By Laura Di Orio.

Ashley Carter probably chose the name DoubleTake for a reason. At first glance, it’s another dance company. Looking deeper into it, though, DoubleTake (DT) Dance Company is a rare fusion of different dancers and genres of dance, with each work being completely different from the next and each with a strong message. The company’s repertory includes works that are tango, theater, jazz, contemporary, tap and neoclassical, a range that may be standard for large companies but less prevalent among smaller dance companies.

Co-directors Carter and Vanessa Martinez de Baños built New York City-based DT from scratch when Martinez de Baños saw something in Carter and encouraged her to start teaching and choreographing. From there, other companies began to ask Carter to choreograph on them, and after a while she just started submitting work under her own name and came to find she was getting a good response.

DT as a company and name was born in 2010 and since then has continued to grow. The company performed at NYC’s SummerStage last year and continuously performs throughout NYC festivals and venues, and has even performed in Madrid. Carter and Martinez de Baños only hope that their joint hard work can take them further.

“I never really planned to have my own company,” Carter says. “It’s something I sort of fell into. And I’m really glad I didn’t try to do it alone. It’s hard enough with two of us!”

Carter and Martinez de Baños come from entirely different dance backgrounds. Carter, primarily New York-trained, has performed with companies and artists ranging from Pilobolus to Nicki Minaj. She enjoys doing artistic company work but has also had the chance to dance in music videos, commercials and industrials for brands such as Nike, Lush, Microsoft and Nokia. Carter has also taught at such renowned dance studios as Broadway Dance Center, Steps, Ballet Arts and Lines, and for the past few years has successfully maintained her own contemporary jazz class at Peridance. As a choreographer, Carter has created work for a FuseTV commercial incorporating pop and breakdance and also for a sci-fi movie that required modern and contemporary.

DoubleTake Dance Company dancers, including co-directors Vanessa Martinez de Baños (center) and Ashley Carter (right), in performance. Photo by Stephanie Crousillat.

“It’s the huge range of work that prevents me from ever getting bored and it challenges me every day,” Carter says. “The variety is something that I also try to bring to DoubleTake Dance.”

Martinez de Baños, on the other hand, was born in Madrid, Spain, and began her career as an actress, which led into musical theatre and then a love for dance. She moved to NYC after receiving a scholarship from the Spanish Ministry of Culture. Martinez de Baños has danced for many choreographers, including Guillem Alonso, Lynn Schwab and Ryan Beck, and has choreographed for musical theatre and contemporary companies. She has also taught master classes both nationally and internationally.

Like Carter, Martinez de Baños strives to continue to learn and push herself further. “I’m passionate about my job and nourish every opportunity that comes my way,” she says. “I try to do as much as I can, which makes me versatile and stops me from ever getting bored.”

The variety of Carter and Martinez de Baños’ background has clearly fueled the direction of DT. The repertory has a wide range, and the company’s dancers, although all athletic, technical and musical, tend to be very different in terms of their strengths, body type and dance background.

“One of our main goals as a company is to create each new piece of work to be as different as possible from the rest of our rep,” Carter says. “We also try to use different ideas for props or costumes or influences to make the pieces meaningful.”

Last summer at SummerStage, DT premiered a piece that Carter calls an “experiment,” where they fused sign language with contemporary dance and used those movements to tell the story of how it feels to be an outsider. The company’s latest piece, Shirt Off My Back, is a work that utilizes the company’s technical strength and floor work to express homelessness and how the community of relatively “privileged” people responds and reacts to it. Carter and Martinez de Baños even gave their dancers a “homework assignment” – food to hand out to people in need as they came across them on their daily commutes. Carter says this was to “both help out and help our dancers understand the emotional connection to the story.”

DoubleTake Dance co-director Vanessa Martinez de Baños. Photo by Olivia Alvarez.

This broad spectrum of repertory not only makes DT unique as a small company, but it also helps set them apart in a place like NYC, where there is a sea of dance companies.

Remaining afloat in NYC remains to be difficult for almost any small dance company, but Carter and Martinez de Baños keep their standards high and the dancers’ priorities up front.

“Being able to always pay our dancers is challenging,” Martinez de Baños explains. “In a business where the new trend is to pay to perform instead of the opposite, it’s hard to stay afloat and do the right thing. We believe in the art, we believe in our dancers and respect their time and talent, therefore we always compensate them. We never pay to perform, unless renting a theater, and we don’t perform or rehearse in places that are not appropriate for dance.”

Carter adds to that list of challenges: the scheduling, and the technical, administrative, financial and logistical details.

Still, however, amidst these stresses there are rewards. “Watching our finished products is always rewarding,” Martinez de Baños says. “And seeing how our audience is moved, especially when they aren’t dancers. SummerStage is an example. When you see that hundreds of people decide to stay and watch despite a violent thunderstorm approaching, you know you must be doing something right.”

Next up for DT is a split-bill showing on April 19 at NYC’s Secret Theatre, where the company will present 40 minutes of rep. Further down the road, Carter says she hopes DT will continue doing what they’re doing, but bigger and better.

Martinez de Baños agrees. “We hope to get more people to know and fund us,” she says. “We have some projects in mind that can’t be accomplished without funds, so hopefully one day… And maybe have a place and not have to pay rental space. We would love to offer free classes to our dancers.”

For more information on DoubleTake Dance or to show support to their next venture, head to www.doubletakedanceco.com.

Photo (top): DoubleTake Dance in performance. Photo by Maverick Sean Photography.

By Kathleen Wessel.

After more than three decades with Alvin Ailey American Dance Theater, acclaimed dancer Renee Robinson will take her final bow this season. Robinson is the last remaining dancer to have been chosen by Ailey himself and the only company member to have worked under all three Artistic Directors – Alvin Ailey, Judith Jamison and now Robert Battle.

In 2012, Robinson officially retired, but the company and her many fans weren’t quite ready to say goodbye. After a series of farewell performances in New York City, Robinson is currently performing as a guest artist in a three-city tour that includes Atlanta, Boston and her hometown of Washington D.C.

As part of that tour, Robinson is teaching open classes – which included one at Spelman College in Atlanta on February 13th – aimed at spreading the message of Ailey and his 1960 iconic work Revelations. Now, more than 50 years after its debut, the classic work has been seen by an estimated 23 million people in 71 countries – more than any other modern dance piece in history. At Spelman, the nation’s top ranked Historically Black College/University, Robinson taught short sections of the classic work and deepened the experience with historical and personal connections.

Alvin Ailey American Dance Theater’s Renee Robinson. Photo by Andrew Eccles.

“If she’ll teach me how to dance, I will give her my life!” said Michaela Johnson, a star struck Spelman student, as she watched Robinson prepare for the class at Spelman’s Baldwin Burroughs Theater. Robinson must be used to reactions like these, but humility, it seemed, is in her nature. “If I’m an inspiration, it’s because I have great examples,” she said in reference not just to famed directors Ailey, Jamison and Battle but also to the many students she has encountered over the years. “I’m an example because I’ve been influenced by them, through performance and outreach [experiences] like the one that’s going to happen this morning.”

Though she has been a professional dancer for most of her adult life, Robinson is also a natural-born teacher. “Who here has seen Revelations?” she asked a crowded stage of about 50 students, “What do you remember about it?” As they answered, Robinson wrote key words from their responses on a large, white notepad, then read them aloud. “Spirituals, struggle, praise, the elements, community. Did I hear somebody say ‘community’? No? Okay, that’s going to be my word,” she said with a laugh.

Alvin Ailey’s original mission, as he put it, was to “deliver dance back to the people,” and Robinson upholds that legacy in mind, body and spirit. After the brief discussion, she removed her outer layer of clothing to reveal a taut, muscular torso in a pink tank top. A murmur of amazement bubbled through the group as Robinson stretched her expertly-toned arms wide and began talking the students through some warm-up exercises.

“Long, long, long, long – you’ll hear me say this a lot,” she said, “Even your foot is long. Long supple muscles ready to move.” Her voice, rhythmic and expressive, was so musical I hardly noticed that it was the only sound in the room. Robinson didn’t need accompaniment for the warm-up, her rich voice was a song in itself.

Renee Robinson performs Alvin Ailey’s ‘Wade in the Water’ as part of ‘Revelations’. Photo by Andrew Eccles.

Entranced and inspired, a student later asked how Robinson has kept her body performance-ready for so many years. Her many answers included sleep, drinking lots of water and keeping yourself in good company. “I’m very serious about the way I eat,” she added, “But y’all, I will kill a diet for macaroni and cheese!”

It is this youthful energy, this easy connection with her students, which makes Robinson an ideal spokesperson for the Alvin Ailey American Dance Theater and its affiliate school. When her official “retirement” sets in, she hopes to continue leading workshops and Revelations residencies in public schools. She’s also thinking about writing a children’s book aimed at giving aspiring dancers a behind-the-scenes look at the profession.

Near the end of the class at Spelman, Robinson taught parts of Wade in the Water and Rocka my Soul, two of the most lively and least technically-demanding sections in Revelations. As the students watched the detailed rippling of her arm, the practiced steps and piercing focus, it became clear that executing the movement was going to be harder than it looked. “Yes! I felt that!” she yelled when the group began to get it, “That’s when you start to feel the correct energy, the seriousness of it and we become involved in your journey.” She went on to explain the meaning behind these sections, the images of splashing water and the ceremony of a Baptism. “Revelations is part of humanity,” she said and paused, “I’m going to start crying.”

Robinson has performed these sections countless times, but she dances with such immediacy, as if every movement is as powerful to her now as it was 30 years ago. When she appeared on stage at the Fox Theatre the following night “holding that umbrella high” as Robert Battle said in his curtain speech, the audience erupted into applause. She led the company in Wade in the Water, stepping over the fluttering pieces of fabric with commanding grace.

Ailey’s works, especially Revelations, have “embraced people from all backgrounds,” says Robinson, and she continues to pass on that message, even off the stage. “I would like for everyone to know that’s what dance can be.”

Photo (top): Alvin Ailey American Dance Theater’s Renee Robinson. Photo by Andrew Eccles.

By Tara Sheena.

In many ways, Cris Judd appears as a modern-day Renaissance Man. As a producer, choreographer, songwriter, musician, actor and teacher, he has achieved multiple tiers of success in all of these ventures. You may know him as a star performer with the likes of Jennifer Lopez, ‘NSYNC, and Michael Jackson. Or you may recognize him from convention stages around the country, having been one of the founding teachers of Co. Dance and now at The Pulse dance conventions everywhere. However, amidst all his accomplishments, one thing is clear: he does not take any of it for granted.

Cris Judd teaching at The PULSE. Photo by ProPix – courtesy of The PULSE

Judd revealed to Dance Informa that he was a “late bloomer” to dance, not starting training until he was twenty-one years old. In fact, it was more out of spite for a girl than a desire to dance. “I was working at Disney World in the character department,” he states, “I liked this girl who was one of the Kids of the Kingdom. I had asked her out and she told me she doesn’t date characters. So, I told her that I would be a professional dancer within one year.” To her surprise, I am sure, it did not take Judd one year. Eight months later he embarked on his professional dance career, working with the likes of Marianne Morrison, Michael Peters, and Pam Bolling. Something that began out of spite quickly turned to passion.

It seemed like an auspicious start for the spirited 21-year-old, especially considering Judd was a self-proclaimed “wallflower” as a child. As an athlete who was pursuing a career in golf before his Disney days, Judd deems the start of his dance career very unlikely. However, considering his impressive performance career, it is no surprise that he has made the switch to choreographer and teacher within the past couple of years. A highly sought after convention teacher, he cites his work with The Pulse as something he has a “deep respect” for.

Cris Judd. Photo by Lee Cherry

After assisting Bolling on conventions and spending a few seasons teaching for Co. Dance, he was approached by Brian Friedman and Mia Michaels to start touring with The Pulse. “We were wanting to get away from the formulaic competition dance pieces and trying to encourage choreographers to tap into their creativeness,” Judd recalls. “Tell a story. Take us on a journey.” This different approach made Judd realize how much his teaching had the power to affect the students that come back year after year, stating they are “truly inspirational” to him.

In his classes, Judd does whatever he can to emphasize the fun. “It’s not that you have to dance, it’s that you get to dance,” he says. Judd wants young dancers to realize that they may not catch on to his highly dynamic moves right away, and that is okay. Judd views each convention city as a new chance to explore and create, thinking of each weekend, no matter how long and arduous, as a completely new experience. Summing it all up, he cites a quote from Ancient Greek philosopher Epicetus: “If you want to improve, be content to be thought foolish and stupid.”

Dance with Cris Judd this season with The Pulse! Visit www.thepulseontour.com for more information.

Top photo by Lee Cherry.

Dance Informa magazine is giving away cash to a lucky dancer and his or her studio. Imagine what you could do with $1000 cash. Imagine blessing your dance studio with $3000. Make dance dreams come true and enter today!
Just click on the image below.

Dance Studio Owners: Tell your teachers and students about this contest. The more entries for your studio, the greater your chances to win. How would you like $3000 towards renovations, new flooring, costumes, camps, audio equipment or whatever you need?

How much do you know about George Balanchine, one of the 20th century’s most famous choreographers?

By Rain Francis.

1. George Balanchine was born in which country?

a) USA

b) Germany

c) Russia

d) Poland

2. With which composer would you MOST associate Balanchine?

a) Tchaikovsky

b) Stravinsky

c) Ravel

d) Gerhswin

3. Which of the following is NOT represented in Balanchine’s Jewels?

a) Sapphires

b) Rubies

c) Emeralds

d) Diamonds

4. Which group of dancers was Concerto Barocco choreographed on?

a) New York City Ballet

b) Ballet Russe de Monte Carlo

c) Julliard School of Dance

d) School of American Ballet

5. How many times did Balanchine marry?

a) none

b) twice

c) four times

d) five times

6. Which dancer created the lead role in The Prodigal Son?

a) Serge Lifar

b) Vaslav Nijinksy

c) Leonide Massine

d) Mikhail Baryshnikov

7. Which ballerina created the role of the Sugar Plum Fairy in Balanchine’s The Nutcracker ?

a) Maria Tallchief

b) Suzanne Farrell

c) Gelsey Kirkland

d) Patricia McBride

8. Which was the first ballet Balanchine choreographed in America?

a) Tchaikovsky Pas de Deux

b) Serenade

c) Agon

d) Apollo

9. Which of the following Greek muses is NOT present in the ballet Apollo?

a) Terpsichore, muse of dance

b) Caliope, muse of epic poetry

c) Clio, muse of history

d) Polyhymnia, muse of mime or hymns

10. Theme and Variations is choreographed to a score by which composer?

a) Stravinsky

b) Prokofiev

c) Satie

d) Tchaikovsky

ANSWERS: 1 – c; 2 – b; 3 – a; 4 – d; 5 – d; 6 – a; 7 – a; 8 – b; 9 – c; 10 – d

Photo: English National Ballet. Thomas Edur and Agnes Oaks performing Balanchine’s Apollo. Photo by Patrick Baldwin.

By Christine Dion of Mode Dion

It’s Recital Prep time!  Are you ready?  Preparation is the key to a confident and polished recital performance. You might have your costumes, music, lighting, and of course the right moves – but what about your makeup and hair?  Even the most seasoned performer should have a makeup and hair rehearsal.  Applying makeup together with fellow performers will help insure everyone is on the same page, in the right look, uniform and polished.

To help you out this season we have a few easy to follow stage makeup step by step application videos with stage beauty expert Christine Dion from Mode Dion. To learn more go to modedion.com.

A polished face is a must.
Here’s how to apply Foundation, Concealer and Powder like a pro:

Eyebrows frame your eyes and create balance.
Here are the steps to perfect brows:

Stage eye steps made easy:

False lashes are the Eye Openers:

Create lips that show off your smile and cheeks that are perfectly flushed
and contoured to perfection:

Era and Theme Makeup for Recitals

Recital make-up is important as it complements the costume and sets the mood of the dance piece.  Those little extras capture the era and style of the number.  Whether the dance is 1950’s Grease, a ballet classic, or futuristic pop, it’s the make-up and hair that finishes the look and creates the fantasy.

Here are a few make-up color rules to keep for the next time you create a fantasy face. Remember the theme of the look. Make-up changes every era just like fashion.

The make-up era looks that set the style in their day:

• In the1920’s black shadow across the lid and deep burgundy rosebud lips were the choice of every flapper girl.
• In the 1940’s liquid liner sweeping up only on the top lid, with rounded rich red lips were popular.
• In the 1950’s blue shadow and pink lipstick were the colors of the moment.
• The 1960’s saw heavy lined eyes, white shadow all over the lid and gray shadow through the crease.  The lips were washed out in light beige to keep the eyes the focus.
• In the 1970’s blue shadow was back in, but with frost for the lid and white shadow highlighted under the brow. The face was brightened with pink cheeks and pale pink glossy lips.
• In the 1980’s, the era of excess, we saw three colors of bright shadow, heavy brows, and bright lipstick.  Think Cindy Lauper.

When creating a fantasy, the era may not play a role at all. Instead you might want to play on the imagination of the audience.  Create magic by defining the character of the piece.

Fantasy character looks and the colors that make them come alive:

• The ShowGirl.  Feathers in the hair, big lashes and glitter everywhere. The brighter the colors the better.
• The Spanish Flamingo Dancer.  Heavy black eye liner sweeping up at the corners, red lips, and a split curl along the side of the cheek.
• The Cat.  Whether you choose a lion, a leopard, or a tiger, the drama is purr-fect for a feline fantasy. Use face pencils or greasepaint in black, brown, orange, yellow, white, and red/brown.
• Fairy Princess.  A favorite for classical pieces, this look is soft and sweet.  Use lots of glitter and sparkling shimmers, placed only on the key light catching spots.
• Man look.  This look includes a suit and tie with hair parted and slicked back, but the face is feminine.  Lips are red or defined with lots of gloss, cheekbones are contoured and eyes are shaded in browns with thick black lashes.
• Make-up to accent costumes.  Add rhinestones and glitter to the face in complimenting colors to draw attention to unique costume detail.  Other accents can include:
  Glitter, sparkling powders.  These light catching products can turn any look into a magical fairy princess or a futuristic intergalactic arrival.
  Wigs- Try a wig or hair piece.

RECITAL SPECIAL FROM MODE DION!

Special Discount Offer just for Dance Informa readers.
Mini Stage Kit with Professional Eye liner Brush.
Retails at $63.50, but Mode Dion is offering a Dance Informa Reader SPECIAL for only $48.00!
($15.50 off!)

The Mini Stage Kit contains the perfect stage makeup to create a polished and professional performance face. Rich high quality pigment, the 5 color eyeshadow pallet doubles as cake eye liners too, with a professional eye liner brush for flawless lining application. Two versatile defining eye shadow shades allow for multiple looks. Stage Red cheek color flushes cheeks to perfection and compliments the Stage Red long lasing lip color and liner for enhancing and shaping lips.
Phone 760.837.9433 to order

Christine Dion has worked internationally as a makeup artist in fashion, print, television and stage. She has been in the beauty industry for over 30 years as an artist and educator. Check out her website modedion.com for more information.

Top photo: © Jorgosphotos | Dreamstime.com

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Emily Cook Harrison MS, RD, LD.

The Glycemic Index is a tool that gives a numerical value to a specific amount of food based on how it affects your body’s blood sugar and insulin over a specific time period.  Foods with lower numbers don’t spike blood sugar as much as ones with higher numbers and provide more sustained energy.

Why does this matter to dancers?
Dancers who eat foods low on the GI tend to have more sustained energy overtime and more endurance. Not only can low GI foods improve performance, but when eaten before exercise they can help you feel more satisfied and may even help you burn more fat.  Whole grains, fruits, vegetables, beans, and peas are all considered good choices.

How to keep a low GI diet
Consider the importance of lowering the GI of your entire diet as a whole instead of picking out foods individually. Basically that means eat more whole foods. When low GI foods are consumed as part of an overall diet, there is a lower insulin response and better glucose control. A low GI diet as a whole helps you feel more satisfied after eating and leads to less overeating.  It is also important to eat smaller more frequent meals for good blood sugar control, to feel great, and to dance stronger.

GI facts

• The GI is a numerical index used to describe how a carbohydrate is metabolized/ absorbed and its effect on blood glucose and insulin levels.
• Consuming low GI carbs before endurance exercise results in increased fat oxidation during exercise in trained men and women.
• Participants in a J. Nutr study reported feeling full following lunch in a low GI trial.
• Consuming a low GI breakfast increases fat oxidation during exercise and improves satiety during recovery.  (J. Nutr. 139: 890–897, 2009).

Low GI food choices (better choices)

Whole grain/ high fiber breads
Brown rice, basmati rice
Oatmeal
Quinoa
Bran/ high fiber, WG cereals
Pasta (especially whole grain)
Most fruits
Most vegetables
Beans/ legumes
Nuts, seeds
Milk, dairy, soy

High GI foods  (not the best choices)

White rice
White bread
Sugar, honey, candy
Cornflakes, Cheerios, Rice Krispies, Coco Puffs
Waffles, Pop-tarts
Baked potato, mashed potatoes
Pretzels
Baked goods, cakes, pies, muffins
Sugary drinks, sodas

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Resources:
www.glycemicindex.com
www.health.harvard.edu/newsweek/Glycemic_index_and_glycemic_load_for_100_foods.htm
http://lpi.oregonstate.edu/infocenter/foods/grains/gigl.html

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events.

Top photo: © Dreamstimepoint | Dreamstime.com

By Chris Bamford.

Being a dance teacher is one of the most rewarding jobs in the world, but I might be a little biased as I am one. There’s nothing more rewarding than seeing a student improve, grow and reach his or her full potential in your class.

But what about the teachers? We place so much emphasis on the students’ conditioning, care and injury prevention, yet we have a tendency to forget about ourselves.

Long gone are the days where the teacher just sat in a chair with a cane and explained what the students had to do. We teach a lot more visually and practically these days. The teacher generally shows the wrong way and the right way to do steps and movements and goes to the extremes so students can see and understand the differences. This can put teachers at risk, especially when they may not be as fit and limber as they used to be.

Being a dance teacher, and especially a studio owner can be very stressful. You need to wear so many hats and manage many facets of a business from customer service, complaints, marketing and finances to general administration. Then add an annual recital to the mix, and maybe a summer school and competition, and let’s face it – we are stressed! So we don’t need to add injury to our lives.

What can dance teachers do to reduce the risk of injury? Let’s start by looking at what some of what the most common dance injuries are

• Muscle strain

• Joint sprain

• Bruising

• Muscle soreness

• Fractures

Understanding what these injuries are and what causes them can help identify problems early, as most teachers do with their students. But what about yourself? Let’s look at what can cause these injuries during the many hours of instructing and choreographing that each teacher does.

Excessive range: This applies to movement that forces a joint or body part beyond a safe range. For example, hyper flexion at the neck or over-arching the back.

Excessive load: Movement that places excessive weight on or through a joint or muscle. For example, knees bending below 90º when landing or straight leg sit-ups.

Ballistic: Repetitive dynamic movement that stretches muscle tissue beyond the normal range. This sort of movement is often explosive and uncontrolled. For example, bouncing (of knees, spine), overly repetitive kicks, leaps, head isolations and arm flings.

Sustained: The holding of a position that places excessive stress on a muscle group or joint. For example, a coccyx sit or balance on one leg for a long period of time.

Repetitive: Too much repetition can be dangerous. Even safe movements performed too many times can cause injury. For example, jumps, push-ups and lifts.

In my opinion, when you’re teaching for four hours in a row or more, you can’t avoid some of the above movement types, but it’s important to be aware of them and to think about how much we demonstrate a movement if we feel strain, pain or any warning sign. Injury and stress are always going to be in our lives, it’s the nature of the dance business, but here are some tips to help you reduce them:

• Remember occupational health and safety rules.
• Get a regular remedial sports massage or visit a physical therapist.
• If you have injured yourself, but still have to teach, use an assistant teacher or senior student for demonstrating until you have fully recovered.
• Keep up regular classes for technique and strength. We can get so busy, but we too must be in class regularly. I have heard of large dance studios holding a teachers’ class once a fortnight and rotating who from the staff takes the class. This helps the teaching staff to keep up their technique and fitness.
• Keep hydrated and eat a well balanced diet.
• Make sure to get plenty of sleep. You need energy to energize your students and a rested mind to be creative.
• If you are teaching for long period of time pace yourself and take regular breaks if you can.

At the end of the day, teachers need to remember to take care of themselves. We inspire and nurture talents, yet we sometimes forget to inspire and nurture ourselves. Start to look after yourself so you can continue to give to your students for years to come. Being a great dance teacher is just as important as being a great dancer.

Source: www.curriculumsupport.education.nsw.gov.au/primary/pdhpe/dance/dan004.htm

Photo: © Viorel Sima | Dreamstime.com

Published by Dance Informa digital dance magazine – dance news, dance auditions & dance events for the professional dancer, dance teacher and dance students.

By Laura Di Orio.

This summer, The Royal Academy of Dance (RAD) USA will offer its first ever Performance Course, a two-week program that will allow students to focus on learning choreography and preparing for performance. The RAD USA will also offer additional summer programs for students and teachers following this course.

The Performance Course will be held at California State University in Long Beach, California, from July 9 to 21. This special program is designed to give students a taste of what it feels like to be a part of the creative process, as they will work with professional dancers and teachers to create original works in preparation for a public performance.

The RAD in London already holds a similar course each summer, and it has proven to be a very popular program, according to Patti Ashby, the National Director of the RAD USA.

The Performance Course will accept up to 80 students between the ages of 12 and 22, and classes will be limited to 25 dancers per class. Each day students will take classes in ballet technique, choreography/performance, musical theatre and modern. There will also be evening lectures on stage make-up and stagecraft.

“In the past, the RAD Summer School consisted of the typical summer school classes with a strong focus on improving technique – ballet, modern and jazz,” Ashby says. “While the classes will certainly emphasize clean technique, the focus will be on learning new choreography and performing.”

Students will work with the RAD USA’s faculty who are all former professional dancers who have also completed teacher training programs through the RAD. This year, the faculty includes: Tracey Alvey, artistic director of the Alabama Ballet; Nicholas Mishoe, a former dancer with Boston Ballet and Dutch National Ballet; Nichelle Bane, an award-winning choreographer; and Diana MacNeil, artistic director of PostHouse Dance.

Ashby says she hopes that students who attend the Performance Course will “come away with more self-confidence as a performer, feeling they have had a unique, challenging and enriching experience.”

From July 23 to 28, immediately following the Performance Course, there will be a six-day Vocational Graded Syllabus Intensive for students who are preparing to take vocational graded examinations. The intensive will be open for students ages 11 to 22.

“This is an opportunity for students to fine-tune their technique, work on picking up free enchainments quickly and also build strength and stamina through the daily classes,” Ashby says.

Each day, students will take classes in examination syllabus technique, pointe, free enchainment, Pilates and modern.

At the completion of the intensive, students may choose to take the RAD exam immediately following the intensive week or during the regular spring session. “Students who stay on to take the exam right after the session always say they feel confident and well-prepared after the six days of intensive coaching with our very highly-qualified faculty,” says Ashby.

The third of The RAD USA’s summer programs offered this year is the Courses for Teachers, from July 23 to 31, when participants will be exposed to the RAD teaching methods. They will have the opportunity to review the RAD examination syllabi, learn the new Grades 1-3 and study Benesh Notation.

Ashby expects about 50 teachers to attend the nine days of teaching courses this summer. The courses are open not only to RAD-registered teachers, who can fulfill their Continuing Professional Development hours that are required each year, but also to anyone who is interested in learning about the RAD teaching methods.

“For anyone who is attending to learn more about RAD, they will find that our teaching courses are possibly the most intensive they have ever attended,” Ashby says. “Our tutors are trained to go into depth about teaching technique, musicality and performance at every age.”

Teachers who attend the summer courses will receive a certificate of attendance from the RAD. In order to become certified through the RAD, however, teachers must complete one of the RAD’s certification or degree programs, which take at least two years of intensive study, according to Ashby.

The RAD USA does offer accommodation on the university campus for summer participants. There are also parent and teacher chaperones for students.

For more information on any of the RAD USA summer programs call 661-336-0160 or  visit www.radusa.org

By Emily C. Harrison MS, RD, LD.

One of the things we can be assured of is that there will always be a new food, diet or health fad. Gluten free is the latest trend. Well-meaning celebrities and food companies out to capitalize on the latest fad, complicate the minefield of misinformation surrounding the topic of gluten. I have even seen bottled water and shampoo recently labeled as ‘gluten-free’. What are we to make of this new fad? What is gluten and should dancers avoid it?

For the majority of people, gluten is not a problem and is part of a normal healthy diet. However, there is a small segment of people who may need to limit or avoid it all together.

What is gluten?
Gluten is a term that describes tiny parts (amino acids) of a group of proteins. Basically it is a naturally occurring protein found in rye, barley, triticale, spelt, kamut, bulger, oat bran, some oats, and all wheat products. Gluten is what makes bread tender and doughy. Other food products that may also contain hidden gluten are malt flavor/ extract, hydrolyzed vegetable protein, beer and ale.

Should dancers avoid gluten?
The answer for the vast majority of dancers is NO! Gluten is not a scary, artificial, or chemical additive that must be avoided. It occurs naturally in the whole grain products mentioned above. Whole grains are an important source of good, energy producing carbohydrates that dancers need to keep them going during class, rehearsal, or performance. Whole grain products contain fiber, B-vitamins, some iron, and some protein. Dancers who unnecessarily avoid gluten may become deficient in important nutrients. For most people, there is no reason to avoid gluten and there are many reasons to eat the healthy whole grains that contain this natural protein.

Is there anyone who should avoid gluten?
Yes. Going gluten-free is the best known treatment for anyone with celiac disease, an auto-immune condition in which the body reacts to gluten like it is a foreign invader. In these cases damage to the intestines results from eating gluten which causes pain, bloating and nutrient deficiencies.

The prevalence of gluten allergy has grown over the years. We are now more aware of it than ever. There may be cases of a more mild gluten intolerance that cause bowel discomfort, eating issues, and even behavior problems, particularly in young children. Good scientific evidence in this area is in its preliminary stages. There is not enough evidence to suggest that avoiding gluten can help with autistic spectrum disorders.

If you suspect a gluten sensitivity talk to your physician or dietitian. A blood test can detect antibodies formed as an immune response to digested gluten.

Going gluten free requires careful reading of food labels and planning ahead if one is going out to eat. There are phone apps that help track the gluten content of many food items that can help with the confusion. Seeing a registered dietitian is very important if one suspects a gluten allergy or intolerance. Some gluten-free alternatives are corn, corn flour, quinoa, quinoa flour, rice, potatoes, soy flour, arrowroot, amaranth, flax, millet, bean flours and Jerusalem artichoke pasta. A gluten free diet can be healthy if planned well. In some cases a vitamin/ mineral supplement may be necessary.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Top photo: © Irochka | Dreamstime.com

Published by Dance Informa dance magazine – dance news, dance auditions & events.