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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.

How dance is shaping fashion

By Rebecca Martin

It would appear that dance is centre stage in the fashion world and is dominating the catwalks .  The New York Times proclaimed that the look currently dominating women’s high fashion is a long stretch of leg, ankle boots, and a new posture.  According to the publication, fashion has replaced the “truckdriver” look of knee high boots with the “showgirl” style of ankle boots and elegance.  As with any major fashion shift, with the change of style comes a change in posture, and on this occasion, fashionistas everywhere can be seen posing with crossed legs to emulate a dancer en pointe. 

The seduction of dance and fashion continues to grow, with every type of dance becoming intertwined with clothing and style, and dancers are now influencing fashion in ways never seen before.  From music video clips to opulent theatre stages, dance defines what we wear, and just as often, what we wear influences how we dance.  Dancers have been at the forefront of fashion since Marie Taglioni tossed her heels and replaced them with soft ballet flats.  She was also the first person to dance en pointe in La Sylphide back in 1842, instigating the sylph aesthetic which became a popular fashion statement during the period.

Both dance and fashion have come a long way since then, with ballets like In the middle, somewhat elevated, Divergence, and come, been, and gone pushing the limits of costume design and mixing street fashion with the high art of the stage. Last year, The Australian Ballet chose fashion as the theme of its yearly Bodytorque season, and this year has employed the services of Akira Isogawa to design the costumes for Graeme Murphy’s Romeo and Juliet.

The Australian Ballet's Bodytorque 2010 celebrated ballet & fashion. Photo by Branco Gaica

Ballet flats are ubiquitous as street wear, tutus are in department stores, the urban wear of hip hop dancers has become mainstream fare, and burlesque glamour is making its way onto catwalks and into closets.  Then of course, we have Black Swan the movie.  Rodarte’s costumes impressed dancers and cinemagoers alike, making dance even more fashionable.  Lately, we have seen dancers from some of the world’s best ballet companies appearing between the pages of glossy fashion magazines and emerging as film stars.

Global fashion house Hermes has taken cues from ballet for recent collections, Chloe has utilized dancers to showcase its lines, and of course Dali, Picasso, Chanel, Matisse, Prada, Alexander McQueen and Valentino have collaborated with dancers for street wear and costumes alike. 

There are challenges for designers when making the leap from couture or street wear to the stage.  Costumes must be heavy duty in order to counteract potential wear and tear from performing while maintaining the ability to move easily and remain lightweight.  There is also the additional challenge of bright lights, sweat and make up, not to mention, that the costume needs to be impressive even to the patron in the back row of the balcony. 

Designers and photographers want to work with dancers because they can perform on demand, have more grace, balance and flexibility, and photo shoots are able to explore more daring visions, with dancers being stronger and more fearless than most models.  For those models not trained in dance, many agencies are sending them to movement classes because the demand is for the range, scope, and elegance that trained dancers provide.  Dancers have an extraordinary knowledge of their own bodies and they know what looks good.  It is no wonder many fashion professionals prefer to work with dancers than models!

Watch this video to see New York City Ballet’s Justin Peck and Janie Taylor model Chloe for a magazine photo and video shoot.

 Choreography (c) Justin Peck, 2011.
Cinematography (c) Bon Duke, 2011.

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Pointe shoe tips from the industry’s leading dancewear specialists.

By Rebecca Martin

The time has finally come. Your ballet teacher has said that you can go up en pointe and you need to buy your first pair of pointe shoes.  So what now?

Talk to your teacher
The first thing you need to do is have a discussion with your teacher about what they want you to buy.  Some teachers and schools are very specific about brands, models, ribbon sewing, ribbon type, toe pads, colour, shape, … it can be overwhelming if you don’t get a little guidance from your teacher!

 Prepare your feet
Pointe work is hard, occasionally it might be uncomfortable, and it can be costly if you don’t take care of your shoes. So it is important that you start looking after your feet now and are prepared prior to your fitting. Trim your toe nails in a straight line. Speak to a physiotherapist or podiatrist to ensure that your feet and legs are ready for pointe work as they may be able to give you extra exercises to strengthen your muscles.  If your bones haven’t formed significantly, you may end up with injuries.  Do lots of rises and pick up a Thera-Band from your local dance shop to increase the strength of your feet and lower legs. All dancers should learn that pointe shoes are meant to provide support, but that strength in the feet must be developed from the beginning if proper technique is to be achieved.

Call ahead before your fitting and schedule plenty of time
Some dancewear stores will require a fitting appointment, so make sure to call ahead. Pointe shoe fittings, especially first ones, can take quite a bit of time, so don’t pop into a dance shop after school on your way to ballet class.  This will be a disaster for many reasons:
- You won’t be dressed properly.  The pointe shoe fitter will need you to do pliés, tendus, rises, and relevés, and you need freedom of movement without the restriction of a school uniform. Avoid overly baggy clothing as the fitter will want to look at the student’s placement through the body. Any long pants will need to be rolled up as the fitter will also need to look at the student’s ankles.
- Your feet will be hot and a little swollen after a day in socks/stockings and school shoes.  To get the most accurate fit, it is preferable that you arrive for your fitting earlier in the day to avoid this.
- After school time is the busiest for dance stores, so you may have to wait to be fitted and there may simply not be enough time for a proper fitting.
- There may not be a qualified pointe shoe fitter available when you arrive.

Pointe shoes should always be fitted in the store the same way they are going to be worn in class or performance and the fitting should always be conducted on a solid floor. Carpet will cushion any ‘feeling of the floor’, and rolling off the platform cannot be easily noticed. As a result what felt comfortable in the store on carpet may not be comfortable in class on a wooden floor.

Once you arrive at your local dance store, you may find yourself overwhelmed with choice.  For this reason, it is important to ensure you are being serviced by someone who has a good knowledge of what’s required in pointe work and understands the products well. Most renowned stores have highly trained staff available at all times so choose a store that has experienced pointe shoe fitters by asking about their experience when calling ahead.

Toe Pads
Establish what kind of toe pads, if any, you will be wearing as this can affect the fitting.  While every foot and every need is different, padding should be kept to a minimum in order to ensure you can feel your feet in the shoes. Many pointe fitting specialists recommend lambswool as it adequately protects toe joints, is breathable and can be washed and re-used. Capezio also suggests Bunheads’ Ouch Pouch Junior. If blisters are a major problem Energetiks suggests the Energetiks Pro Pointe Pouch. There are quite a few brands of gel products on the market that you can try.

First fitting tips
All the industry professionals we spoke to recommend gentle stretching of the feet and ankles in preparation for trying on pointe shoes.  The last thing you want to do is injure yourself! You may want to try on a variety of brands and styles to find out which shoe feels the most comfortable and looks the best until you find something that works for you. All brands of pointe shoes are different, and some will suit certain feet better than others. Sansha, Bloch, Energetiks and Capezio all agree that usually a softer shoe is best for your first pair.  Your pointe shoe fitter will be able to advise what models are suitable for beginners.

The Fit
Bear in mind that pointe shoes should be firm but NOT tight as your toes must sit flat in shoes and not be scrunched or curled. However growing room is not an option as this will increase the likelihood of blisters, injury, and falling off pointe. Pointe shoes WILL stretch over time, so a firmer fitting is best.  There’s nothing worse than a sloppy pair of pointe shoes that make you look like you aren’t stretching your feet!

Ribbons and Elastics
Once you are happy with a pair of shoes, ask the fitter how to sew the ribbons and elastic on if you are unsure, and don’t forget to buy some ribbon as pointe shoes require a thicker type than your ballet flats.

Show your teacher
No matter how much you are dying to put your new shoes on the minute you get home or to the ballet studio, DON’T. Show them to your teacher and make sure he or she is happy with the style and fit. Most stores will allow you to return the shoes and exchange them if the teacher is unhappy with the fit but only if they haven’t been worn and are brand new. Pointe shoes aren’t cheap, so don’t risk it by dancing around in the shoes before your teacher has seen them.
Once your teacher has approved your purchase, your ribbons have been sewn on and you’re ready for your first class, refrain from manipulating the shoes with your hands.  Your teacher will show you how to soften the shank and toe box if necessary, but in most cases you will be taught to wear in the shoes by doing rises and other exercises at the barre.

Pointe Shoe Care
After each class, take your toe pads out of your pointe shoes as the sweat will soften the shoes and decrease their lifespan.  Hang the shoes on your bedroom door handle and let them air out between each wear.  To restore the shape of the toe box, gently stuff this area with absorbent paper for a short period of time and place the shoes in a dry, warm and well ventilated area, remembering to change the absorbent paper frequently. This will prevent moisture remaining in the box of the shoe which can lead to the premature softening of the paste and the shoe drying out in a distorted manner.

Blisters
Blisters are common, so if you get one use a band aid or better still Spenco Second Skin blister kit to protect the raw skin. Over time your feet will toughen and blisters will be less of a problem. To help toughen the skin to prevent a blister you can bathe your feet in warm water with either Epsom salts or methlayted spirts added. You can also try Bloch Foot Essentials to help take care of your feet.

Constant Care
Keep your toenails short.
If blisters, corns, bruised toe nails or general foot pain persist, consult your pointe shoe fitter, teacher or health professional.
Continue using your Thera-Band and keep up the rises as strength is essential to good pointe work.
Be kind to your feet and your shoes.

Dance Informa employed the expert advice of Ron Fung, Sansha; Sandie Windsor-Richards, Bloch; Graeme Taylor, Capezio; and Lynda Chapman, Energetiks.

Make sure to visit your nearest Sansha, Bloch, Capezio or Energetiks store for all your dancewear needs, or ask for these brands at your local dance shop.

Visit www.Energetiks.com.au to find out more about this new technology in dance tights!
Plus – view the latest dancewear and footwear designs for the new dance year.

Discount Dance Supply is the leading dancewear company in the United States for good reason.  Not only do they have the largest inventory and most extensive selection of styles in the US, they have something other dancewear companies’ don’t – heart.  This is demonstrated in several aspects of DDS, from the strong history of dance in its background and the network of customer-service driven staff it employs who feel like members of a family rather than co-workers to the creative and ambitious owners Brian and Rhonda Hill who continually strive for nothing less than excellence in all aspects of their business.

Perhaps the theme of family runs strong throughout the company because that is exactly how it started.  Before it became the ‘one stop shop for everything dance’ conglomerate that DDS is today, it was a small family owned shop run by dance teacher and enthusiast Linda Hill and her husband Ted Hill.  It was here, working at Hill’s Dance Shop everyday after school beside their parents that Brian and Rhonda Hill watched, learned and came to love everything dance.  It seemed like a natural progression, then, for them to join forces as a brother-sister duo and take Hill’s Dance Shop to the next level.

And take it to the next level they did, with six Discount Dance Supply stores in the Southern California area, a DDS mail order catalogue and website. DDS also works with several of the largest and most prominent dance companies, shipping internationally and taking orders from around the world.  In fact, the Discount Dance Supply name is so synonymous with dance that you’d be hard pressed to find a dance medium where they aren’t reveled. 

Part of DDS’s success can be attributed to their breath within the dancewear world.  They market to just about every dance form-ballet, jazz, tap, hip hop, lyrical, ballroom and liturgical, and carry the top dance brands.  And their product lines for these various forms of dance include everything a dancer could need from shoes and dancewear to jewelry, hair accessories, bags, makeup and a line of informational books and DVD’s.

Discount Dance Supply is also know for its string of successful catalogue cover models.  Equipped to do photo shoots in-house or on location, DDS has worked with the top dance companies like New York City Ballet, American Ballet Theater, Pennsylvania Ballet, Miami City Ballet, Alvin Ailey, Washington Ballet, Houston Ballet, San Francisco Ballet and Boston Ballet.  DDS has also worked with TV personalities from shows such as So You Think You Can Dance and Dancing With The Stars.  They also have dancers from the local studios come in to model the youth products, and run several Model Contest’s to give kids from every state a chance at winning their place on a DDS catalogue and/or cover. 

But just because the stars shine brightly on DDS and the company they keep, they are always quick to give back and support the dance community in need with monetary and material donations. Recipients of DDS’s generosity have included St. Joseph’s Ballet, Hurricane Katrina victims, the National Dance Association, and various Breast Cancer Foundations and they are continually looking for new opportunities to give.  DDS has also implemented a teacher’s reward program in an effort to recognize the hard work and dedication of dance teachers’ nationwide and promote dance education.

But perhaps the most important ingredient to DDS’s recipe for success is exactly what customer feedback reports-outstanding customer service.  With a foundation of dance experienced and dance knowledgeable employees who strive daily to make every customer’s experience with DDS a great one, Discount Dance Supply is a dancewear company-or dare we say dancewear empire-that is dedicated to and passionate about its products, its clients and its art form.  Now that’s something to dance about!

Shop online today and see the incredible range.
www.discountdance.com

By Nicole Saleh.

To all the tap dancers who’ve wanted the rhythmic precision and brilliant feet of Jason Samuels Smith, you’re now one step closer!

In a highly innovative collaboration, the Australian brand Bloch, who are experts in technical dance footwear, have partnered with Jason Samuels Smith, one of the world’s greatest tap dancers, to create a professional tap shoe to meet the needs of today’s tap dancer.

It’s taken over four years to perfect, countless hours of research and testing to develop the Jason Samuels Smith Professional Tap Shoe SO313. This beautifully crafted tap shoe is not only comfortable and stylish, it also produces an amazing sound like a well tuned instrument… but don’t take my word for it. You can now try it out for yourself!

On his recent trip to Australia, Jason officially launched the SO313 at Bloch’s flagship store in Sydney. I caught up with him during his whirlwind visit to learn more about this uniquely crafted tap shoe.

As a Tap Dancer, how important is it to have good tap shoes?
The tap shoe is your instrument and it’s an extension of your foot, so it’s very important that it’s made well and has a decent sound that you prefer. It needs to be comfortable enough to wear for a long period of time and stylish enough to be presentable on stage. Tap dancers deserve a good shoe to accompany the art form. Tap dancing is too amazing not to have an instrument that can deliver.

How did your relationship start with Bloch?
Some Bloch representatives approached me four or five years ago at a national tap dance event. They had been keeping track of me and were very aware of my career, and were interested in developing a professional tap dance shoe. I knew I wanted to create a shoe but I didn’t know how I was going to do it, so when Bloch approached me it was perfect timing. They were really open to the idea of allowing me to have full creative say over the design of the shoe, and were willing to make whatever changes I asked.

Jason Samuels Smith shows off the tap shoe at Bloch York Street, Sydney

How involved were you with the design of the tap shoes?
I was completely involved. In the beginning Bloch sent me a model of their top professional tap shoe that looked more like a steel-toe boot than a dress shoe. I gave them a shoe that I liked in a classic Hollywood 30’s or 40’s style and once they had the core design we kept altering it.

I had seen a clip of Coles (Honey Coles) and Atkins (Cholly Atkins) tap dancing and they’re wearing shoes that have a straight cut across the toe and the toe is in a different colour to the back of the shoe. I always liked how this looked and so we have done two versions of the stitching for our shoe. One has the hard cut that goes across the toe – that’s the ladies version. The other one cuts across and has a sharper cut that goes to the back. So there is slightly different stitching on the shoes, which gives more options in terms of customisation.

So you have a female version and a male version of the shoe?
Right now we have a basic design for a male and a female shoe, where the sole, the leather and interior are all the same. The female shoe has slightly different stitching but it’s not necessarily gender restrictive. I know guys that have bought the female shoe because it’s a narrower cut of the male shoe. My foot is naturally wide and Bloch designed the shoe based on my foot, so the male shoe that comes out of the box is wide.

What was the most important thing for you working on this project?
The main thing was to create a professional high quality tap shoe as a complete package which to me means a shoe that is a total entity and lasts the distance. We worked on the durability of the shoe and the style, and it was also important that the shoes have their own distinctive sound.

The shoe also needs to be comfortable. If you’re teaching three or four classes a day, your feet are just throbbing by the end of the day. Bloch really attacked this, even before I approached it. Their shoes are some of the most comfortable dance shoes in the world, so I was really happy about that.

Sound is an important aspect of tap. What process did you undergo to ensure the shoes produced an exceptional quality sound?
At the beginning of the whole process Bloch did a focus group. They called in a bunch of tap dancers: Derrick Grant, Michelle Dorrance, Dormeshia Sumbry-Edwards, Chloe Arnold, Dianne Walker, and myself. They had taps from the past and the present and we tested the sound independent of the shoe, and also on the shoe, and every dancer would say which tone they preferred. I was really feeling confident with the shoe and we were at the end of the process when Bloch wanted me to try these new bigger taps that covered the entire surface of your toe to the ball of your foot. The sound was really unique and the tone produced by the bigger tap was so rich, deep and base heavy that I loved it immediately! The sound I can produce with the taps is actually my favourite part of the shoe.

Jason Samuels Smith signs autographs at Bloch York Street, Sydney

Are the shoes designed only for professional dancers? What are some of its unique features?
It’s a comfortable shoe that any level tap dancer can use. If you’re buying a tap shoe it should come as a tap shoe with taps on it already. With our shoe it’s ready to use straight out of the box, and it doesn’t have a long break in time. It also comes with optional pieces of rubber for the sole of the shoe. I don’t particularly like the rubber because it limits your ability to slide, so we have given this as an option.

The shoe comes with a build up (additional half soles on the toe and heel), which changes the tone giving it a deeper base and helps to balance the bottom of the sole. The build up also gives a richer sound and more versatility, so if you want to use the top edge of the toe, you have more surface area to create that sound or to do a toe stand.

My mission was to develop an instrument that can withstand the force that we use to create our sound. When we’re tap dancing we’re destroying our shoes and tearing them to shreds. My goal was to create a long lasting shoe. We’ve really tried to reinforce the stitching over and over again so people will get the most life out of it. It won’t obviously last forever but I believe in business, if you do the job right the first time, people are going to come back the second time. I also think the shoe will make a lot of tap dancers happy because it’s made for tap dancers by a tap dancer. 

What is your hope for the Jason Samuels Smith Professional Tap Shoe?
One of my dreams for the shoe is for every tap dancer on the planet to try them once, and hopefully they will like them and continue to support them. Personally I want to continue to make the shoe better like we have done over the last four years. I want people to give me feedback because it’s not about what I want, but about what we (the tap community) want.

To get your pair of Jason Samuels Smith’s Tap Shoes SO313, contact your nearest Bloch retailer by visiting www.blochworld.com

Jason Samuels Smith’s tips on buying Tap Shoes
1. What are you are trying to accomplish in your tap shoes?
Are you buying them to perform, teach, practice, or because they look nice?
If you’re a teacher and you teach sixteen classes a week you need something that is comfortable and immediately feels good. You should never have pain when you start wearing a pair of shoes and you don’t want to have to break them in. If you can feel your toe at the tip of the shoe and it’s uncomfortable, then it doesn’t fit and you need another size. It’s got to be comfortable!
2. It has to produce a sound you like, so you need to test it out on a wood surface to get a feel for the sound.
3.  It needs to look good. But it doesn’t matter how it looks, if it doesn’t sound or feel great.

Top photo by Michael Higgins

Looking for Christmas Gift ideas, or just wanting to check out the new dance products on the market?

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