Glen Street Theatre, Sydney
November 30 2012

By Linda Badger.

Sydney City Youth Ballet brought us a delightful production of the Christmas classic, Tchaikovsky’s The Nutcracker. With all its festive charm, it was the perfect way to start the last few weeks leading up to the biggest celebration of the year.

A beautifully adorned stage with great details evident in the set, props and costumes was revealed in an opening scene created to take guests on a journey of fantastical proportions, into the imagination of a little girl named Clara.

Choreographically adapted for a young cast who were playing most of the lead roles, this was a very good show for a student-based production. Under expert direction, and with a scattering of professional and ex-professional dancers, this show was overall an entirely entertaining and delightful experience.

The opportunity to be involved in a full-length production for young dancers, whether they are hoping to one day make dancing their chosen career or not, is priceless experience and training. With mostly seamless set changes and many overlapping roles within the casting of the ensemble, the company and its crew should be applauded for a job well done.

There was opportunity for much talent to be showcased, with a rotating cast for the lead roles, so that more than one group of dancers could have their moment to shine. The guest artists included past Tanya Pearson Classical Coaching Academy student Halaina Hills, who is now a dancer with The Australian Ballet. She danced beautifully with her pas de deux partner Christopher Rodgers-Wilson, also with The Australian Ballet.

The strengths of the production were definitely the visual design aspects, with much detail and a sense of authenticity about the costuming, sets and props. Complimented by the commitment to the acting of the roles played by the students, there was not a dead moment, and not a cast member not fully engaged. This drew us in as an audience and kept us wanting to see what came next, even for those who have seen this particular ballet multiple times.

Weakness came unfortunately in the technical side of the dancing, across all ages of the student body involved. There were many beautiful lines with students trained to create exquisitely lengthened arabesques and développés, but transitionally, much was left much to be desired. In saying this, however, one must remember that these were mostly students and hopefully with continued guidance their understanding of the movement will be developed more fully in the years to come.

There were some extremely strong technical dancers scattered amongst the lead and ensemble roles, notably the dancer playing the doll in the opening scene and the young dancer portraying Clara in this particular cast. They were exciting to watch.

Musicality was strong most of the time, but there were moments where it could have been better utilised. This is most likely a skill set still in the development stage.

Overall, this was a sweet and entertaining ballet. It was very family friendly for those of all ages. The young cast was talented and performed with a strong sense of conviction. I really look forward to seeing all that the future holds for the young dancers in the SYCB Company.

La Scala dancer fired after speaking out about anorexia.

By Rebecca Martin.

As a ballet dancer, the pressure is always on.  Get your legs up, turn more, jump higher, be thinner, be stronger, turn out, rehearse harder.  We look at ourselves in full length mirrors in the studio wearing next to nothing and criticise every arm, leg, foot, and miniscule bulge.  For dancers, there is no such thing as perfection, so the quest is endless.  Add to that the pressure of teachers and directors and the desire to get a certain part or role.

It’s no surprise then, that young dancers – particularly students – are susceptible to eating disorders.  They often think that if they are thinner, they will be better or more successful.  If they are thinner, they will get cast in the lead role.  If they are thinner, no one will notice their bad feet or their height.  Female dancers need to look a certain way and maintain a comparatively lower body weight than non-dancers, not only for the aesthetic of the art form, but for the safety of the male dancers who have to partner them.

However, dancers need to eat.  With punishing rehearsal schedules and endless shows, if they don’t eat, they won’t be strong enough to perform at their peak.  Dancers certainly need to monitor what they eat, but mainly for overall health and peak performance.  It’s like the old adage of putting fuel in the car.  If you don’t put fuel in, the car won’t start.  If you put the wrong fuel in, performance will be sub-par.

Ballerina Mariafrancesca Garritano

So, unhealthy thought patterns about weight and eating is not unexpected and definitely not uncommon in the dance world.  Teachers need to foster healthy body image and eating habits so that students can develop into well adjusted dancers.  Unfortunately, this isn’t always the case.  During my time at an Australian full time ballet school, some of the girls in my class were told on a Friday to lose weight by Monday, “whatever it takes”.  Drugs and starvation were advocated in these cases, with another student being told to exist on a diet of broccoli and steamed fish in the lead up to a performance so she looked good in a unitard.

This unhealthy weight obsession has been highlighted over the past few months by Mariafrancesca Garritano, a ballet dancer with the famous La Scala in Italy.  Mariafrancesca was fired from the company after repeatedly speaking out about what she labelled an “anorexia epidemic” within La Scala.  Garritano first raised the issue of the eating disorder in a book called The Truth, Please, About Ballet that was released in January 2010, followed closely by media interviews, in which she said her weight dropped to 43 kilograms as a teenager after teachers called her ”mozzarella” and ”Chinese dumpling” in front of other students. Both the theatre and Mariafrancesca’s former colleagues have denied all claims.  Dance Informa spoke to Mariafrancesca after her sacking to discuss the issue of eating disorders amongst dancers…

What inspired you to speak out about the problem of eating disorders at La Scala?
I talked about eating disorders, both within and outside the dancing world. By sharing the experiences of my own illness during my time at La Scala Ballet School, as well as the similar experiences of some of my classmates, I have reinforced that eating disorders are a real problem that affects people everywhere, including here in La Scala. My sole objective was to raise awareness about eating disorders, in order to help young people learn how to spot pitfalls and how to heal.

You say 1 in 5 dancers have anorexia. Is this problem worse than before or has it always been this bad?
I spoke about my personal experience, 16 years ago – but I did my research and discovered that eating disorders are constantly rising in our society, both here in Italy and abroad. If we don’t encourage people to talk about this issue, we’ll never be able to know how serious this problem is.

Ballerina Mariafrancesca Garritano

Do you believe the problem comes from the ballet schools where the dancers train or is it the pressure of being in a company that makes them anorexic?
I believe teenagers are vulnerable, and to keep them in an isolated environment where they’re exposed to inappropriate language runs the risk of aggravating a predisposition to eating disorders. Those in a position of responsibility must be trained to behave in a way that protects young people from eating disorders.

Why do you think your fellow dancers have not supported you regarding your allegations?
I heard they were offended by my statements – this is a shame, as it wasn’t my intention to offend, but to raise awareness about a problem.

La Scala had hinted that if you continued to speak about the topic, you would be fired. Did this worry you? Was getting the message out more important than your contract?
There is much suffering behind eating disorders and I would have never thought that I’d be ostracised for talking about them. My life, other people lives, are too important for me not to fight this battle. I regret that I had to lose this much, but my motivation came from the bottom of my heart.

Do you intend to continue dancing?
Yes, I really hope so!

What do you think needs to be done to address the problem of eating disorders in ballet schools and companies?
There’s a need for experienced professionals – diet experts, psychologists, and so on – to follow both students and teachers. A full staff backed by appropriate resources is a good start for any school or company.

Occasionally the enthusiasm for dancing is such that dancers neglect their quality of life. For instance they may skip meals due to tight rehearsal schedules, and eventually skipping meals becomes the norm. Dancers should be trained and monitored in this respect – many already know how to look after themselves, but many others don’t. I hope things can get better for every one of us.

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

By Steve Sirico of Dance Teacher Web

In this special two part series we will explore tips to running a successful studio.  If you missed the first seven tips visit (magazine/the-secrets-to-running-a-successful-studio). Think about your business and how these tips apply to what you are doing. Even if you are implementing what I recommend, try to think in terms of how you might switch up your approach for even greater success. Remember that growing your business begins with self-examination. So let’s get started!

Build additional streams of income
These can include rentals or subletting space, birthdays and other parties. Think outside the box to help you generate more revenue. During down times see about subletting a studio to a yoga class or contact your local theatre to see if they need space for rehearsal. Think about taking your classes to area groups and schools. This is a great way to generate additional income and to spread the word about your studio and programs.

Get out of your studio and build your network
Build relationships! Years ago we did a local performance and met a woman who was in charge of a program called ‘After the Bell’, a unique after school program where the parents’ club found outside companies to run classes like tennis, agility and dance, amongst others. By doing this outside show we had the opportunity to meet her and for her to see our work. We have since been doing her ‘After the Bell’ program at our local primary school for years! You will be the best kept secret in your town if you don’t get out and meet people.

Be proactive in the community
Lend a hand with fundraising events, help out with people when you can and work with a group you are passionate about. Join your local council and let it be known that you are a source in your town when it comes to providing entertainment and volunteers who can help with a worthy cause.

Know your numbers
Build a target to hit. How many students do you need to pay the bills? How many to make a profit? Do you have a formula for what each student is worth? Now set a target for what you want your studio numbers to look like. Track it each week during the first three months of your season, then once a month after that. If you have a goal, you will chip away at it and hit it eventually. When your mind is focused on growth instead of survival, it will put you in the right frame of mind.

Your front desk will make or break you
Your employees probably treat your customers about the same way you treat your employees. Let that soak in for a minute, and think about the ways your everyday behaviour might be affecting your school’s ability to generate referrals.  Keep training your staff and make it fun. Happy employees, happy students and happy parents are how you need to measure your success.

Build your referral system
Get your clients talking about you. Do the unexpected. Create an environment of ‘WOW’. The best way to do this is to let your employees know that you are open to ideas that will create a ‘wow moment’ for your customers. The more you create ‘wow’, the more they will talk about you. For your best clients you could offer a $50 off referral program where if they bring in a new student who registers, you deduct $50 from both their tuitions.

Create a marketing plan, stick to it and track your results
Decide what your objectives are, what you will spend and where you will spend it.  Not all marketing efforts work—sometimes the fish just aren’t biting. Track results to know how to proceed. My recommendation is to focus your marketing dollars first online and work out from there.  Try a targeted list that you can send a postcard to. Next consider doing a mailing to past clients with a special offer to try one week for FREE! Remember, marketing is not just about getting new clients, but also cultivating your current ones. If they are taking one class, why not try to get them to take two, three or more? For more marketing tips view past article www.danceinforma.com/grow-your-enrolments

Here’s to your success!

Steve Sirico
Steve studied dance initially with Mikki Williams and then in New York with Charles Kelley and Frank Hatchett. He appeared in a number of theatre productions such as “Damn Yankees”, “Guys and Dolls” and “Mame” in New York and around the country and in industrials and television shows. He was contracted to appear as the lead dancer in the “Valerie Peters Special” a television show filmed in Tampa, Florida. After meeting Angela D’Valda during the filming they formed the Adagio act of D’Valda & Sirico appearing in theatres, clubs and on television shows such as David Letterman, Star Search and the Jerry Lewis Telethon. In 1982 they were contracted to Europe and appeared in a variety of shows in Spain, Portugal, Sweden, Finland, Switzerland and Italy before going to London, England where they appeared as Guest Artists for Wayne Sleep (formerly of the Royal Ballet) in his show “Dash” at the Dominium Theatre.

Steve and Angela have owned and directed their dance studio in Fairfield, CT for the past twenty five years. Author of his Jazz Dance syllabus and co-author of a Partner syllabus both of which are used for teacher training by Dance Educators of America, Steve continues to adjudicate and teach for major dance organizations.

He recently has taught at the Interdanz Conference in San Jose, Costa Rica and at The International Dance Teachers Conference in London at the Royal Ballet School. He choreographs for theatres, television and conventions and D’Valda & Sirico recently choreographed the opening to the National Speaker’s Association convention on Broadway in New York City at the Marriott Marquis.

Steve is president and director of the website Dance Teacher Web, designed as an online resource and training tool for dance teachers and dance school owners worldwide. Dance Teacher Web produces a yearly conference in Las Vegas where hundreds of teachers learn from the top master teachers and business coaches in an intimate setting unlike any other dance teacher event. Next year’s conference will be held at the Red Rock Resort August 6-9 2012. For more information visit www.danceteacherweb.com

Top photo:  © Ira Bachinskaya | Dreamstime.com

By Grace Edwards.

Marking its 20^th anniversary in style, the Australian Conservatoire of Ballet (formerly the Christine Walsh Dance Centre) recently moved into its brand new purpose-built studios. The two-storey building features three climate-controlled sprung-floor studios, a building-wide intercom system and even its own production room. ACB students have no doubt been putting it to good use this month as they gear up to present their first ballet since the relocation, Swan Lake, to be held later this month at The Art Centre’s State Theatre in Melbourne. Reflecting on their twenty-year journey with the ACB, directors Christine Walsh and Ricardo Ella share their thoughts with Dance Informa’s Grace Edwards.

How does it feel to look back and realise that the ACB is now twenty years old?

Ricardo
Wow, I never really noticed it until only just recently [laughs]. I think all the on-going hard work over the last twenty years kind of gave me a late reaction to it and now, all of a sudden, we’ve found ourselves in a brand new building. Yes, it’s a very exciting prospect and with having a brand new building, perhaps it will give us a chance to run for another twenty years!

Christine
It’s just amazing! I can’t believe how the time’s flown, but then when I look at what Ricardo and I have done over the last twenty years you realise that yes, it definitely has taken twenty years. For instance, building up our training and assessment programme is obviously a very significant achievement, and also just building of the school in its reputation; the fact that we’re invited to perform at the Arts Centre on an annual basis and have our own orchestra – all of these things have definitely taken those twenty years of hard work and vision. We’ve always wanted to have this type of school at this point, so yes, it feels really, really good.

The main studio in the new building is named the “Dame Margaret Scott Studio”. What has been the nature of her contribution to the school?

Christine
Dame Margaret Scott was the teacher of both Ricardo and myself at the Australian Ballet School. She was the founding director of the Australian Ballet School and she’s actually been our patron for the whole twenty years. She’s always been so supportive, and we decided that it was very important that she would be a part of this new building and that we should honour her by naming the new studio after her.

She came to the opening and she was really thrilled! She has been such a mentor to so many Australian dancers over a very long period, much longer than twenty years. We’re very proud to have her as our patron.

Reflecting on your time at the Conservatoire, what have been the major challenges that the school has faced?

Ricardo
I think probably the biggest continual challenge, one of many challenges we have encountered, is that we have always aimed to have our students graduate. We want to help them achieve their goals. Basically, we aim to lead them into a career in dance. I feel we have achieved that aim, as many past students are now working with companies all over the world.

Another more specific challenge is maintaining our ability to perform at the Arts Centre on an annual basis with national guest artists and with an 80 to 90-piece orchestra. These are the opportunities that not many other schools are able to boast and therefore offer an unusual challenge, but we are very proud because I think this is one of the biggest achievements a school can gain.

Christine Walsh & Ricardo Ella

What were you like as a student and do any of your students remind you of yourself at that age?

Christine
Right from when I was five years of age I was quite driven to dance; that is all I have ever wanted to do. I did do other activities (I used to play the piano and tennis among other things), but it was always ballet that, for me, was the overriding goal and main focus.  I don’t recall ever wanting to do anything else with my life.

As for my students, I guess that occasionally I find someone that has similarities with myself and my journey, but I think every child is an individual.  Everyone has their own qualities and they might be similar but they are never the same. I think it’s very important as a director to recognise that your students will all blossom in their own way.

Over the time that you’ve been at the school, you’ve directed many productions. What has been your favourite?

Christine
That’s a difficult one! The Nutcracker was our first production. We did that after only two years with the school. But I think my favourite is still Swan Lake, which we’re doing this year. It was one of my favourites as a principal dancer to dance and I think just musically, the Tchaikovsky score is so magnificent that it doesn’t fail to move any of my students whenever we do it, especially the fourth act – by then, all my swans are in tears!

Ricardo, you teach the boys’ classes and pas de deux classes. What do you try to impart to your students and what’s the secret to being a good pas de deux partner?

I mainly try to impart to my students that they need to have a professional attitude and work very hard towards their goals. Another thing we stress is that they need to be realistic about themselves, particularly about which ballet or dance companies they should be in. We always try to give impartial information and keep an atmosphere of openness. After all, not everybody is going to be in a big ballet company, and everybody has to know where they are at.

As for the secret to being a good pas de deux partner? Be unselfish. Always look after your partner and always give your partner priority. Always save them and make them look good. That’s it, just be unselfish.

Christine, what is the core of your own teaching philosophy? Have you found that it’s changed much over the years?

I don’t think my overriding philosophy has changed. That philosophy is that each student must be trained as an individual.  That’s because the artistry is, for me, the most important thing. However, over the years I think I’ve probably become better at analysing students’ weaknesses so that I can help them overcome them earlier.

But overriding everything is artistry and musicality. Throughout my career I felt that was vitally important and as teacher and director I still do.

Congratulations to Christine Walsh and Ricardo Ella on a successful 20 years, and a lovely new studio!

The Australian Conservatoire of Ballet presents ‘Swan Lake’ at the State Theatre, The Arts Centre, Melbourne, Wednesday 21^st and Thursday 22^nd December. For enquiries, phone 03 9421 2000, or for more information www.acbaustralia.com.au

Top photo: Ballet Gala 2009. Photo by Jeff Busby

By Grace Edwards.

How can teachers keep kids interested in ballet? Aware of the benefits of a strong classical foundation, many teachers are dismayed to watch their young jazz/commercial dance students avoid ballet at all costs. So what works? What doesn’t? And does skipping ballet really matter in the long run? Dance Informa goes in search for answers from renowned dance teachers working in Australia and the United States.

Growing up, did you ever relate to the kids who hated ballet classes and gave up?

Julie Brown, Director, Urban Dance Centre, Sydney: I think you are very influenced by the people who teach you and how you are taught. I was very fortunate to have John Field as a teacher — a truly inspirational person who taught with so much love, it was easy to be inspired.

Rebecca Brown, Co-Director, Perimeter Academy of the Arts Ballet, Atlanta: I had one year as a young child when I begged my mother to let me quit. She made me stick with it until the recital, and after being on stage and wearing lipstick, I was hooked!  Kids today often want to quit because of the discipline, structure, and hard work required. They often find activities more fun that are fast-paced with quick results and that involve social time, when they are allowed to talk in class.

Barbara Everson, Director, Australian Dance Performance Institute, Brisbane: Because I started late (ten yrs old), I really don’t remember people dropping out of class. We were very committed to achieving. I know that in my first year I sat Grade Two, then in the second, Grade Five, and the third, Elementary. This was expected of us and we certainly didn’t question the decision or the number of classes that we did. I personally could not wait to get to dance classes.

In your own experience, have you found it difficult to get kids to sign up for ballet classes?

Julie: At Urban Dance Centre we don’t insist that the children do ballet (unless they are in the performances groups) and we have noticed that because of this a lot of children choose to do ballet. Also, our faculty cross-references their work to other styles of dance, thus providing continuity in teaching. For example, the jazz faculty will discuss posture, placement, alignment and how classical training helps to achieve these things. Similarly, the classical faculty will talk about pirouettes and adage, and how they relate to jazz and musical theatre.

Nicole Bunnell, Director, The Edge Performers School, Melbourne: Often it is difficult to fill positions in ballet classes and the reasons for this are — children find it boring; the music is not of a high and exciting tempo, and children prefer bright and stimulating expression. The exercises are repetitive and slow to develop correct placement and control, and it can be hard for children to maintain focus and appreciate the benefits of the techniques being taught.

Liza Pollok, Co-Director, Excelsior School of Dance, Houston: We have a very strong classical school and we use a syllabus. The kids that sign up for ballet with us have a goal to work towards and exams to do each year, so they are challenged and they love it. Most of the students we get are very serious little dancers right from the beginning.

Many teachers and dancers believe that it is nearly impossible to attain a professional standard of technique without a classical background. Do you believe this is true?

Rebecca: Definitely! Classical ballet is the foundation and basic building-block for all popular dance styles. A well-trained classical ballet dancer can typically transition to jazz or hip hop relatively easily given a little time, but this process does not seem to work in reverse.

Julie: I think it is extremely difficult to achieve a professional level as a dancer without classical training, although obviously not impossible. It really depends on the individual dancer, his or her focus and the quality of the teaching. I do think it’s wonderful to see hip hop dancers performing perfect pirouettes in the middle of a routine.

Nicole: Many teachers believe this, but I agree in part only. Strong technical training in jazz is often based on ballet exercises, so students with strong technical training in jazz are indeed capable of achieving employment in the professional dance industry. However, my own students are encouraged to attend ballet classes as a foundation and also as an extension of technical training when pursuing jazz classes. I do find that ballet assists greatly in technical development.

Barbara: We do have students who audition for our full time courses in musical theatre and commercial dance without having done classical ballet. On discussing this with them, they have said that their teachers told them that classical ballet was not necessary. They do not realise how wrong they are. For students who wish to go into commercial dance, it is totally essential. All Disney auditions commence with a ballet class; if they get cut at this stage, then it really doesn’t matter how good they are at the other genre. It is interesting to listen to the adjudicators at the City of Sydney Jazz Finals at the Opera House who nearly always comment on the importance of classical training to a dancer. They believe that it is imperative for any student who wishes to gain employment.

What, in your opinion, is the ideal ratio of ballet classes to popular dance classes for career-track kids more inclined towards popular dance styles?

Ashley Killar, Director, Ecole Ballet and Dance Theatre, Sydney: 50/50.

Julie: At Urban Dance Centre our full-time students do three hours of ballet per week, but they also have a technique class every day, i.e. jazz, kicks/turns/jumps, contemporary etc.

Nicole: For students under ten years of age we recommend 1½ hours per week of ballet. After ten years of age, the minimum is set at 2½ hrs per week and the recommendation is three hours per week, but we do not have a set ratio that we expect students to adhere to when selecting classes.

Barbara: They should have at least two ballet classes per week, because without it their career-track will be very limited.

Of course, technique is not only the domain of ballet. Do you think that there is enough of a focus on technique in popular dance classes?

Nicole: Our jazz classes have a very strong technical base. As most ballet is set to a syllabus, there are minimum expectations for each class. Unfortunately, not all schools uphold the same level of training or are monitored for teacher development and training in styles other than the ballet syllabus they are implementing.

Rebecca: My observation is that it all depends on the teacher. A teacher who has a strong background in ballet technique is much more likely to focus on and understand the importance of technique in popular dance classes.

Keeping kids in ballet class is only one part of the equation. How do you keep your students motivated to do their very best in ballet class? What works for you?

Ashley: We use different methods for different character types. One has to treat each student as an individual, not expect them to conform like peas in a pod.

Julie: I teach ballet to our full time students and find that constantly cross-referencing the work keeps the students engaged, as this allows them to fully understand and appreciate WHY they are doing the work they do. The speed of a frappé, for instance, can be related to isolations, dynamic quality, and core strength, whilst the correct placement in an arabesque is extremely important when we are working on a variety of lifts, as the boys need to know that the girl can hold her alignment herself.

We can work through the whole class in this manner and if the students are focused on a career in commercial dance it is easy for them to understand the WHY. I recently overheard one of our new Certificate IV in Performing Arts students say, “I never thought I’d actually enjoy ballet, but it’s really good”!

Nicole: To keep our children motivated in ballet, we encourage students to take ballet exams so that they may see a reward for their hard work in the classes. We also make sure that at least one class per week involves learning a concert routine for our end-of-year performance. Children are further motivated to take the ballet classes as a way of being able to take the troupe performance class, as this is a set pre-requisite.

Barbara: All students have to have goals, and we encourage them to achieve these. With continual positive reinforcement and nurturing we find that our students respond well. I use a lot of imagery in my teaching that stimulates them. I encourage them to research solos on YouTube and discuss what they find with them. I always include an anatomical approach explaining the use of the body during exercises in every class no matter how young the students are.

I work to weave dance history in as well so that they understand where dance comes from. It is heart-breaking when teenage students have no idea who Nureyev, Fonteyn  and Baryshnikov are. This is when the old VCR comes out and movies such as “Turning Point” and “I am A Dancer” are shown.

Rebecca: This is definitely an ongoing challenge!  I believe that personal encouragement and one-on-one contact with each student is critical to make them feel valued and good about themselves. Careful class planning is also very valuable for the teacher. Students seem to be most motivated when the teacher is confident and energetic, moves at a consistent pace, has a structured format, and requires students to discover the joy and rewards of hard work and self-discipline. Always with passion, love, and a smile!