Innholdsfortegnelse for February/March 2017 i Dance Australia

As this issue of Dance Australia hits the stands, dance students around the country are heading back to the studio for another year. There’s a cloud over dance training in 2017, however, in the form of the Federal Government’s cuts to student loans for VET courses (see p65). As mentioned in my December/January editorial, various diplomas and advanced diplomas offered at some of Australia’s top dance training institutions are no longer eligible for fee loans. No doubt you’ve heard the Minister of Education’s justification that these courses, along with many others, “provide ‘lifestyle’ choices but don’t lead to work”. We all know that there are limited jobs available for dancers. Of the thousands of dance students who are currently returning to classes, a small percentage will go on to forge…

If a car doesn’t have enough fuel in its tank, it will shudder to a halt. The same can be said for a dancer. To deliver the best routine in a class, rehearsal or performance, the “tank” must contain the right fuel. A healthy diet optimises energy stores, enables the dancer to train effectively, allows the immune system to fight infections and illnesses, and helps the body to recover from injury. To understand what fuel to use, it’s important to highlight the main nutrition groups for dancers and outline the role they play. Carbohydrates and fats are needed to provide energy, protein is essential for muscle growth and repair, while vitamins and minerals benefit the immune system. A deficiency in at least one nutrient will affect the ability to dance…

MELISSA BONIFACE West Australian Ballet The key is believing in yourself and keeping that determination and fire in your belly going no matter what. Try not to take things too personally, take corrections on board and use them to your benefit. Always look towards the positives of every situation. You are your worst critic, so give yourself a break and remember why you do this in the first place. MITCH HARVEY Co3 Having a break from dancing and spending time with family and friends makes me so keen to head back and puts me in a great place mentally and emotionally for the year to come. Something that I find helps is trying to stay calm when things get hard and realising that every day is different and acknowledge when…

In 2016 the Royal Academy of Dance’s Genée International Ballet Competition returned to Sydney for the second time in its long history. Following ten days of coaching, classwork and performance, the field of 86 contestants was narrowed to twelve finalists, eight of whom were Australian candidates. It was these twelve dancers who took to the stage of the Sydney Opera House on Sunday 11 December for a performance that was both ticketed to the public and live-streamed to a wider online audience. Each dancer performed three solos, the commissioned variation (choreographed for this year’s competition by Tim Harbour), a dancer’s own variation (choreographed by the dancer themselves, a teacher or a friend), and a classical repertoire variation (chosen from a list provided by the RAD). Once all solos had been…

Strong, brave, courageous, competitive, determined, versatile, fit and athletic - adjectives that might typically be used to describe a rugby or Aussie Rules player, but a male ballet dancer? Absolutely says Robert Fox, founder of the Boys’ Summer School and theatre operations manager at the Shore School (Sydney Church of England Grammar School). “The fact is, these boys are athletes. Most of them train for far longer than most sporting teams, and their level of finesse and fitness is sky-high.” So what is the current state of play when it comes to boys’ ballet training in Australia? Is enough being done to attract boys to ballet and counter the stubborn stereotypes that still exist in 2017? The answer is complex, but there are positive signs that the imbalance between male…

Both your grandfather and father worked in theatre – how did that impact on your childhood? After my grandfather died, Dad ran the Tivoli theatre in Sydney, so many of my strongest childhood memories are of sitting in plush red velvet seats watching performances from the dress circle. I loved the moment when the house lights went down and the sense of anticipation for what was about to begin. Our house was full of theatre people and I was spellbound listening to their stories. Did you do any specialist arts training as a child? There was a not-very successful attempt to learn the guitar. At eight I started taking "jazz ballet" classes with Anita Ardell. Thirty years later, I loved seeing Anita at dance shows I was putting on at…

If you’re a lover of contemporary ballet then the Australian Ballet’s upcoming triple bill, “Faster”, should set your heart racing with works from British choreographers David Bintley and Wayne McGregor, as well as Australia’s Tim Harbour. The title work of the program, Faster, is an Australian premiere from David Bintley, artistic director of Birmingham Royal Ballet. Created in 2012, the year of the London Olympic Games, the work is inspired by the Olympic motto, “Faster, Higher, Stronger” and takes audiences on a journey through the agony and ecstasy of elite athletes. As he celebrates ten years as resident choreographer of the Royal Ballet, Wayne McGregor creates Multiverse, the second work on the program. Set to a commissioned score by renowned American composer Steve Reich, Multiverse sees the return of the…

On 6 March 2017 it will be 50 years since the New Zealand School of Dance (NZSD), then known as the National School of Ballet, welcomed its first students. Today the New Zealand School of Dance has an international reputation, attracting staff from around the world and sending students to companies in Europe, Asia, US and Australia. To mark its 50th anniversary year, the NZSD has a number of special events planned. There will be performances with the Royal New Zealand Ballet, the commissioning of new works by contemporary dance graduates and the publication of a book of highlights, honouring alumni, choreographers and teachers who have passed through the school and made a contribution to the shaping of New Zealand’s dance culture. Illustrated with images by photographer Stephen A’Court the…

“Considering the weight of history and the tradition the Royal Ballet has, it’s hard not to think, ‘Well, I’m part of that.’” Alexander Campbell, a former student of Academy Ballet in Sydney, was recently promoted to principal dancer of the Royal Ballet in London. This represents the greatest of Campbell’s achievements since he began performing on world stages 14 years ago. Campbell joined the Royal Ballet School (RBS) after competing at the 2003 Prix de Lausanne. Recalling his move overseas, he reflects, “It’s difficult to leave your family and what you know, but I remember being quite excited about it. There was no question in my mind that it was what I had to do to become a professional dancer.” Campbell’s ambition to dance overseas was partly inspired by his…

Q How does Australia compare to other parts of the world (USA, Europe) in preparing young aspiring dancers for a potential career in dance? In which areas do you consider Australia excels, in comparison to other approaches? - Mother of aspiring ballet dancer Dear Parent Australia has excellent dance training institutions that are absolutely comparable to the best in the world. We have up-to-date, relevant and appropriate curricula and highly experienced teachers in both our government subsidised full-time academies and tertiary institutions, as well as in our numerous private full-time schools. On top of that we have some terrific youth companies and pre-professional programs. I have no hesitation in endorsing a full dance education in Australia. However the question of where a particular young and aspiring dancer will gain most…

New Zealand School of Dance GRADUATION SEASON 2016 TE WHAEA THEATRE, WELLINGTON, NOVEMBER 2016 A diverse program of classical & contemporary works. This year’s program for New Zealand School of Dance’s graduation season was appropriately diverse, reflecting the two streams of study (classical and contemporary dance) offered at the school. The contemporary dance students featured in three group works, He Taonga – A Gift (choreographed by Taiaroa Royal and Taana Mete – leaders of Okareka Dance Company), Incant (choreographed by Amber Haines), and an excerpt of Hofesh Shechter’s Political Mother. He Taonga – A Gift is a powerful work, both striking in its simplicity and an excellent showcase for the all-male cast. In both performances, soloist Tristan Carter took centre stage with authority and Connor Masseurs was also very good,…

Graduates of Brent Street are benefiting from the establishment of Focus Talent Management, founded by Lucas Newland and headed by Natalie Duarte. Offering a boutique service, Focus Talent Management is booking talent across film and TV, theatre and musical theatre. Duarte says Focus “strives to assist talent in achieving their career goals through guidance and a no-nonsense management style”. Focus headquarters are located inside Brent Street. The agency offers two free dance lessons per week to their members as well as casting technique workshops, acting courses and direct access to some of Australia’s leading coaches and mentors. Newland, who is also managing and creative director at Brent Street, has recently been announced as the choreographer for the two time Tony Award winning musical American Idiot which is set to open…

1 MASSIVE BY NAME AND MASSIVE BY NATURE The 2017 Dance Massive program lives up to its name with 20 contemporary dance productions on the program, 12 world premieres amongst the selection. http://www.danceaustralia. com.au/news/ massive-byname-and-massive-by-nature1 2 MIA MICHAELS HEADING TO OZ Popular US choreographer and director Mia Michaels will be heading to Australia to conduct live workshops in February. The workshops, which are aimed at dance students and teachers, will take place in Sydney and Melbourne. http://www.danceaustralia. com.au/news/ mia-michaelsheading-to-oz 3 DANCENORTH TRAVELS 2017 is going to be all about festivals and touring for Townsville-based company Dancenorth. Flying the flag for regional arts, the company will create seven new works, including three international collaborations to be performed in five international arts festivals. A North American tour is also planned. http://www.danceaustralia.com. au/news/dancenorth-travels…

Showcasing images of ballet from its courtly beginnings through to pancake tutus, "From Court to Kitsch" is an exhibition of ballet images from the 17th to the 20th century. Featuring etchings, costume designs, caricatures and photographs, the exhibition charts the changing image of the ballet dancer, revealing how fame, commerce and social attitudes have shaped our perceptions of ballet. Presented as part of the Castlemaine State Festival’s Open Studio program, the exhibition invites you to meander past the celebrities of Britain’s first golden age of ballet, through the heyday of the Romantic era, via the buxom belles of musical halls and post-war buxom beauties. Daily floor talks will be given by cultural historian Dr Caitlyn Lehmann. The exhibition runs from 17-26 March at 107C Farnsworth Street, Castlemaine, Victoria. For more…

It’s 6.30am and the sound of soft harp strings begins to seep into my dream. What is this mysterious sound? What does it mean? Struggling to the surface of consciousness, I remember. Those sweet but insistent sounds are the alarm I chose last night to try and soften the blow – the summer holidays are over. Going back to work, university or school after the freedom of the Christmas break can be hard for anyone but for dancers it’s about more than just getting back into the swing of alarm clocks, packed lunches and routine. It’s also about getting the body back into action… and those first few weeks are high risk when it comes to injury. By nature dance training is continuous and cumulative – it’s a “use it…

Sustaining enough work in the performing arts to call it a career is a major achievement. So to have managed this for long enough to find yourself celebrating your 40th birthday, whilst performing in Disney’s smash hit, Aladdin, certainly justifies a celebration. Leah Howard is that quintessential commercial dancer whose boundless talent and performance energy has allowed her to work as a triple-threat performer, freelance dancer, resident director and choreographer between musicals, corporate events, television projects and music acts (and very often juggling this work across genres, concurrently) over a professional career spanning more than 20 years. Her theatre performance credits include Aretha Thomas in Legends!, starring Hayley Mills and Juliet Mills, Mrs Corry in Disney’s Mary Poppins, and roles in Avenue Q, Hair, Fame the Musical, Dein Perry’s Steel…

Natasha Kusen , soloist, the Australian Ballet I am lucky enough to be a dancer who trained in Australia until I was 16, then finished my training in England at the Royal Ballet School before starting my career back in Australia at the Australian Ballet. I feel very fortunate to have had the mix of both training on shore and off. The foundation of my early training, which prepared me for this career, is all thanks to the nurturing and skilled tuition of my Australian teacher, Nicholina Kuner. Finding the right teacher who can identify and nurture potential talent is vital. I had a strict Royal Academy of Dancing regime which was balanced with early stage experience competing in local eisteddfods. I believe that this competitive performance exposure (from 11…

TAP ‘N’ TURN BOARD HARLEQUIN FLOORS’ Tap ‘n’ Turn board was designed specifically for percussive dancers, provides exceptional sound, is solid underfoot and is the perfect size to practise at home. It is a 915mm x 800mm panel of 18mm exterior grade birch plywood, topped on one side with Harlequin’s Cascade dance vinyl, used by the likes of Riverdance and Australian Irish Dance Association. $189 + GST and delivery. HARLEQUIN FLOORS WWW.HARLEQUINFLOORS.COM NEW! SCULPTED FIT GAYNOR MINDEN new Sculpted Fit pointe shoe hugs the arch for a clean, beautiful fit and even more support. Sculpted Fit joins our original Classic Fit and our tapered Sleek Fit options, for a choice of three models. All of our pointe shoes are proudly made at our solar powered factory in the U.S.A. GAYNOR…

Changes to the vocational education and training (VET) fee loan scheme announced by the Turnbull Government last year are expected to cut deeply in the dance world. In total, 478 VET courses have been deemed ineligible for fee loans by the government across a range of areas including commerce, marketing, architecture, education, health and creative industries. This means students taking these courses will not have the option of taking a government-funded loan to assist with fee payment. In the creative arts, a total of 57 courses have been excluded including many diploma, advanced diploma and graduate diploma dance related courses. Among the courses deemed to be ineligible for loans are Diploma of Dance (Elite Performance); Diploma of Musical Theatre; Advanced Diploma of Dance (Elite Performance); Advanced Diploma of Art (Musical…