwing,thegravity-defyingBungeesandTrapeze,andthecrowd-pleasingJuggling,AcrobaticBicycleandClowns.

6. LOVE NEVER DIES Date:from29thMay2011

Venue:RegentTheatre,Melbourne

Tickets:from$60to$145atwww.showbiz.com.au

Havingbeenseenbyover100millionpeopleworldwideandtakenmorethanUS$5billionattheboxoffice,THEPHANTOMOFTHEOPERA,iswidelyregardedasthesinglemostsuccessfulpieceofentertainmentinhistory.

Now,thestoryofthePhantomcontinuesinabrandnewmusicalproduction,LOVENEVERDIES.

WithanawardwinningcreativeteamincludingDirectorSimonPhillips(PriscillaQueenoftheDesert),ChoreographerGraemeMurphy,DesignerGabrielaTylesova,andoneofAndrewLloydWebber’sfinestscorestodate,LOVENEVERDIESwillbethefirstnewAustralianproductionofanAndrewLloydWebbermusicalinnearly20years.

InLOVENEVERDIES,oneoftheworld’sgreatestlovestoriescontinues.

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AchieversLittle

In the Hills of Maleny on the Sunshine Coast, 14 year old Jessica awakes at 5.30am each school day, to prepare for the day ahead of her.

Jessica studies dance full-time, at En PointeClassicalBalletCoaching (Qld)whereherdaysstartat8.30amandwinduplateeachafternoon.Jessica trains daily at the studio, as well ascompletes herYear 9 Academic Education oncampus, in En PointeDanceCentre’s purposebuiltstudiosinCaloundra.

Whatstartedoutas“followingherbigsistertodanceclasses”from5yearsold,hasturnedintoa life time dream of becoming a professionaldancer. Although Jessica has goals in sight,sheismatureenoughtounderstand,shemustleaveallheroptionsopenand trainashardasshecan,withallherpracticaldanceclassesandassociatedstudies.

After years of “watching and wishing” shecould be like the En Pointe students, JessicasuccessfullyauditionedforEnPointeattheageof12andhasneverlookedback.

Jessica travels down to Caloundra daily, carpooling with another Maleny classmate. After

askingherwhatshehasgainedfromherfull-timetraining,Jessicaisquicktoanswer“apartfrommyimproveddancetechnique,strengthandflexibility,my timemanagementskillshave really improvedand I amveryorganisednow”,shesaysproudly.“IhavetobeveryselfdisciplinedwhenIcombinemydancetrainingwithmyschoolworkandithastaughtmetostayontopofmytasks,Iloveeveryminuteofit!”

Jessicaalsodisplaysartisticflairwhencreatingcostumeandsetdesignsandsheenjoysusinghertalentasayoung,upandcomingchoreographerforherpeers.Jessicalovesstudyingallgenresofdanceandenjoyslearningaboutotheraspectsofthedanceindustrythroughherfull-timetraining.

Whenaskedwhathasbeenthehighlightofthepast2yearsasafull-timedancestudent,shereplies“I’velovedtheamountofpersonalattentionI’vereceivedand I’ve loved thatall studentsareequally important toallof theteachers.Thevarietyofopportunitieshasbeenfabulous and we get to work withsomeamazing teachers. I’m justsoglad thatMumandDadhavegivenmethiswonderfulopportunity”,saidJessica.

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120 ideas to transform your life

Don’t struggle this Eisteddfod season ...

Cast your mind back to your last Dance Eisteddfod. How much luggage were you carrying? Suitcase, Tote Bag, Clothes Rack, Cosmetic Bag ...

This year you only need 1 piece of luggage. The Rac n Roll Dance Bag comes in 2 sizes (medium which carries up to 7 outfits plus accessories) or (large which carries up to 15 outfits plus accessories). The RAC n ROLL dance bag was designed several years ago by a dance mum in Canada. Rac n Roll are a well established brand in Canada and USA and are now available for the first time in Aust/NZ through Dancehub.

Medium Bag: $198 Large Bag: $230

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Come and see Australia’s Largest Dance Competition

Friday 21st Jan to Sunday 23rd Jan

2011

Jupiters Casino,Gold Coast QLD