By Kristy Johnson.

They already are familiar faces in the dance scene, however Stephen Tannos and Morgan Choice are yet to cement their status as choreographers of the new generation. This is all set to change when they bring their creative vision to life in Tannos + Choice: a cutting edge performance that So You Think You Can Dance judge Matt Lee describes as a “non-stop joy ride”.

Prior to their February debut, Dance Informa caught up with the pair to discuss how Tannos + Choice came about.

We’re excited to see your first live performance this month. Can you tell us what we can expect from the show?

Stephen
I think the main thing we hope you go away with after seeing our show, is a sense of empowerment and inspiration. You should expect a few surprise cameos and appearances, as well as a soundtrack that will blow your mind. Along with that, you should expect to see Morgan and my favourite dancers in the country kill it!

You have been likened to American power couple Napoleon and Tabitha. How does it feel to be compared to such icons?

Morgan
It’s a massive compliment! Both Stephen and I have been huge fans of their work over the years, not just as choreographers but also as dancers. Their work and achievements have been a constant inspiration for Stephen and me. One of their biggest achievements was the Emmy Award they recently received. Stephen and I hope one day we will also be that lucky.

Does Tannos + Choice seem like a natural progression? Has this always been something you have worked towards?

Stephen
I’ve always had a passion for choreography and knew that I had a point of view I wanted to voice. However, this was something I used to do by myself. After Morgan and I became a couple, it seemed like a natural progression to bring the two of us together as one force. It was not an easy thing to convince Morgan to get into this with me. She claimed she was “just a jazz dancer” and had no choreographic ability, which I told her was ridiculous!

Marko Panzic is producing the show. He seems to be on fire at the moment. How thrilled are you to be working alongside him?

Stephen
When Marko approached the two of us about his idea of producing a show for us, we were truly overwhelmed. Marko is an ‘ideas man’ and a huge inspiration to both of us. The fact that he wants to put this much time, money and effort into this project, is such a beautiful thing. Marko is producing and co-directing, and has so far put in a huge amount of input. Morgan and I really take in every single piece of advice he gives us creatively, and apply it the best way possible. Together the three of us can put on an amazing production, I’m sure of it!

Have you already received great feedback and support from your peers?

Morgan
Stephen and I have received phenomenal feedback and support not just from our peers in Australia, but all over the world. We are so grateful that people are respecting and appreciating the work we are producing. It was always a risk to try to create movement that is not commercial and a bit ‘left of field’. We are so happy we have been accepted.

What do you think makes a great choreographer?

Morgan
I think it’s being able to relate to your audience on a personal level. It is creating movement that people are going to watch and feel emotion. I respect choreographers that can make me feel happiness and joy, but I also love dancing something that makes me feel uncomfortable and sometimes sad. I feel like it makes you grow not just as a performer but also as a person. There are many choreographers that inspire me such as Wade Robson, Kelley Abbey, Jason Gilkison, Tony Czar and Erica Sobol. They have always been major inspirations to me, mainly because they are all so different yet still manage to let me connect and relate to what I’m dancing.

Why do you think the two of you work so well together as choreographers?

Morgan
Stephen and I have gradually found our niche when working together. We are both comfortable in what we excel at most, so now when we are creating we can produce better work. When working with someone so close, it takes time to figure each other out. You disagree and things can be hard, but you always get through it in the end.

Stephen
We make up for each other’s weaknesses and we have the ability to finish each other’s sentences creatively. We have strengths in opposite areas. My strength is finding music and creating visions, whereas Morgan’s is in translating those things into beautiful and expressive movement.

You can catch Tannos + Choice on February 22-24 at the Parade Playhouse in Sydney. Visit Ticketek for tickets.

From Christine Dion of Mode Dion

Start the year off fresh. Now is the time to review your makeup tools, clean out makeup cases and wash makeup brushes. Begin by clearing out old products. It is not always easy to know when the end has come, so here is a time line of expiration dates on your favourite cosmetic must haves:

Facial Foundation and Moisturizers- Up to 2 years. Most last only about a year. When it starts to separate, change consistency or smell funny then it’s time to toss it. You can extend the life of these even longer by dipping a clean cotton bud into the product for application instead of your finger.

Concealer/Cover up- Lasts a year or two longer than foundation.

Face Powder- Loose powder can last up to 3 years or more if it doesn’t begin to smell bad. It’s loose dry formulation prevents bacteria build up. Compact Powder can harden and change colour from your skin oils getting onto the surface. Bacteria can also form. Refresh compact powder by using a toothbrush to scratch the bad surface layer off. This can help it last up to to 3 years.

Cheek Colour/Blush- Like a compact powder, bacteria can build up and powder can harden from facial oils. Treat with the toothbrush technique and keep for 2-3 years.

Mascara- 3-4 months after opening, mascara begins to have bacteria build up that can cause infection and eye irritation.

Eye Shadows- Keep the top layer clean and these should last up to 3-4 years. Look for colour changes, bad smells, and itchy eyes to point the way to the trash.

Eye and Lip Liners -These can last a long time if you keep them well sharpened. For lip and eye pencils look for moldy build up and a change in texture to signal if they’ve gone bad. Liquid liners last about 1-2 years because of a higher risk of bacteria build up. To keep these fresh longer use a separate clean brush for application instead of the one that goes back into the container.

Lipstick- After 2 years colour and texture changes and bacteria starts to build up. A chemical smell is another sign that it’s time to toss it.

Face Masks -(creamy)- 6 months to 1 year.

Nail Polish- 2 years, give or take. Adding a little nail polish remover can help thin out old polishes that have become thick, but bubbles can form when polishes are old, so it’s best to buy smaller polishes and throw them out after 2 years.

Fragrance- Perfumes aren’t really a beauty tool, but are an important part of beauty. So keep your fragrances out of light in a dry, cool place. Most people keep their perfumes in the bathroom, which is the worst place of all! Fragrance should last from 3-6 years if taken care of correctly. If you notice an off odour, then toss them.

How to care for your products and keep them fresh
Store your products in a cool, dark place like the fridge (cold inhibits bacteria) or a box. Keep them out of sunlight and warm humid places like the bathroom. Shake liquids up every once in a while. If pigments separate and don’t shake back together, then it’s time to throw them out. Avoid touching products with your fingers -use sponges, brushes and cotton buds whenever you can. Keep lids closed tightly and never share products.

Remember to keep make-up brushes clean. With daily use, wash brushes a few times a month or weekly if you’re prone to breakouts.

How to wash your makeup brushes:

1. Fill the bowl with warm water.

2. Add one squirt of dish-washing liquid.

3. Swish brushes into water and gently work soap through hairs.

4. Empty water and fill bowl again with fresh warm water.

5. Repeat until water is clear and brushes are clean from soap.

6. Pat onto dry towel and lay flat on dry towel until dry. Tip: Never dry brushes standing up. The moisture can drip into the base where the hairs are glued and start rotting. Soon the hairs will come loose and fall out. Never pull on brush hairs. Always pat them dry.

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

Top photo: © Tomasz Tulik | Dreamstime.com
Second photo: © Vitalii Netiaga | Dreamstime.com

Adelaide Festival Centre, Festival Theatre
January 2012 

By Joanne McDonald.

If you grew up in the eighties, and you were dance mad, then the 1985 movie version of A Chorus Line may well have been one of your favourite movies and the inspiration for dreams of a dancers’ life.  Certainly that’s the case for me.  The original production of A Chorus Line premiered in 1975 and became, at the time, the longest running musical on Broadway, winning not only a string of Tony Awards, but also prestigious awards for drama.  A Chorus Line was a new breed of musical with a back story that could stand alone – not merely a prop for the musical numbers – though these are outstanding also.

Any new production of this landmark musical has a lot to live up to, but also much material for the foundation of a great piece of theatre.  The new production at the Adelaide Festival Centre produced by Tim Lawson and TML Enterprises certainly delivered.

As the lights went up and the show began, the scripted dialogue and American accents gave me concern that this would be a mere imitation.  But once my ear adjusted to the accents, I realised the performance by most of the cast had real depth, and at times, a quirky humour. Some of the characters were particularly likeable – particularly Debora Krizak as Sheila, Ashley McKenzie as Bobby, Hayley Winch as Val and Rohan Browne as Greg.   ‘At The Ballet’ sung by the characters of Sheila, Bebe and Maggie was incredibly moving.  Karlee Misipeka’s interpretation of ‘Nothing’ by Diana, epitomised the character’s frustration and feelings of isolation, while also entertaining us with hilarious anecdotes and an inspirational determination to succeed.  But the best thing about ‘Nothing’ was Misipeka’s vocals.  ‘Stunning’ is the word I think best describes her voice, or perhaps ‘angelic’.  In fact, it is the singing in this production of A Chorus Line that is the show’s greatest strength, particularly the voices of Misipeka, Krizak, Monique Sallé (Bebe) and Stephanie Grigg (Maggie).

There were a couple of scenes that were a little disappointing.  Euan Doidge’s performance of Paul San Marco, revealing painful experiences from his youth, did not move me as it should have. And the potentially exuberant number ‘I Can Do That’ by Mike (performed by James Maxfield) did not quite hit the mark, although this is more due to the choreography than the performance.  At the end of the number we had a glimpse of Maxfield’s acrobatic ability, but it would have been great to see more spectacular tricks throughout the piece.

The staging was done well.  For example, the contrast between the bright lights when the dancers were standing on the line and the tableaus of dancers during the montages was very effective.  Unfortunately, the costuming was somewhat disappointing.  It was appropriate, yet not flattering – which is at odds with the idea of dancers trying to look their best for an audition in order to get the part.

It would also have been wonderful to see the potential of the dancers more in the choreography.  For example, ‘The Music and the Mirror’, performed by Anita Louise Combe as Cassie, gave the dancer very little opportunity to sparkle.  For most of the number I thought perhaps Combe was more a singer than a dancer, but when she got to the end and started to move, it was clear she was absolutely a dancer.  But still, she looked restrained, as if the choreography didn’t provide the opportunity for her to fully extend herself.

The bottom line … should you see this production of A Chorus Line?  Absolutely!  It is a classic, a landmark musical, and worth seeing. It is well produced and well performed.  Entertaining.  Engaging.   Moving.  Inspirational.

By Rain Francis

Contemporary dance often has an aura of mystery about it. It’s not ballet, it’s not hip hop, and it seems to be different wherever you go. That’s one of the best things about it! Here Rain Francis talks to Sacha Copland, Artistic Director of New Zealand’s Java Dance Company, about the curious world of contemporary dance.

Java Dance Company was founded in 2003 by Sacha and fellow graduates of New Zealand School of Dance. It is based in Wellington but tours a lot around the country. Java’s mission is ‘to capture audiences with visceral, impressive dance that communicates’. This goal is realised by ‘creating and presenting original theatrical dance works built on dynamic physicality, character development and storytelling’.

Earlier this year, Java was at the Taranaki International Arts Festival performing two shows –  Back of the Bus and Pick a Path – a show created especially for children. Back of the Bus is a popular piece by the company. It has been presented all over New Zealand. It is performed on a moving bus that stops at different locations around the city it is in.

On this occasion, The Arts Festival organisers worked with a graffiti artist to paint the bus, and they spray-painted a cartoon of Java dancer Natalie Hona on the back of the bus. Natalie was stoked, saying “I haven’t been turned into a cartoon before!”

Sacha says this is something she loves about contemporary dance; it uses “such a wide variety of movement in lots of different contexts”. Java’s latest project was a show called RISE, where the performers made bread on stage, on a massive scale, with “an exploding wall of milk and honey, flour falling and water bursting from the ground”.

Sacha says of RISE, “It was the most holistically challenging project I’ve ever been a part of,  from working with volatile elements to collaborating with a composer to create a new 90 minute work integrating the live musicians, to addressing the question ‘what is universal’ while embedded in the bread-making process. I loved making RISE, working with a tactile space rather than a ‘clean’ surface. The cast were incredible and so willing to get amongst the mess.”

RISE had an international cast, epic design and all the fun of audience involvement. It required over 1000kgs of flour, a rock climbing wall that ran the length of the theatre, live singers and intense physicality. It explored how a community comes into existence and involved the dancers getting covered in flour, honey, water, and dough. The audience helped by kneading the bread, which was then baked.

Dancer Alana Sargent described the experience of working on such a unique show. “RISE for me was a massive learning curve and I enjoyed every second of it. I found myself in new and insane situations that pushed me and made me grow as an artist. It opened my mind to numerous possibilities creatively, and I was constantly learning. Dancing in physical elements of flour, water and golden syrup really challenged me as a performer. Never once did a show feel the same as the last. I believe this show will never stop evolving and improving. I am so pleased that I have had the opportunity to be part of the creative process of such an innovative show.”

OK, so far we have a dance performed in a moving vehicle, and a giant baking experiment. So, what exactly IS contemporary dance? The cool thing about it is everybody defines it differently, and there’s not really any right or wrong definition. Contemporary dance began as an answer to the stringent rules of classical ballet, and has evolved into something with virtually no boundaries. It is interpreted differently by everyone – performers and audience members alike.

Sacha defines contemporary dance as “an intensely physical way to express an idea. It uses influences from theatre, lots of different dance styles and visual art”. The only rule, she says, is that “it must keep changing as the world changes. It’s about exploring new ways to move.”

Because there are so few limitations, this style of dance can be really accessible to everyone, or it can be quite challenging. Sometimes people say they don’t understand it, but the thing to remember is, whatever a piece of art means to you, is what it means to you! This goes for dance, visual art, poetry and music. They’re all open to interpretation, and every interpretation is valid.

According to Sacha, the contemporary dance industry in NZ is reaching out to audiences and changing the perception that contemporary is mysterious and hard to understand. She says that Java has a “really theatrical style, so people can connect with the story as well as the physicality. Communicating through movement is the key.”

Java has a strong youth connection. They make shows specifically for teenagers and tour high schools nationally, performing as well as conducting dance and choreography workshops. In Term 2 next year they’ll be touring North Island schools with Survivor, a show that explores how basic instinct drives us all as we negotiate our place in the pecking order.

In February, Java will be heading off on its first international tour, to perform Back of the Bus at the Adelaide Fringe Festival. The company invites you to ride on a bus through the streets of Adelaide, as dancers propel themselves along the aisles and hang from the roof. What fun! Physical comedy, pure kinetic energy and outrageous scenarios will combine to create a magical mystery tour of the unexpected.

For more information, check out www.javadancecompany.co.nz and www.adelaidefringe.com.au.

This article was originally published in TEARAWAY Magazine – The Voice of New Zealand Youth. www.tearaway.co.nz

Merry Christmas Dance Informa readers!
We have some wonderful Christmas presents for 4 lucky readers:

Win a Beautiful Dance Print
or Tickets to A Chorus Line!

WIN this unique canvas art-print by Dwyer Design Co!

This artwork will add a splash of elegance and artistic-fun on your wall. The bold brushstrokes provoke a sense of movement in the painting and help the viewer experience the energy of the dancer.

The canvas measures 30cm (h) x 30cm (w) x 3cm (d) and has a satin textured finish.

This artwork is part of a series called “The Art of Dance” by Dwyer Design Co. which combines two amazing expressions of artistry: dance and art.  To see the full “The Art of Dance” series see www.dwyerdesignco.com

To Enter
Email Dance Informa at
info@danceinforma.com with
Your Name, Date of Birth, Full Address, Phone Number and ‘Your Christmas Wish’.
Good luck!

WIN a Double Pass to A Chorus Line at Adelaide Festival Centre!

Direct from Broadway and a U.S Tour, an all-new Australian production of one the most successful American Broadway musicals of all time, A Chorus Line is coming to Adelaide Festival Centre’for a limited season beginning December 31.

A Chorus Line tells the tale of 17 dancers desperately auditioning for eight stage roles in a musical. For more information visit www.adelaidefestivalcentre.com.au

Win 1 of 3 Double Passes to the New Year’s Day matinee performance, January 1^st at 3pm.

To Enter
Email Dance Informa at info@danceinforma.com with
Your Name, Date of Birth, Full Address, Phone Number and ‘Your Christmas Wish’.
Good luck!

Competition opens on Dec 5 2011. Competition closes on Dec 18 2011. Winners will be selected at random on Dec 18 at 5:00pm EST and notified by email and/or phone. All entrants must provide an email address, a postal address, full name, phone number and date of birth. All entrants who are not a subscriber to Dance Informa will be given a free subscription. All subscribers can unsubscribe at any time by visiting danceinforma.com/unsubscribe. Minimum entry age is 13 years of age. Prizes will be drawn in Highbury SA. Winners will be published at www.danceinforma.com after they are announced. If not all prizes are claimed, a Second Chance Draw will be held. This competition is held by Dance Informa Pty Ltd of SA. Phone 1300 783 120.

By Rebecca Martin

Dancehouse, Melbourne’s centre for independent contemporary dance, has appointed Angela Conquet as its new artistic director and chief executive officer.  With her passion for contemporary dance and a vision for its development, backed by her success as artistic director for dance at Mains d’Oeuvres Paris, Conquet looks set to enhance the vibrant community of Dancehouse and enrich the local dance scene.

Conquet, who steps into the shoes of David Tyndall, Artistic Director of Dancehouse since 2007, spoke with Dance Informa about her new role.

Congratulations on your appointment as AD of Dancehouse.  How are you settling into your new position?

Very well so far. I’m enjoying every bit of my new life. The venue and the team are great, the artists I have met are very interesting and there are many challenging new projects to be launched soon, so it’s all very exciting. 

You come to Dancehouse after a successful stint as AD for dance at Mains d’Oeuvres Paris.  Tell us a bit about your time there and the role Mains d’Oeuvres Paris played in the French arts scene.

Mains d’Oeuvres is an independent multi-arts centre in the North of Paris and a pioneer of what is now known as the “movement of new territories of art” (disused spaces repurposed into art spaces). It is a working space for artists of all fields and particularly in dance. We mainly focused on supporting emerging artists, who, in France, rarely benefit from any funding scheme. We tried to invent a new relationship between the artists and their work, the venue and the surrounding community, inviting the artist to think of new ways for delivering the art to new audiences. I think Mains d’Oeuvres is now a highly creative incubator where people go to discover new art forms, new names, and new ways of sharing the arts with an underlying conviction that arts do push us to more creative living.

What are some of the main differences between the Paris and Melbourne dance scenes?

The Paris dance scene is richer as there are some 300 professional dance companies based in Paris. There are many venues presenting dance on a regular basis and always some flagship artists to see. But not everyone manages to have access to funding or visibility and many talents are worn out before they succeed. Sometimes it may look like a mere jungle for those who are new. The main difference between Melbourne and Paris, as far as I can tell for the time being, is that here I have a feeling that the dance community is very closely-knit, more like a family and that there are more opportunities to explore their potential.

What are some of the main similarities between the two?

I’ve noticed that dance artists, on any side of the world, are genuinely concerned with today’s issues in society, and their works mirror that in a very profound way. It is because dance is the most universal art form with a unique power to translate political, social or philosophical issues with the moving body.

Tell us about your vision for Dancehouse

I see Dancehouse as a tool for the artists that, I imagine, is flexible and responsive to their wishes and needs. I would like to create a thoroughly supportive space where dance makers can explore their potential to the full, be aesthetically and philosophically groundbreaking, and fearless. And since there is so much talent here, I would like to connect Dancehouse to wider international networks and create new meaningful partnerships where exchange and reciprocity would be at the core.  Ultimately, I aim to strengthen Dancehouse’s position as a seedbed for challenging art and invent the right bridges to bring it to wider audiences.

What challenges do you perceive there being with modern/contemporary/independent dance both locally and internationally?

I think the challenges are the same everywhere when we speak about independent dance. Dance artists cannot do without the time, the access to space and some serious funding. We cannot create dance pieces like we make sandwiches, so venues like Dancehouse must do their best to secure that timeframe. Dance is the most ephemeral of the arts, so I am very concerned about how to extend the life of existing works and how to make sure that they reach all possible audiences when the work is there and ready to tour. I would also like to think that we act as a catalyst for all these creative minds. Probably because I strongly believe in Josef Beuys’ concept of social sculpture, I like to think that we can change people’s lives with dance.

What do you miss about France?

Some bookshops and nice cafes, the TV-channel ARTE, a few wines I can’t find here and the foie gras of course, which is impossible to smuggle into this country.

What don’t you miss about France?

The hectic-ness of Paris, the sullenness of people, the metro in the morning…

Top photo: Angela Conquet, by Alfred Mrozicki

Nutrition recommendations for preventing and recovering from bone breaks, stress reactions, or stress fractures.

By Emily C. Harrison MS, RD, LD

With our highly active and high impact lifestyles, dancers can be prone to bone stress. What can you do ensure your bones are ready for the demands of dance?

Bone is living tissue, and good bone health requires good nutrition.  One way to avoid stress fractures/ reactions is to get adequate calories from protein, carbs, and fat. Calorie needs for dancers can vary depending on your size, age, gender, and activity level.  (See Dancernutrition.com for information on estimating calorie needs).  Going for long periods of time without eating or extreme dieting will compromise bone mineral density and jeopardize your bone strength. Cutting your calories too heavily will not help you become a stronger dancer.

Hormones also play a big role in bone health.   Decreased or absent menstruation in females is a warning sign. Please see a health care professional if dietary intake or menstruation is a problem.

Vitamins and Minerals for bone health, ages 13 and up
Calcium: 1300-1500 mg
Vitamin D:  10-15 micrograms (600-800 IU) avoid large doses and get 15 min of sun/day
Vitamin C:   100 mg (avoid large doses)
Vitamin K:  75-90 micrograms
Phosphorus: 1250 mg/day

Did you know that you can get all these from food sources?

Protein: Did you know that too much can actually compromise bone health over time?
Protein needs vary throughout our lifespan. For more information about recommended protein intake read Protein Needs for Dancers from the November Edition. More than enough protein is not necessarily better. Dancers who are adolescents and still growing, as well as engaging in athletic activity several times per week, can estimate protein on the higher end of the range, but shouldn’t over do it.  High protein diets can lead to more calcium being lost from the bones – a big problem for dancers who are at higher than average risk for stress fractures.  Protein overload = weaker bones.  Get your protein from food sources like beans, nuts, seeds, whole grains and if necessary, get small amounts from meat or dairy.  Protein supplements or powders are not necessary and can even be dangerous.  

Dietary sources of bone building nutrients:

• Everyone knows that dairy is a great source of calcium, but there are other plant-based sources of calcium too, like almonds. If your dairy intake is restricted, choose calcium fortified soy milk, almond milk, or orange juice w/ calcium.
• Greens: spinach, kale, collards, chard
• All fruits (great sources of vitamin C and phytonutrients)
• Tuna, eggs, beans
• Sunflower seeds, almonds
• Enriched cereals, oatmeal with almond milk

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: © Linda Bucklin | Dreamstime.com

By Grace Edwards.

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

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

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

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

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

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

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

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

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

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

Christine Walsh & Ricardo Ella

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

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

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

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

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

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

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

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

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

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

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

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

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

Top photo: Ballet Gala 2009. Photo by Jeff Busby

By 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

By Steve Sirico of Dance Teacher Web.

In this special 2 part series we will explore tips to running a successful studio. Think about your business and how these tips apply to what you are doing. Even if you are doing what I recommend, try to think in terms of how you might switch up your approach for even greater success.

Keep in contact with your current customers.
This means emails, newsletters, surveys, customer events and anything else you can think of. The reality is that everyone is busy and you are low on their radar. If you lose contact, then you risk losing business. Most people stop coming to a business because they think you don’t even know they exist. And don’t worry about being a pest. Just keep giving them useful information and special offers that they will love to receive.

Keep marketing to your current customers.
Most businesses focus on attracting new clients and marketing to them. But think about this: If you are doing business with a company you like, you are more apt to buy more of the same. A lot more! When you have devoted clients, you can ask them to give you testimonials so you can then promote what they love about you.

Create WOW moments for your customers.
Make plans to have special events that are both publicised and unannounced at your school.  Think of ways to surprise your students and their families. Ideas include highlighting a special student of the month, free giveaways for students who work hard, special projects where everyone wins something, and just random acts of kindness. They will make you the talk of the town.

Get your staff and faculty to buy into your philosophy…or sever the relationship.
Donald Trump likes to say “hire slowly but fire quickly”. Most people do the opposite. They hire on a gut reaction and then try to hold on when things go south. If you are having an issue with any faculty member or staff member it is best to try to resolve the issue immediately! If no solution is at hand then use that apprentice line—“You’re fired!”

Build your preschool program.
If you build it they will come. Make a special brochure or schedule exclusively for them. The more time offered the bigger your program will get. Try doing a special show that is short and informal with just these younger students—both enjoyable and easy on the families and their time.

Build programs for each niche.
Beyond preschool, offer programs for all ages and special areas that include athletes, kids who are singers and actors, recreational, competition teams, dance teams and even adults. Now the key is to find ways to market to each group exclusively.  “Find a need, fill a need”—if you do, you will always have plenty of business.

Don’t let the parents run the ship.
Parents will love to give you their two cents about all kinds of things: Who should be teaching, what they should be teaching, during which hours they should be teaching. And it doesn’t stop there. Listen to your customers, but do not waiver from your company vision. Your parents will take over if you let them and then you will have a hard time regaining control. It’s your business, you are in charge. Make sure they know that and they won’t over step the boundary.