By Kristy Johnson.

With over 15 years of international industry experience, The Squared Division is a force to be reckoned with. Two singular talents, Antony Ginandjar and Ashley Evans, join to equal a powerhouse team in high demand in Hollywood and on our Aussie shores.

Collaborating with some of the hottest names in the industry such as Ke$ha and Taylor Swift, Antony and Ashley fuse their love of fashion, recording, styling and choreography to produce one-of-a-kind events.

Dance Informa caught up with the boys to chat about their start in the industry, and continued success here and abroad.

Can you tell us how The Squared Division came about?

Antony
We were professional dancers before we met. We actually met back in 2005. We both dabbled in choreography, but on the side Ashley was always working in fashion styling and I had an interest in song writing and recording. So it wasn’t until 2007 that we officially joined forces and decided to put everything we loved doing under one umbrella: styling, recording and choreography. From there, The Squared Division was born.

The Squared Division. Photo by Marvin Joseph

How well do you think you complement each other?

Ashley
We really complement each other. For the most part as creative directors, we deal with the lighting, designing, set prop design and camera shots; then choreography is the next step. We have such a large scope of duties and we really know how to delegate according to each other’s strengths. I guess that shows the 100 percent trust we have in each other. We’re able to stand back and critique each other’s work objectively and come up with something we both love.

Ashley, would you say fashion is what inspires you with your choreography?

Ashley
Art and fashion really inspire us. Alexander McQueen and Givenchy; I think clothing can change a performance. That piece of clothing also allows us to transport to another time and place. That’s where we get our direction from, and then the choreography as well.

Taylor Swift with Antony Ginandjar of The Squared Division

When you’re working with stars such as Ke$ha or Taylor Swift, do you have an input as to what they wear?

Antony
Definitely. I guess that’s where the creative direction side comes into it. We put together what we call ‘creative treatments’ that involves not just the stage, lighting and choreography, but also the costumes for the dancers and performers. From there, we direct the artist’s personal stylist with what vision we’re seeing. They will then come back with their thoughts and it becomes kind of like a collaboration.

What is it like working with Ke$ha?

Antony
What we love about her is that she’s crazy in a really good way (laughs). She allows us to push boundaries and she pushes us quite far out of the box. We really love that. She’s a pop star but at heart she’s a rock god fusing her crazy rock and roll with her pop songs.

Ashley
We’ve been working with her for three or four years now, so we know exactly what she’s thinking.

Which choreographers inspired you when you were first starting out in the business?

Antony
I think for both Ashley and myself, the big one would have to be Bob Fosse. Then growing up in the pop era, Wade Robson is someone we have always looked up to. And then locally, Kelley Abbey is a major inspiration for us as well.

Ke$ha and Antony Ginandjar

Aussies are known to be hard workers. Do you think that’s part of the reason why you have had so much success in the States?

Antony
Definitely (laughs). I think we’re both workaholics. All our friends know that we just don’t stop. So I guess we consider ourselves hard workers. The reward at the end far outweighs all the hard work that you put in to get to that point.

Ashley
We’re definitely passionate. We do this for the love, and we do it for what we get out of it more than anything else.

When was the last time you had a ‘pinch yourself’ moment?

Antony
I guess the last time would probably be late last year. It was when Ash was back in Australia and he was working on the finale for the X Factor Australia, and at the same time I was in LA working on the American Music Awards with Ke$ha. It’s not often that we have to split up but we had two massive jobs on, so we had no choice. And then on top of all that, we got a call from our US agent telling us we just booked Taylor Swift! That was a spin out! After the meeting I called Ash on opposite sides of the world and we couldn’t stop laughing with amazement. We were literally pinching ourselves, thinking this was crazy, really stressful, and yet wonderful all at the same time!

Kylie Minoque with Antony Ginandjar and Ashley Evans

Do you ever feel pressure living in LA?

Ashley
Not really. Every time we’re in LA we’re working. I guess we’ve been really lucky that as soon as we’re here in LA we’re working on big jobs. We haven’t experienced too much pressure yet (laughs). We’re very much day-by-day people and look forward to what the future may hold.

How important is teaching to you?

Antony
We always say we wish we could do it more often. Master classes are definitely our way of getting back out there and seeing how the younger dancers are coming along. Hopefully we inspire them as much as they inspire us.

Ashley
At the end of the day, we’re only as good as our dancers. We really pride ourselves in working with amazing talent.

Where do you hope to see The Squared Division in the next five or so years?

Antony
I guess our goal is to continue to build our business in the US and all over the world, as well as continue to be strong in Australia. It’s always been a goal of ours to direct or choreograph an arena or stadium show for a music artist. That would be in five years or even less! And we’re both really passionate about the film industry, so all those things are on our cards.

To find out more about The Squared Division and keep up with all the news, visit www.thesquareddivision.com and www.facebook.com/THESQUAREDDIVISION.

Photo (top): Ashley and Antony of The Squared Division. Photo by Marvin Joseph.

We can all remember jazz ballet, jazz hands, lycra, sequins, lace-up jazz shoes and Flashdance, but what is jazz dance now and how has it evolved?

Jazz dance is no longer solely the domain of fan kicks and shimmies. The term “jazz” now incorporates a broad range of dance styles. Prior to the 1950s, jazz dance was a style that originated from African American dance and in the 1950s “modern jazz dance” emerged, with roots in Caribbean traditional dance. Every individual style of jazz dance to this day has roots traceable to one of these two distinct origins.

Beginning in the 1930s and continuing through the 1960s, jazz became a form of dance that required the dancer to be highly skilled, and during this time, both modern and ballet choreographers including George Balanchine, Jack Cole, Jerome Robbins and Bob Fosse experimented with jazz dance.

Jazz dance develops in parallel to popular music, with jazz being the physical embodiment of popular music of a given time.  It therefore continues to evolve and remain popular across the world and across age groups.

Dance Informa sought to uncover what is being taught as “jazz” in Australia’s leading dance programs and spoke with the directors of some of our country’s premier institutions.

Students at Urban Dance Centre, Sydney

Juliette (Jet) Verne
Urban Dance Centre, Sydney

What styles of jazz does your school teach?
Urban Dance Centre teaches traditional jazz with a taste of modern flavor. We believe and are very passionate about the classic technique, power and clean lines of traditional jazz and we include and are continuing to grow with today’s modern movement, music and styles.

What makes a great jazz dancer?
A great jazz dancer owns their dancing with power, technique, confidence and style. Someone who is unpredictable with outstanding technique and a whole bunch of fire!

Where do you draw your inspiration from when teaching and performing jazz?
I draw my inspiration from successful dancers/choreographers such as Desmond Richardson, Gil Duldulao and our very own Kelly Abbey. Plus my family, UDC faculty and students, and music inspire me every day!

How do you think jazz has influenced other styles of dance?
I think jazz has influenced many styles of dance and music. A lot of pop artists throughout the years have fused jazz and hip-hop styles together and have come up with some amazing dance routines in their music videos and live concerts. Lady Gaga, Madonna, Beyonce and Janet Jackson, to name a few, have all had a jazz influence within their repertoire and have produced some very exciting and inspiring work.

What do you think jazz is now and how has it changed?
I feel jazz dance styles have branched out to many exciting new and different styles like lyrical jazz and JFH (Jazz/Funk/Hip Hop) and is constantly growing and changing. Like any art form, jazz will continue to grow, morph and change which is why we as a dance community are so passionate about it and love it!

Dancers perform iconic Fosse jazz choreography in the Australian production of ‘Chicago’. Photo by Jeff Busby.

Todd Patrick
Patrick Studios, Melbourne

What styles of jazz does your school teach?
At Patrick Studios Australia we offer a number of different styles. In jazz particularly we teach jazz technique classes tailored to beginner, intermediate or advanced students. We also specialize in jazz classes that include a technical routine as well as Broadway jazz classes taught by Australia’s leading musical theatre choreographer – Andrew Hallsworth.

What makes a great jazz dancer?
A good jazz dancer has wonderful technique and lines with a good base in classical ballet. Men, in particular need a strong grounding and a masculine edge to their dancing.

All great jazz dancers dance with power and can interpret music well. These days there are some extraordinary dancers that master their technique. This is incredible to watch but I strongly believe that there is no point in doing 10 turns into an incredible jump combination finishing with a back handspring if you do it like a gymnast. I love all of that, I think it’s exciting, but I know that with a sense of performance and feel for your music you will make a connection with your audience that will far outweigh technical feats.

Where do you draw your inspiration from when teaching and performing jazz?
I am incredibly inspired by the dancers around me, especially my students, each and every day!

How do you think jazz has influenced other styles of dance?
Jazz is in every style of dance, it’s a natural way of moving.  You don’t have to have the perfect facility to be a great jazz dancer; therefore, jazz is a style that runs through many genres of choreography. More than anything, its influence is seen in every new generation coming through as they watch A Chorus Line or Footloose, or any show or movie that inspires children to take their first steps towards a dance studio.

What do you think jazz is now and how has it changed?
Jazz is IMPORTANT, that’s what I know.  The three major musical theatre auditions this year were all about technique and style; Lion King, Grease and Wicked are all shows that you must have a strong technical foundation for. If you want to be a successful dancer you must have jazz training. Sometimes I think lyrical becomes what younger dancers think is “in”. In fact, it is derived from a fusion of jazz and contemporary.

Real jazz is athletic and sexy, it’s full of energy and grit, it’s sweaty and exhausting, from the sensuality of Fosse to the strength of A Chorus Line. Personally, jazz for me will always be a Barbara Warren Smith class. She has taught most of Victoria’s jazz dancers how to roll a shoulder and tip a hip unlike anyone I know. She is still the sexiest woman strutting her stuff in the studio as she was when I first had the privilege of taking her class.

Cameron Mitchell
Brent Street, Sydney

What styles of jazz does your school teach?
Commercial jazz, Broadway jazz, JFH (jazz/funk hip-hop), lyrical jazz – basically every form of jazz.

What makes a great jazz dancer?
Versatility is the most important thing for any dancer. You must be able to adapt to any choreographer’s style.

Where do you draw your inspiration from when teaching and performing jazz?
The music! That’s where it all begins. I let the music tell my body what to do and feel.

How do you think jazz has influenced other styles of dance?
I think in this day and age all the styles influence each other. Hip-hop has a jazz flavor, yet jazz is heavily hip-hop influenced.

What do you think jazz is now and how has it changed?
If it’s really good it is because it has evolved. All jazz can have the feeling of times past but it really has to be modern – even Broadway, if it has a new spin. It’s great.

Top photo: Talia Fowler and the Australian cast of FAME. Photo by David Wyatt.

By Rebecca Martin.

Michael Ralph is well known around Melbourne, not only for his dancing but his fantastic classes at The Space, Michelle Slater School of Dance, Jason Coleman’s Ministry of Dance and Centrestage Performing Arts School.

Recently, he has started creating works that have garnered critical and audience praise alike. His new work, Now & Then – Ralph’s first full-length production – will be presented at Gasworks Theatre in Melbourne on March 21-23. Featuring who’s who of the Melbourne dance scene, the work presents Ralph’s own brand of Broadway jazz and contemporary dance.

Dance Informa recently caught up with this budding choreographer to ask him a few questions.

You trained at Dance World Studios and teach at various places around Melbourne. Share with us more of your background as a student and performer. 

I actually grew up in New Zealand in a city called Tauranga on the beautiful east coast of the North Island. I started dancing at age four at the dance school around the road from my house. I moved to Australia in 2007 to study full-time at Dance World Studios and to pursue a career here.

Michael Ralph

After a year of full-time (dance) I was very lucky to be cast in the musical CATS as my first professional gig. I learnt so much about performing and about myself from being on tour. Since then I’ve performed in FAME the Musical, CATS again playing another role and in Moonshadow, the Cat Stevens’ musical.

My two goals when I moved to Australia were to perform professionally in musical theatre and to be a musical theatre choreographer. So I guess everything has been working towards these goals. I am extremely passionate about the knowledge I have gained over the years from so many incredible people who have taught, mentored and worked with me. Because of them, teaching others comes so naturally.

Now & Then isn’t your first piece of choreography. You have created prize winning pieces presented at Short + Sweet.

Last year I created a piece called Project Elvis, which was part of Short + Sweet Dance festival 2012. It won “Best Choreography”, which was a huge step forward for me and my work. The year before that I won the “People’s Choice” award for my piece Mood Swing at Short + Sweet. I have also created work for Immersed Industry dance nights, Underground Dance night, Magnormos Theatre Company and many cabaret and corporate shows. A lot of my work is for showcase and competition pieces for the many dance schools and music theatre institutions that I teach at.

Do you prefer dancing or choreography?

Dancing will always be my first love. There’s nothing quite like that feeling out there onstage – it makes me feel bigger/stronger than I believe I am in real life. But I have always been fascinated with choreography and studying different peoples’ work and processes. It feels so much more like what I was meant to do in life. I love choreographing and it’s very creatively satisfying.

Who is your favourite local choreographer and why?

I would have to say Kelley Abbey. She has such distinct vision and style with everything she does – musical theatre, television, and film. Working with her in FAME was a hugely inspiring experience and a great honour.

Who is your favourite all time choreographer and why?

That’s WAY too hard to answer! I pride myself on knowing all there is to know about the great choreographers of the past and present. I like them all for different reasons. If I was to narrow it down to a few I would say Bob Fosse, Michael Bennett, Jack Cole, Rob Ashford and Gene Kelly. I love choreographers of all styles though and try to let this influence my work a lot.

Michael Ralph’s ‘What is this thing called love?’

Tell us about your new work, Now & Then.

Now & Then is my first full-length dance production directed and choreographed by myself. I’ve been planning and thinking about doing a show for about two years now and finally the right moment came to go ahead and do it. Essentially the show is a chance to showcase my work to the musical theatre and dance industry in the hope of creating more interest and opportunities for myself as a choreographer.

The first piece, What is this thing called love?, is a young man’s journey to find the essence of true love. Set to a catalogue of Cole Porter’s finest hits, it promises to seduce, thrill and set your toes tapping. The second piece, Ladies of Hollywood, is a tribute to the great Jack Cole – a lesser known choreographer of film and theatre whose work I adore. The final piece, Project Elvis, explores the lust, loneliness and love of youth in the 1950’s. Featuring a rockabilly meets 2013 soundtrack of remixed Elvis Presley tracks that will blow the roof off the joint!

Tell us about the team involved in the show.

The dancers in this show are so incredible and I am extremely lucky to be working with each and every one of them. We’re about halfway through the rehearsal process now and I’ve been having such a wonderful time. The workload involved with putting on your own show is a tad daunting, but I try to keep on my game my being organized and surrounding myself with a strong team, (including) Scott Hendry (Co-Director), Amy Mete (Production Assistant), Tanje Ruddick (Production Manager) and Gemma Kelly (Costume Coordinator).

I cannot wait for people to see what we have been working on. I always strive to create work that audiences find connectable, entertaining, and fresh – even in an old school way.

To get your tickets to Now & Then visit www.gasworks.org.au and for more information visit www.facebook.com/NowAndThenDoubleDanceBill.

Photos courtesy of Michael Ralph. Top photo from Project Elvis.

By Rain Francis.

1. Which song and film clip by Madonna was inspired by the underground ballroom culture of 1980s New York City?

a) Into the Groove
b) Vogue
c) Like a Virgin
d) Material Girl

2. Which famous dance work is referenced in Queen’s I Want to Break Free?

a) Swan Lake
b) Serenade
c) L’après-midi d’un faune
d) Sinfonietta

3. Which well-known actor performs an impressive dance sequence in the Fatboy Slim video Weapon of Choice?

a) Christopher Walken
b) Marlon Brando
c) Johnny Depp
d) Jake Gyllenhaal

4. Speaking of Fatboy Slim, who choreographed Praise You, as well as Kylie’s Can’t Get You Out of My Head and Bjork’s version of It’s Oh So Quiet?

a) Spike Jonze
b) Amy Hollingsworth
c) Shane Sparks
d) Michael Rooney

5. Which popular video was inspired by Bob Fosse’s choreography in Mexican Breakfast?

a) Beyonce’s Single Ladies
b) Rhianna’s Umbrella
c) Michael Jackson’s Beat It
d) Robert Palmer’s Addicted to Love

6. Which dance craze is seen prominently in MC Hammer’s U Can’t Touch This?

a) The moonwalk
b) The running man
c) The hustle
d) Gangnam Style

7. In 2007, a video was released featuring prison inmates in Cebu, Philippines recreating a dance from which Michael Jackson clip?

a) Thriller
b) Billie Jean
c) Black or White
d) Heal the World

8. Radiohead front man Thom Yorke shows off his kooky dance style in the film clip for Lotus Flower. Which well-known Brit is credited as choreographer?

a) Wayne McGregor
b) Matthew Bourne
c) Michael Clark
d) Christopher Hampson

9. In which Christina Aguilera video is a there a nod to 40s singing group The Andrews Sisters?

a) Dirrty
b) Genie in a Bottle
c) Fighter
d) Candyman

10. What style of dance is featured in Run DMC’s video for It’s Like That?

a) contemporary
b) tap
c) breaking
d) salsa

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

Photo: Madonna’s Material Girl music video. Photo source allaboutmadonna.com

iOU Dance Solo Series
Sydney Opera House, as part of Spring Dance
August 24 2012

By Nicole Saleh.

The Sydney Opera House warmly welcomed Sydney’s best independent solo dance artists to take centre stage for Spring Dance 2012.

The iOU Dance Solo Series featured six home-grown solos by talented choreographers, each performing their own unique work showcasing their versatility as an artist. This solo series was originally created as a tribute to the Io Myers Studio at the University of NSW, where many independent artists research and develop their works. From the rehearsal room to the Opera House, Spring Dance curator, Rafael Bonachela, has given these vibrant artists an iconic platform to share their creativity and artistic spirit to a much wider audience.

The evening started with a fascinating performance of Anton’s SuperModern 2.1, an adaptation of his full length work, SuperModern – Dance of Distraction. Dressed in a plain t-shirt and sweat pants with his feet firmly planted on the ground, Anton’s structured improvisation of his upper body with hectic and repetitive. Shaking and twitching movements from his head to his fingertips seemed to demonstrate the unrest we can feel by the constant bombardment of technology in our lives. Strong and powerful lighting direction enhanced this work, with light streaming onto the stage to form a square box. This conveyed a sense of being trapped, and that Anton was energetically trying to break free. Anton’s choreography and execution was highly engaging, and I’m eager to see how it translates into his full length work.

Martin del Amo. Photo by Jess Bialek

Another highlight of the evening was the simplicity of Craig Bary’s modern choreography, and his ingenious use of a chair in his work titled Awaken Absence for Josh. Craig explored the notion of how you can still feel a presence when a space is empty, as if it should be occupied. A specially commissioned music piece by Eden Mulholland, provided the momentum for Craig’s swift movements. His interaction with the chair was as if this object was a person, and he used all parts of his body from his hands, legs and even his head and neck to glide the chair effortlessly around the stage. His strong yet fluid movement saw him playfully jump, turn, tumble and envelop himself around the chair. Craig’s strong sense of emotion in his performance allowed him to easily connect with the audience.

Martin Del Amo presented two short works. Part 1, Disorientation and Part 2, What Good Is Sitting Alone In Your Room, a tribute to the style of Bob Fosse. In his second work Martin unexpectedly appeared in a short black dress and stuck a series of poses and static movements that mimicked the characteristic silhouettes of Fosse’s choreography. This highly unique work by Martin paid homage to one of the greatest choreographers of our time that has influenced both cabaret and jazz dance.

Bringing a spiritual flavour to the evening was Narelle Benjamin’s piece titled Nobody, inspired by Hindu Goddess Kali. With the jingling sound of bells and use of a sword, Benjamin’s amazing flexibility and core strength allowed her to twist and shape her body into yoga inspired poses and headstands that marvelled the audience.

It was wonderful to see incredible women showcased in this solo series including Kristina Chan. In her work Lost and Found, Kristina sought to find her place in the world. With a strong sense of curiosity, her movement at times was reminiscent of an animal in the way she twisted her arms behind her, along with alert and sharp head movements. Although this work did not showcase fully Kristina’s amazing ability as a dancer, it did strongly deliver the message of being on a journey to discovery.

Kristina Chan presents 'Lost and Found'. Photo by Jess Bialek

The last solo of the evening by Timothy Ohl, was a departure from dance in its purest form, to physical theatre. In this highly entertaining work, Timothy took on the persona of a reality TV star named Jack. Not taking himself too seriously he made fun of pop culture and the need for people to find fame. Essentially he is a ‘jack of all trades and master of none’. Competing to win a reality dance contest, Timothy showed his breadth of dance styles from tap to break dancing and even included a flash back to the era of 80s jazz dancing, complete with a sparkling blue unitard! He engaged the audience through his use of humour and cleverly incorporated technology into his work where he sang a duet on stage with himself on a TV screen. Even though this work pushed the boundaries of dance and entered the arena of physical theatre, the audience appreciated its relevance and gave it the greatest response.

With a varied and eclectic program, the iOU Dance Solo Series has successfully put independent dance theatre on the map for all to see, showcasing the diversity of talent within this dance community. Even in a world renowned venue like the Sydney Opera House, the artists couldn’t resist bringing a sense of local community to the theatre, inviting the audience after the show to join them in the Opera House foyer for a chat and a snag from the Aussie BBQ.

Top photo: Timothy Ohl performs at iOU Dance Solo Series. Photo by Jess Bialek

How much do you know about jazz dance icon Bob Fosse?

By Rain Francis.

1. Which of the following characters would you NOT find in Chicago?

a) Mary Sunshine
b) Roxy Hart
c) Lilli Vanessi
d) Billy Flynn

2. In the 1972 film Cabaret, Sally Bowles is a performer at what club?

a) The Kitten Klub
b) The Kit Kat Klub
c) The Top Kat Klub
d) Top Hats ‘n’ Kats

3. The 1953 film Kiss Me Kate was inspired by which Shakespeare play?

a) Romeo and Juliet
b) The Taming of the Shrew
c) Much Ado About Nothing
d) Othello

4. The video for Beyonce’s Single Ladies was inspired by what Bob Fosse number?

a) All That Jazz
b) I Gotcha
c) Mexican Breakfast
d) Bye Bye Blackbird

5. Rich Man’s Frug is a number from which Fosse film and stage show?

a) Sweet Charity
b) Pippin
c) The Pajama Game
d) Damn Yankees

6. In the semi-autobiographical All That Jazz, who plays the elder “Joe Gideon”, the character based on Bob Fosse?

a) William Shatner
b) Michael York
c) David Hasselhoff
d) Roy Scheider

7. As a Choreographer and Director, Fosse won nine Tony Awards and one Academy Award. What film was the Oscar for?

a) Cabaret
b) The Little Prince
c) Lenny
d) Kiss Me Kate

8. In the 1969 film Sweet Charity, who played Charity Hope Valentine?

a) Gwen Verdon
b) Shirley MacLaine
c) Liza Minnelli
d) Ann Reinking

9. Which of the following is NOT a number in The Pajama Game?

a) Steam Heat
b) Hernando’s Hideaway
c) Shoeless Joe from Hannibal, Mo
d) Small Talk

10. What moniker is given to Amos Hart in Chicago?

a) Fred Casely
b) Mister Cellophane
c) Pal Joey
d) Mr. Applegate

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

Top photo: The Female Ensemble in Australia’s Chicago. Photo by Jeff Busby, 2009.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

Test your dance knowledge…

By Rain Francis.

With which name would you MOST associate Ginger Rogers?

a) Gene Kelly

c) Mikhail Baryshnikov

c) Fred Astaire

d) Donald O’Connor

For which ballerina was the Dying Swan choreographed by Mikhail Fokine?

a) Anna Pavlova

b) Natalia Markova

c) Alicia Makarova

d) Anna Karenina

Who did Lucette Aldous dance alongside in the 1973 filmed version of Don Quixote?

a) Mikhail Baryshnikov

b) Rudolph Nureyev

c) Anthony Dowell

d) Carlos Acosta

Which of the following names would you LEAST associate with contemporary dance?

a) Martha Graham

b) Jose Limon

c) Cyd Charrise

d) Merce Cunningham

Which king is best associated with the origins of classical ballet?

a) Louis XIV (King of France from 1643-1715)

b) Henry VIII (England, 1509-1547)

c) Ferdinand III (Italy, 1637-1657)

d) Phillip III (France, 1270-1285)

Which of the following was Gene Kelly the star of?

a) Singin’ in the Rain

b) An American in Paris

c) Ziegfeld Follies

d) All of the above

Which American ballerina wrote Dancing on my Grave?

a) Maria Tallchief

b) Gelsey Kirkland

c) Darci Kistler

d) Cynthia Harvey

Who’s daughter is Liza Minnelli?

a) Elizabeth Taylor

b) Debbie Reynolds

c) Margot Fonteyn

d) Judy Garland

Who choreographed Cabaret, Chicago and Damn Yankees?

a) Bob Fosse

b) Jerome Robbins

c) George Balanchine

d) Alvin Ailey

What nationality is renowned dancer Sylvie Guillem?

a) Italian

b) English

c) French

d) Canadian

Answers:

1 – c, 2 – a, 3 – b, 4 – c, 5 – a, 6 – d, 7 – b, 8 – d, 9 – a, 10 – c