Special Focus on Health Teaching Mentoring Training • Strength training for • Rambert dancers come full • Trailblazers Champions Centre for Advanced Training female dancers circle with Ghost Dances prepare their work students collaborate with Alvin • Safeguarding mental health • Pullout resources for teachers • Jaivant Patel shares his Ailey American Dance Theater in the creative process mentee experience • Dance Medicine and Science Expert Panel announced The One Dance UK Magazine Issue 2, Spring 2017 One – The One Dance UK Magazine Staff Trustees Funders and Contents Supporters Welcome

3 Welcome by Andrew Hurst Andrew Hurst Sue Wyatt With thanks The first anniversary of our new organisation active lifestyle, and we are committed to Chief Executive Chair to our Funders is approaching fast, and thanks largely to the developing a national framework for Dance In the Spotlight Chirague Amarchande Anthony Bowne guidance of our Chair Sue Wyatt, the rest of in Health & Wellbeing in partnership with 4 Calendar, News Marketing and Principal, Trinity Laban the One Dance UK board and the commitment People Dancing. Meanwhile, we are building Communications Coordinator Conservatoire of Music and (Membership) Dance from the staff, we have demonstrated excellent up a library of case studies and examples of best practice where dance delivers physical Special Focus on Health Cameron Ball Irving David organisational health in our first year. It therefore 9 Introduction by Helen Laws Special Projects Coordinator Partner seems entirely fitting that ‘Health’ be the special and mental health benefits, and I would like to 10 Strength Training for Female Dancers by Nico Kolokythas Jessica Choi DWFM Beckman Solicitors focus for this, the second issue of One. encourage you to get in touch to let us know Interim Head of Development 12 Dance Medicine and Science Expert Panel Julian Flitter When he spoke at our first One Dance UK about any work you are doing, or know of, in by Sarah Needham-Beck Stephanie De’Ath Partner AGM in December, Alastair Spalding (Chief this field. The more evidence and examples Manager, National Institute Goodman Jones LLP 13 Sustaining Peak Fitness with Eric Underwood of Dance Medicine & Science Executive and Artistic Director of Sadler’s we have, the stronger the argument for further Anu Giri Andrew Hurst by Cameron Ball Claire Eve Wells), cited our work to support and improve investment in dance, from more diverse sources. Executive Director U.Dance Project Manager 14 Safeguarding Mental Health in the Creative Process with Dance Umbrella Chief Executive, dancers’ health as one of the most significant In this issue, you will also find reference to Claire Farmer developments in the dance sector in the UK over three of our exciting mentoring programmes for Stuart Waters by Erin Sanchez Vicki Igbokwe One Dance UK 16 Strengthening International Dance Science Connections Manager, National Institute the past decades. This important work continues dancers, dance teachers, choreographers and of Dance Medicine & Science Choreographer and Director Uchenna Dance to be a driving force for our future as it plays an other dance professionals. These are designed by Erin Sanchez and Sarah Needham-Beck Jim Fletcher With thanks to our 17 Combining the Traditional with the Cutting Edge Marketing & Tamara Rojo CBE important role in encouraging longer, healthier to open doors to new career opportunities. Principal Sponsor by Seema de Jorge-Chopra Communications Manager Artistic Director and more sustainable careers for dancers across Supporting artists in this way is very close to my English National Ballet 18 A Dance Ambassador’s Healthier Dancer Programme Yassmin Foster the country. heart, having been part of the very first cohort experience by Hollie McGill London Programmer, Dance Susannah Simons We are delighted to welcome The Royal Ballet on the pilot dancers mentoring scheme in 2007, of the African Diaspora Director 19 as our new partner in the National Institute of and experiencing first-hand the life-changing Recovering Creativity – Using Dance to Aid Addiction Rachel Gibson Arts and Outreach, CANVAS Recovery by Deb Ashby Organisational Dance Medicine and Science, adding weight to impact of these programmes. 20 One Dance UK Healthcare Practitioners Directory Change Manager Patrons With thanks to our and raising awareness of this ground-breaking On behalf of the entire One Dance UK team, project funders and Spencer Halls 20 Dancer Wellness reviewed by Claire Farmer supporters area of our work. We are actively seeking far- I would like to express our heartfelt thanks to Fundraising Consultant Carlos Acosta CBE ACE Dance and Music sighted funding partners to help us broaden the you, our members, funders and followers, for Children and Young Pullout Resources for Teachers Tomorr Kokona Akademi fantastic work of the NIDMS team, to provide your support over the past year. I congratulate Project Delivery Manager People’s Dance 23 Arts Funding and systematic data gathering on injury and fitness you for the fantastic work you all continue to Friendship for Key Stage 2 from Magpie Dance Helen Laws Peter Badejo OBE Philanthropy 25 Stardust for KS4 & 5 and Youth Companies Aged 15+ Head of Industry and Artist Birmingham Hippodrome in the major dance companies and schools produce and deliver – together we will continue Bob Lockyer by Hannah Winite-Hawkins, York Dance Space Support / National Institute Birmingham Royal Ballet throughout the UK, to benefit all dancers. to support a healthier, stronger, more vibrant of Dance Medicine & Science Dame Gillian Lynne DBE Canada Council Recently - partly through our political and more diverse dance sector. Cause 4 Features Hanna Madalska-Gayer Arlene Phillips CBE advocacy work - dance has started gaining I hope you will enjoy this second issue of One, Advocacy Manager DanceXchange 27 Richard Alston CBE Dance Immersion its own ‘centre of gravity’ as a key driver for and as ever, we look forward to your feedback, One Dance UK Dance Teaching Awards by Claire Somerville Hollie McGill 28 Building Confidence the Intensive Way with Alvin Ailey Champion of U.Dance Dancing Times engaging more and more people in a healthier, and your suggestions for future issues. Marketing and and Young Creatives Dancewear Central American Dance Theater by Elsa Urmston and Tracy Witney Communications Officer De Montfort University 30 Assessment without Levels by Laura Kendal Robyn Mondesir-Clarke Editorial and East London Dance Office and Membership 32 In Conversation with Rambert Dancers: Advertising English Folk Dance and Manager Song Society Guest Contributors Ghosts of Bruce’s Past, Present and Future Equity Mercy Nabirye Cameron Ball by Amy Swalwell Ferguson Creative Head of Dance of the African Magazine Editor 34 Diasporic Dance: Legacies of Imagination - A Review Diaspora (DAD) Governement of Quebec Hollie McGill International Association Sarah Needham-Beck PhD by Baraka Sele Assistant Editor of Blacks in Dance (IABD) Healthier Dancer Programme IRIE! dance theatre 35 Dr Adesola Akinleye’s Trailblazers Champion Experience Jim Fletcher Manager mac Birmingham by Katy Noakes Copy Editor Katy Noakes Northern School of 36 Feeling Hot, Hot, Hot! – Trailblazers Champions South West Programmer, Advertising Enquiries Contemporary Dance Showcase 2017 by Yassmin Foster Dance of the African Contact Cameron Ball at People Dancing 37 Burkina Faso: A Leap into the Unknown by Avatâra Ayuso Diaspora (DAD) [email protected] Photography by Ash 020 7713 0730 Rambert 38 Travelling Rather than Arriving Oluwatoyin Odunsi North Programmer, Dance of Rayne Foundation One Dance UK by Kirsty Alexander and Gitta Wigro the African Diaspora (DAD) Royal Opera House Ensign House Safe in Dance International 40 No Limits, No Boundaries by Jaivant Patel Suzannah Robinson Battersea Reach Stratford Circus Fundraising Fellow 42 Together for Dance Gala – Gallery Introduced Juniper Drive Serendipity by Jim Fletcher Christopher Rodriguez London SW18 1TA SunVit D3 www.onedanceuk.org 45 One Dance UK’s Performance Optimisation Package Deputy Chief Executive/ The Mackintosh Finance Director Registered Charity number Foundation 46 Spreading the Word with Harlequin Floors’ Mark Rasmussen Erin Sanchez 801552 Trinity College London Stuart Waters Seema de Jorge-Chopra Elsa Urmston Baraka Sele Healthier Dancer Programme VAT Registered Wayne Sleep Foundation Stuart holds an MA from Seema is a sought-after Kathak Elsa has been working in Baraka has a 30-year career Manager/Rudolf Nureyev 451 0858 58 Opinions, views and Cover photo: Royal Ballet Soloist Eric Underwood London Contemporary dance artist and teacher, and dance education for 20 working in the arts and is Foundation Medical Website policies expressed in the Photo by: Rick Guest as part of What Lies Beneath Please contact One Dance Dance School with extensive following her completion of years. As a dance manager frequently a guest speaker Resource Administrator UK if you would like to One Dance UK magazine Book available: rg-dance.com, rg-photo.com Amy Swalwell receive this magazine in a are those of the contributors performing and teaching an MSc in Dance Science from and lecturer her interests at conferences, seminars and Dance in Education Manager different format. and not necessarily those Trinity Laban Conservatoire span dance performance and of the publisher, editor, credits, including work for universities. An independent Claire Somerville One Dance UK employees Protein Dance, Interplay of Music and Dance, combines training, pedagogy in formal consultant and producer, she Head of Children and Young or board of trustees. No Theatre Company, Attik this traditional art form with education and community has served on local, national People’s Dance responsibility is accepted Dance, Wired Aerial Theatre, dance science research. settings, dance science and and international advisory Alan Tuvey for advertising, content, nor Finance Manager any harm, however caused, Motionhouse Dance Theatre, the impact of dance on committees, boards and panels which results from editorial Joanne Whittaker Barebones, Made by Katie health and wellbeing. for organisations worldwide. or advertising content. Office and Membership Green and Panta Rei Dance Administrator Design Theatre (Oslo). Renaud Wiser TM Top: Brian Slater; Bottom from left to right: Thomas Andres Stromsnes, Luis de Jorge Ladrero, Kate and Craig Williams and Foteini Christofilopoulou Kate and Craig Williams Ladrero, Luis de Jorge Stromsnes, Andres left to right: Thomas Brian Slater; Bottom from Top: ® Copyright One Dance UK 2017 Advocacy Mentee tm-studio.co.uk Page 14 Page 17 Page 28 Page 34

The One Dance UK Magazine | Spring 2017 3 In the Spotlight In the Spotlight A roundup of some of the latest industry news. News Find more at www.onedanceuk.org/news

Top: Young Creatives Bottom: Young Creatives 2017 participants with participants Mersadies One Dance UK’s Brenda Last receives Jane Attenborough Young Creatives 2017 Claire Somerville, Head Sterran and Bethan of Children and Young Leadbeater work with Growing Team People’s Dance workshop leader Sarah One Dance UK Industry Award Dowling

recipient is an individual who In 1963, Brenda joined Academy of Dancing and Young Creatives is a national is truly respected and admired the Touring Company of bbodance, has given classes programme managed by One by their colleagues. One such The Royal Ballet, becoming to many of the world’s major Dance UK in partnership with individual is this year’s winner: Principal Dancer in 1965. A ballet companies and has the Royal Opera House and Brenda Last, OBE. nimble, technically strong and worked extensively at Japan’s Rambert, helping young people Brenda studied with Vera exuberant dancer, she created Noriko Kobayashi Ballet. For develop their choreographic Volkova and, aged 16, she roles in several ballets including many years, she was an advisor skills and giving them a platform won the gold medal in the Frederick Ashton’s Creatures to Arts Council England and to present their own work. Royal Academy of Dancing’s of Prometheus (1970) and Peter the Olivier Awards. Most No previous choreographic prestigious Genée International Wright’s Arpège (1975). She recently, Brenda was Director experience is required and the Christopher Rodriguez, Deputy Chief Ballet Competition. She remained with Sadler’s Wells of Training at bbodance and young people work with leading Executive/Finance Director completed her training at The Royal Ballet until 1977, when she still teaches regularly for artists such as Katie Green and We are delighted to announce One Dance UK’s Jane Royal Ballet School. she was invited to become Michael Clarke Company. Hubert Essakow as mentors. Our that Christopher Rodriguez Attenborough Industry Award In 1957, Brenda was founder Artistic Director of Norwegian Many of our great dancers owe Champion of Young Creatives, becomes Deputy Chief honours an individual who member of Western Theatre National Ballet. Three years a huge debt of thanks to Brenda Richard Alston CBE, said ‘I’m Executive alongside his role has gone above and beyond Ballet when it was formed by later, she returned to the UK for her outstanding teaching proud to be able to say that I’m as Finance Director. Trained at the call of duty to move dance Peter Darrell and Elizabeth West. and joined the teaching staff of and coaching. the Champion of U.Dance and PwC, accredited by the ACCA, forward and enable the art form In Darrell’s signature dramatic London Contemporary Dance In December, 2012 she Young Creatives and I’m more and experienced in audit, Chris to thrive. The winner is selected style, Brenda created roles in School. received an OBE for Services than glad that dance for Children has the traditional background following an open nomination several of his ballets, including A She has taught throughout to Dance. and Young People remains so you would expect of our Finance process, ensuring that the Wedding Present (1962). the world for both the Royal important a part of the work of Director, but there is more to Kindly sponsored by Sprizzato One Dance UK.’ the man than that. He has also The 2017 selected entries are been a full-time playwright, among the highest standard and has had plays produced at yet seen in the programme. The The Barbican Pit, Bloomsbury For more information on these events selected choreographers took Theatre, Queen Elizabeth Hall Calendar and more, go to www.onedanceuk.org part in an intensive development (Southbank), Theatre Royal weekend in January at Southbank Stratford East, and on BBC Centre and Rambert, and are Radio 3. At Talawa Theatre he preparing for a showcase in front started Talawa’s Black Writers’ of an invited audience at Rambert Group, then became Executive on London’s South Bank, on 9 Producer with a number of 9 10 11 13–16 April. touring productions to his credit. This creative interest gives Chris a superb understanding of the April May May July wider arts sector whilst he keeps Further Information One Dance UK on its toes. http://bit.ly/YoungCreatives2017 We welcome new members to the team, including: Equity and DanceEast Key areas of the policy include: when rehearsal space is • An obligation on provided as signatories of Chirague Amarchande Agree Groundbreaking choreographers to pay rates Equity and One Dance UK’s Marketing and Communications Policy for Choreographic to dancers which are at least Fit to Dance Space Charter. Coordinator (Membership) Commissions those agreed between Equity Brendan Keaney, Claire Eve and the Independent Theatre DanceEast’s Artistic Director U.Dance Project Manager Agreement is first of its kind Council. & Chief Executive said: Spencer Halls and paves the way for fair pay • Providing adequate time “It is really good news that Fundraising Consultant in dance commissions for choreographers to apply Equity has identified the to additional funding sources issue of pay and conditions Robyn Mondesir-Clarke Equity and DanceEast have when a commission does not for independent dance artists Office and Membership Manager Young Creatives Trailblazers Mind the Gap: Train Smart, U.Dance 2017 agreed an innovative policy on cover the cost of producing as a priority and DanceEast Suzannah Robinson Choreographic Showcase Champions Showcase Improve Performance Birmingham Hippodrome choreographic commissions, professional dance work. was particularly pleased to Fundraising Fellow Rambert, London The Place, London Stratford Circus, London The UK’s national in an attempt to tackle issues • Extending DanceEast’s be invited to work with them Young choreographers from An evening showcasing Healthier Dancer conference youth dance festival hits around low pay and poor Equal Opportunities policy on this initiative. I do hope Jo Whittaker around the country showcase groundbreaking new works of focusing on hip hop and other Birmingham. conditions in commissioned to all work produced through that those who can make a Office and Membership their work to an invited dance of the African Diaspora. high impact styles. dance work. The policy commissions. difference will follow Equity’s Administrator audience. applies to all commissions • Guaranteeing the provision lead here as fair pay for all is Renaud Wiser

Top: Photo: Elliott Franks; Bottom from left to right: Brian Slater, Paige Courtney Photography, Kien Quan Photography, Dancer: Nefeli Tsiouti, Brian Slater Dancer: Nefeli Tsiouti, Kien Quan Photography, Paige Courtney Photography, left to right: Brian Slater, Photo: Elliott Franks; Bottom from Top: Left and Right: Photo: One Dance UK; Bottom: Brian Slater Top awarded by DanceEast. of high quality dance facilities an important issue.“ Advocacy Mentee

4 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 5 In the Spotlight News

Let’s Dance International Frontiers Conference The UKʼs number 1 dancewear specialist

Let’s Dance International and how identity is revealed marking International Dance • Invisible Visibility: Diverse Frontiers (LDIF) 2017 celebrates in practice. Highlights include Day. UBW’s founder and Voices within Inclusive Dance seven years of bringing internationally acclaimed visioning partner, Jawole Willa Symposium – 11 May diversity to the forefront in PHILADANCO – The Jo Zollar, will also return to • Strategic Alliance for Black dance with another exciting Philadelphia Dance Company lead an intensive residency. The Dance Meeting – 12 May which will be sharing work programme will also include programme of dance by leading Further information practitioners from around the from its repertoire, led by new work from national and ldif.co.uk world. This year’s programme Joan Myers Brown. Ground international practitioners, Contact Oluwatoyin Odunsi, North Programmer for Dance of the African focuses on the theme of breaking performance from the emerging to the Diaspora, for information on this and other Identity and Choreographic ensemble Urban Bush Women established. events happening in the north: Practice, examining how (UBW) also returns to launch Other conference highlights: [email protected]

culture and training influence LDIF17 for a captivating event • Identity and Choreographic LDIF 2017 choreographic vocabulary celebrating jazz greats and Practice Conference – 9 May Leicester 2017 29 April – 13 May

South West Dance Dance Enterprise Links with Museums Ideas Summit

As portals into so many stories, Through these conversations East London Dance’s Dance Enterprise museums are a fertile ground for and events, One Dance UK’s a growing field of performance Katy Noakes has joined a cross- Ideas Summit returns with a raft of new Dance Teachers work. Driven by artists’ desire party working group with South guest speakers, entrepreneurs and artists. to reach different audiences East Museum Development Get 10% discount and work innovatively with Programme, Bristol Culture, different stimuli and locations, Pavilion Dance South West On Friday 31 March, East covering a range of topics. performance in museums has and Isle of Wight to develop London Dance will host a day As well as networking with & free delivery been energised by the changes a programme that responds of conversations, provocations experts, delegates will watch a in 2011 that saw Arts Council to the Art Council England’s and networking alongside a shortlisted group of artists and on every order England adopt responsibility for Creative Case for Diversity. With Dragon’s Den style pitching producers pitch their ideas to museums. museums in Bristol and on process as the bursaries from the Ideas Fund panel - made Led by Pavilion Dance the Isle of Wight, a bid will be the Ideas Fund are awarded. up of representatives from South West (PDSW), curators developed to offer two dance Led by Anamaria Wills the fund’s investors. This is and dance artists in the region artist residencies in 2017, with and Jeanefer Jean Charles the a dynamic and fast-paced have been holding regular the Bristol residency focusing on day will include discussions element of the day guaranteed conversation events to explore dance of the African Diaspora around the changes in the East to leave you feeling inspired! different museum-based dance and an Isle of Wight project London cultural landscape, project and performance models. focusing on dance interpretation building an enterprising career Meanwhile Bristol Museums of hidden diversity stories from in dance and turning your Further information explored diverse performance the museums’ collections. ideas into reality. eastlondondance.org in museums through 2016’s Join a host of guest Dance Enterprise Ideas Summit popular Waving Goodbye to Further information speakers as they compere Stratford Circus Arts Centre dancewearcentral.co.uk Photo: Judith Stuart Boroson Victorian Dad event. pdsw.org.uk round-table conversations Friday 31 March, 2017 0344 561 6664 6 The One Dance UK Magazine | Spring 2017 In the Spotlight Special Focus on Health News Introduction

Is there anything more important to a dancer than HOTFOOT MOVE IT 2017 their health and ability to perform? Using the body as the source of creativity, expression, and indeed to Magazine Healthier make a living requires effective maintenance and care, Latest issue Dancer especially considering the extreme demands on today’s dancer. This means we need to provide our dancers on the way Discussion and dance managers with the information and tools they need to sustain healthy, long-lasting careers. Through my work with the National Institute of HOTFOOT is One Dance UK’s of DAD, raise the level of MOVE IT, the annual dance International asking some of the bi-annual publication focusing critical debate surrounding convention, features the UK’s leading dance artists about Dance Medicine and Science (NIDMS) and One Dance on Dance of the African these forms, profile artists and work of many of our One the current strategies they are UK’s Healthier Dancer Programme, I have seen the Diaspora (DAD) and provides develop writers for the sector. Dance UK members and offers implementing into their practice focus on dancers’ health and wellbeing in this country a platform for critical debate The range of dance forms three days of performances, aimed at injury reduction and expand and be treated with increasing importance. around the dance practices of covered includes traditional workshops and networking ensuring adequate rest within While this is really encouraging there is still work to the African Diaspora in the UK. and contemporary Caribbean opportunities. Dancers’ health their schedules. Our principal Coverage of DAD practice and African, and strong African has been a feature of MOVE sponsor Harlequin is also a be done and there is always new, emerging, evidence- and research is limited in the influenced forms from the IT in recent years. In the major sponsor of MOVE IT, based information to take on board and implement mainstream and specialist Americas such as capoeira, past, our Healthier Dancer so be sure to visit their stand. in practice. Enabling dancers to look after their health dance press in the UK. Set up in samba, jazz, tap, street and hip Programme has delivered a and fitness for performance is an essential part of their 2003, HOTFOOT aims to redress hop. wide range of workshops and training and subsequent careers and we hope that this this balance by providing a Accessible articles cover panel discussions with its team special edition of One, which includes a fantastic range unique forum for discussion issues ranging from artistic to appearing on the interview Further information and critical debate specifically practical, political, theoretical sofa, leading to many great moveitdance.co.uk of health-related content, will provide some valuable food for thought both for dancers and those working focused on these dance forms. and historical. Artists are interactions with people from MOVE IT 2017 Through performance reviews, encouraged to make their own throughout the dance sector. Healthier Dancer Discussion with them. interviews, feature articles and voices heard by contributing This year, it will be hosting Seminar Theatre Sunday 12 March, 10:45–11:30 Exciting events for us here at One Dance UK include thought pieces, HOTFOOT articles about their own a joint panel discussion with the launch of the Expert Panel: Dance Medicine aims to increase understanding practices or through interviews. our colleagues at Safe in Dance [email protected] and Science and two upcoming Healthier Dancer conferences, one with a focus on hip hop (May 11), the other focusing on the biopsychosocial interplay around Innovative. Transformative. Individual. health and injury (November 26) , the launch of the Innovative. Transformative. Individual. Photo: Richmond Eric Innovative. Transformative. Individual. Expert Panel: Dance Medicine and Science, and the announcement of The Royal Ballet joining the NIDMS

. family. Innovative. Transformative. Individual MA Dance Performance and Our team is here to support you so do get in touch MA Dance Performance and ChoreographyMA Dance Performance and with questions about any of our health related services Tour nationally with The Ensemble and create a or if you need expert advice from our network of Choreography portfolioChoreographyTour nationally of choreographic with The works Ensemble and create a Tour nationally with The Ensemble and create a healthcare professionals. We are always interested in MAportfolio Dance of choreographic Performance works and portfolio of choreographic works hearing members’ updates and insights into what is Choreography Tour nationally with The Ensemble and create a working for you, as together we aim to improve the portfolio of choreographic works MA Performing Arts: physical and psychological health of dancers, which Creative MAMA Performing Performing Practice Arts: andArts: can only be of benefit to dance in all its forms. Leadership CreativeCreative Practice Practice and and MA Performing Arts: BuildLeadershipLeadership projects with communities and develop a portfolioCreative of practice Practice and BuildBuild projects projects with with communities communities and and develop develop a a Leadershipportfolioportfolio of of practice practice CPD workshops Build projects with communities and develop a portfolio of practice for dance teachers

MSc Dance Science Work in state of the art sports science labs with Monday 24 July – Friday 28 July cutting MScMSc edge Dance Dance researchers Science Science Work in state of the art sports science labs with London Work in state of the art sports science labs with MSccutting edgeDance researchers Science Workcutting in state edge of researchers the art sports science labs with The week offers a range of content from Safe Dance cutting edge researchers Practice to learning how to include Pilates in your classes. Book now for individual days or for the full week. www.beds.ac.uk Helen Laws For more information, see www.rad.org.uk/cpd-activities Head of Industry and Artist www.beds.ac.uk or email [email protected] Photographs by Rachel Cherry www.beds.ac.ukwww.beds.ac.uk Support / National Institute Royal Academy of Dance® is a charity registered in England and Wales No. 312826 Photographs by Rachel Cherry of Dance Medicine & Photographs by Rachel Cherry Photographs by Rachel Cherry Photo: One Dance UK Science Health 8 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 9 Photo: Bill Cooper, Dancer: Rowan Parker “As Ifeelphysically fitterand Special Focus onHealth for Female Dancers Strength Training by with aspectssuch asdrive 10 TheOneDance UKMagazine| Spring2017 mentally tooandithashelped confidence” and determination, aswell as Rowan Parker stronger, Ifeelalotstronger Student atCentralSchoolofBallet

Nico Kolokythas Nico

Photo: Eoin Ryan, inspiremybody.com *in athletic populations, this is mobility. the University of Wolverhampton BalletSchool. withElmhurst aPhDinstrengthandpowercurrently pursuing development at balletdancers foradolescent coach withvastaccredited strengthandconditioning experience inathlete development. Heis of strengthtraining, forfemale dancers. particularly Nico Kolokythas (MSc, ASCC), is an overview andstrengthdevelopment,brief ofstrengthtraining andtohighlightthebenefits strength development. hasbeenincluded inOnetoprovide witha ourmembers This article However, thisformofexercise notalways does provide thedancer withenoughstimuli for andPilates matworkand oftencomesintheformofGyrotonics orreformer exercises. ofadancer’sIt iswell part establishedisanintegral that supplementarytraining preparation, stretching following the session. stretching following thesession. class) caneasily be alleviatedwithsomelight strength session (orevenanarduous dance feeling oftightnessonemightfeel aftera have thesamerangeofmovement. The are significantlystronger thandancersand (e.g. developpéheight). strength training,especiallyactiveflexibility supporting increases inflexibilitydueto effect onflexibility. Infact,there isevidence that strength trainingcanhaveanegative there isnoscientificevidencetosuggest to seeincreases inmusclesize.Secondly, therefore theyare muchless likelythanmen that wouldpromote musclehypertrophy, Women produce fewerofthehormones sessions perweek,especiallyforadolescents. when performing1-2strength-training women togainsignificantmusclemass calorie intake. of timeandwouldrequire anextremely high at increasing musclebulkover alongperiod to bedoinghighlyspecifictrainingtargeted onewouldneed muscle sizedramatically– lack scientificjustification.Firstly, tochange compromised. Boththesemyths, however, flexibility -anaspectofdancethatcannotbe the aestheticlookofadancer, andlossof size, somethingthatcouldpotentiallyaffect associated withexcessiveincreased muscle Strength traininghasbeenwrongly Myth Debunking Special Focus onHealth Gymnasts provide a good example: they Gymnasts provide agoodexample:they It is,infact,incredibly difficult for

has astrength training ageof0years. that hasnoexperience instrength training training. Thesamedancerof18 years old of 10.Thesamerule appliesinstrength since theageof8,hasadancetraining age who is18yearsold,andhasbeen dancing has specialisedinanactivity/sport. A dancer age refers tothenumberofyearsaperson maximum loadonecanliftorpush.Training chronological agenorthepercentage ofthe the trainingageofindividual,not Strength trainingloadisdeterminedthrough population is,‘Where doesonestart?’ stress toallowitprogress andadapt. overloaded forthebodytoreceive enough to bedeveloped,thesepatternsneed the basisforstrength training.Forstrength movement indance,thesepatternsare also the focusismore onthe aestheticsofthe human activities-includingdance.While These movementpatternsapplytoall • • • • • • fundamental patterns: All movementcanbebroken downintosix Strength training Maintaining balance Gait (walking,running) Push/pull Twist Lunge Squat A dancer withastrength training age One commonquestioninthedance “The gender divides are Athletic Artist –Strength andConditioning that happen. ” males isexcellent, and going tohelpmake Seeing females lifting for danceprofessionals in theUK strength training is is strength training slowly disappearing. Khyle Eccles performance. Research shows that the performance. Research showsthatthe demands ofchoreography inaforthcoming perhaps tosupport preparation forthe may wishtoprogress to greater resistance, training, whichcantake3-6months, they foundation focusingonstrength endurance not mobility. ankle wouldmostlikelyneedstability and joint concept.Forexample,ahypermobile consideration whenoneappliesthejoint-by- Hypermobility needstobetakeninto Shoulder/Scapula Mobility/Stability Thoracic Spine Lumbar Spine Hip Stability* Knee Stability Ankle Mobility Joint Focus and mobility, thefocusshouldbe: jointstability imbalances. Forthedancer’s and mobility, andbalancinganymuscle programme shouldbejointstability loads. exercises andslowlyprogressing togreater the individual,startingwithbodyweight developed according tothetraining ageof injury isincreased. Programmes needtobe strength overload,otherwise theriskof amount oftimepreparing thebody for of 0yearsneedstospendasubstantial Once a dancer has developed a sufficient Once adancerhasdeveloped sufficient The mainaimsofapreparation

TheOneDance UKMagazine| Spring 201711

Mobility Stability

Special Focus on Health Special Focus on Health number of repetitions and Maximum Strength to follow different programmes “Stretching is also very important for Tell us about your daily sets greatly influences how 3-6 sets of 3-4 repetitions than their male counterparts. As dancers using weights since we exercise routine the muscle develops. Fewer @ 85-100% 1RM* Mo Meziane, Body Conditioning are concerned with flexibility as well as I start each day with Pilates repetitions with heavier weight Tutor at Bird College explains, strength, so a good 15-minute stretch around 9am, then full company Power promotes strength adaptation; “Women don’t have enough after any workout is important to avoid class at 10.30am. I am normally (Maximum effort and speed) whilst more repetitions with testosterone in their bodies to soreness and enhance recovery.” in rehearsals until 5:30pm, 3-6 sets of 4-5 repetitions Sustaining lighter weight can develop bulk up easily. The average Maggie Vannucci have a quick break, then if it’s @ 50-75% 1RM* strength endurance. Power female has about 15 –20 times Student at London Contemporary Dance School a performance evening I will development, as used when Hypertrophy less testosterone than men do. As prepare physically from around lifting and jumping, needs (Muscle Growth) long as weight training is taught 7pm and be on stage until to come after developing the 3-4 sets of 6-10 repetitions and performed correctly, it will around 10:30pm. foundations of strength training @ 70-80% 1RM* massively improve a dancer’s to optimise its development. performance and prevent be part of the dancer’s life As an athlete in top physical Strength Endurance Peak Fitness condition, why is it important This training uses lighter weight injuries.” throughout the year, because and focuses on the speed of the 3 sets of 12-15 repetitions Some dance artists have been there needs to be consistency to maintain your levels of movement. @ 50-75% 1RM* incorporating resistance training and continuity to have the fitness? There are no shortcuts in *1RM = 1 repetition maximum for some time. Rachel Birch- desired effect of strength My body is essential for my strength development and one Lawson, a choreographer and development. During the Eric Underwood, Soloist of The Royal Ballet work – I need to maintain it to cannot pre-determine how performer, has seen the benefits. summer break and rehearsal do my job well. It’s important long it will take, but if a dancer “Since I’ve started including periods it should become a and our cover star, talks to One Editor Cameron to me that I stay fit and trains for 1-2 sessions a week weight-training I’m definitely priority. However, during a functional in order to carry out and systematically follows a stronger, and substantially more dancer’s performance season, Ball about the importance of maintaining his my work at top level. It’s also programme, initial adaptations capable and confident. I do maintenance of strength (one really important for dancers can happen within the first 6-8 “Try to fit sessions into lighter days anything from fairly light circuits session per week) is essential, fitness and looking after his body. to include rest in their regime. weeks. Every 6-8 weeks, the body and preferably after main dance to full strength work at the edge otherwise detraining of strength At The Royal Ballet we have would then need different types classes. It is also important to of my range. I tend to be quite can occur. Directors, teachers access to the Monica Mason of stimuli either by changing the schedule rest periods alongside relaxed about my approach and and dancers should seek the Health Suite which provides exercises or by increasing the training. Inherently dancers work go through different phases advice of certified strength and healthcare support for the load. It is also important to try and hard and sometimes forget the depending on what I am conditioning coaches regarding dancers including massage, avoid dance specific movements importance of rest; a time when the performing. It’s increased my the most effective ways to physiotherapy and Gyrotonics. as it is vital to develop foundation body recovers and repairs itself.” athleticism and made me much implement weights into a There’s also a gym for strength before the focus becomes Linda Moran Ladies’ Ballet Tutor and more willing to tackle physical training programme. Contact strengthening and conditioning Anna Brodrick more dance specific. Lead Physiotherapist & challenges I meet in the studio.” [email protected] for and we have access to health Head of Medical Department at Central Female dancers are advised School of Ballet Strength training should advice on this matter. advisers and dieticians. What advice do you have for dance students about the In our previous issue we from various areas of practice importance of looking after One Dance UK announced our Expert Panel including: academia, company their bodies? for Children and Young healthcare management, As a dancer, your body is your Dance Medicine and People’s Dance. In this issue, nutrition and dietetics, instrument and you only have we are pleased to announce the orthopaedic surgery, osteopathy, one! The better you treat it, the formation of our Expert Panel: psychology, physiology, more you get back from it. Science Expert Panel Dance Medicine and Science, physiotherapy, rheumatology, which advises the Healthier sports and exercise medicine, How do you fuel your body Announced Dancer Programme (HDP) on and sports therapy. Several for performance? issues and developments in panel members have served the My schedule dictates my diet by Sarah Needham-Beck, these fields.. Drawing upon the HDP in an advisory capacity for somewhat – if I know I have a Healthier Dancer Programme Manager knowledge and expertise of many years; all have extensive heavy day of dancing, I have this panel enables our Healthier experience of working with complex carbohydrates the Fourteen members have so far agreed to Dancer Programme team to dancers of various genres, night before. I always try to eat serve on the panel (pictured left to right): bananas before performances as Dr Nick Allen, Prof Matthew Wyon, Dr Huw offer the most up-to-date advice, most notably including ballet, Goodwin, Prof Joan Duda, Dr James Calder, informed by current practice and contemporary, and musical they are a good source of slow Jasmine Challis, Britt Tajet-Foxell, Greg Retter, research, out to our members theatre. releasing energy, supporting Tommi Sliiden, Dr Roger Wolman, Kim Hutt, Moira McCormack, Dr Emma Redding, and the wider industry. Further information me to continue working at full Dr Amal Hassan The panel members are drawn [email protected] capacity. What is the key to preserving your fitness to sustain a long- lasting performing career? It’s really important not to do any extreme dieting or regimes you can’t maintain. For me, it’s all about balanced meals and exercising regularly so it becomes natural for your body, and you don’t put your body ‘into shock’ when faced with physical challenges.

See behind the scenes of The Royal Ballet’s Monica Mason Healthcare

Photo: Rick Guest Suite at http://bit.ly/RBhealth

12 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 13 Special Focus on Health Special Focus on Health So, what do you think ‘rock authentic to communicate. happened that day. You’ve finished the R&D, so bottom’ is? And why did you I’ve always stressed that we The second week was what’s next for this new work? Safeguarding Mental Health choose this as a theme? should make work that we feel something we were nervous I now have the ‘participation’ I chose the theme of ‘rock passionate about, about things about, because emotional section of the project to do, bottom’ because after years of that we really understand. triggers through discussion and including workshops at a range struggling with my own mental Wendy and I supported improvisations had come up of colleges and universities. health, I thought I had reached each other through our own during the first week, and we We are applying for residency in the Creative Process my own ‘rock bottom’ at mental health issues. We also were worried about how these at various institutions and various points. I think my own reached the same point where might ‘spill over’. We stopped creating a documentary about Stuart Waters and Wendy Hesketh-Ogilvie embarked on a two-week personal experience – a near- we wanted more from our improvisations when we felt the project. death experience – would be own careers: further self- they were getting too intense. We will be approaching Research and Development Project (R&D) in January 2017, working considered ‘rock bottom’ and, development and a desire to We also chose good national dance agencies and thanks to Arts Council England move to a new phase. collaborators - this was other bodies, for partners to join with a range of collaborators to create two solos and one duet about funding, I have been able to important – everybody was us and support this important hitting ‘rock bottom.’ In parallel, the project also explored how to explore that. As part of the creative completely sensitive and work in Phase 2. I envisage process for the research, incredibly generous in listening this phase will be a further and safeguard mental health during the creative process. One Dance UK Tell us about your you were looking at mental to our experiences and stories, deeper research period, ideally collaboration with Wendy. health. What do you think are helping us find a link in a safe with different groups of people Healthier Dancer Programme Manager Erin Sanchez chatted with How did you two meet? the key things that you need, way. involved with mental health Wendy and I first met at to stay mentally healthy I’ve taken away from the and the arts, such as dance Stuart about this fascinating and extremely useful research. Motionhouse in 2005. I had in challenging rehearsal process, that your creative therapists. I feel like we’ve worked for her as a performer environments? environment is important, scratched the surface and our and rehearsal director at Wired I began my own day with perhaps even more so on a piece work is just beginning. Aerial Theatre and we had been Reiki meditations, and we both like this. Fortunately, we were close friends over the years so decided that we would do in almost a ‘retreat’ situation Stuart Waters will speak about this collaboration happened ‘check-ins’ and ‘check-outs’, where we were surrounded by the next phase of this work at very naturally – but this is the during which we would sit countryside, so didn’t have to One Dance UK’s second 2017 first time she had worked for down and ask each other about go into the hustle and bustle of Healthier Dancer Conference, me! the day when everybody else city life each day, adding stress to on 26 November, which will For me, as a maker, I felt had gone. We left time in the what might have been an already focus on psychological and that I’d arrived naturally at this day to meditate, debrief, and emotionally stressful day. social aspects of healthcare for point; that I’d found something write down and record what dancers.

Further information: [email protected]. facebook.com/rockbottomdancetheatre

Stuart Waters and Stuart Waters and Wendy Hesketh-Ogilvie Wendy Hesketh-Ogilvie CHI UNI DANCE ADVERT 88X127MM FEB 17 R 2.qxp_Layout 1 16/02/2017

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• 100% STUDENT SATISFACTION IN DANCE • 96% STUDENT SATISFACTION IN SPORT FIND OUT MORE: AND EXERCISE SCIENCE www.chi.ac.uk/courses Photo: Joe Armitage

14 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 15 Special Focus on Health Special Focus on Health Strengthening International Combining the Traditional Dance Science Connections With the Cutting Edge

26th Annual Conference Applying principles of dance science to Kathak Brazil-UK Dance Medicine of the International Association for Dance dance practice, by Seema de Jorge-Chopra Medicine and Science & Science Network (IADMS) I have always considered myself On 27–31 August 2016, Erin Sanchez and Sarah Needham-Beck, The Hong Kong Academy to be a physically fit individual. One Dance UK’s Healthier Dancer Programme Managers, were joined for Performing Arts, When I performed on stage I by 11 other researchers from UK institutions in Goiânia, Brazil Wanchai, Hong Kong felt fantastic, but when I got off to continue a 15-year collaboration in Dance Medicine and Science (DMS). 20–23 October 2016 stage, my costume felt tighter, my ghungroos (bells) felt heavy In October the international and tight around my ankles and I dance medicine and science was exhausted. On one occasion I community gathered in Hong took off my dance accessories and Kong for the IADMS Annual laid on the floor with my legs up Conference. Our Healthier trying to regulate my breathing. It Dancer Programme Managers, was scary, but it made me curious: Erin and Sarah, both attended as what had just happened to my did NIDMS partners, members of body? It left me with a desire our Dance Medicine and Science to understand more about the Expert Panel, and a handful of physiology of Kathak dance. One Dance UK members. Despite In 2013, I experienced my a typhoon leading to one day of ultimate dream: to perform on practising in the last month, different experiences. never felt fitter, stronger and more the conference being cancelled, a three-hour solo of Kathak saying ‘the only thing that is going What I learnt over the course connected to my own body. My we were all able to learn a lot and repertoire my Guruji, Abhay to make your dance amazing of the year was unbelievable. I awareness of the way my body further expand our networks. Shankar Mishra, choreographed now is the practice of your dance’. had so many questions, my mind moves in Kathak has enabled me The conference began with especially for me. The training Repetition was key and with that was in a constant state of curiosity, to practise safely, teach safely and a detailed look at The Dancer’s programme started a couple of came a sense of calm. I stopped and this was overwhelming and avoid injury. I engage my core and Hip with Dr Jason Brockwell years earlier; I practised between working and dedicated myself to tiring. feel a difference in my footwork, and over the following three rehearsals and performances at rehearsing every day. I focused on My thesis topic was: the effects my chakkars (spins) are faster BR-UK conference participants days featured many medical, English National Opera where I dancing rather than gym training, of cool-down on recovery after and more precise and my knees scientific, and practice-based worked. and ensured that I ate well, intense Kathak dance activity. I remain more correctly aligned. In June 2016, the research Dance Medicine & Science Network, exciting developments to look presentations and workshops. It My goal was to dance stretched well at the end of each was investigating blood lactate, I still have a long way to go but collaboration commenced with was developed by Adriano Bittar, out for include: was encouraging to see research effortlessly, seamlessly and day and got sufficient sleep. I lost heart rate and ratings of perceived these are exciting times and I hope Brazilian researchers visiting a Brazilian dance physiotherapist • The launch of a book about presented on more diverse genres powerfully. If I could enter the a stone in weight, had incredible exertion. What was happening to to inspire others to research into the UK for a two-day research and Pilates specialist and NIDMS DMS in the UK and Brazil. of dance than have typically been dance studio with strength and endurance and felt very focused dancers when they came off stage Kathak dance and enable dancers exchange at the University of partner Matthew Wyon, Professor • The second research meeting of studied in the past. One Dance stamina, then Guruji’s intricate during this time. and did not recover/cool-down? from all genres to experience their Wolverhampton and a visit of Dance Science at the University the BR-UK DMS Network at the UK member and Founder of Kathak technique would be easier Upon reflection, I had positive I was beginning to answer some full dance potential. to Trinity Laban for the Dance of Wolverhampton. It was made University of Wolverhampton. Project Breakalign, Nefeli Tsiouti, to adopt and I would be capable feelings and felt focused during of those questions and, in doing Science Networking and Careers possible by generous support • The availability in presented some of her research of achieving more. Six months that 2013 performance. I felt in so, was pioneering dance science Day. Similarly, the workshop in and collaboration from the British Portuguese of Safe Dance Practice on breakers and commented before my solo performance I the moment and in the flow. I did research into Kathak dance. Brazil, entitled The Potential and Council, Newton Fund, seven guidelines, the launch of a book on the need for increased joined a gym and signed up with not struggle to recover as I had Challenges of Research in Dance Brazilian universities chapter about the opening of a collaboration between high level a personal trainer. I emailed him done previously, my dance was “I was once told that, ‘science and art Medicine & Science: building and FAPEG, the Brazilian State of DMS research line at the Goias clips of Kathak dance for him to certainly better and my posture don’t go together. Kathak is too sacred, researchers and dancers in order Further information innovative collaborations between Goiás Foundation for Research State University/Brazil. to ensure research remains true make a ‘needs analysis’ for my and technique had improved pure and traditional to be investigated Together with fellow dancers, practitioners, United Kingdom and Brazil, gave Support. • The participation of the to the art form and relevant to performance. dramatically. scientifically’.” researchers and physiotherapists from the opportunity for 33 researchers, Following on from the coordinators of the BR-UK On alternate days, I attended A year after that performance Indonesia, India and the US, Seema those practising it. Seema de has helped establish the International 22 from Brazil and 11 from the UK, exchange, the aim is to create DMS Network in a symposium on Jorge-Chopra, also a One Dance the gym to do circuits and I also I began studying the MSc in I can now confidently say Association of South Asian Dance Medicine to share posters and presentations services, research and educational Networks in the 2017 International UK member, presented her undertook Pilates, outdoor runs Dance Science at Trinity Laban that this is not the case: there is and Science, to disseminate research in the field. She presented at IADMS International of current research and begin opportunities for dancers and Symposium on Performance recent research into effective and swimming. It’s important for Conservatoire of Music and so much to discover in Kathak Conference 2016. planning for future collaborations. the professionals who work with Science. cool-down practices for Kathak the Kathak dancer to be able to Dance. I had overlooked it dance without interfering with Seema and Claire Farmer (NIDMS, Presentations ranged in dance and the general population • The launch of a Facebook page recite compositions in between initially as I came from a creative the beauty of the art and the Akademi) have published an article in dancers and was able to connect Pulse magazine (Winter 2016) about the topic from biomechanics to in both the UK and Brazil. of the BR-UK DMS Network with researchers from India who dances without breathing heavily background rather than a knowledge that has been passed requirement of fitness in South Asian art forms. psychology, screening, fitness Expanded summaries of the Further information are investigating injury and health and gasping for breath. I began to scientific one. But something down through generations. Seema will be conducting a workshop testing and dissemination of dance research presented in Brazil have brukdms.blogspot.com.br or write to talk during my runs and do some pulled me back to it. I felt that Since completing the profiles of Bharatanatyam dancers. for South Asian dancers to experience Adriano Bittar at adriano@studioabittar. science information through been published in the Brazilian interval training to help with this pursuing an MSc would enable qualification and subsequently strength and conditioning principles com or to Matthew Wyon at m.wyon@ Further information alongside Sarah Needham-Beck (One Dance digital platforms. magazine Movimenta and research wlv.ac.uk technique, and received vocal me to investigate the questions becoming a member of the UK iadms.org UK) and Khyle Eccles (The Athletic Trainer). This ground-breaking research projects in biomechanics and BR-UK Video The 27th IADMS conference will be held coaching to help project my voice. that I had collected over the years Strength and Conditioning

collaboration, called the BR-UK physiology have begun. Other bit.ly/BrazilUKLink in Houston, Texas, 12-15 October 2017 Ladrero Photo: Luis de Jorge Guruji advised me to focus and expose me to people with Association (UKSCA), I have seemadejorge-chopra.com

16 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 17 Photo: Audnã Abreu Special Focus on Health Special Focus on Health In Focus Meet One Dance UK Ambassador, Emma Boxall, who Recovering recently came to work with the Healthier Dancer Programme (HDP) and National Institute of Dance Medicine and Science (NIDMS) teams, by Hollie McGill Creativity How has the experience beneficial to work with the the future! Put your all into benefitted you? teams. I gained a unique insight everything you do and as I was Working with the HDP into current issues and asked told in my induction week at Using dance as a method of recovery from addiction and NIDMS teams was an questions regarding dancers’ university, ‘Take what you have incredibly valuable experience. nutrition and the challenges and run with it’. Be proactive by Deb Ashby, Director of Dance Manchester – the It was inspiring to witness the the teams come across in their with your time and take every hard work and commitment education work. opportunity you are given – dance development organisation for Greater Manchester that goes into the promotion you never know what is going of dancers’ health and the 5 words to describe your to come from it. importance of this as part experience “Addiction recovery doesn’t need to be a of a dancer’s training. Exciting, Busy, Inspiring, Interested in becoming a One dark, negative place - it can be a very, I am currently in my final Fascinating, Fun, Rewarding. Dance UK Ambassador? Our vibrant positive and energetic place” year of a BA (Hons) in Dance I think that’s 6 — sorry nationwide programme gives says Darren Duddle. This follows his Performance at Middlesex I couldn’t pick 5! young people the opportunity participation in Expressions Leigh, a University and writing my to gain unique experience at community dance project led by Fallen dissertation, which is based What advice would you give our events, develop new skills Angels Dance Theatre (FADT). The on dancers’ nutrition and to other young people? and expand their networks. whether a lack of nutritional Regardless of your fears and project was hosted at The Turnpike, knowledge leads to apprehensions, although it Further Information Leigh and supported by Inspiring Find out more about the Ambassador Healthy Lifestyles, Wigan. dysfunctional eating habits. may be easier said than done, programme and meet the current cohort at It was therefore especially remain positive and look to bit.ly/ODUKAmbassadors Expressions Leigh began life hosted by the local branch of Addaction, a national charity supporting adults and children with recovery and mental health issues. ‘Recovery in the community’ is a current trend positively endorsed by members of Expressions Leigh. Relocating the group to an art gallery, facilitated a crucial change in their perspective of their recovery process. An external focus - dance, rather than recovery alone - is reducing stigma for participants. Support groups are an important pillar of recovery. This fundamental is maintained as participants check in with each other at each session, discuss themes arising from their recovery Darren Duddle in Pin Pricks of Lights experience and develop mutual responsibility for the future of the group. Darren explained that he sees himself as devolution gives Greater Manchester Darren said, ‘You have to take ownership artistic for the first time, and is beginning a unique opportunity to be radical, to over your recovery’ but they are taking to escape the suppression of drugs, of transform patient centred heath care to ownership of their own creativity too. teachers, other people and no doubt person centric health care. His ambition is Raising self-esteem, providing a himself, particularly in light of his autism. for Greater Manchester to develop the first non-verbal vehicle for self-expression, Creativity assists this gradual revelation national health and care service. Embracing Dancers that are standard by-products of creative of the person hidden behind addiction. dance, not only for prevention but, as dance. Dance has changed Darren’s self- Dance combines creativity with physical evidenced by Expressions Leigh, as a route perception and raised his aspirations to health benefits of regular exercise, enabling to recovering the whole person, should be communicate make a difference to those around him. holistic recovery. integral to achieving this vision. After all, FADT specialises in dance for recovery, Darren concludes with, “I am an uncle…and if I dance and I am more led authentically by professional dancers “I’m having so much fun…fun being creative” Central School of Ballet Tel: 020 7837 6332 Central School of Ballet is an affiliate of energetic in myself towards my nephews and Paul Bayes Kitcher, (also in recovery) and 10 Herbal Hill, Clerkenwell Road [email protected] The Conservatoire for Dance and Drama nieces it’s only going to rub off… they may be able Claire Morris, who currently lead groups in London EC1R 5EG centralschoolofballet.co.uk to be more artistic and creative through what it is I Leigh and Salford, in Greater Manchester. can show them and what it is I’ve embraced“ Greater Manchester Mayoral candidate, Further Information Andy Burnham MP, recently told the local fallenangelsdancetheatre.co.uk Álvaro Olmedo, Valerie Yeo and Mark Samaras Photo: Bill Cooper Darren Duddle theturnpike.org.uk; wlct.org

Photo: One Dance UK Photo: Andrew Millar Expressions Leigh participant chapter of What Next?, that health budget dancemanchester.org.uk 18 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 19 Special Focus on HealthEducation Special Focus on HealthEducation Healthcare Practitioners Book Review Directory Dancer Wellness

The new and improved The Directory lists practitioner Reviewed by Claire Due to the progression of dance offers a detailed breakdown of includes consideration of how good overview of the research One Dance UK Healthcare qualifications, specialist and medicine and science research the layout of the book including to develop intrinsic motivation carried out by IADMS members Practitioners Directory is due dance specific experience, Fa r m e r, Manager, over the past two decades, direction to various chapters for (p.81), completing a food diary for those beginning to explore to launch on our website very services provided, professional National Institute of we have seen an increase in those looking for comprehensive (p.112) assessing your body for a more in depth knowledge soon. Previously housed on the body membership, and contact Dance Medicine and available literature which information on a specific subject. muscular imbalances and setting of their own wellness and its Dance UK site, the Healthcare details. Users can search for disseminates this scientific This method, whilst useful for goals to reduce the risk of injury impact on their dance training. Practitioners Directory is a services by practitioner name, Science research in a more easily readers who are new to the area (p.151). Whilst it is important This publication adds to the searchable database listing type, and location as well as digestible language. Dancer and want a general grounding, to educate dancers on how increasing volumes of literature details of some 230 medical narrowing the search for services Wellness, written and edited by can appear confusing at times. to identify these components specific to dance science and and complementary health covered under our Performance members of the International This also indicates that the of dancer wellness in their medicine, including the recent practitioners throughout the Optimisation Package Association for Dance Medicine Dancer Wellness book can be read either cover to own body, I am glad to see the publication of Safe Dance Practice UK. These individuals have membership. and Science (IADMS), is a good by International Association cover, or as individual sections, inclusion of Part IV: Assessments (Quin, Rafferty, Tomlinson, 2015) for Dance Medicine and experience treating dancers and introductory study resource for Science (IADMS) depending on the needs of the for Dancer Wellness, exploring and Dance Science: Anatomy, understand the specific needs Further Information those wishing to explore dancer reader. However, if you are the benefits of seeking Movement Analysis, Conditioning Go to onedanceuk.org Editors M. Virginia and concerns surrounding Email – [email protected] wellness in more depth, and to Wilmerding and looking to fully understand professional analysis via a dance (Grossman, 2015). As dance injury, health, and performance begin practical application of Donna H. Krasnow dancer wellness, it is imperative specific screening. medicine and science research enhancement. This fact is very research recommendations. Published by Human to read the chapters in relation It is encouraging to see more grows and resources become Kinetics, 2016 important to the dancers who This book introduces the to each other rather than as dance specific publications more and more accessible, we use the service, as they know reader to the multifaceted standalone units. considering the application can and should continue to they are more likely to find aspects of wellness through The authors offer “practical of principles which are more draw on research from different someone who has a deeper three specific sections; Part I: application activities” along commonly associated with authors within dance science, knowledge of the possible Foundations of Dancer Wellness, with a summary at the end sports science, and therefore as well as from sports science causes and consequences, as Part II: Mental Components of of each chapter, encouraging the increased visibility of dance in order to challenge our well as the most appropriate Dancer Wellness and Part III: the reader to consider how science and the importance of perceptions, our thinking and and effective treatment for their Physical Components of Dancer this information is specific to dancers’ health and wellbeing. our practice. injury or concern. Wellness. The introduction their own dance practice. This Dancer Wellness provides a

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20 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 21

Special Focus on Health Teacher Resource PULL OUT AND KEEP For most practitioners, the encourage wellbeing. health benefits of dance are self- Last year, for the first Advocacy: evident. Dancing increases our time, dance was included in Friendship: for KS2 in stamina, strength and flexibility, a government strategy (Sport it helps us to burn calories, it lifts England’s Sporting Future) Dance for the our mood, allows us to interact aimed at encouraging people to mainstream or inclusive settings with others socially and it often take part in dance as a distinct by Natasha Britton, Magpie Dance Youth Group Director & Training Coordinator Nation’s Health gives a very gratifying sense of physical and cultural activity, achievement - “I really nailed distinct from sport. One Dance by Renaud Wiser, that routine!” UK is now taking the lead, with While there has been the help of Jan Burkhardt and One Dance UK Advocacy Mentee much research conducted and People Dancing, to highlight evidence collected over the the excellent work that is being years, it is interesting to note that done in the sector across the UK for a long time dance played in order to develop a strategic almost no part in governmental framework for a nationwide public health agendas. Sports, Dance and Health & Wellbeing This KS2 resource was originally written in 2013 by Head tilts. Circles of the shoulders. Circle elbows and even walking projects, Programme, and help our Magpie Dance based on Friendship, a scheme that and arms with knee bends. Reaches side to side have historically been the go-to members source funding to takes place over 10 sessions. with lunges. Twists of the body. Shifts of weight into activities used to get people engage the population in dance- the circle and back. Clapping hands up and down. doing more exercise. related physical activity. Schools have a responsibility for children’s physical Shaking arms up, down, forward and open. Many professionals in Now is the time for dance and mental wellbeing. This scheme of work can help the public and voluntary organisations and freelancers play a part in this vital role allowing young people at Whole class unison section based sector now consider we have to collaborate with the an “epidemic” of physical health sector and build new all levels and abilities to make relationships with one on ‘playing with friends’ inactivity which contributes to a relationships by championing another, feeling valued and belonging. Remain in a circle and question pupils to find out what staggering 1 in 10 deaths! Since the multiple benefits of dance. games they play with their friends and ask them to 2014, government strategy in So, please do share examples of Age group suggest movements to show these. Piece together tackling this important issue your work in this area with us, Children in mainstream schools or inclusive settings some or all of these movements into a sequence to Join the conversation has followed the framework find out who to contact in your Have your say! @onedanceuk that are aged 7-11 in Year Groups 3-6 at Key Stage 2. practise together. Where appropriate ask questions of Everybody Active Every Day local Public Health and Adult like “Shall we do this high or low?” “Shall we move on (Public Health England, 2014) Social Care Services and invite Further information In line with the KS2 PE Curriculum, learning the spot, around the circle or into the centre?” This Contact Hanna Madalska-Gayer at with a series of policies put in them to see dance projects in [email protected]. place to prevent ill health and your region. outcomes include: will make the actions spatially interesting. Create a • Being able to perform a dance using a range of way to travel on to the performance area ready to start movement patterns their group dance. Set and practise the sequence. • To be able to demonstrate unison • To understand how to work collaboratively towards Sessions 4 & 5 an outcome Key task: Duets – Greetings. • To be able to express their own ideas and develop creativity Warm up • To be able to create an entrance and exit that Similar to the previous warm-up, in a circle, the relates to the dance idea teacher leads but also starts to ask for ideas E.G. ‘Who • To demonstrate different ways of traveling through can think of a warm-up move for our shoulders?’ space Practise Sessions 1-3 ‘Playing with Friends’ whole class section. Key task: Whole Class Unison – Playing with Friends. Duets based on greetings Warm up Remain in the circle and use questioning to generate Start with pupils in a circle and with the teacher ideas for ways people greet each other (high five, demonstrating whole body actions for the pupils hand shake, nod, bow etc). Ask pupils to swap places to copy. Ensure movements can be adapted to in the circle and greet people as they pass. Develop suit everyone and that no movements exclude this to try greeting with different body parts (high five participants. E.g. Rub hands, arms, face and other feet, shake elbows etc). body parts. Lift and drop shoulders with knee bends.

Designed to pull out and keep, we will offer fresh ideas for lesson plans for various Key Stages in each issue of One magazine. For further resources and teacher information, go to www.onedanceuk.org 22 The One Dance UK Magazine | Spring 2017 v v v

Teacher Resource Pullout Cut out and keep PULL OUT AND KEEP Teacher Resource PULL OUT AND KEEP Stardust: Developing Choreography KS4 & 5 and Youth Companies working with 15yrs+ by Hannah Winite-Hawkins, York Dance Space

Magpie Dance participants

In pairs, choose two to four greetings to do together. Try as small groups or whole class. One person is the With the passing of such an iconic innovative pop Possible curriculum links: Physics Ask them to start ‘off stage’, come on to do their leader and the rest of the group must stick near to star last year, David Bowie is the inspiration for this greetings and go off again. As extension tasks ask them. Try first with just stopping and starting (moving resource. An excellent subject for young people to look Possible pre-practical task pupils to think about adding movements between slowly), then add stopping to make a shape that at their role models, allowing creativity in expressing Taking inspiration from Bowie’s fascination with space the greetings such as turns or their favourite dance everyone copies, then try different ways of travelling influential popular, celebrity culture of today. travel and science fiction discuss our solar system and moves. and stopping to make a shape. After trying different the objects that orbit the sun. Discussion outcome ideas, set their favourite travelling movements and Age group could be moons that orbit planets, asteroid fields, the Sessions 6-8 shapes in an order to create a section of the dance mass of different planets and other objects that might Key task: Small group work (or whole class) – that moves across/around the stage/performance This resource is aimed at youth companies working pass through our solar system. Friends sticking together area. with 15 year olds or above but can be adapted for Key Stage 4/5 students, in particular BTEC Level 3 Unit Task A Warm up Sessions 9 & 10 50: Movement in Performance and Unit 31: Dance • Set up a simple structured improvisation focusing on Repeat previous ideas used. If participants are ready Key task: Structuring the dance Improvisation, as well as exploring ‘Portent’ themes for orbiting pathways. Students are to imagine they are then they could each choose a warm-up move to do Warm-up – Repeat previous ideas used. Aim for the BTEC Level 2 Unit 1: Individual Showcase. objects within a solar system. Dancers can only walk and everyone copy them – take it in turns and pass warm up to be student led. or run at different speeds. Once students become around the circle. Ensure safe development of the Warm up confident with this idea you could ask dancers to warm up by encouraging slower movements, then Practise Get ready to dance by warming up the dancers, sit out and draw the pathways of dancers or video faster, then stretches at the end. All three sections created. using whole body actions, different levels and spatial record the improvisations. patterns. Use ideas of circling, rotating, orbiting. • Students watch video footage and share their Practise Structure the dance observations/drawings with the group. Playing with friends whole class section and greetings Gather ideas from the group about the order of the Possible movement tasks duets. sections for their dance. Set the order and practise 1. Improvisation tasks Possible discussion points the finished piece. • Is the improvisation interesting to watch and why? Small groups or whole class travelling task Learning outcomes How did the difference of speed affect this? based on ‘friends sticking together’ The travelling task (Friends Sticking Together) can be • Work creatively and confidently with improvisational • What difficulties arise when working with the idea of Using idea of ‘follow my leader’. used as a way of getting on and off stage. The piece structures. ‘orbiting’ such as spatial awareness and relationships may look most effective if it builds up with a climax to • Select and develop the most creative and interesting with other dancers? everyone being on stage. ideas for choreography. • How could we use and develop this structured • Evaluate the effectiveness of using improvisation as improvisation to compose choreography? a composition tool.

Specialist insurance for dance teachers Tailored cover against the risks you face from just £5 a month Designed to pull out and keep, we will offer fresh ideas for lesson plans for various Key Stages in each issue of One magazine. GET AN ONLINE QUOTE AT WWW.MARKELUK.COM/DANCE For further resources and teacher information, go to

Magpie Dance Participants, Photos: Alicia Clarke & Charlie Milligan Magpie Dance Participants, Photos: www.onedanceuk.org Teacher Resource Pullout Cut out and keep PULL OUT AND KEEP

Advert ordering Introduced by Claire Somerville, changed Head of Children & Young People’s Dance THE ROYAL BALLET One Dance UK Dance Teaching Awards

Harris Academy Students

Task B audience members guess the different personality We have often heard it said that apply via the online portal on • Repeat the improvisation, this time dancers can use traits in each dancer’s performance? Peer and tutor behind every great dancer, is a bit.ly/DanceTeachingAwards dance actions such as turning and jumping as well as feedback should be shared, with dancers given time great dance teacher. I certainly Short-listed nominees will owe a lot to the dance teachers be invited to an afternoon tea different levels. If you haven’t already, introduce other to refine their work. who inspired and supported with bubbles, at Birmingham objects in space such as shooting stars, comets, me, without whom I wouldn’t Hippodrome on Sunday black holes and see how they will embody these. Task B be working in dance today. 16 July, the final day of the If your dancers are coming together to suggest • Discuss with the dancers the expression ‘alter ego’ It’s with this in mind we’ve national youth dance festival an object with a huge mass could they introduce and other famous people who have alternative launched our new One Dance – U.Dance 2017. Winners will contact work? personalities such as Dr Jekyll’s Mr Hyde and UK Dance Teaching Awards; be awarded a sparkling trophy • Record each improvisation and watch back. Beyoncé’s Sasha Fierce. Usually these personalities to seek out and champion the and the honour of receiving Ask dancers to identify interesting parts of the are unmistakably different from the original persona. fantastic work of so many the very first One Dance UK talented and committed dance Dance Teaching Award in that improvisation, recreate, develop and set the material. For the next task, dancers must develop their solo teachers, dance education category. to show a contrasting personality. They could use organisations and senior So, what are you waiting Independent tasks the direct opposite of their own personality traits leadership teams. We recognise for? Nominate those inspiring WAYNE MCGREGOR’S or create a completely new personality. Encourage that their hard work needs teachers today and help us Learning Outcomes them to be as experimental as possible. A dictionary/ shouting about and as the shine a light on great dance • Being able to communicate emotions and intention thesaurus may be useful here. national body for dance and teaching! through performance. • Repeat sharing. Subject Association for Dance We would like to thank our in Schools, we’re very excited awards sponsors Dancewear Interpretive skills development, for example, the •  to be looking for our first Central, Harlequin Floors, TEACHER AND STUDENT WORKSHOPS ability to show contrasting dynamics and use facial Possible experimenting and developing strategies nominees for the awards. People Dancing, Safe in Dance expression and focus to convey meaning. • Using the tasks above and ideas below you can There are nine categories, International and Trinity • Select and develop appropriate movements in develop and lengthen your piece for performance. and teachers and educators in College London. Are you studying Infra with your response to a stimulus. • Select and rehearse solos in duets or groups. all dance genres are welcome. GCSE Dance students? People can be nominated by • Interpret meaning of choreography. Identify and Experiment with different start times, contrasting Bring Infra into your studios, explore the communicate befitting improvements to make solos, change the facings of solos to create different their students, a colleague, Further information parents, even themselves! They work in detail and get moving in our workshops choreography more effective. relationships. Add contact between dancers to show bit.ly/DanceTeachingAwards can also be nominated for more specially designed for teachers and students. a personality ‘clash’. than one award; all you need to Nomination deadline: 19 May The student workshop will: Possible curriculum links: English • Repeat improvisation Task A. If the dancers are in do is check which category best Awards announced: 16 July • Explore the technical and expressive skills needed to perform Infra orbit, they can perform either of their 2 solos. This exemplifies your teacher and Birmingham Hippodrome • Use creative tasks to generate movement material Using the concept of David Bowie’s alter ego Ziggy could be a reaction to another dancer passing them • Learn a short section of Infra repertoire Stardust, these tasks are designed for individual or personal impulse. Record and watch improvisation Stopgap Dance Youth Company Whilst the teacher workshop will: creativity, developing unique choreography that recreate, develop and set the material. Add on set • Explore different ways of performing material focuses on dancer’s own movement vocabulary. material developed from improvisation Task B. • Discuss features of the production • Find ‘Helping Hands’ clip on YouTube from the film • Highlight clear links to the AQA GCSE Dance specification Task A Labyrinth. Use this as a starting point for contact work And much more… • Without showing other dancers write 5 words or using hands and bodies to create surreal beings or that best describe their personality and mind map entities. possible action and dynamic responses. Create Booking opens on 31st January 2017. a short solo, possibly 2 counts of 8 in response to Suggested music To request a workshop head to our website the 5 words. The solo should be a short but true Of course, David Bowie’s music would be an obvious www.roh.org.uk/learning representation of themselves. There is an opportunity choice here, however his influence can be found or email us as [email protected] for dancers to use different dance genres here. in music from Lady Gaga to Arctic Monkeys. Other • Share solos with the rest of the group. Can the artists you can experiment with are Tame Impala and Photo: Eric Underwood and Melissa Hamilton in Infra © ROH / Bill Cooper 2010

Photos: Brian Slater Radiohead. Photo: Chris Parkes The One Dance UK Magazine | Spring 2017 27 Elsa Urmston (DanceEast) and Tracy Witney (Northern “... the whole process has been a discovery of how The Centres for Advanced Training and why I move – a really safe space was created exist to provide high quality dance School of Contemporary Dance) share how the recent training for children and young people where I could connect to my emotional self. ” between the ages of ten and 18 years, collaboration with Centre for Advanced Training students Workshop participant enabled through funding from the and Alvin Ailey American Dance Theater artists had an Department for Education Music and Dance Scheme. Eligible families impact on the young dancers’ confidence and wellbeing. can take advantage of means-tested bursaries, which cover the costs of training, and some travel, so that those who would not normally have the Building Confidence means to access this level of training are able to do so if they show the the Intensive Way potential for a career in dance. ‘ These four days have been significant and about how they perceived changes in their life-changing. I know that dance is for me confidence over the course of the project. even more than I did before the intensive. I’ve Overall confidence scores were significantly found a voice in me I didn’t know existed, improved after the intensive (p<0.05). And I have courage and the nerve to do what I in particular, students’ optimism levels thought was impossible. It isn’t impossible – improved by 14% across 4 intensive days of everything is within your grasp if you just try work. and you have the people around you to help it Critical to enhancing the students’ become a reality.’ confidence was the learning environment These words come from a 17 year old which Matthew and Alex created. Simple Centre for Advanced Training (CAT) student, acts such as learning names helped students who had just completed a remarkable feel valued and acknowledged. Matthew residency with artists from Alvin Ailey often asked students to demonstrate material American Dance Theater (AAADT). In alone for the rest of the class to watch. To September 2016, prior to AAADT’s national many, this approach may seem daunting, tour, 46 CAT students from across England yet the individual feedback for each student, descended on the Jerwood DanceHouse in and the spirit of co-learning with their Ipswich to work together for the very first peers helped them realise the value of this time, in an intensive four-day period of approach with a student remarking that, training - the Ailey way. The brainchild of “When Matthew picks you to demonstrate I Jeanette Siddall, the project was the result of feel like he genuinely wants to connect and two years of close planning between Dance help.” The positive environment created by Consortium and DanceEast. The broad aim the AAADT artists included much laughter of the intensive was to introduce the ethos, and fun, the artists were aspirational but not training and experience of Alvin Ailey’s distant, and this was key to students stepping heritage to CAT students by working with outside their comfort zones. One student Above: Centre for Advanced Training in Ailey artists, Matthew Rushing, Rehearsal explained that “The whole process has been Dance students Director and Alexandria Johnson, Dance a discovery of how and why I move – a really Artist. safe space was created where I can connect to Specifically, the National CAT partnership, my emotional self.” Throughout, the teaching Dance Consortium and the Ailey company team’s expectations were high and students were interested in how working in an responded positively to this; “I have learnt intensive way could support students’ to just go for it and not hold back. The most physical and social confidence. Research important thing is not to be afraid – your suggests that participation in physical confidence builds as a result.” activity and specifically dance, can positively And so, the students’ journeys go on; the impact on psychological factors such as self- impact of the project has been life-changing esteem1 and motivation2, amongst others3. for many, a place where they have found a Anecdotally, many dance educators observe true confidence in what they have and will changes in their students’ confidence levels as achieve. We look forward to following their a result of dance participation; confidence is journeys as the next dance generation. a complex psychological construct which can Further Information prove difficult to measure. nationaldancecats.co.uk With the Ailey project we drew from danceconsortium.com danceeast.co.uk research produced by the University of nscd.ac.uk Stirling to help drive our enquiry into CAT students’ confidence levels and how they References 1.Connolly, M.K., Quin, E. and Redding, E., 2011. dance 4 might change over the course of the project. your life: exploring the health and well-being implications We asked students to complete a 30-item of a contemporary dance intervention for female questionnaire before and after the intensive, adolescents. Research in dance education, 12(1), pp.53-66. 2.Quested, E. and Duda, J.L., 2010. Exploring the social- which covered the topics of optimism, environmental determinants of well-and ill-being in Centre for Advanced positive mindset, self-esteem and self- dancers: A test of basic needs theory. Journal of Sport and Training in Dance Exercise Psychology, 32(1), pp.39-60. students with Alvin Ailey efficacy. They also kept reflective journals 3.Redding, E., Nordin-Bates, S. and Walker, I., 2011. American Dance Theater’s and participated in focus group discussions Passion, pathways and potential in dance: An interdisciplinary

Photo: Rachel Cherry Alexandria Johnson longitudinal study into dance talent development. 28 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 29 Adapting the way we assess pupils’ progress in dance by Laura Kendal, Dance Education Consultant and One Dance UK Children and Young People’s Dance Expert Panel Member NSCD Assessment Without Levels Summer School 2017

The new curriculum has brought many new curriculum is the requirement that Harris Federation and changes, some more dramatic than schools show progress – however, in the Monday 31 July – AQA have created a working others, but the revolution in assessment new curriculum schools do not have to Friday 4 August 2017 model for Assessment has given teachers the freedom to track quantify it. But other than using a points- Without Levels at Key pupils’ progress in any way that they see based system - how else can we show Stage 3 for Dance. An energetic, fun and challenging experience for fit. As each school differs significantly progress?

in the curriculum it offers, each school’s As schools are still ultimately young dancers (12-18 years) and adults aged 18+ One Dance UK has assessment measure will be specifically accountable, only the very brave (advanced level, including dance students and converted the model into a developed to complement their schools will disregard all points-based comprehensive assessment graduates), led by professional choreographers. curriculum. assessment systems, and even if they tool that incorporates Throughout the last two years, manage to develop a form of assessing numbers and a percentage teachers in schools have spent thousands without levels, they may not be providing range that is rounded up and of hours re-creating the level system in sufficient evidence to satisfy the latest To find out more and to book, given out as a possible grade. an infinite number of ways, each with Local Authority, School Improvement ‘Search’ NSCD Summer School

its own complexities and procedures. Plan, consultant or Ofsted inspector who One Dance UK members Inevitably, a large proportion of these is demanding evidence of progress in can access this extensive E: [email protected] new assessment tools are still numerical their school. Getting the balance right resource that incorporates T: 0113 219 3005 or levelled and therefore bring with between a new child-centred form of an example of a scheme of them all the old issues associated with assessment and producing adequate work via their web login or @NSCDLearning a points-based system. One aspect of evidence of progress is undoubtedly the by emailing amy.swalwell@ the old curriculum that remains in the next challenge for schools. onedanceuk.org

Tannery Drift First School

At the heart of dance

International Dance Teachers’ Association International House, 76 Bennett Road Brighton, East Sussex BN2 5JL

Telephone: 01273 685652 Email: [email protected] Website: www.idta.co.uk Photo: Tannery Drift First School Photo: Tannery

30 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 31 Photo: Jane Hobson; Dancers: Daniel Davidson, Liam Francis and Juan Gil Past, andFuture Present ofBruce’sGhosts 32 TheOneDance UKMagazine| Spring2017 Juan Gil and Daniel Davidson Juan GilandDaniel Davidson the case.Dancers, LiamFrancis, the dancersthis certainly isnot the past;however, asItalkedto Ghost Danceswillbeconsignedto this change,itmayseemlike through thisexamination.With and interpreting Bruce’s work students comparing,analysing summer willbethelastyearof Dance qualification.This people studying AQA’s GCSE been inspiringmanyyoung performed live. thirteen yearssinceitwaslast Dances isreturning toUKstages, the pieceforRambert,Ghost Christopher Bruce choreographed Thirty-five yearssince get spooked by dance’s contemporary ghosts. mosticonic ,Amy Swalwell Dance inEducation Manager, notto tries has Since 1988,GhostDanceshas “ Daniel Davidson I’d seen.” dancers asthe as well just I’d it perform show, first hoping that for terrified and excited both I was

Dances online whilst he was Dances onlinewhilst hewas Chilean dancerJuan sawGhost incorrect”. Twenty-five-year-old the studiowhichIrealise nowwas (from arecording) witha friendin laughed; exposed toGhostDances.He at A Levelwhere hewasfirst fortunate tohavestudieddance old BritishdancerLiamwas systems. Twenty-three-year- through verydifferent education said Liam. like I’mperformingamodernpiece” subject matteriscurrent now, Ifeel performing ahistoricalpiece,the audiences; very muchrelevant fortoday’s explained howthepieceis Liam, Daniel and Juan went Liam, DanielandJuanwent “I copied the movement “I copiedthemovement “Although we’re “Although we’re dancer’ at 17 years old, two years at17yearsold,two dancer’ was trainedbyan ex-‘ghost at TheDanceSchool ofScotland, dancer PaulLiburd MBE.Daniel Liam wastaughtbyex-Rambert at LondonStudioCentre, where young boy. where hewenttoseeitasa Festival Theatre, thesamevenue tour, premiering atEdinburgh’s years later, hekickedoff theUK Dances inEdinburgh andfifteen aged fifteen towatchGhost Daniel wentonaschooltrip the oneghostwhosawitlive. old ScottishdancerDanielis five years. performing classicalworkfor Liam and Juan both trained Liam andJuanbothtrained However, thirty-one-year- Tour dates were tortured and killed during were tortured andkilledduring was oneofthethousands who her husbandin1973. Victor Jara gaining justiceforthemurder of Jara wonafour-decade-long fight the exacttimeofrehearsals, Joan Bruce received aphonecall. At weeks inJunelastyearwhen intensively onthepieceforfour that allthedancerswere working expressed howsignificantitwas Baldwin performed. he’s nowplayingthe‘ghost’ after eightyearsatScottishBallet exactly whatDanieldid,and experience andtocomeback”.That’s Baldwin saidIneededtogainmore for Ramberttenyearsago,butMark after watchingitlive.“Iauditioned During ourinterview, Liam when itisrevived thisyear. extra significance tothepiece Joan andhertwodaughtersgives the work.Thejusticereceived for not onlyJoanbutforBruce and This wasapowerfulmomentfor Barrientos Nuñezwascharged. military officer Pedro Pablo civil trial,theChileanformer agreed todoso. After atwo-week South American folkmusic,he Joan andfallinginlovewith after aninfluentialmeetingwith Human RightsCommitteeand to doapiecefortheChilean Bruce inthe1970s,askinghim for and wastheoriginalinspiration the 1973-90Pinochetdictatorship . Joan wrote to Ghost Dances.Joanwrote to Thu 23-Fri 24 March 2017 Hall for Cornwall Wed 15-Fri 17March 2017 New Theatre Oxford Wed 1-Sat4March 2017 Theatre Royal Brighton

having a political message, but having apolitical message,but symbol ofdeath orkilling,as described theghosts notasa fascinated byhowthedancers of theGCSEcurriculum,Iwas has taughtGhostDancesaspart individual. As anex-teacher who needed tobeperformedbyeach knew thepieceandhowit describing howwellhestill admiration theyhaveforhim, Bruce, itwasclearhowmuch As thedancerstalkedabout “ Liam Francis the deathofcomposerVictor Jara” Pedro PabloBarrientosNúñezfor receiving newsoftheconviction work whenChristookaphonecall We allfeltaconnectionwiththe

www.rambert.org.uk Tue 16-Sat20 May 2017 Sadler’s Wells, London Tue 28 -Thu30March 2017 Theatre Royal Nottingham TheOneDance UKMagazine| Spring 201733

Rambert’s most profound works. Rambert’s mostprofound works. to come,remaining oneof and studiedbygenerations and willcontinuetobecelebrated stands inthepresent forjustice part ofGSCEDance’shistory. It emotion. into afterlifewithnoangeror in arelaxing state,guidingthem ghosts owningthislimbospace at thesametimeandwith death, simultaneouslyexisting about thevoidbetweenlifeand has become Ghost Danceshasbecome

Baraka Sele, an independent producer and consultant from New Jersey, One of the Trailblazers Champions 2016-17, Dr Adesola Akinleye, talks to USA, reflects on November’s Re:generations international conference One Dance UK’s Katy Noakes about her recent work and collaborations

Diasporic Dance: In Focus Legacies of Imagination

at the seams and splitting Dance Form (Yassmin Foster), capitalising on the remarkable into clubs, factions and and The Concept of Africanicity momentum that gathered pace secret societies, there are also in Dance (Gossano Malone). at Re:generations 4. those below the surface who The conference programme Translating such enthusiasm believe that collaboration and also featured panel discussions into tangible developments is connection still have precious with influential figures from sure to be exciting, challenging value. This sentiment certainly the arts and academia, lecture and ultimately rewarding. seemed pervasive among those demonstrations, workshops, Analysis, assessment, who came together between 3-5 and public performances by UK thoughtful deliberation and November, 2016 in Birmingham and international dancers and measured movement that will Left: Dr Adesola Akinleye performing to attend the Re:generations companies. navigate the craft through in Woman’s Work Baraka Sele 4 - Diasporic Dance: Legacies of At every turn, conference what may be choppy and Project - Passing (2): Below: Light Steps Imagination conference at mac attendees were immersed in unchartered waters is exactly The Price of a Ticket performers Re:generations is a biennial Birmingham. enlightening conversations what is needed. academic and artistic conference The biennial conference and learning opportunities, There are many, including which aims to share current focused on the "heritage, interspersed with informal this writer, who are anticipating practice and research in the histories, geographies, legacies, networking sessions. Everyone the possibilities and cheering field of dance of the African places and spaces of dance of interviewed seemed to feel for Re:generations' safe and Diaspora (DAD); explore and the African Diaspora" and was enthused by those they met and successful landing at ports stimulate further research, developed with many partners, invigorated by the connections known and unknown. documentation and new including ACE Dance and they made. We realised We would like to thank approaches to education Music, IRIE! dance theatre, De what a precious opportunity the support of event and training in the field; and Montfort University, dance and privilege it was to be a sponsors IABD, Serendipity encourage new perspectives on Immersion in Canada, and participant in an extraordinary and Northern School of the future of DAD work. When independent consultants. gathering: new colleagues and Contemporary Dance. it was formed last year, One Speakers tackled profound old friends from Uganda to the Dance UK reaffirmed its strong and provocative topics ranging United Kingdom to the United Further information [email protected] commitment that Dance of the from The African Peoples' Dance States and beyond. http://bit.ly/RegenConference African Diaspora would be a Movement in Britain and The It will be exciting to witness Read a more in-depth feature on Re:generations central pillar of its work. National Arts Movement of Ghana One Dance UK working together 4 in the upcoming edition of HOTFOOT, One Dance UK’s publication focusing on Dance of At a time when the world (Funmi Adewole) to The Black with its existing partners the African Diaspora. Contact mercy.nabirye@ appears to be coming apart Dancing Body Versus the Black and newly-found friends, onedanceuk.org to order your copy. What does being a One It is our ongoing interest in their collection and we are was a collaboration between Dance UK Trailblazers exploring how we develop exploring them with the One Dance UK, ISTD and Champion mean to you? young people’s engagement children. Middlesex University. There is a The fellowship has meant with the physical, embodied We see the children as our film of this: Left to right: BOP Jazz Dance Theatre; a lot to me in a number experience dancers know guides for what the object and • bit.ly/wts-video African Heritage UK; of ways. I have been able so well, including how the art can mean. We see this kind IRIE! dance theatre to start my project (ILA educational experience can of research and development I have also been working and Woman’s Work) with include developing physical as important for two reasons. on a project called Woman’s Rum el idus, aut qui confidence, knowing I had at qui cum fugiae literacy. Firstly, the creative process Work. Groups of women volenimilis dolore some seed money to use to ILA creates performance for the young people dance together as well as find match funding and cover work and workshops for becomes an art experience talking, sharing and collecting startup expenses. I feel this is young audiences and their in itself. Secondly, it means movement narratives and important for artists – to have families, while making sites we are consulting with the spoken histories. This is about support from the shoots of a of culture such as museums audience we are making for what I call ‘re-remembering project as it starts to form into and theatres welcoming at every stage of creating and and re-bodying’. I think the more substantial work. It also spaces for young people to presenting the work. work of sharing and creating meant a lot to me that this explore. We are working from embodied experiences is an award you are initially with three schools and their Can you tell us what else is particularly important for nominated for by peers within local museums: a school in you’ve been up to as part of women as so often women’s the dance community. London and V&A Museum of your Trailblazers Champion histories are written on their Childhood; a school in Bristol role? bodies. Can you tell us about ILA and Bristol Museums and In the summer, Helen Kindred project and the ideas that Art Gallery; a school in Flint and I organized a symposium shape the work? and the Flint Institute of Art. Wright-ing the Somatic, that The project is a development Each museum has identified brought artists together to share Further information

Photos: Foteini Christofilopoulou right: Photo: Matthew Cawrey left: Photo: Lisa Gilby; Top Top of our earlier work Light Steps. artifacts or works of art from their creative processes. This www.dancingstrong.com

34 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 35 What to expect at this year’s Trailblazers Champions Showcase, Avatâra Ayuso, director of AVA Dance Company, recounts her time spent by Yassmin Foster, Dance of the African Diaspora London Programmer working with dance artists in Burkina Faso as part of her dance research project, an experience filled with challenges and unexpected highlights Feeling Hot, Hot, Hot! A Leap Into The Unknown

This year’s Trailblazers Showcase features Further Information Trailblazers Showcase champions Ithalia Forel, Dr Adesola The Trailblazers at The Place, London programme is an annual 10 May Akinleye, and Neriah Kumah Legacy Gift professional development www.theplace.org.uk recipient Sara Dos Santos. All three artists, fellowship, for UK based Application for individuals, working in Trailblazers ‘Starters’, committed to developing dance of the the field of dance of the close 31st March: African Diaspora (DAD), will present work African Diaspora. bit.ly/tbapply encouraged by their academic, international

and artist development achievements. Avatâra Ayuso leading a workshop Ithalia Forel Afroplay: Place vs Colour, by Ithalia Forel, is presented in three parts. Through dance, it explores what it means to identify with African culture. Part three The Show is a culmination of an intensive workshop, and facilitated debate, by academics and artists from Liverpool and surrounding areas. Look out for The Show somewhere near you.

Dr Adesola Akinleye Dr Adesola Akinleye’s work explores the liminal phases of gender and race. Working closely with the theme of ‘passing’ Akinleye uses dance and multi-media to narrate I met the dance artist Souleymane Ladji in run by Irène Tassembédo, a fascinating they feel the freedom to be contemporary stories of transformation, Senegal. He came from a country I did not woman, a driving force in the dance scene in the way they want to be – they don’t and the on-going inability know much about: Burkina Faso. My first of Burkina, and CDC La Termitière, run play to exoticism or Africanism. How to just be present. Passing (2): reaction was to feel a little embarrassed by Salia Sanou and Seydou Boro. They liberating to experience this! The Price of a Ticket is second because I had no idea in which part both have a very different approach A curious difference: there are far more in the series of her thought of Africa Burkina was (somewhere in to training: EDIT concentrates on male dancers than female dancers and provoking work. the middle?). Map research and a few the mastering of techniques (afro- some initiatives have been launched to conversations with him made me realise contemporary, contemporary, pilates, etc), engage women in dance. The opposite how rich and active the dance sector and CDC on choreography by working from our case in Europe, but also a Sara Dos Santos is there. I had to go. I applied for the with guest choreographers. paradox when you see that the women Birthed from an outreach International Artist Development Fund My stay coincided with Triennale are the ones who have shaped the African project in Brazil, Frontline is from the British Council and got ready to Danse l’Afrique Danse, the biggest contemporary dance landscape. a social narrative dance piece. take a leap into the unknown. African contemporary dance festival After three weeks, I came back Sara Dos Santos delivers There were challenges as soon as I and I observed rehearsals, taught class, inspired, challenged, with a bit of extra a high energy, dynamic landed: the extreme heat (never less than attended conferences, gave workshops, French and eager to follow up on the and emotionally driven 40 degrees) and having to do everything started a new duet for Ladji and myself development of contemporary dance not performance that brings to life (everything!) in my very basic French. and worked on a photographic project only in Burkina but in the whole of Africa. voices of human trafficking Traditional dance and hip hop seem with the great Margo Tamizé. This gave I feel privileged to have experienced this and child prostitution. to be the main forces in Burkina Faso me a good perspective on how they new wave of contemporary dance – their but contemporary dance is slowly work in Burkina: they have a different proposals are brave and unique. The gathering pace. There are two institutions pace when creating (no “express” dance sector in Europe will soon realise: offering regular training in the capital choreography: they invest time in Africa is waking up, and they are telling Ouagadougou (neither currently funded creating!); they enjoy pure physicality as their stories in their own way.

Top to bottom: Photos: Tim Emmerton, Barry Lewis and Daniel Cheung to bottom: Photos: Tim Top Tamiz Photos: Margo by the government): EDIT, a school much as conceptual work; and above all,

36 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 37 Kirsty Alexander and Gitta Wigro of Independent Dance reflect and that independent artists We therefore need to find ways know the difficulty of administration, we have to work across all of them to support funders in their achieving full cost recovery. challenge the low status of on the challenges and freedoms of working outside the mainstream simultaneously. efforts to more appropriately However, the situation is more administrators, and the current Independent artists “get the measure” of how complex than just wanting lack of recognition for all the therefore offer an alternative to different kinds of work might artists to be funded at full cost different work and workers the hierarchies that pervade the have different kinds of impact. recovery. Public funding brings that make something happen. dominant parts of the sector, How do we measure the with it accountability demands We work in an ecosystem of creating possibilities for new way a work niggles away at based on assumptions of individuals and organisations, Travelling Rather kinds of work and new ways our dreams months later? growth and audience numbers and we should be vigilant of working, in an atmosphere That kind of resonance is which reinforce existing whenever some contributions of collaboration and exchange. not captured in an audience differences in funding and are seen as lesser. Only by Using the freedom of working survey immediately after the visibility. In seeking to break claiming all the dimensions of outside of the mainstream, performance, or represented by this cycle, we need to be careful what contributes to an artistic Than Arriving we can create spaces for the audience numbers. not to migrate towards the work do we confer status and unfamiliar, for ambiguity or At the same time, it mainstream. It is essential that visibility, which in turn helps even for downright failure, is a problem that we are we seek a better deal on our us argue for full cost recovery. which are a crucial part of performing all too often to own terms. For a vibrant and diverse The Research Institute for Yet it is important to disability. There are also positioned on the margins of artistic practice and imperative ourselves and for little or no For example, our language dance sector, we need a wider Media, Arts and Performance, understand that while roles dance-specific hierarchies of that already marginal sector. to the way in which art can money. and funding structures need recognition of the many at the University of and resources are ascribed to funding and public perception, Differentials of privilege go function as an affective force Although independent to reflect the collaborative contributions to a process, and Bedfordshire, recently individuals, hierarchies are for example: classical over further still, with independents to those who encounter it. artists judge the returns nature of the artistic endeavour the plurality of roles played by published a report that relational. They function as contemporary dance, and usually accessing status and A “shock to thought” (in the (financial, creative, and and problematise the an individual. pointed out perceived and real a dynamic within a society mainstream regularly funded resources only in their role as words of philosopher Brian practical) of the work they take company model’s reification The question now is what hierarchies experienced by or particular community of companies over independent choreographers, rather than Massumi) that is other to the on, the funding they secure of the artistic director and its kind of dance ecology can independent dance artists. practice that can shape and dance artists funded on a in their roles as performers or confines of instrumentalism never covers the full extent concomitant reinforcement of support the independent artist That people have different reinforce existing privilege and project basis (if at all). Within teachers. and to the neo-liberal ideals of of the hours of application the idea that creative work is in such a practice – a way of roles and resources is not lack of opportunity. the arts, we could argue that However, it is our efficiency. Therefore, existing writing, accounts management, one individual’s achievement. working that demands a radical necessarily bad. Such The dance ecology mirrors contemporary dance is on experience that teaching, economic measures of success rehearsal scheduling, email It is not just about crediting shift in how we conceptualise differentials can offer a useful hierarchies pervading wider the margins, and in terms of researching, making and might not be suitable for the correspondence and general the labour of dancers in the “success”: a practice of travelling clarity regarding expectations, society in relation to, for resource, status and visibility performing are co-creative kind of work independent admin that the artist puts in. making of a piece. In seeking rather than arriving. responsibilities and demands. instance, race, gender and the independent dance artist is and co-generative practices, dance artists make. Even funded organisations to cover the costs of our self-

Summer Dancing participants

Further information http://bit.ly/IndependentDance Independent Dancers: Roles, Motivation and Success, research report by Imogen Aujla and Rachel Farrer, 2016 Bottom left: Photo: Christian Kipp; Photos: Roswitha Chesher

38 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 39 Jaivant Patel took part in One Dance UK’s Dancers Mentoring and One Dance Choreographic Observership Programmes. Here he recounts his experience being on the programmes, how he has developed as a cultural leader and UK’s Mentoring discusses the need for more diversity within the sector Programmes One Dance UK, No Limits, supported by Arts Council England and in partnership No Boundaries with Dancers’ Career Development, provides unique, exciting mentorships for future leaders in the dance sector “I don’t think you will be “I see this mentorship as successful in being selected for a two-way learning process” “The encouragement that the 2015 Dancers Mentorship Paul Russ Programme” were the collective Director and Chief Executive, Dance4. this presented enabled me opinions of three separate sector professionals, when I Paul Russ’ words were a to start dialogue with others These much sought-after programmes are first considered applying to revelation to me. Suddenly I offered to dance artists and practitioners take part in the programme. was invigorated to be on an I may not necessarily have in England, Scotland, Wales, and Northern The personal self-growth even playing field which was Ireland who have been identified as future that followed, when I was unfamiliar to my experience. awareness of or accessibility to.” industry leaders. Successful applicants actually successful in being A leader in the sector was now Jaivant Patel are matched with mentors who are drawn selected, was significant to my viewing me with confidence. from among some of the dance sector’s professional development. The encouragement that this most prominent figures. The programmes Whilst anyone reading this presented enabled me to start are designed to identify and hone mentees’ may see my opening sentence dialogue with others I may not skills and develop their leadership as being somewhat negative necessarily have the awareness potential. or a case of told you so, it is in of or accessibility to. This was Selected mentees work alongside fact the total opposite. I instead all possible because of the leading dance professionals, gain saw the positivity within credibility I received from One invaluable experience and develop skills the challenge of articulating Dance UK which made me to fast forward their careers in the arts. with conviction, an artistic visible to the sector. vision in my application My relationship with the Further information that I believed in. I was also word visibility is a somewhat Go to bit.ly/pdcareers or contact successfully selected for the strange one as I see myself being explored were pointing In being on a personal journey Tomorr Kokona, Project Delivery Manager, at [email protected] Choreographers Observerships still being the same person I back towards the question of to realise my ambitions as a Above: Jaivant Patel, Programme in the same year. was before the programme. diversity. cultural leader who continues Saiyaan Re Now, approximately 18 months However, I started to realise My dance history arts practice in duality, I see an on, I am still on the successful that the recognition as a future doesn’t necessarily fit into obvious underrepresentation Right: Jaivant Patel, Eye Within I journey I started and hope to leader from One Dance UK a traditional frame, having of people from diverse continue. had in a sense given others trained as a contemporary backgrounds, particularly My mentors for the in the sector a fresh pair of dancer and using South Asian where leadership is concerned. programmes were Paul eyes through which to see me. dance forms, aesthetics and Organisations within the Russ (Dance4) and Shobana Thus any previous difficulty I principles to influence work. sector still need to embrace Jeyasingh. Both the had experienced in initiating “Boxing” still unfortunately more strongly and place more programmes allowed me dialogue with my established happens and I continue to importance on diversity. Using to analyse, deconstruct and peers was no longer a struggle, experience this because the active consultation, the agenda clarify my ambitions, whilst which, as a consequence, sector doesn’t know where for diversity really needs to be putting some key milestones empowered me to contribute to or how to categorise me. The set and advocated by creative in place to achieve my aims. the sector. skills I developed through minds coming from diverse When working with Paul In January 2016 I was the Mentoring Programme, backgrounds. Russ (Dancers’ Mentoring), I asked by Anita Srivastava have led me to redefine Once we work collectively explored how I could realise to assist at the Navadisha the platform I had already towards achieving this with my professional ambitions as Conference. Navadisha was established to support artists the openness it deserves, a sector leader. With Shobana a 3-day International South to present work in a safe only then can areas such as Jeyasingh (Choreographic Asian Dance Conference which environment. The platform programming, structure, and Observerships), I explored how took place in Birmingham in has grown in strength from leadership truly begin to reflect work influenced by diaspora May 2016. It was during the supporting regional artists, and represent the audiences can be universal and accessible conference that I realised that now to showcasing national and communities we serve.

to audiences. the majority of the themes and international artists. Photos: Matthew Cawrey

40 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 41 Jim Fletcher, Producer of Together for Dance, reminisces about an unforgettable Gala, raising much-needed funds for One Dance UK Together for Dance Gala

With Mara Galeazzi as Artistic Director, some charming, witty and elegant Hugh Quarshie collections of dance genres and styles ever of the finest dancers in the UK assembled at (best known as Ric Griffin in the BBC medical assembled on a West End stage. Following the Novello Theatre on Sunday 9 October, drama Holby City), the evening started with the performance, there was a VIP dinner and for One Dance UK’s first major fundraising a bang as the audience took their seats to the auction at the adjacent Waldorf Hilton. event. Together for Dance was created to make a drumbeats of Ugandan group, Bantu Arts. I would like to thank the army of staff and confident statement to the dance sector about Later in the evening, Linden Walcott- volunteers, our sponsors and supporters, the newly merged organisation, to reflect Burton and Wezley Guren, two of the original and, in particular, our friends at Cameron the diversity of dance in the UK as well as to young people from Birmingham Royal Mackintosh for helping us to realise this raise funds for Children and Young People’s Ballet’s ground-breaking social action project event. For those of you who were not able to Dance, the Healthier Dancer Programme and from 2006 - Ballet Hoo!, took to the stage as attend the Gala or the dinner, we’re sharing Artists’ Professional Development. a living demonstration that dance really can here some photographs to give you a taste of Hosted by one of our great actors, the changes the lives of young people at risk. what you missed. What followed was one of the most varied

Clockwise from top left: Above, clockwise from top left: Below, clockwise from top left: Isabelle Brouwers (English National Ballet); Bantu Arts; Viviana Durante; Darcey Bussell, Namron; Tommy Franzen and Xena Mara Galeazzi and Gary Avis (The Royal Ballet); Zenaida If you would like to donate to One Dance UK Dame Gillian Lynne, Jim Fletcher, Gusthart; Linden Walcott-Burton, Yanowsky (The Royal Ballet); Hugh Quarshie; Company Call Jessica Choi on 0207 730 0713 or email Mara Galeazzi, Andrew Hurst and Sue Ballet Hoo; Sonia Sabri Company; Wayne McGregor; Edward Watson (The Royal Ballet) [email protected] for a friendly chat. Wyatt; Gala Reception at the Waldorf Urdang Academy; Impact Youth Photos: Brian Slater

42 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 43 Membership One Dance UK’s Performance Optimisation Package (POP) Helping you sustain a longer, healthier dance career

Why POP? Health Cash Plan with BHSF Musculoskeletal and Fitness Can we help? We want to make it easier for • Claim back up to £575 Screenings you to take control of your worth of treatment a year. • Learn more about your healthcare and reach your fitness, strength and If you have any potential. • Seek private physiotherapy, flexibility through a range questions, please don’t osteopathy, etc. without the of tests completed 1:1 with hesitate to contact the need for referral from a GP. Our Performance a dance scientist, in state of membership team at Optimisation Package is the art facilities. designed to help keep you fit • Access to a 24-hour GP, One Dance UK. counselling and legal and healthy; providing access • Discuss any concerns helpline. to timely, affordable and or past injuries during Give us a call on specialist support. a 1:1 assessment with a 020 7713 0730 or physiotherapist. Receive treatment and email us at info@ services worth £800 including • Receive feedback from the onedanceuk.org a tailored health cash plan, dance scientist, identifying and musculoskeletal and your strengths and fitness screening. weaknesses, to help you set goals for your training.

Photo: Foteini Christofilopolulou POP is available as an individual membership add-on: From £210 for students ACCELERATE YOUR CAREER From £240 for individuals

‘The POP is the perfect health tool for a freelance dance artist. Boy Blue Entertainment James Cousins Dance Company New Adventures & Re:Bourne Frantic Assembly Rambert Royal Ballet Life as an independent artist is hard on its own Teachers day! A whole day of masterclasses and seminars curated especially for the benefit of dance teachers, educators and students. Five of the major UK dance companies referenced on the GSCE, BTEC and A Level syllabus are programmed to deliver exclusive teacher and this makes it a bit training featuring: Boy Blue Entertainment, Frantic Assembly, James Cousins Dance Company, Matthew Bourne’s New Adventures easier! POP helps you & Re:Bourne, Rambert and Royal Ballet. to help yourself’ Digital day! The world of digital takes over the MOVE IT PRO Seminars where we get to the nuts and bolts of increasing your online brand, social media, how to manage your online career, how to develop an audience online Avatâra Ayuso and how to build your own app. MOVE IT 2017 is very excited to be partnering up with The Digital Garage from Dance artist and director Google - a digital skills training platform to assist you in growing your business, career and confidence, online. AVA Dance Company

Choreography day! The DanceLab masterclasses will take place with top choreographers Kerry Nicholls and Suzette Brissett to inspire up and coming dancers. It’s the place to be Connect with us… to learn to hottest skills and techniques from inspiring choreographers.

/onedanceuk Photo: One Dance UK

44 The One Dance UK Magazine | Spring 2017 The One Dance UK Magazine | Spring 2017 45 We speak to Harlequin Floors’ Mark Rasmussen, who is a familiar and popular figure around the world where he regularly lectures and advises architects, school administrators, local government, unions and teachers about creating a safe environment for dance and performing arts. Spreading The Word Creating A Safe Environment for Dance

What is the difference between sports floors and floors for dance? In a nutshell, floors for sport tend to be stiffer than floors for dance. They need to be because sports floors have to give adequate ball bounce, a requirement which is irrelevant to dancers and performers. In sport, this stiffness is offset because most users of sports floors are supported by cushioned footwear whilst dancers regularly rehearse and perform in bare feet, socks or thin ballet shoes which don’t offer any protection at all.

What other points do you make when you present? It helps to explain why there are different types of sprung floors and vinyl performance surfaces and why you would specify one over another. Some vinyl floors for example have a cushioned Mark Rasmussen Is it difficult to lecture and advise foam backing which makes the surface giving a presentation when you’re also representing a more forgiving to the elbows and knees of to technical theatre contemporary dancers and their rigorous students at RADA commercial organisation? Dance Science study at Trinity Laban interrogates floor work but that same cushioning will Not at all. Harlequin work closely with the art of dance through a scientific lens. make the floors unsuitable for percussive One Dance UK’s Healthier Dancer team dance such as tap, flamenco and Irish and the wider international dancer’s Our world leading programmes emphasise the dance. health community to ensure that the application of research to practice and generate advice I give is backed by the latest Further information the research of the future. research and supported by health uk.harlequinfloors.com professionals who look after the needs of injured artists. I also try to keep my advice neutral in tone. The people I STUDY OPTIONS: present to want to learn, not sit through a sales pitch! It’s my job to educate the MSc DANCE SCIENCE audience with some important “take home points” which enable them to ask MFA DANCE SCIENCE the right questions when they’re in a MPhil/PhD DANCE SCIENCE position of specifying floors for dance, drama or musical theatre. [email protected] What sort of “take home points” do you give? The first is easy, floors for dance and floors for sport are not the same. For the most part, dancers don’t need to be told this but sadly some architects, school managers and producers don’t realise there is a big difference between a sprung floor for performing arts and a basketball court. This problem can be even harder to address when some floor manufacturers will market their products for sport, and then, almost as an afterthought, will add

Photo: Harlequin Floors “and dance”.

46 The One Dance UK Magazine | Spring 2017

ONE-Dance_UK_ad_A4.indd 1 23/01/2017 11:46 Springboard The Old Finsbury Town Hall, London

30th April 2017

ISTD Springboard 2017 is for our next generation of teachers, choreographers and performers. MIKE BURNHAM MIKE Don’t miss this exciting day – an opportunity to work with some of the industry’s most innovative and inclusive professional artists. Through inspiring workshops, demonstrations and lectures we will explore the diversity of dance.

Contact [email protected] www.istd.org