We always hear about the importance of what you eat, but could when you eat be just as important?

By Emily C. Harrison MS, RD, LD.

What’s the secret for dancing stronger, improving body composition, building muscle, having more endurance, and improving performance? Energy Balance.  Backed by sound science, the concept of energy balance is all about timing healthy meals and snacks to work for you.  Managing your energy balance can even play an important role in injury prevention.

What is Energy Balance?

Energy Balance is eating exactly the right amount of fuel for the activity you are about to do.   It is meeting and adjusting your body’s energy (calorie) needs as they change throughout the day depending on how hard you are working.   Let’s say you are going on a road trip….
Which option would you choose?

1. Ok car, I’m not going to give you any fuel now, but when we get there I’ll give you all the fuel you need?
2. Ok, car, I’m going to give you all the fuel you need for the trip now, but you have to figure out where to store it?
3. Or…Ok car, I’ll fuel you up now for the next 2-3 hours and then I’ll stop and fuel you up again when you need it?

Obviously, we should choose option 3, but all too often dancers choose option 1 or 2.  Providing enough calories from healthy foods at carefully planned intervals when dancing gives the body the fuel it needs to perform its best.  When athletes have enough fuel, preferably from carbohydrates, they have been shown to have higher jumps and more endurance. Also, when dancers eat regular healthy snacks they tend to not overeat later.   If a dancer gets extremely hungry because he or she hasn’t eaten in a while, he or she tends to overeat more than needed within a certain time frame and those extra calories get stored.  Some is stored as a much needed type of fuel called glycogen which is easy to access when dancing the next day, but some is converted to body fat.  This is why eating smaller more frequent meals not only leads to better performance but also to more muscle and less fat.   We all know that working in an aesthetic art form means that we have to be judicious about what we eat, but planning meals and snacks wisely throughout the day can actually lead to better, stronger muscles and lower body fat percentage.

Whether someone dances two hours a day or ten, in order to perform their best they have to provide exactly the right amount of fuel to their system at the right time.  Going for too long without eating can backfire by forcing the body to come up with fuel from somewhere. When running on empty, the body breaks down muscle tissue and converts it into a type of fuel that the muscles and brain can use.

There are several problems with the all too common dancer strategy of not eating before and during classes/rehearsals/shows and waiting until later to eat: The body lowers your metabolic rate to adjust, the body burns muscle for fuel and thus makes you weaker and more prone to injury.  The brain has a harder time concentrating with no fuel, so choreography is harder to pick up and ultimately you end up with a higher body fat percentage and less muscle. Eating a small snack would have been a much more efficient source of fuel.

Here are my top 10 energy balance tips.

1. Eat breakfast!
2. Have a 100-250 calorie morning snack especially if you have rehearsals
3. Provide some calories every 2-3 hours during your day
4. Eat smaller more frequent meals
5. Plan a 100-250 calorie afternoon snack around 3:00-4:00pm to stave off hunger
6. Eat a reasonable dinner with carbohydrate, protein, and some healthy fats
7. Do eat after dancing, but don’t overdo nighttime snacking
8. Hydrate, hydrate, hydrate all day
9. Sip on a sports drink if dancing for a long time and eating isn’t possible
10. Focus on fruits, veggies, and whole grains when meal/ snack planning – these carbs are good!

Pack a snack in your dance bag like a museli bar, banana, dried fruit, nuts, and whole grain crackers or make a wrap with hummus, veggies and rice. Make some pasta salad with whole grain pasta, black beans, tomatoes, corn, and red peppers – yum!  Planning is the key to making healthy food convenient.

Want to know more?
Here is some additional info:
Working muscles require calories in order to provide enough readily available energy in the form of adenosine triphosphate (ATP) and creatine phosphate (CP) particularly for the short, high intensity bursts of activity that we dancers do in class and in performance.  Longer bouts of exercise (Swan Lake for example) require the use of stored glycogen and fats. The body adjusts what it uses for energy based on the intensity of work and level of training. Providing calories before exercising preferably from carbohydrates, results in better performance and helps preserve muscle mass.  For longer shows, sipping on a sports drink or having a granola bar during intermission will help dancers finish strongly.

According to the American College of Sports Medicine, “Inadequate energy intakes can result in loss of muscle mass, menstrual dysfunction, loss or failure to gain bone density, an increased rate of fatigue, injury, and illness”.  Injuries or illness can greatly affect a dancer’s training.  Dancers can have fewer injuries and illnesses by managing their energy.

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, USA. 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: © Ivan Mikhaylov | Dreamstime.com

Melbourne Palais Theatre, St Kilda
April 14 2012

By Rebecca Marin.

New York’s Les Ballets Eloelle (L-O-L, get it?) pirouetted into Melbourne with its cast of male “ballerinas” to show local audiences that men can be swans and do pointe work too.  This is no Matthew Bourne contemporary take on ballet, however.  This is pure ballet, with the (mostly) original choreography taken from selected classical ballets performed by men.  In tights.  En pointe.  In tutus.  On this particular outing, the programme included Act 2 from Swan Lake (hilare!) and excerpts from Le Corsaire (virtuosity!), closing with a mash up of Don Quixote (amaze!) and Paquita (astonish!).

The appeal of companies such as Ballet Eloelle and the Trockaderos can be limited.  Are the men dancing the female roles with seriousness when not obviously being frivolous?  Are the men good enough to pull off difficult variations en pointe, not to mention the fouettes in almost every pas de deux coda?  And for the general audience, will they get the humour?

Fortunately, the answer to most of those questions is yes. While mainstream audiences may miss the subtleties that only a ballet lover can pick up on, there is much laughter and awe to be had for everyone in this production.  There is slapstick, visual gags, feats of awe (are you sure they are really men?!), and some genuinely good dancing.  As any female that has squeezed their feet into a pair of pointe shoes can attest, pointe work sure ain’t a walk in the park, but the dancers of Les Ballets Eloelle pull it off with ease (and a flourish of the wrists).  Despite all that, some of my favourite moments from the show were non-balletic, such as when a swan breaks out into a bit of krumping, and when the token “male” dancer turns to the back of the stage and tightly squeezes his butt cheeks to the glee of the audience…

Les Ballets Eloelle managed to gracefully side step the trap of leaning on sight gags to entertain the audience.  The humour was clever, the performance was hilariously entertaining, and the dancers were impressive.  I can’t wait for the company to return to Melbourne with the next programme.  This time I’m bringing tissues for the tears of laughter.

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

By Laura Di Orio.

When Karina Teran, a freelance dancer in New York City, was offered the opportunity to travel the world, save money that would normally go towards her NYC rent and receive a consistent salary to perform large-scale Broadway-style production numbers, she thought she shouldn’t pass it up. When her dear friend got the exact same offer, her decision was made. For the next seven months, Teran would embark on her adventure – dancing on a luxury cruise line.

For many dancers, a gig on a cruise ship is a welcome one. Some choose the job because they want to save money to pay back debt or for the future. For others, it is their first professional dancing gig and offers invaluable, nonstop performance experience. And for some, dancing on a cruise ship allows them to travel the world while they’re still young.

Christine Wunderlich in performance with Royal Caribbean Productions. Photo by Bobby Black

“For a NYC freelance dancer, a cruise ship job can be a blessing,” says Teran, who has had two contracts with Carnival Cruise Lines. “It’s an opportunity to have a permanent dance job with a good salary.”

Memnon Adams, who has been dancing on cruise ships for the past year-and-a-half, agrees. “The advantages are saving most of your salary, visiting many different islands and continents, being exposed to so many different cultures and languages, seeing ancient ruins, but most of all, not having to pay rent,” he says.

Dancers can make $2,000-4,000 per month, depending on the cruise line and factors like seniority and special abilities (dance captains make more). Most cruise ship dance jobs cover room, food, transportation and primary health services while the dancer is working on the ship. As crew members, dancers also receive discounts on shore excursions and tours, and can take advantage of services aboard the ship: free gyms and pools, discounts at ship stores, coffee shops, bars, spas and hair salons, as well as a number of activities and parties for the staff.

Even more than these extra perks, cruise ship dancers gain intensive performance experience. In a typical six-month contract, consisting of a number of four to five day cruises, dancers can perform three different shows about 180 times, Teran says.

These shows tend to be very theatrical and energetic and can include dance styles that range from Latin jazz to tap to square dancing.

“The productions are of a high level that you can compare with Broadway or Vegas shows,” says Teran. “You work with the ultimate technology for lighting, visual effects, revolving stages, sets and an orchestra.”

For cruise ship dancers, the performance style is extremely varied, so versatility is a must. “It is important to have very solid technique, as well as be strong in jazz, contemporary and theater styles,” says Christine Wunderlich, a freelance dancer from Vancouver, Canada, who is in her eighth contract with Royal Caribbean Productions. “Having partnering experience and knowledge of ballroom styles is also a plus. The more versatile you are the better because many shows have different styles in one show – jazz opening to ballet or contemporary and into partnering.”

A cruise ship dressing room full of costumes, wigs and props. Photo courtesy of Karina Teran

Adams agrees and says it’s also most important to enjoy dance. “It’s tons of fun because I’m learning new skills like harness and trapeze,” he adds.

Most shows incorporate full stage makeup, wigs, props, accessories and quite a few quick costume changes. “Since you are responsible for all your costumes, you learn how to take good care of them and be extremely organized,” Teran says. “These are good habits that will help you in your career as a dancer wherever else you work.”

For cruise dancers, days on which they perform are known as “sea days”, and other days, “port days” – when dancers and crew can roam the land, although often with a curfew.

In Teran’s experience, a typical sea day for a cruise dancer goes as follows:

12-2 p.m.: Rehearsal
2-4 p.m. (or before rehearsal): Duties
Aside from performances, a part of a dancer’s contract often includes additional duties, such as teaching dance classes, assisting in bingo or ping-pong tournaments for the guests or working in the library. Some of these responsibilities offer additional pay.
4-7 p.m.: Break, light dinner and dress for shows
During this time, dancers can rest and prepare their body for the evening of shows ahead. Most cruise lines do not offer a warm-up class, so the dancers must take it upon themselves to warm-up and stretch. Teran says she would do a ballet barre on her own and then stretch in the steam room.
7:15-8 p.m.: Dancers called to dressing room to organize and pre-set all costumes, props and wigs
8-8:50 p.m.: Showtime
8:50-9:45 p.m.: Break, stretch, prep for second show
Should someone get injured, this time would also allow a re-block of the entire show. Dancers must also reset their own costumes, wigs and props. “You have the quickest costume changes imaginable,” Teran says, “and if something is not in the right place it can ruin your timing, putting you out of a number.”
9:45-10:35 p.m.: Show #2
10:35-11:15 p.m.: Organize and put away all costumes, accessories and props
11:15: Done
“After two full workout shows you finish very hungry, so you can take a good meal at the 24-hour dining service before you go to bed or head to the disco with the rest of the cast,” Teran says.

Since so much time is spent onboard and with the other dancers and crew, it is likely that a cruise dance job is a great way to make friends. It is also a great way to learn how to work well with others.

“You work with people of all different backgrounds, and you’re almost forced to live with them and share the same space,” says Teran. “If you weren’t a tolerant or patient person before, you will become one by the end of the contract. In this aspect, you become a better professional.”

While there are many advantages to dancing on a cruise ship, the job may not be for everyone, or just may take some getting used to. “If you are a city person you might feel sometimes that you live in a cage,” Teran says. “You will breathe some freedom only on port days and only for a few hours. It’s different from the dance life on tour when you have a full day off.”

Another concern is the potential for injury, especially since dancers are usually expected to warm up on their own. Some ships, like Royal Caribbean, do offer a weekly company class.

“Personally, some days I would love to have more company classes,” says Wunderlich. “However, I also like to do my own warm-ups, and it prevents doing classes with people who may be less enthusiastic than yourself.”

Adams, too, tries to give himself a dance class when he can. “I try to stay motivated just for my health and of course for future employment,” he says.

For dancers who may be interested in cruise ship work, Teran recommends speaking to those who have worked on ships. If it seems like something of interest, auditions are frequently posted online (check out Dance Informa’s listings or the individual cruise line’s website).

“Working on a cruise ship as a dancer is a wonderful experience, positive in many ways and one that makes you grow as a professional and as a person,” Teran says. “You come back to land with unforgettable memories that will make you smile every time you look at the sea.”

Top photo: Karina Teran, photo courtesy of Karina Teran.
Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Rebecca Martin

“With over 20 years of experience behind me I have seen the evolution of dance through the 90′s and the following decade and can honestly say that MBC has evolved faster than I ever would have dreamt. The technique and quality of the dancers do justice to the demanding choreographic works. The dedication and skill of our artistic team, our dancers and, of course, our audience has brought us this far. In order to maintain a high quality of dance and a well earned high profile we now look to New York for dancers with goals and drive, passion and precision and a true adoration of dance.” -Robert C Kelly, Ballet Master/Choreographer

Melbourne Ballet Company is thrilled to be holding its first auditions outside of Australia in 2012.  On January 15^th, Artistic Director Alisa Finney and Principal Dancer Sharon Fernandez will utilize the world famous Ailey Studios on 55^th Street, New York, for its auditions.  Consisting of a classical class, MBC contemporary repertoire workshop, pointe work, and partnering, the audition will put dancers through their paces, ensuring the high standard of performance expected of Melbourne Ballet Company is upheld.  Short-term season contracts will be offered as well as traineeships to young graduate dancers.

Having returned from Las Vegas in August 2010 where Finney and Fernandez were guest lecturers at the Dance Teacher Web Conference & Expo, they realized there was a huge demand from dancers in the US to work with Melbourne Ballet Company.  In addition to interest from American dancers, Australians living abroad were also keen to have the opportunity to dance back home.

Melbourne Ballet Company has previously featured international dancers including Mikhael Plain from California, Shannon Ellis from Canada, three dancers from Paris, two from Italy, two from Japan, three from New Zealand, and one from South America.  The company hopes to take a full season to the US in 2013.

Alisa Finney and the staff at the Gay Wightman School of Ballet in Melbourne will also be taking 100 people to Los Angeles in April 2012 for a 10-day student performance and study tour. The dancers have five performances in venues including Disneyland, California Adventure Park, Universal Studios and Hollywood Boulevard. The students will also be attending Master Classes and workshops at top LA dance institutions.

Alisa Finney in 2007, with resident choreographer Simon Hoy and Principal dancer Sharon Fernandez founded the Melbourne Ballet Company. The team had a vision to create a contemporary ballet company that upheld a commitment to classical technique. Over the past four years the company has presented nine original programs, incorporating over 30 works that have been acclaimed by MBC audiences.

New York Audition
Sunday January 15th 2012, 3pm – 5pm
The Ailey Studios The Joan Weill Centre for Dance
405 West 55th Street New York, NY 10019

Candidates will be auditioned in a classical ballet class, pointe work, partnering and contemporary workshop conducted by Melbourne Ballet Company Artistic Staff. Depending on the number of candidates, there may be more than one class. Candidates will be grouped into classes in order of sign-in. A recall class may follow the initial audition class, and a brief interview with Artistic Staff will also normally be conducted for the final short-list. Audition cost: $30.00 (including GST) payable on the audition day. 

For further information, contact the Artistic Director Alisa Finney on +61450959769 or info@melbourneballetcompany.com.au
www.melbourneballetcompany.com.au

The DO’s and DONT’s of Auditions

By Laura Di Orio

Auditions. They’re like swallowing your vitamins. All they take is a little practice and some mental reassurance, and then you can come out stronger and, in this case, maybe with a job. Dance Informa spoke with leading working dancers and choreographers across the US to get their tips and audition do’s and don’ts.

Where to Look
Nowadays, audition listings, like most other information, can be found over the Internet. Dance Informa provides nationwide audition listings (click here to view the current listings) and even facebook offers dancers news on upcoming auditions and gigs. There’s also good old paper: most dance studios have a bulletin board with audition listings and job offerings. For some dancers, word of mouth and/or recommendations are also good audition hunting tools. And for those interested in company work, attending workshops or classes by prospective companies can be valuable. They often have company mailing lists, which inform recipients of upcoming auditions.

Audition Prep for the Mind and Body
It’s important to get enough sleep prior to an audition in order to stock up on ample energy and concentration levels. If nerves or other factors prevent you from getting the zzz’s, then help yourself with an energy drink, suggests choreographer Annabelle Lopez Ochoa. You need to be “on top of your game because you have to show in no time what you’ve got,” she says.

Nothing is worse than feeling unprepared. “If you can, research the project or company choreography,” says Clymene Baugher, a company member of Elisa Monte Dance in New York City. “Wake up early and give yourself time to orientate yourself to the day, not only preparing your body physically but also giving yourself time to mentally prepare.”

Mentally, it’s crucial that as an auditioning dancer you exude confidence. “Believe you are worth watching and that you have something to offer the company,” Lopez Ochoa says.

“Think of auditions as dress rehearsals, the more relaxed you are the better,” Baugher adds.

Christine Cox rehearsing with members of Ballet X

Show it Off!
Wear dancewear in which you feel good, something clean and neat and in a bright color. Unless it fits with the style, Lopez Ochoa says to avoid baggy clothes, “too sexy” looks and leg warmers. “A dancer should reveal his/her body because if you hide it in baggy clothes, the choreographer tends to be suspicious,” she says. “It’s all about honesty.”

Courtesy Goes a Long Way
During an audition, you’re being tested on more than just dance skills. How do you behave toward the director or choreographer and your fellow auditionees? “Being courteous to other dancers and the casting people is incredibly important,” says Drumlin Brooke, currently a trainee with First State Ballet Theatre in Delaware. “A lot of directors are looking for people who will mesh well with their company.”

How you behave in an audition also gives directors an idea of how you would work in the studio. “Listen very well to what a director or choreographer is asking you to do,” Lopez Ochoa advises. “Usually he/she does not expect you to be perfect, but he/she is just testing if you listen well and react to what he/she is saying.

“Don’t constantly look at the director to check if he/she’s watching you,” she adds. “That can be utterly annoying.”

Stay in your Comfort Zone?
There’s debate about whether or not to audition for something out of a dancer’s skill level or comfort zone. Lopez Ochoa says to avoid such auditions. “You’d be wasting the time of the choreographer,” she says. “It’s already hard enough for a choreographer to perceive all the qualities of the dancers in such a short time and in such big crowds.”

On the other hand, Christine Cox, co-founder of Philadelphia’s Ballet X, says go for it. “I think it’s important to know how to audition, and the more experience you can gain from it the better,” she says. “Who knows, you may get the job. If it starts to make you feel depressed and insecure, then stick to what you know and keep your confidence building.”

Likewise, Brooke says, “If you go you might get the job. If you don’t audition you definitely won’t.”

The Must-Haves 
Depending on the style of the company or specifics of the gig, choreographers and directors look for different qualities in dancers. Lopez Ochoa looks for generosity, a strong technique, versatility and, most of all, musicality when she’s auditioning a dancer.

For Cox, attributes like musicality, good work ethic and amazing technique make dancers stand out. “You can’t fake being a good dancer,” she says. “You either are or you aren’t.”

Bracing Rejection
“There’s no band-aid for rejection,” Lopez Ochoa says. “It’s always hard and disappointing when you’re not chosen.”

The key, then, is to trust that there’s a place out there that would be happy to have you as a dancer. “If a director does not hire you, it doesn’t mean that you’re a bad dancer,” says Lopez Ochoa. “It usually means that you don’t fit the style of the company.”

Most importantly, when faced with rejection, don’t give up. “Being a dancer is one of the hardest professions, and rejection hurts,” Baugher says. “If you want it bad enough, then you have to push on and continue to attend auditions and put yourself out there.”

#1 Do’s and Don’ts
According to these working dancers and choreographers, here are their number one do’s and don’ts:

Lopez Ochoa’s #1 DO: “Show that you love dancing. You’re not at an audition to get a job, you’re there to show how much you love your art. It’s a slightly different state of mind that makes a huge difference in how and what you radiate.”

Lopez Ochoa’s #1 DON’T: “Don’t stand in front if you don’t know the combination.”

Brooke’s #1 DO: “Pay attention! Nobody wants confused dancers who aren’t listening.”

Brooke’s #1 DON’T: “Don’t be late. Being early is both respectful and smart, and you want to be able to take your time to prepare.”

Cox’s #1 DO: “Show who you are as an artist in the audition. Be expressive and daring.”

Cox’s #1 DON’T: “Don’t show attitude.”

Baugher’s #1 DO: “Enjoy! Being a dancer is not easy. Think of auditions as miniature journeys.”

Baugher’s #1 DON’T: “Do not beat yourself up. Not getting the job often means absolutely nothing about you as a dancer, but most especially does not reflect your worth as a person.”

 Try to enjoy the audition experience and the journey, and work hard. Your persistence could someday soon pay off.

Top photo: Clymene Baugher, company member of Elisa Monte Dance. Photo by Cheryl Mann.

By Kristy Johnson

Acceptance into the Paris Opera Ballet is a dancer’s dream come true, yet for Australian student Hannah O’Neill it did not happen the way most would expect. Failing to secure a contract after the audition, Hannah was initially disappointed, but grateful for the experience. Arriving in Singapore on her way back to Australia, Hannah received a call that would change everything. “I received a phone call from the Ballet Master of the Paris Opera Ballet offering me a seasonal contract,” says Hannah. “It was a big surprise! I was in shock at the time, but when sharing the news with family and friends, I was over the moon as my dream had become a reality.”

The audition proved to be a daunting experience for the Australian Ballet student. “I didn’t audition with anyone else from the school,” Hannah explains. “I was invited to audition by the Paris Opera Ballet and travelled to France with my mum. But I told myself it was important to stay calm and be myself. Overall I enjoyed the experience of the audition, from barre all the way through to the variation.”

Beautiful Hannah O'Neill. Photo by Lynette Wills

The Paris Opera Ballet has always struck a chord close to home for Hannah. “I’m a huge fan of ballet companies all around the world, but the Paris Opera Ballet has always been my favourite company. I own many of their DVDs and could easily watch them over and over again. I’ve been fortunate to see them performing live a few times, including the night before my audition, which was a huge inspiration for me.”

Hannah hopes that her experience with the Paris Opera Ballet will launch her into a long and successful career. “By starting my professional ballet career in such a prestigious company, I’m sure I’ll gain the tools and experience to hopefully continue on in the ballet profession for a very long time,” Hannah shares.

And how has the Australian Ballet School prepared Hannah for the exciting experiences that lay ahead? “I’m proud to have been part of the Australian Ballet School now for almost four years,” says Hannah. “Through the school’s strong training program with its amazing teachers and mentors, I have been able to participate in the Prix de Lausanne and the Youth America Grand Prix. I’ve also been given the opportunity to guest perform at galas alongside world renowned dancers, some of whom have been my idols. I’m overwhelmed but excited to be starting my contract with the Paris Opera Ballet in September. I could not be more thankful to all the people who have supported me to make my dream come true.”

Top photo: Hannah O’Neill. Photo courtesy of Bloch & The Australian Ballet School

Looking to take your training to the next level?

Check out Dance Informa’s Full Time Dance & Auditions Guide for everything you need to know about Australia and New Zealand’s top dance courses and full time schools.

This helpful guide includes audition dates, course details, requirements, information and contacts.

Check it out and start planning your successful dance future!

By Emily Yewell Volin.

You know it when you see it. Some call it star power, others say it’s an innate quality of the soul. Stage Presence. What is it, how important is it, and can it be trained?

To answer this question Dance Informa spoke with six leading professionals whose careers have spanned performance, choreography and direction in a variety of dance genres.

What is stage presence?

Homer Bryant, Founder & Director of Chicago Multi-Cultural Dance Center, The School of Homer Hans Bryant
www.cmdcschool.com
Stage presence is dancing in a relaxed manner from your heart. You can be dramatic, comedic, whatever. It’s when you transform yourself and the audience says, ‘wow, that’s amazing’.

Rhee Gold, Publisher Dance Studio Life
www.dancestudiolife.com
I think most people would believe that it is a smile or a personality on a stage, but to me, stage presence is being able to express an emotion that is felt by the audience; it’s more from the gut. I hear teachers say, ‘give me a smile’. Even if the students smile, it’s not necessarily stage presence.

Matt Kent, Associate Artistic Director Pilobolus
www.youtube.com/watch?v=aB_N0qHKOD0
It’s about displacement; the amount of water you spill out of the bathtub. There’s not an ‘x’ factor that you can read about in a book and get.

Thomas Lund, Principal Dancer Royal Danish Theatre Ballet
http://kglteater.dk/OmKunstarterne
I find from my experience that some people have star quality; they get on stage and people look at them. But I find that people who do not have that strength can work through the quality of the movement, how to sustain moments, and can actually look more interesting. I don’t always buy ‘she/he hasn’t got it’.

Susan Quinn (Williams), Associate Professor at University of Arizona School of Dance, Master Teacher & Choreographer
www.susanssight.com
Stage presence to me is when the whole body, head to toe, is at its highest point. It’s when everything comes together.

Pattie Obey, Master Teacher/Choreographer
www.pattieobey.com
It’s the ability to perform to an audience.

Thomas Lund in 'Swan Lake'. Royal Danish Ballet. Photo by David Amzallag

Why is stage presence important?

Matt Kent
It’s what makes people follow you where you are going to lead them. All the other things you have may be for naught if there’s no presence about. Dance always starts with imitation but you have to get beyond it.

Thomas Lund
If you don’t have stage presence, people won’t think there’s anything to watch. There won’t be anything special about your performance. Whatever you do, you have to make something.

Susan Quinn
You have to tell me a story. I can’t stand it when a choreographer/dancer dances the movement and then starts to walk. Why are you walking there? If you’re walking for no reason, I’m going to get popcorn. You must tell me a story. I want you to tell me what you are feeling.

Pattie Obey
It’s important because the audience wants to be entertained. It’s important because you learn to show why you dance. Open your heart, spread the love around. If you can’t live, eat, and drink dance, then don’t do it. It’s not 100% commitment, it’s a 200% commitment.

Is stage presence just something you are born with or do you develop it?

Homer Bryant
There are some people who are just born with it, it’s part of their DNA. Many others train. Dancers get better with time.

Rhee Gold
I think it is a case of overcoming inhibitions and the ability to let it go and not be intimidated to share who and what you are with the audience. I’ve seen many teen dancers who don’t ‘get it’ but then they pursue dance at the university level of performance and they learn.

Thomas Lund
Some are born with special abilities. And then, there are people you don’t notice in the studio who then get into the stage lights and there it is…it’s in the face. It’s not about being photogenic, it’s something to do with performance.

Susan Quinn
Yes; some people have natural stage presence. I’ll tell you, though, I’ve been teaching over 30 years and maybe ten or so people I know have natural stage presence. Stage presence must be taught.

Pattie Obey has presence! Photo: Andrea Hausmann

What can you do to improve your stage presence?

Homer Bryant
My school offers musical theatre and acting classes/coaching in addition to dance technique classes. I’ve found that these classes really help develop stage presence. Another way we are teaching stage presence is by having the students of every age perform for their peers during class time. They critique each other, without being harsh, and grade each classmate’s performance. As a teacher I ask the students how they feel about particular movements to help them make human and mental connections to what they are doing.

Rhee Gold
I think it comes with performing. It’s about explaining to your dancer what the story is about, what they are supposed to portray; really giving them the information they need to express the story. Sometimes dancers do not know what the choreographer is trying to express. The dancer needs to be fully aware of the choreographer’s intention.

Matt Kent
I’m a guy with no dance training who is working in the field because I brought something else. Part of the dancer’s job is to let the magnetism out; to displace the energy in the room into more and more circumstances. You first have to learn how to bring out what you have and then let that ooze and infect the rest of the world of movement and drama. And, it’s a practice. It’s not in your head. I come from a martial arts background so I see stage presence as an action thing. Get onto stage more. And, if you’re a student ‘fake it ‘til you make it’. It’s going to be difficult to develop stage presence if you are afraid to take a risk. Trust what you’re good at, trust your technique and then go out there, take a risk, and let it all hang out.

Susan Quinn
I think we tend to leave it up to the students and that does not work. Stage presence must be taught right when you teach the first demi plié. It has to do with épaulement, écarté, looking croisé; the body positions. You have to teach style and performance quality at the same time you teach technique. I also bring in commercial choreographers for mock auditions. They tell the dancers, ‘I don’t care if you can turn 50 times or how high your leg is in the air. If you are not selling the product I will not watch you’.

Pattie Obey
Watch other dancers – go to see professional productions and see how other people perform. Why are those dancers in that great company?

Would you rather hire a dancer with tremendous technique and average stage presence or a dancer with tremendous stage presence and average technique?

Homer Bryant
I have seen some beautiful but dry dancers whose performances didn’t cross the footlights. Dancers must invest in both stage presence and technique.

Rhee Gold
I’d definitely go with a medium level dancer with stage presence rather than a technician. My responsibility is to entertain and move the audience. Give me a dancer with energy, life, and passion. I think stage presence is the key to success as a performer, as a teacher and as a choreographer. Stage presence is present whether you are on the stage or not.

Matt Kent
Especially with the work I do, I have zero interest in a perfect technician who does not have anything to say or a voice of their own. I’m not interested in imitation.

Thomas Lund
It certainly depends on the field you are in. Classical ballet people must look at the instrument, the feet, the lines and turn out. But then you would also look at how they project and how they take the room. If I see two dancers and they are equally technically strong but one looks more interesting and more expressive, I’d probably choose that one. Dancers have a tendency to fall in love with their technique and what can be done with the body, but somebody in the front line must also have a personality. That’s one very strong part of the history of the Royal Danish Ballet. We’ve had ballerinas and males with great technique and quite a range of personality.

Pattie Obey
I would hire the dancer with tremendous stage presence and work on the technique. If I am the director of a dance company I need to get butts on the seats. I have to build an audience and sell tickets to more than just a dance audience. Leave the arabesque at 90 degrees but perform your heart out. It’s sometimes easier to improve upon technique than stage presence. I think as a performer you need to capture the audience. It’s a relationship you build from the moment you walk on the stage.

By Kristy Johnson

At Dance Informa HQ we’re going to tackle your makeup mishaps head on, with a little help from professional artists Isabella Schimid and Linda West. Isabella has a passion for makeup that extends to over 20 years of experience. Her versatility has seen her work in fashion, film, TV, editorial and advertising in Hong Kong, Los Angeles, New York, Melbourne and Sydney. Linda is a highly successful Sydney based makeup artist and hair stylist, freelancing for television productions, commercials, editorial and advertising.

What is important for a dancer to consider when selecting a foundation or makeup base?

Isabella: Good even coverage, correct colour match to the rest of body, and oil free. If they have good skin, then a powder foundation is enough.

Linda: It’s crucial to match foundation to the skin tone on your chest area, especially if you have a fake tan. A colour that is only slightly lighter than your body colour will be most flattering.

When preparing for a photo shoot, some foundations can produce a ‘high shine’ look. What are the best products/techniques to combat or prevent this?

Isabella: Using an anti-shine product under the foundation will help prevent too much shine and help minimise sweat. Set the foundation with a good blotting powder and use blotting sheets to keep shine down.

Linda: Sometimes dewy or luminous skin can easily get confused with shine! To achieve a soft, dewy complexion, only apply powder to the tip of the nose or anywhere you see shine – usually it’s on the angles of the face where light hits. Best not to apply powder heavily over the whole face ‘just to be sure’ as your make-up will end up looking overdone. If you find that no matter how much powder you apply and you’re still seeing shine, then take a look at your products – if there is any shimmer, glimmer or sparkle in them you will always have shine. Matte powders will work best if used where needed.

Makeup Artist Isabella Schimid

Any specific techniques to add contouring or dimension to the face?

Isabella: Using powders to create contour is probably the easiest. A darker powder will absorb the light and give depth to the cheeks, temple and jaw line. Lighter reflecting powders will highlight and give height to cheekbones.

Linda: Follow the natural contours of the face; the hollows of the temple and under the cheek bone for example. Flat, matte colours work best using a darker foundation and a contour brush. My best tip for contouring would be: do not use bronzer! They are almost always shimmery and this gives a different effect to what you want to create here. To lift an area like the top of cheek bones, apply a luminous, pale highlighter with your fingers and blend.

When on a shoot or performing on stage, which makeup products or tools would you recommend having on hand?

Isabella: Anti-shine products under foundation to absorb oil and sweat, a good blotting powder and/or blotting sheets to absorb oil.

Linda: An important tip for a shoot is to always extend your foundation on to your body, particularly your chest area (obviously avoid getting it on your clothes). Extending your foundation further than your face will make such a difference to your final photo image or the TV shoot. For stage, heat or for make-up to last the distance and stop running off your face, a make-up ‘fixer’ spray such as Ben Nye’s ‘Final Seal’ will help do the trick.

What common ‘makeup mistakes’ do you see dancers make?

Isabella: Using the wrong foundation colour: either too dark or too light from your actual body colour, a heavy oily finish, or not blended in to hair and jaw line.

Linda: Too-heavy foundation coverage: it’s best applied only where it’s needed and blended out well. If you have a spot or blemish, use a concealer over foundation and not under for the best result. Glittery/shimmery bronzer used instead of foundation is not a great look especially in daylight.

Makeup Artist Linda West

How important overall is makeup in the grooming process?

Isabella: Very important, as the wrong colour foundation or a thick coverage can look unnatural and overly made-up.

Linda: It’s the icing on the cake. Even if it’s just groomed brows, curled lashes and lip tint, it completes a look.

Any runway or industry trends dancers should give a go?

Isabella: Well groomed eyebrows either darkened with a pencil or tinted professionally, is always in trend. Slightly shaped and no ‘over-plucked thin tadpole’ looking brows. If hair colour is very blonde, then having the brows slightly lightened looks amazing, especially with a smokey eye.

Linda: Bright, fluoro-like colours on lips or eyes. Many eye shadow products contain a high pigment content which is great for stage, and these can be mixed with a mixing medium for staying power. A new range from the U.K. called Illamasqua has intense colour pigments with terrific lasting power.

Makeup should compliment the clothing, persona and style of a dancer. Should there be a briefing session prior to makeup application, to determine what look will suit the dancer best?

Isabella: Yes, it’s all about the complete package. If the dancer has a soft pretty persona, then applying thick heavy eye makeup would not suit the overall look. Understanding the dancer and discussing the overall look is important to achieve the best balance.

Linda: The choreographer or creative director may have ideas on how the makeup should look to suit the piece. It’s always easiest when visual examples are given during a brief rather than always relying on verbal explanation. Any final adjustments can be altered during dress rehearsals to make sure the look compliments the lighting, staging and wardrobe. Also the venue size should be considered - does the makeup look good from the audience’s point of view whether seated in the front rows, middle or very last row?
 
Grooming and beauty is not just skin deep. Do you have any nutritional recommendations for a great complexion?

Isabella: Makeup always looks best on a clear complexion so it’s very important to look after the skin from the inside and out. Avoid caffeine and fatty oily foods.  A well-balanced diet will assist in a clear complexion.

Linda: It goes without saying, drink plenty of water and eat a varied diet with plenty of fruit and vegetables. Zinc based foods such green veggies help with skin healing and keeping acne under control. For supple skin, eat foods containing Vitamin A such as eggs and oily fish. Vitamin C found in strawberries and peas will help collagen rejuvenation.

By Grace Edwards.

Many local ballet students dream of becoming a nominee for the Telstra Ballet Dancer Award. For 22-year-old New Zealand-born corps de ballet member Karen Nanasca the dream has come true. “The announcement was made after our daily class one morning back in February. I was sitting on the floor at the back of the studio amongst my fellow dancers wondering who the last nominee was going to be. I couldn’t believe it when my name was called!”

Karen, who joined the Australian Ballet in 2009 upon graduating from the Australian Ballet School, will compete alongside colleagues Rudy Hawkes, Robyn Hendricks, Luke Marchant, Brett Chynoweth and Chengwu Guo for a cash prize of $20,000. The winner is to be chosen by an industry judging panel, who will assess the dancers on the quality of their dancing, personal development and potential for the future. Australian Ballet fans will also get their say, deciding by popular vote the winner of the equally coveted $5,000 People’s Choice Award.

TBDA nominees Luke Marchant, Robyn Hendricks, Rudy Hawkes, Brett Chynoweth, Karen Nanasca & Chengwu Guo. Photo: C. L'Estrange

In addition, Karen and the other contestants will also have to submit a written piece to convince the judges why they should win. The process culminates in September when she and the other contestants will be interviewed by the judging panel. The winner will be announced in December. Last year the contest ended in an unprecedented tie, with winners Ty King-Wall and Dana Stephensen receiving $20,000 each.

Having made the transition to company life quite recently compared to the other nominees, Karen is more than ready for the journey. “There were only seven girls in my final year at The Australian Ballet School, and there are 35 girls in The Australian Ballet,” she recalls. “It was quite a change to work with a much larger group of dancers and subsequently receive less individual attention from ballet staff than I was used to at the school. But I’ve learnt now to work more independently and how to navigate my way around in such a big ballet class.”

Already she has had to cope with one of the art form’s biggest downsides. “I had a stress fracture in my second metatarsal going into my first year at The Australian Ballet School, and I re-fractured the bone after my initial recovery a few months later into that year,” says Karen. “Any dancer who has had an injury knows how frustrating it can be when you can’t dance. It was tough for me for all the months I was off. But I came out of it a stronger and smarter dancer. I think it’s important to stay positive, have family and friends around to support you, and always have a goal to work towards. The injury really put into perspective how important our bodies are for dance, and how important it is to look after them properly!”

Karen Nanasca. Photo: James Braund

Whilst it might be easy to focus on such potential pitfalls, Karen insists that the joy of dancing is worth the pain. She is quite clear about her favourite aspect of dancing with the Australian Ballet: “getting to do what I love everyday – and getting paid for it! I love the feeling of being on stage, the adrenaline rush and the emotion of it all. It’s also rewarding to hear the positive response from the audience.” This is fortunate, as the company’s hectic schedule doesn’t leave much time or energy for other interests. “After a performance and once I’m home, I usually have something to eat and watch TV or read until I start to get sleepy. This doesn’t normally take very long…”

A few fun facts about Karen

When I am not dancing I am…sleeping!
I have a personal weakness for…Chanel nail polish.
One day I’d like to…win the Telstra Ballet Dancer Award!
My idol is..Tamara Rojo, principal, the Royal Ballet.
A memorable stage moment…Last year I danced in Principal Artist Daniel Gaudiello’s South of Eden, as part of the Bodytorque.a.la.mode season. In the piece there was one lift where John-Paul Idaszak, the tallest male dancer in the company, lifted and tossed me over his head, and I was caught on the other side by dancer Matthew Donnelly. It felt like I was flying!

Vote for Karen or any of the other talented dancers in the TBDA People’s Choice Award by visiting
www.beinvolved.com.au

Top photo: Karen Nanasca and Jacob Sofer by Jeff Busby