DanceLife Blog

WOW! WOW! And WOW!

In short, one of the finest musicals to hit our shores in a very long time!

So off I went to the green and black-tie event, I were the green everyone else wore the black tie!

As the green carpet was laid out for all stars big and small to follow into the Regent Theatre the air was thick with excitement and wonderment as we sipped on our "Ozmopolitan's", all I wanted to do was get in and get this show under way, the suspense was killing me.

Once seated the set was already impressive and the layout made the theatre look bigger than Ben Hur, I was even more excited I thought I was going to pee my pants!!!

House Lights fade and into it we were, now I don't want to go into much detail at all in this review because I REALLY REALLY want you to buy a cheap airfare and head to Melbourne to see it, for it is truly magnificent and I don't think you can wait for it to get to you.

Lucy Durack plays the self -indulgent, self obsessed cutie pie Glinda the good witch and what a talent! This role was made for her and her comic timing is impeccable.

My favourite scene is "Popular" when you see it you will understand. Durack has this knack of transporting us into a familiar pop culture bimbo territory but brings it back time and time again into a theatre world, very clever.

Amanda Harrison in the role of Elphaba is a beautiful green creature whom you fall in love with for her sincerity and strength as an individual but also her shyness and traits of vulnerability. "As long as you're mine" duet with Fiyero (Rob Mills) moved me to tears, so strong and so capable of moving mountains, they match so well in voice and in physicality it really is a great moment in the show and really got me in the heart.

One thing I will comment on though is how different the female leads voices are and how I found they really do not have a great blend when singing together, however that doesn't mean to say that it was painful to listen to but I do think that it was a minute flaw in the production.

The role of Fiyero is played by the increasingly popular Rob Mills. I must say I was very impressed by his newfound theatrical voice and acting skills. His character portrayal to me was like a cross between Gaston from Beauty and The Beast and Jessie McCartney, very youthful, conceited, beautiful and attractive to all. Rob has really put the work in to this project and it shows I believe he can only get better.

You do want to see more of her role, Maggie Kirkpatrick was a fabulous Madame Morrible and it was just a plain honour to watch her walk out on stage every time.

Rob Guest as the Wonderful Wizard of Oz was well received and his little jig that he does in "Wonderful" did put a little smile on my face.

Doctor Dilliamond is a poor old soul of animal played so well by the wonderful Rodney Dobson.

B

ig Ups go to Penny McNamee, Anthony Callea and the rest of the principal cast who really help to put this show into one of the greats for Aussie musical theatre.

I must tell you though that not only is it the onstage cast that makes this show it is Kenneth Posner's ridiculously amazing lighting design, Gavan Swift who designed the lighting for Tapdogs is our Aussie representative and a true artist and lighting genius, this show is transformed time and time again into worlds of fantasy simply by the lighting and it is a true detriment to Swifts avid eye and artistry.

Speaking of artistry costume designer and Olivier award winner for it Susan Hilferty is a designer of pure fabulosity!!! The ensemble costumes are truly amazing and mysteriously funky in their own wicked way. Our Aussie wardrobe is co-ordinated by the man himself Billy Roache and what a wonderful job he has done.

The set design and production as a whole is something of a monstrosity of top-notch creativity and really allows you to be transported to Oz for the experience of a lifetime.

In saying that I believe the ensemble are having an experience of a lifetime executing choreography that you only dream to dance. Wayne Cilento who credits himself as a Musical Stager is a multi award choreographer who's staging is a dream to watch and so relevant and current choreographically yet lyrical and classic and all round enjoyable to watch, I was on the edge of my seat wanting so bad to learn the chorey it was fantastic. Ellen Simpson is a stand out in the ensemble with her flaming red hair and striking legs and style she is really one dancer we all need to watch as she climbs the ladder.

Shout outs go to Ryan Sheppard, Todd Hampton, Lockhart Brownlie, Romina Villafranca, Todd Hampton, Deanna O'Leary and Ross Hannaford who all make a wonderful show that touch more wonderful, their stage presence and commitment is very humbling.

The book of inspiration Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire is cleverly written and visiting social obligations and personal struggles and courage throughout the new generation.

With a genius and experienced award winning creative team inclusive of:

Book- Winnie Holzman (thirtysomething, My So-Called Life MTV)

Composer - Stephen Schwartz (Pippin, Disney's Pocahontas, DreamWorks The Prince of Egypt)

Direction - Joe Mantello (Take me out, Love, Valour Compassion- film)

Ass.Dir. - Lisa Leguillou - Chicago, Vagina Monologues, The Odd Couple)

Whispers at the after party were that this production is better than Broadway.....Hey I am just gossiping on what I heard!

Wicked Australia in my opinion has re-ignited theatre in Australia, with this phenomenal cast and crew I really do thank you all for giving a great performance and allowing me to do what's required of me in the theatre....

LAUGH.CRY, CLAP, HOLLA, RELATE, ENJOY, DREAM!!!

Big Love!

Rose

xxx

Over 65,000 new seats will go on sale 9am Monday 21 July as The Phantom of the Opera gets ready to leave Sydney.

"The Sydney audiences have been fantastic," said co-producer Tim McFarlane.   "Our limited season has been very well received and certainly sales reflect this."

John Frost, co-producer said "We are half way through our tour and the production is set to open in New Zealand on October 14.  Sydney will need to get in quick to not miss out."

The Phantom of the Opera opened in Sydney May 15 and is currently playing The Lyric Theatre, Star City

The Phantom of the Opera is the longest running musical on Broadway, having recently celebrated 21 years since its debut in London's West End, and has won more than 50 major theatre awards, including seven Tony Awards. It's been 11 years since the musical was last performed in Sydney.

The Phantom of the Opera tells the story of a disfigured musical genius known only as ‘The Phantom' who haunts the depths of the Paris Opera House.  Mesmerised by the talents and beauty of a young soprano - Christine, the Phantom lures her as his protégé and falls fiercely in love with her.  Unaware of Christine's love for Raoul, The Phantom's obsession sets the scene for a dramatic turn of events where jealously, madness and passions collide.

With spectacular sets and more than 230 costumes by international designer, the late Maria Björnson, The Phantom of the Opera contains some of Andrew Lloyd Webber's most famous music, including ‘The Phantom of the Opera' and ‘Music of the Night'.

Tickets are on sale through ticketmaster 1300 795 267 or www.ticketmaster.com.au

In the short amount of time Jimmy Federico has been in front of the camera as an actor and professional dancer in the entertainment industry. He has landed some of the most coveted roles in music videos, international tours, television campaigns and feature films.  DanceLife caught up with Jimmy to chat about the great experiences he has had as well as getting some tips for all the dancers out there.

At the very beginning of your career you danced for international artists including Pink, Christina Millian and Mandy Moore.  Explain how it was being a rookie in the industry and landing these amazing gigs.  

 Jimmy: Being on world tours with such well established artists such as Christina Milian, Mandy Moore and P!nk was an amazing feeling of accomplishment, being such a "rookie" in the dance faction of the entertainment industry.  I felt really worldly and excited for where my career was headed. 

At what point of your career did you think to yourself, I have made it?

Jimmy: I felt I had made it when I had come home from my first break off of tour with Mandy Moore from the city Paris.  Arriving back to my home town and staying with my parents at the house I grew up in I stood in the mirror in my childhood room, looked in the mirror, and as the feeling of amazing triumph over came me, I raised my arms in joy with a tear rolling down my cheek, saying to myself, "I really, finally did it. I knew I would.  Thank-you God."  Even though I was living in at L.A at the time, looking at the mirror in the room I grew up in, at the place where all my dreams and aspirations started, is where it all really hit me, and that's a memory I will always have instilled in me for life.

The dance industry in America is fiercely competitive. As a dancer everyone has times when they need some extra cash. What's the one job that you would rather forget that you had to do to keep your head above water?

Jimmy: Fortunately for me once I came out to L.A I was blessed to work enough as a dancer in music videos, tours and commercials.  I made enough money to allow me the luxury not to have to get a side job for money. The struggle came before I moved out to LA when I worked as a busboy, saving money and commuting back and forth to LA for 3 months until I got my foot in the door.  I feel I paid my dues early on.  It is a 3 hour drive, one way from LA to where I grew up.  When I would attend auditions, get cut within a half an hour and then drive back home another 3 hours to my parents where I lived, and would do this upwards of 3 times a week, it was rough, but it was ultimately an easy part of the job because I wanted it so badly. 

You are continually setting new goals and wanting more from life. Many dancers would like to move into acting as you have but don't know how to take that first step. What advice would you give these dancers about moving into acting?

Jimmy: Build your network, don't be afraid to go after your goals, respect who you are working for and who you are working with and don't burn bridges!  Contrary to how it may seem, LA is a "very small town!"

You have danced for the world's queen of pop ‘Madonna' at the Grammy's. Tell us about the process you went through to get this job and what it was like working for one of the world's greatest artists?

Jimmy: I actually auditioned for one of the four dancer roles in Madonna's "Tell Me" cowboy themed video. The entire audition I fixed my eyes on Madonna's and the entire audition she watched me move and love the role.  The other men who were selected to dance in this video were built different than me so ultimately I didn't fit the role for the video.  That happens and I have learned not to take it personally because you cannot change your build, you can only show your best and hope that you have the look they are looking for. 

Apparently Madonna liked my look enough to ask me to perform with her at the Grammy's that year.  That was really amazing to be able to share the stage with her.  I admire her talent and vision immensely.

As a dancer being on the road all the time it must be difficult at times to stay connected to the women in your life. What tips do you have for Aussie performers who are struggling with a long distance relationship? 

Jimmy: That's a hard subject for a lot people. I think it comes down to who you are as person and what you really want in life. I have personally made it a point not to be in a relationship when I go on tour.  It's not fair to either person in the relationship.  A lot of dancers are very young, as I was when I was on tour. Working so hard to get to do what I was doing, that was all I allowed myself to care about. There will always be time in your life to be involved in a relationship. How many opportunities do you get to do what you love, travel the world and best of all get nicely paid for it?!  Plus...I loved meeting all the different beautiful women, especially the women in Australia. I had the opportunity to go there twice.  Sydney is one of my favourite places.  Everywhere I looked the women were beautiful.  The icing on the cake was their sexy accent.  Just thinking about it makes me want to jump on a Qantas flight right now and go chill on Bondi beach!

Tell us about the most intense audition you have gone to and did you get the job?  

Jimmy: It was an audition for a music video for Coco Lee. It was a two day audition.  It was the second day of the audition and the choreographer was having us do the routine in different groups over and over again.  Dancers were being chosen on the spot vs waiting for a call back.  It was gruelling on our bodies but also on our psyches! Finally I realized I had to do something extra to clinch a spot in the video.  At the end of the routine when everyone else stopped the routine, I sled up to the choreographer and did a one handed stall right in front of his face. The vibe in the room exploded with enthusiasm and I was hired on the spot.

So what is next on the cards for Jimmy Federico? Maybe a trip to Australia?

Jimmy: I'm looking forward to do doing some acting roles this summer, hopefully action fighting flicks; I'm a wild dude!  But I would love the opportunity to make time to hit Australia again soon.  I sure miss all those steaming hot Aussie women!

DanceLife Blogger Leah Howard has just emailed me the new Bond's Commercial - PADDY CAKE. Leah has been the choreographer for the very popular commercials. Check out Leah's blog next month about how she cast the commercial, what went on at the shoot days and everything in between. PHOTOS are thanks to ROBERT BRAY.

As DWTS enters into another season I wonder how long will it be until they run out of 'stars'. It was announced yesterday that Ben Cousins was considering putting on his lycra unitard and taking to the floor in what will be the 8th season of the Channel Seven show.

Rumours have been flying about seven approaching international celebs to come to our shores to compete on the show that regularly won its 7.30pm time slot on a Tuesday. DWTS is rumoured to be moving to Sunday nights where it will battle it out against the refreshed Australian Idol.

The host or lack of a host has also been a topic of conversation in the gossip papers recently. Will Channel Seven throw Larry Emdur in the hot seat? This is quite possible and I wouldn't mind. I think Larry would be great.

Who would you like to see in this season of Dancing With The Stars?

Christine Denny is one of Australia's most recognised tap dancers having specialised in the teaching of tap dance for the past 20 years. Based in Sydney she has been on staff at many of the country's most prestigious performance institutions including Brent St, ED5 and NIDA - working with both junior students and tertiary level performers looking to a career in the industry.

Christine will be answering your questions about All Things TAP. If you have a question for Christine please email it through to info@dancelife.com.au. Christine has just launched TAPATAK OZ which is a series of instructional Tap DVDs for all levels. Check it out here http://www.dancelife.com.au/directory/listing/tapatakoz.html

QUESTION: Hi! I was wondering what I can do to keep my taps from falling of my shoes. It doesn't seem to matter what I do - one of them comes off all the time. Is there a way to keep them on a bit better?
~ Maddison

ANSWER: Heh Maddison. I know exactly what you mean. This is a problem that most tap dancers face. What I recommend is this:

1. Take the offending tap off your shoe. You will notice that the holes in the bottom of your tap shoe will have become too big for the screws - which is why the screws fall out and the taps fly off.

2. Find a box of matches (make sure your parents or an adult are with you while you do this of course) - take a match and put the end without the red on it (the phosphorous) into the hole. Break the match off so one end is left inside the hole. You have now filled the hole with a small piece of wood (the match).

3. Repeat this process with any holes that are too big for the screws.

4. Put some super glue on the end of the screws and screw them back into place.

5. Leave the glue to dry overnight.

6. Yeah - Celebrate - your taps should now stay on your shoe.

So - give this method a go and let me know how you get on.

Happy Tapping!
Christine

QUESTION: My friend reckons I should loosen my taps to get a better sound. Does this work?
~ Bradford

ANSWER: Heh Bradford. Good question! I tend to think that it is better to let your taps loosen naturally over time. They do sound a little dead however if they are really tight, so perhaps you could loosen them a smidge! Remember though that a new pair of tap shoes is like any other pair of shoes - they take a little time to wear in. So be patient and give them time to mould to your foot and develop a unique and worn in sound! The best way to get a better sound though is simple - practice! Any tap shoe only sounds as good as the person wearing it. Strengthening your beats and keeping your ankles nice and loose will also go a long way to improving your sound!

I hope this answers your question.

Have fun - tippy tap tippy tap cha!
Christine

Although this video came out 2 months ago I realised this morning when writing interview questions for one of Janet's dancers how amazing this video is. The choreography is so on point with the music in the beginning and extremely effective in the space. Choreographed by the talented Gil Duldulao and Ed Moore 'Rock Wit You' is an example of how dance can hold your attention for a full four minutes without really focusing on just the artist. Although I was a little dissapointed with Janet's new album, I'm a big fan of this song and hope to see her release more songs from the album with hot videos. Janet if your reading this, please bring your tour to Oz!   

What do you think of Rock Wit You? Post your comments.

It's the start of a new week so I thought I would post some interesting 'Dance Facts' that I came across on the weekend while doing some research. If you have any interesting dance facts to share please email us info@dancelife.com.au

Who invented pointe shoes?
Though "toe dancing" was popular in London as early as the 1820s, it is believed that the first ballet dancer to dance en pointe with modified shoes was Marie Taglioni in the ballet La Sylphide in 1832. The first pointe shoes were little more than soft slippers, heavily darned at the toes. Today, pointe shoes are made of multiple layers of burlap, paper and glue. The hardened glue gives pointe shoes their stiffness.

When and where did break dancing start?
Break dancing originated in the Bronx area of New York City in the early 1970s. It began in African-American street gangs. Dancers - known as b-boys (short for beat) - competed with each other, inventing new moves and trying to out-perform one another. Break dancing made a comeback in the late 1990s, becoming popular all over the world.

Dancing 'til you drop
During the Depression, dance marathons were popular as a means to forget about daily troubles and to compete for cash prizes. Marathoners danced for hours and days at a time, usually resting only 15 minutes for every hour of dancing. Americans Mike Ritof and Edith Boudreaux hold the world record. From August 29th, 1930, to April 1st, 1931, they danced for 5,154 hours and 48 minutes - that's 214 days. They won $2,000 at the Merry Garden Ballroom Dance Marathon in Chicago, Illinois. Due to potential health risks, Depression-era dance marathons were eventually banned.

Is the Green Room really green?
Sometimes, but not always. The Green Room is a quiet, comfortable room backstage where performers can rest and relax before, after and between shows. It's also the place where the performers receive their families and friends. No one knows exactly why it's called a Green Room, but it has been part of the theatre tradition for centuries. Some people believe it is a reference to the days when theatre was performed outside in the open air "on the green". Another alternative to saying "Good luck" before a show is to say "See you on the green", which is a reference to getting through the show and to the Green Room without incident.

What did you all think of tonights SYTYCD Top 20 show? I thought it could have been better but I love Joshua and Katee's performance to 'No Air'. Check it out below... Discuss your thoughts at the DanceLife blog.

Well, it is that glorious time of year again here in NYC... SUMMER!! A time when people travel from not just all over the Unites States, but the entire globe, to take class and train from some of the most influential and challenging teachers in dance today. Growing up and travelling to New York, I remember the awe and mystique that came along with taking a class at Broadway Dance Center or STEPS. Boy, did I have to build up the courage to even walk in the door, much less stand (and dance) beside the lead in Broadway shows or the principal soloists from Contemporary Companies I had long admired. Needless to say there is a history and prestige that comes from taking these classes, and now that I am on faculty teaching at STEPS with my own classes, I realise the responsibility and honour it is to be among such an incredible lineage.

Over the years of working in so many different genres of dance, I always found comfort in the fact that at any time and in any place, I could find a dance class to take. In that room I went back to being a student and remembered all the incredible reasons why I loved what I do. The freedom, the artistry, the passion, the hunger, the desire to move and inspire those around me. It was a perfect place to get revitalised when I was feeling down or exhausted from daily life. Better yet, I found a new motivation to try something I have never done before! African, Swing, the multitude of Hip Hop, etc. I never even entertained the idea of not taking class, especially in an art form that is ever changing and developing. I express in every class I teach, the reasons why I am so drawn to CONTEMPORARY dance as my ultimate form of expression. No, it isn't because it is trendy, that is just pure circumstance. It is because it's a form of dance with NO RULES, NO BOUNDARIES, NO LIMITATIONS, AND EVEN NO "NO'S". If you know what I mean!! A perfect blend of past, present, and future movement, utilising all kinds of music and sound, or even none at all... SILENCE. How often do we stop and listen, just listen, without comment or judgement? That is the endless world of Contemporary dance to me. The only way to stay in this magical realm is to train, study, communicate, and exchange with other artists in our world. This is class, and it is always there for you. When you are lonely. When you are sad. When you have just recovered from an injury that could have possibly taken your entire career away and you at only 20. When you are the happiest you have ever been because you just got that audition that 1000 other people showed up for. When you are in love. When you are hungry for new inspiration. When you want to relive the 80's. When you haven't gotten a gig in months. When you want to learn the latest steps. When you hear of a teacher that has the gifts to change your life with just a few words. When you can't think of any other way to express yourself from the inside out! The list is endless and so are the amount of opportunities there are to take class. So search out those teachers and facilities that provide this treasure to you, and the next time you are in NYC, grab that eternal student within you and come to CLASS!! I will be waiting ;)

I will be at STEPS on Broadway for the next 6 months but also teaching in many parts of Canada and the U.S. Don't think I have forgotten about you Sydney!! I will hopefully be back in Jan. '09 so keep up to date by checking out my web page for dates and details. http://web.mac.com/wintersjason

Much Love & Light,
- Jason Winters

Wade Robson has quickly become Australia's biggest dance export. Check out the clip of this Brisbane born dancer/choreographer performing on Star Search in 1990. He was 8 years old. Incredible!

Cirque Du Soleil is looking for dancers from all genres for their upcoming tours. Whether you are classical, hip hop, jazz, tap or contemporary dancer there is a place for you in the show. For more information and to apply for a position in the show please go to http://www.cirquedusoleil.com/CirqueDuSoleil/en/casting/default.htm

For all of you who started dancing at a young age, I'm sure you have competed in an eisteddfod or two. Eisteddfods give students of all abilities the opportunity to jump up on a stage and perform their hearts out to an audience of family, friends, other dancers and competing studios.

The days of eisteddfods being known for their tacky venues, daggy costumes, dated routines and unfriendly vibe against other competitors is vastly changing. After adjudicating and watching over 300 routines this weekend at the Australian Dance Challenge I realised that eisteddfods have come a long way since I was competing and that was only 6 years ago.

I was blown away when a 6/U Troupe were perfectly executing leg mounts and cart wheeling with perfectly straight legs and pointed toes. This was only the beginning. I was continually being shocked and presently surprised by the amount of talented performers that hit the stage time after time. It's great to see teachers still intensely training their students in all facets of jazz technique as well as mastering the current hip hop styles. I also have to mention that there are some amazing modern and lyrical choreographers out there!

Adjudicating an eisteddfod is no easy task, especially when you have a number of strong competitors in each section. When you are judging each section there are certain things you look for in each routine. As there are quite a few eisteddfods coming up over the next few months I thought I would let you all know what the adjudicators are marking you on!

• Technique
• Choreography
• Unison
• Costume/Grooming
• Performance Skills
• Difficulty of Routine
• Use of Stage/Formations
• ENTERTAINMENT Value - Having FUN!

Next time you are competing in an eisteddfod keep these things in mind. Good luck to everyone competing in an eisteddfod over the next few months. Remember performing at an eisteddfod is your opportunity to do what you love to do and that is DANCE! Love every minute of it!

Next Wednesday 27 August Australia's very own Troy, Gabriella, Sharpay and Ryan will be introduced to the world. We spoke about the rumour last week that Chris Durling will be playing Troy but that is yet to be confirmed. DanceLife will be interviewing the gang next week so stay tuned! Check out www.hsmliveonstage.com.au for all ticketing info!

If you can't get enough of HSM check out the new faces that will be appearing in the HSM 3 Film below.
 

Greetings DanceLife fans! For my first blog I thought I should take a minute to introduce myself. My name is Joel Peisley & I'm a commercial dancer, choreographer & teacher. I've been lucky enough to enjoy a really interesting & exciting career, work with some incredibly talented people, & see the world.

When Clint approached me about being a blogger I jumped at the chance. I believe that DanceLife will be instrumental in helping Australia's dance industry step up to the next level. It's a very exciting time for dance in this country, & opening the lines of communication between people in all areas of our community will help us to grow even further. It's all about communication & knowledge, & DanceLife will no doubt be a powerful resource.

I'll be blogging about anything & everything. I have quite a few exciting gigs in the pipeline that I look forward to sharing with you. I'd also love to get your thoughts & opinions on a variety of topics that face dancers. I'll be travelling o/s in the coming weeks, so I'm sure that will bring some adventures. & a little industry gossip never hurt anyone!

Catch you on the blog,
Joel Peisley xx

Hi Guys,

What a full on month I've had. There's so much going on in Sydney at the moment, which is great for so many dancers. It was a thrill to present the award for ‘Totally Talented Actor' at the Dolly Teen Choice Awards along with Matt, Jack and Rhys last Wednesday. We had such a fun night with a lot of star spotting going on. It was a shock to win an award for SYTYCD but it was great to win the ‘Glued to the Screen' award. I was quite starstruck meeting host Brian McFaden backstage and the always gorgeous Kate Richie, all in all it was a fun night for all.

Top 10 of the 1st series of SYTYCD had another reunion whilst rehearsing all week for a massive 45minute show at the Horden Pavilion. The show was choreographed by Adam Williams for the Jewish Community Appeal, which does so much great work. Adam really went all out with sound, costumes and lighting for this production and our tired little bodies had a big work out rehearsing for the week. The audience seemed to appreciate the hard work everyone had put in so it was all worth it.

I've also had the pleasure of teaching around the country with some fabulous workshops the last few weeks. Demi, Marko, Anthony and I have set off on a tour of Australia combining all our styles into 2 huge days of dancing. We have done Perth and the Gold Coast so far and are off to Melbourne, Geelong, Cairns, Townsville, Mackay and Canberra. The dancers have loved it so much so if you are in any of the upcoming places please come and check it out. It's really something learning new styles and leaving your inhibitions at the door. Workshops are a great way to try new teachers and styles for a few days that you usually wouldn't be able to do. I always try and get to new workshops to broaden the dance vocab so to speak.

I had the pleasure of seeing Billy Elliott this week and I must say get to the show if you haven't seen it before it leaves Sydney. It was so entertaining and such an amazing cast. Congratulations to you all...

Hope you're all dancing up a storm,
Much Love
KATE XXX

Workshops contact- sytycdworkshop@hotmail.com

Joel de Carteret [JD] has been a busy boy since leaving Season 1 of SYTYCD. Dancer, choreographer, TV ideas man and now TV presenter has put this cool piece together from Jason Coleman's Ministry of Dance launch event. Watch this space for his interview with the amazing Wade Robson coming soon. Congrats JD. You're doing well!

While SYTYCD is a great platform for choreographers to increase their profile and have their work seen, there are a number of restrictions placed on choreographers including style and song. The creative team have a very strong opinion on what they want and this doesn't always wash to well with potential choreographers. One amazing international choreographer recently turned down the offer to choreograph on the show due to the producers wanting a contemporary piece choreographed to a hip hop song that was chosen by them not the choreographer. This makes me think when do you compromise who you are as a choreographer to increase your profile and get your work out there?

DanceLife went along to the opening night of Guys and Dolls in Sydney last night. Not knowing a huge amount about the show I went with an open mind. Guys and Dolls is your traditional old school musical which made all the couples over 60 have their feet tapping. The show is very tightly produced and there were a number of great scenes and effective dance sequences. While I was not a massive fan of the music The entire cast are simply brilliant. Marina Prior was the stand out performer. She was sexy, fun and just captivated the entire audience each and every time she was on stage. The perfectly cast leads were supported by a just as talented ensemble.

Afterwards we attended the after party which felt like everyone who saw the show jam packed into the foyer upstairs. The room was filled with all types of theatre people there to support their friends and colleagues. Although we feel like the entertainment industry isn't friendly sometimes it's nights like this where everyone comes together to support each other that makes you feel proud to be a part of it all. We did a small amount of networking while enjoying the wine making sure we didn't touch the mini quiche that looked a little like yesterdays quiche. So many talented people in one room and not enough business cards. This brings me to another point, Networking. My guest for the night is very confident at talking to anyone, no matter who they are or what they do, while I'm not so confident. We work in an industry where they say it's all about who you know therefore networking is crucial. I have put this on my list to chat with mentor about... Goal #894 Be a confident networker. Ok well I just went totally off the topic but hope it got you thinking about how you network and work ‘the room'.

Back to the show... Awesome cast, average songs, strong dance numbers (not many big dance numbers though) and great for Mum or Nan.

Have a great weekend... I'm off to Wollongong to adjudicate and eisteddfod.

CLINT :)

Dance Studios are popping up everywhere, each week I receive an email about studios offering new classes and high profile teachers teachers. As the demand for dance grows people are seeing ways to make money and capitalise on the current industry boom. Everyday new people are starting to take up dance classes for a number of reason including improving fitness, meet new people and for some to be famous and go on SYTYCD ;). The ever expanding industry got me thinking about a few things including how are dance studios and teachers getting you to their classes. In times where there is little money to spend on leisure activities businesses are working harder for you to spend that small amount of cash you have for yourself at their business. Obviously the main draw card to attend a class is the teacher but are you going to a class because the "teacher" has been on SYTYCD or have you done you're research about the person taking the class and do they have the experience to ‘TEACH' you HOW to dance. Too many times have I been to a class where the teacher is more interested in looking at themselves in the mirror than actually teaching the paying students. The best dancers are usually not the best teachers. Just because you went to high school doesn't mean you can teach English... Do you get what I'm saying? So this brings me back to teachers and studios getting you in the door and paying the $18 for a class. Some marketing techniques we are seeing is Facebook groups, messages out to fans to say come to my class, emails being sent out to databases etc. I believe the most powerful tool is word of mouth. There is one thing that dancers do well and that's talk... talk, talk, talk. If you put on a great class then the numbers will build. This along with a facebook group, profile etc will bring newbies to your classes and keep the oldies! Comment on this blog in the forum to let us know what classes your enjoying at the moment and why!

Little did I know that by putting up a very small clip from the Sydney auditions for the male ensemble for Chicago that we would receive a few unhappy dancers writing in to complain. I wanted to post a blog on this personally as some more people may feel like we were exposing the dancers there on the day but our intensions were nothing of the sort. DanceLife gained permission from the national publicist, production company and overseas creatives to film one male ensemble audition from Gary teaching the choreography to the final groups at the end. The reason, to give up coming dancers the opportunity to see inside an audition so that when the times comes for that 15 year old who is striving to be in the next production of Chicago or Wicked they have an idea of how things will work. Don't you wish you had a place to go to when you were growing up that could have helped you prepare for your first audition? While yes, I understand that auditions are hard, challenging and nerve racking it's also when you as a dancer are most hungry. At the end of the day you are in the entertainment industry and unfortunately people judge you, but this is no different to any other industry whether you work in an office or are an international artist we all get judged. You need to believe in what you do. As long as you know what you do and give is quality and your best truly who cares about what people say... you just keep working your butt off to you get that next gig or job. Remember DanceLife is here to support, promote and provide knowledge to you... dancers, performers, lovers of dance etc. I apologise if you felt hurt from the video being posted. This has now been removed and the special that was due to be aired on DanceLife will not go ahead. At the end of the day we want that gig for ourselves and we are always trying to get in there, move closer into that circle of working dancers. You would have realised by now that the smart dancers are working together and creating business vehicles for themselves. More on ‘The Business Savvy Dancer' later this week.

Is it just me or are we about to nose dive into a pit full of extremely talented and amazing international choreographers who will be touring some parts of OZ teaching the moves we have been watching on YouTube for years?! My question is... Will we be able to get behind each of these choreographers or will some of these events be cancelled due to the lack of enrolments? Let's hope not. So who is coming out?

SUPPLE
TABITHA & NAPOLEON
MIA MICHAELS
TONY TESTA
TONY CZAR
JILLIAN MEYER
BARRY YOUNGBLOOD
GREGG RUSSELL
ADAM PARSON
GUSTAVO VARGAS
LIZ RAMOS
JANET LANGER
BEN ALLEN
ERIN LAMONT

With less work and no drop in living expenses dancers will be making difficult decisions when it comes to "whose workshop will I go to?". At the end of the day it's not about the name but about the quality of the class and what you will be able to take from completing of the class. You want a teacher that talks to you, not only teachers you a routine but gives you some insight into the journey they have been on from the beginning to where they are now. That kind of class is truly worth the money. Don't be afraid to call up and chat to the people who are organising the workshops. Know exactly what bang you'll receive for your buck!

We have been asking for International Choreographers to come to Oz for a long time! Now the time is finally here don't back out. Make sure you support the dance industry and show them that Aussie dancers aren't the underdogs!

Earlier this week Sunrise had the ‘Recession Dancers' come on the show to brighten up everyone's morning with a view to make people forget about their money woes. I feel sorry for these dancers as they are all very talented but Sunrise should think a little bit harder when they have dancers on the show. The song is hideous, there is no space for them to dance and the overall concept was poorly executed. What were you thinking Sunrise? Check it out above, what are your thoughts?

Construct is a sharp, rigorous and curious look at the concept of ‘building'. It starts with an empty theatre full of possibility - a space in which to construct. Effortlessly shifting between the physical act of building and the emotional construction of lives, Liedtke explores with wicked humour the curious connections between building a home, a life, a relationship, and a future.

construct was choreographer Tanja Liedtke's final work, It was commissioned by London's Southbank Centre and premiered there to critical acclaim in May 2007 followed by a U. K. tour; and sell out performances at the 2008 Sydney Festival.

The work won two Helpmann Awards in 2008: Best Choreography (Tanja Liedtke) and Best Male Dancer (Paul White).

In August 2007, at the age of 29, Liedtke was accidentally killed in a road accident. She had been about to take up the prestigious position of Artistic Director of Sydney Dance Company.

Artistic Team: Conceived and Directed: Tanja Liedtke | Choreographer: Tanja Liedtke in collaboration with Kristina Chan & Paul White | Creative Co-ordinator & Remount Direction: Solon Ulbrich | Set and Lighting Design: Ben and Geoff Cobham, Bluebottle | Sound Design: DJ TR!P | Dramaturgy Consultant: Joshua Tyler

Performers: Kristina Chan | Lisa Griffiths | Paul White
Toured by Performing Line

TOUR DATES
Caloundra | The Events Centre 1 July 07 5491 4240 or www.theeventscentre.com.au
Toowoomba | Empire Theatre 4 July 07 4698 9900 or www.empiretheatre.com.au
Brisbane | Brisbane Powerhouse 9 - 11 July 07 3358 8600 or www.brisbanepowerhouse.org
Hobart | Peacock Theatre 15 - 18 July 03 6234 8414 or www.salarts.org.au
Adelaide | Adelaide Festival Centre 22 - 25 July 08 8216 8600 or www.adelaidefestivalcentre.com.au

WIN TICKETS!
To win a double pass to Contruct in your home town email win@dancelife.com.au with your Name, Age and Postcode.

In our next On The Couch With Christine we chatted to Nathan Wright, Choreographer of Avenue Q.

Nathan Wright has worked extensively in musical theatre and is respected as both a performer and Choreographer. He has most recently choreographed the new Australian work Breast Wishes in concert, which will then premiere in full production early next year at the Seymour Centre. Recently Nathan staged the finale in Boeing-Boeing and he kicks off 2009 with Gutenberg! The Musical. Nathan is currently the Associate Choreographer on Gale Edwards production of The Rocky Horror Show. Nathan was also the Assistant choreographer to John O'Connor on Gale Edwards production of Company and Assistant to the Director of Choreography (Jason Coleman) 15th Asian Games - Doha for David Atkins Enterprises, The Hong Kong Academy of Performing Arts and Draculas Theatre Restaurant.

Nathan began his professional musical theatre career at the age of twelve in The King and I with Hayley Mills. Nathan then went on to perform in Shout! The Story Of The Wild One (Young Johnny), Oh! What A Night, Hot Shoe Shuffle (Tap Bros), Get Happy (Carmen Miranda), Leader Of The Pack (Sydney and Melbourne seasons), Pepper in Mamma Mia! (for which he was nominated for the prestigious Green Room Award as a Best Supporting Actor in a musical), Eurobeat (Russia), Pippin (Theo) and Jesus Christ Superstar (Simon Zealotte).

Film Credits include Baz Luhrmann's Moulin Rouge (The Wicked Faced Boy), and as a motion capture artist in George Millers Happy Feet.

Nathan trained at the Conroy Dance Centre in Brisbane and is thrilled to be choreographing Avenue Q.

The Sydney season of the hit musical, Avenue Q will be extended until 18 October at the Theatre Royal. www.ticketek.com.au

Whether auditioning for Mary Poppins the Musical, Fame the Musical or any of the other abundant Australian productions this week, one thing is certain, few other industries ask as much of their job applicants as the entertainment industry demands of performers. High hopes end in disappointment for most auditionees in just minutes. "Thank you. That's all we need for today." is the dreaded kiss off performing artists hate hearing.

Recently, with the release of films like Every Little Step which documents the plights of audition hopefuls through the casting process of Broadway's revival A Chorus Line production, triple threat performers are winning the respect of people on a global scale.

Tonight Channel TEN's The 7pm Project reported on this week's Mary Poppins Auditions. "57 auditioned today. 5 got call backs". When asked "Can you tell when someone walks in the door if someone has it?", associate choreographer Geoff Garrat shared that he has an instinct, and that there's a part of him that gets a feeling about it. This gut feeling is exactly what can make or break an audition for the under prepared artist. I talk about how to overcome this in the Audition Guru workshops. It's important to pitch yourself inside the range of what the audition panel are looking for. What you wear has a massive impact on that. One of the key strategies we discuss at the Audition Guru workshops is, how to create an image that has you looking like you suite the show, without looking like you're desperately trying to look like you could step onstage to perform the show.

Unfortunately there's exceptions to many audition rules, and it's important to know which rules can be broken, and which must never be broken.

Keep training to bring you closer to your goals, and celebrate your achievements every day.

Tia Jordan
www.auditionguru.com
www.facebook.com/tiajordan
http://twitter.com/AuditionGuru

In the spirit of Britney Spears touring next month in Australia we thought that you might like to have a look at this homemade video of Circus we found on YouTube. Think back few years ago when YouTube was not the phenomena it is now. YouTube has made many everyday people stars. How are your YouTube videos going? It's a great way to promote yourself as a performer, teacher etc.

As I was scrolling through Facebook last night to spy on what everyone was up to I came across a disturbing news up date from a dance teacher who I respect and at a young age has built up a very successful dance studio. The post spoke about the fact that someone from within their dance studio community had posted a horrible piece on the studios website forum saying how this dance teacher has a close relationship with some students and not others and that they show favouritism towards those students they are closer to... Nothing new here really but I was quite taken back that someone would post this publically for a start, especially on the dance studios own website.

What I don't think some parents realise is that most (the great ones) dance studio owners live and breathe their studio. They spend every waking hour of the day working on multiple facets of the business which means that yes, they do associate with students, parents essentially ‘their community' outside of work/teaching hours and in a social sense.

Is this wrong? Is it wrong to be sending your child to a place where the owner and teachers at the dance studio are actually passionate about what they do? I have multiple conversations with many people especially after I adjudicate eisteddfods about studio owners and their passion and dedication that drives their business. There are too many dance studios around that have teachers who really don't have the commitment or PASSION for teaching dance and this is what you should be looking out for. I wouldn't really be stressing out about if your child is not in the front row or if they don't get selected for troupe but what is the quality of training your child is receiving and you paying for...

Just some food for thought...
Clint

Students from NAISDA Dance College are preparing to launch "Beneath the Ancestors" with a Koori night on the 26th November followed by two performances for the general public. "Beneath the Ancestors" will open with a season at Laycock Street Theatre on the Central Coast before heading to Riverside Theatres in Parramatta for three shows in December.

The College, which relocated to Kariong on the Central Coast in 2006, has launched the careers of many successful artists and consistently presents an end of year performance that is both stunning and thought provoking. Critics raved over their 2008 performance "Tharramali", directed by graduate Tamara Pearson and the Company is now in high demand on the cultural arts scene. Students at NAISDA can expect performance opportunities as far afield as Paris or Beijing, cultural residences on Saibai and Elcho Island, as well as working with companies in Sydney, Melbourne and Darwin. This year, NAISDA was featured on ABC Television's Message Stick program, further establishing itself as a training organisation that integrates cultural studies into its professional dance courses. Juanita Duncan will complete a Diploma in Careers in Dance this year and features
prominently in the marketing campaign for "Beneath the Ancestors". Juanita comes from a large and respected clan from the Darkinjung area. It is this sense of belonging to the land that has inspired the show's Director and NAISDA Artistic Coordinator, Jasmine Gulash.

Gulash says "Beneath the Ancestors" will give the audience the experience of oneness that comes from being connected with the earth and its history. "The idea of the earth taking a breath at dusk was inspiring to me. I wanted to take the dancers to a place where they were in touch with the physical landscape and could draw from its strength", says Ms Gulash.

At "Beneath the Ancestors" you will see traditional indigenous dance, Saibai and Elcho Island traditional songs and dance, contemporary pieces by prominent choreographers and Developing Artist Eric Avery, and infusing story telling elements about the earth, its history and its links with people long gone but not forgotten. "That moment when we realise that we all stand on the shoulders of those who have walked this land before us, that we share this breath of life with them every day through our relationship with the living landscape of our beautiful country."

Gosford Season
Laycock Street Theatre, North Gosford
Koori Night - Thursday 26 November
Opening Night - Friday 27 November 7:30pm
Saturday 28 November at 7:30pm
TICKETS: Adult $25, Conc/Child $15
Bookings: 43 233 233

Parramatta Season
Riverside Theatres
Church Street, Parramatta
3rd December 7:30pm
4 December 11:00am and 7:30pm
TICKETS: Adult $20, Conc/Child $15
Bookings: 8839 3399

Hi DanceLifers!

We are nearly at the end of 2009 which for us has been a great year thanks to all of you. DanceLife has been online for only 17 months and we are thrilled with the progress and uptake of the website.

A huge thank you has to go to the businesses that advertise in our directory plus everyone who has advertised in our fortnightly newsletter. Without these people there would be no DanceLife as we don't charge our members or subscribers. We cannot thank you enough for believing in the dream and helping it come true.

We are really excited about 2010. Firstly, DanceLife Unite (www.dancelifeunite.com.au) will be happening in May. An elite dance competition for studios and groups with experienced and passionate judges form the industry. There are a few other surprises in store but you will just have to wait for them!

This survey is to assist us to learn how we can make DanceLife the best website for you.

Please click on the below link to access the survey. There are only 10 questions and shouldn't take more than 5 minutes.

CLICK HERE FOR THE SURVEY!

Thank you very much and have a great week.

Kind regards
Clint & Team DanceLife

DanceLife is looking for a number of dance teachers to teach dance programs in Primary Schools during 2010.

We are looking for dance teachers that are:
• Passionate about teaching children
• Have experience in teaching jazz, modern, hip hop and/or musical theatre
• Have an enthusiastic and positive attitude
• Are available to teach from Monday to Friday, 9am - 3.30pm (times and days will vary)
• Own source of transport is a must

If you're interested in being considered for teaching dance programs in NSW Primary Schools during 2010 please email your CV and headshot to schools@dancelife.com.au.

Nine is a movie musical about an Arrogant, self-centred movie director Guido Contini who finds himself struggling to find meaning, purpose, and a script for his latest film endeavour. With only a week left before shooting begins, he desperately searches for answers and inspiration from his wife, his mistress, his muse, and his mother. As his chaotic profession steadily destroys his personal life, Guido must find a balance between creating art and succumbing to its obsessive demands.

The film stars Daniel Day-Lewis, Marion Cotillard, Penelope Cruz, Nicole Kidman, Judi Dench, Kate Hudson and Sophia Loren. The film is released in Australia on 21 January 2010 and has already been nominated for 5 Golden Globe Awards.

"The film version of NINE is a complete re-invention. It is so wholly unique to the vision of Rob Marshall that it became its own journey creatively," says producer Marc Platt (WICKED), a veteran of both film and Broadway. "While it is true in essence to the Broadway musical, NINE the movie has become very much its own thing. It keeps in mind the essence of what made us all fall in love with the original material-its spirit and voice-but then Rob made it his own. His NINE is a wonderful fantasy that deals with real ideas and emotions."

Rob Marshall is no stranger to fusing Broadway classics with cinematic verve, which he did with CHICAGO. As a six-time Tony Award® nominee for such shows as CABARET and KISS OF THE SPIDER WOMAN, his stage acumen is well known, but he is just as highly regarded as a filmmaker, most recently bringing Arthur Golden's bestseller MEMOIRS OF A GEISHA to life on screen, and garnering multiple Oscar® nominations.

Platt continues: "Rob has a unique background for this story in that he came from the world of the theatre as a dancer and choreographer, made the leap into directing for the theater and then became a film director. NINE is a film about a filmmaker, about the cinema and about creating, and Rob is a creator, so it was personal for him. He's a man who understands cinema, its history, its academics, the technical aspects of directing a film, and the aesthetics. He also comes from the world of musicals-he grew up in that world, he understands how music moves narrative along. He understands how to integrate seamlessly the elements of music and dance, storytelling and design. In, that sense the movie NINE is the perfect marriage of director to material."

Make sure you add Nine to your Summer Holiday movie list!

During my break over Christmas and New Year I travelled to Peru and Ecuador in South America. If you haven't been it's definitely an experience, such a different way of life over there. The main reason for the trip was to yes, have a break but also to push myself out of my comfort zone and do things that back home I would never dream of doing. I'm happy to say that I'm back after putting on my brave face and did what I intended to do, challenge myself. The meaning of challenge is "a demanding or stimulating situation" I actually think it should a demanding and stimulating situation as you learn and grow from demanding situations and afterwards have a feeling of self achievement. After my trip I realised that I actually rarely "challenge" myself. Although I take risks in my business and personal life I don't like to feel uncomfortable or have that feeling called fear. While in the Amazon I climbed waterfalls and went whitewater rafting straight through the heart of the jungle, two things that made me feel uncomfortable and filled my body with fear. Today I type having completed both these adventurous activities and have overcome to a certain extent some fears but most of all recognising that you need to challenge yourself to grow. I can easily relate this back to being a dancer who has left their dance studio and/or completed full time. How often do we stay doing the same open classes each week because we know what to expect? We know the teacher, our friends who will be there, what the warm up will entail, how fast the teacher will move with the routine etc. Is taking the same class week in and week out adding to growing you as a dancer or person? Think about how you feel when you walk into a completely new class with a teacher you've never had before and the level is advanced.... nervous, unwilling to let go and let down your guard, thoughts about others in the class who might be better than you etc. You start to talk yourself out of doing this class before it's even happened. My small words of wisdom for you is to CHALLENGE yourself in 2010. Learn and grow everyday by pushing your boundaries, going to new classes with different teachers teaching different styles, go by yourself. While it's great to have a good time and enjoy yourself with a group of your friends if you want to make it time to feel uncomfortable and nervous. I promise you the feeling after talking on a challenge and completed it is awesome.

Body Image - By Kane Bonke - DanceLife's Body Stylist

Dancers and body image go hand in hand. Let's face it, as dancers every time we step on stage people look at our bodies, and being human, judgement passes through their minds. But what really matters is what passes through your mind.

Do you look in the mirror and like what you see? I hope so as we have one of the few hobbies/professions in the world where you stare at yourself in a mirror for hours on end.

Body image is how YOU view and experience your body. It is how you picture your body through your mind's eye. Your own personal body image is formed by your experience of living and moving in your body.

Ask yourself these questions;

How do you see your body?

How do you feel about your body?

What do you think about your body?

How do you feel your body moves?

Get a good image?

Now, we all have days when we wake up and don't like what we see. To have to go into a dance studio and stare at that image whilst we kick, turn and jump our way into a sweaty mess, can be intimidating.

This is normal, but what else is normal is being able to look in that mirror, smile and say "That's me and I like it".

We are who we are because of the gene pool we came from.  Yes, we can mould our bodies into the shape that we desire, but ultimately you only have what you were given.

We need to embrace what we have and work from that.

Being 5'7 I knew I was never going to be 6 foot. Just like a majority of people will never have abs carved out of stone or legs like a dancer at the Lido. The girl born with the big booty, she will always have a big booty!

All this just makes you unique. 

Guess what? Unique works. No two people are the same and definitely in the dance world being unique makes you stand out, just as much as long skinny legs do.  Every dancer's body is different as is every style of dance. So what may be the ideal body for a ballet dancer is completely different to the belly dancers body.

There is no right or wrong shape for dancers. What's right is knowing what we were given from the beginning was perfect but understanding that even perfection can be tweaked.

Healthy isn't being Uber thin or being Hercules its having a healthy body image.

Remember:  You are who you are, you have what you have. Learn to look at it and love it.

As dancers and performers we know the importance of maintaining an optimum level of physical health and fitness to ensure we obtain and maintain peak performance. We can follow a nutritious diet, rehearse numerous amounts of times, spend time in Pilates classes working on our core strength and flexibility and enlist the services of an expert masseur and physiotherapist. All of this is done to ensure our competitiveness and longevity in the industry. However, we have a tendency to overlook a very important aspect of our training and performance, something that is vitally critical and that has direct impact on the success of our performance and physical capabilities: our mind.

Can you remember a time when you genuinely struggled in dance class or rehearsals and started comparing yourself to another person who seemed to be getting it right all the time? The feelings of frustration and anger you had towards yourself and jealously towards the other person? Or a time when everything went your way - your technique was perfect, you remembered the choreography without any complications and your performance was effortless? These are a couple of very common scenarios for dancers and performers and these experiences are largely due to the result of how our mind functions.

The brain is an extremely fascinating and intricately complicated organ that governs human functioning, cognition (or thought) and emotion. Electrical impulses, chemicals and neurons all interact to produce the actions, thoughts and feelings that flow through us. Through advancement in technology, neuroscience and psychology, the brain and explanations of how it operates can now be understood and its processes demystified. The more we understand about the brain and mind, the more we are able to become conscious of the seemingly unconscious processes that take place. This means that we have the capacity to be more in control of our mind, the more we know about how it works.

What is performance psychology?
Performance psychology is the educational, scientific and professional contributions of psychology to the promotion, maintenance, and enhancement of performance related behaviour.

Why bother with performance psychology?
Numerous psychological studies have proven that elite performers have been consistently shown to make greater use of psychological skills and strategies than their non-elite counterparts.

What does this mean?
It means that when it comes to success in any performance related activity, the mind is what matters most.

Over the next four blogs we will be examining a series of basic psychological skills that are paramount in establishing and building a foundation for further advanced psychological skills to use whilst training and performing. Although the word ‘basic' is used, it is far from that. These mental skills require constant rehearsal, refining and practice in order that they may be developed and strengthened. Just like any muscle or dance technique that requires frequent repetition for strength, growth and to gain mastery over, so too must the application of psychological skills to the dance and performance experience. These skills are applicable to any performance related function - dancing, singing, acting, and business related activities such as management.

The basic psychological skills that will be examined individually are:
• Relaxation
• Goal-setting
• Imagery and mental rehearsal
• Self-talk

Our aim is to build a solid foundation of basic and advanced psychological skills that may be used, mastered and increased, that it may positively benefit your performance experience. The saying ‘mind over matter' has a tendency to be over used and has become a cliché, however in the case of performance psychology, nothing could be further from the truth.

By Warren Roma
Contact Warren with your questions and thoughts: warrenroma@hotmail.com

Reference:
Hardy L., Jones G., and Gould D. (2003) Understanding Psychological Preparation for Sport - Theory and Practice of Elite Performers, England: John Wiley & Sons Ltd

Hey Guys!

It's that time of year .....Helpmann time!
Last night the Helpmann Awards were held at the Lyric Theatre at Star City. All were frocked and freezing coming in from the wintery July chill, but it was a star studded turnout. I love that we get to celebrate and recognise all of those who create live Australian Theatre.

Last year I won a ‘Bobbie' for best choreography for Hugh Jackman's ‘The Boy From Oz'...this year I had the pleasure along with Jason Coleman, my mate from ‘So You Think You Can Dance', of presenting the best Male and Female dancer award in a dance or Physical Theatre Production.

I always feel that we can really appreciate dance on Television, but there is nothing like seeing dance ‘live' and feeling the energy hit you in the chest.
Paul White won best Male for his work in ‘Construct' presented by the Sydney Festival, and Sara Black won best Female for ‘Glow' by Chunky Move and the Melbourne International Arts Festival.
‘Best Choreography in a Musical' went to Peter Darling for his work in Billy Elliot {which also took out best musical of the evening}, and ‘Best Choreography in a Dance or Physical Theatre Production' went to Tanja Liedtke which was just fantastic.

As this is an abundant year in theatre there were lots of performances from the big musicals that are running at the moment. We got to see numbers from shows like ‘Guys and Dolls', ‘Rocky Horror Show', ‘Billy Elliot' and Raphael Bonachella's new work for Sydney Dance Company called ‘360 degrees'.

Highlights for me were an incredible performance by Vanessi Amarosi that had me sitting forward in my seat, and the Umbilical Brothers entertaining the live audience between commercial breaks! They were so much fun! Our host Jonathan Biggins had great wit and our pre broadcast host was the fabulous Julia Zemiro{who you would know from the ABC's ‘Rock Quiz' and ‘Eurobeat'} who was just hilarious!

Anyway it was a fantastic evening and afterwards all the glitz and glamour sasheyed into the after party for lots of theatre lovey mwah's and bubbly! My regular Choreographic Assistant, Leanne Cherny and I, did a few laps of the party and bumped shoulders with the likes of Cate Blanchett and Kate Cebrano. Then it came time to face the cold taxi queue......boo!

The Helpmann's....Our Tony's..............over for another year. I can't wait to see what the next year brings in fine ‘live' entertainment.

I am so proud to be involved in our Australian Live Theatre family...........but I really shouldn't have worn those stilettos......my feet hurt!

KELLEY X

Photo: Jason Coleman, Kelley Abbey and 'Best Male Danncer Winner' Paul White.

The Beijing Olympics are well and truly underway now but for most of us ‘creative' and ‘arty' types we would rather be out performing, doing class etc rather than lazing on the lounge with a tub of ice cream watching sport into the early hours of the morning. Well, I have some interesting facts for you about an Olympic sport that includes us, ‘Water Ballet'.

Water ballet officially began with Annette Kellerman, who was born July 6, 1886 in Marrickville, Sydney, Australia. As a child, Kellerman suffered from rickets, a disease that softens and weakens a person's bones. To combat this disease and strengthen her legs, Kellerman spent her entire childhood swimming. This experience thrust her into a life of aquatic competition and performance.

At the London Hippodrome in 1905, Kellerman combined her love of theater with her love for swimming, and she performed swimming, diving, and underwater dancing in a giant glass tank.

Kellerman's career took off after she performed in America in 1906. She even replaced Anna Pavlova in The Big Show of 1916 at The Hippodrome, the largest theatre in New York City at the time.

After Kellerman's influence, Kay Curtis founded a water ballet club at the University of Chicago in 1923. And, in 1934 Curtis introduced synchronized swimming at the Chicago World's Fair. Afterward, schools in the Chicago area started forming synchronized swimming teams.

After World War II, synchronized swimming, or simply "synchro" as it's often called today, spread throughout the world. Olympic athletes first won medals in synchro at the Los Angeles Games in 1984, the same year that rhythmic gymnastics made its official Olympic debut.

Watch Annette do Water Ballet in the above video.

Source: Dance Here

Ever wonder why it is hard to go to dance class or sometimes even get out of bed? Even after years of training and committing to mastering the art of dance. Even after reading those positive self- help books... you feel like you are in a way not getting anywhere?

For many of us creative beings, it is easy to overlook our talent, especially when we are trained so diligently by our teachers to critique our work, which is a skill that every dancer needs. Yet sometimes we can get stuck in critiquing too much that we loose sight of our purpose and authenticity as dancers. When we do this we place unrealistic expectations on ourselves, compare ourselves to others (or a fantasy in our head of what we think we should be). Sadly...we can end up misplacing our power, spirit and self-worth.

It is easy to become dependant on outside opinions like our parents, teachers and peers to build us up. Seeking validation and drawing on outside motivation to fuel our self worth when we feel lost is very normal. However if we don't intrinsically regain our own sense of purpose, direction and certainty as dancers, we can end up creating emotional imbalances that can also manifest into physical imbalances like illness or injury. This is simply our intuition telling us that we have either;

- lost sight of our unique gifts and assets
- got stuck in comparing ourselves to others or fantasies
- have not created realistic timeframes for our dancing goals
- are not listening to our heart and value system
- are dancing primarily to please others and not for ourselves

This is when we need outside motivation the most and when we react to what we are feeling we can spiral into more limiting states of mind believing we "are not good enough". Another name for this is self sabotage.

This is where a lot of people may say "just think positive". I was introduced to "Positive Thinking" when I was 16 in my fulltime ballet & dance training years; I said many affirmations and positive statements and still had negative thoughts and challenging experiences. There is much more to achieving your goals than simply thinking positive and here is why;

1) Everyone needs a big enough reason to do anything! It is one thing to know you love dancing and to want a career in the industry, but if you don't have a big enough reason and clear direction that comes from you, then you wont achieve your dreams. No amount of ‘positive thinking' will create your goals for you, but believing in yourself and following your heart will.

- Give yourself a big enough reason why and ensure that your life goals are yours and come straight from your heart.

- Don't rely on others to create your dreams for you, or they will and your will only end up resenting yourself and the people you give your power away to.

-Allow yourself to dream big and believe in your dreams even when others don't. You are the only one that can create your life and your dance life!

Once you have seen your vision from your purpose, create realistic timeframes for achieving each of your goals. If you create goals that are too advanced, you will burn-out and beat yourself up. If you create goals that are not challenging enough, you will get bored, complacent and not grow. Allow flexibility in your goals setting and give yourself permission to refine them from time to time.

Follow your heart! At the end of the day, if you truly want to be a dancer and love dancing, you will. If you don't, be brave enough to let life take you on a journey of discovering your heart and value system. Once a dancer always a dancer... there are NO missed opportunities in this life. When I stopped dancing, I ended up dancing in another form through my words, teaching, and family. To me dance is the art of giving and receiving expression, of offering ideas, inspiration, creativity and wisdom through the silent movement of the human body. I never stopped dancing; I only changed the form I expressed my dance of life in.

Stay tunned for next months amazing insights on understanding the balancing acts of the mind and further tips on how to create your goals!

Yours in dance and life
Kate xxx

katehiston.com
Kate Histon is an international personal & professional development specialist and author dedicated to holistically coaching dancers and teachers in reaching their most profound creative and authentic potential.

©Copyright 2007-2008 Kate Histon. Any distributing, reproducing or copying any part of this article is forbidden. Quoting the author is acceptable however she must be notified in writing first.

Hey folks,
I have just come from Melbourne where I just taught a Master Class at Jason Coleman's new studios called "Ministry of Dance". This place truly is dancer heaven and a fantastic new facility for Melbourne.

I got up close and personal with the Melbourne dancers and also had the beautiful Caleb Bartolo {who you'd remember from So You Think You Can Dance} participate in a Hip Hop/Jazz Master Class. It is so great to work with new people and teach them a new style.

I always parallel the fear and ‘unsafe' factor of learning a new style, to buying and wearing a new pair of jeans....when you wear new jeans, they feel a little stiff and uncomfortable.......then they wear in at the knees and the booty, and they become your jeans! And so it goes with a new style. You have to allow yourself to be uncomfortable for a little......before the new style becomes yours.

The dancers were wearing in their ‘jeans' and we had a blast together! I think the greatest thing about dancing is that you get to share with others, via dance, without really knowing them very well. Dance is truly a universal language!

I truly recommend taking master classes with different choreographers and extending your dance vocabulary. This makes for an adaptable and therefore more employable dancer.

Make sure you check out ‘Ministry of Dance' if you're in Melbourne. It will inspire you to Dance......... even if you're not a dancer.

Kelley xx

It's been 12 years since I left the comfort of my home to pursue my professional dancing career. I sometimes get phone calls from young dancers asking for advice of where to go and what to do now after they finish school or a full time course. When you think about how many young aspiring performers graduate each year hoping to work in the industry, it's quite daunting. What Now?

I can only speak from my own experience, but I'm sure a lot of you can relate and I hope that it helps. I grew up and trained on the Gold Coast. It's an amazing place but like some small towns and far away places like Perth for example, there comes a time in a dancers life where you want more. Sydney and Melbourne are usually the next step. I chose Melbourne as my teacher Robert Sturrock had come from there and I guess I followed his path. Arriving to a city at 18 years of age that I had never been to, and only knew one person was extremely scary. I remember standing outside Tony Bartuccio's school and agency for about 30 minutes feeling sick with butterflies in my stomach before going in. After talking to myself for a while, I took a deep breath and walked in with my resume, picture and a big dream. That day was the beginning of it all and I will never forget it. I went on to do class their 5 days a week for a few months with as many teachers as possible and later auditioning successfully for the agency. I landed a great gig as a regular on Channel 9s ‘In Melbourne Tonight' and then it all took off for me in Melbourne. I never did a full time course but for those that do, always try and branch out after graduating to explore as many schools and teachers as possible. I think the key to getting in with choreographers and agents is in one word, class. Never stop going and try as many teachers as possible as most employers and working choreographers teach. It's like an audition for you and a chance to impress where ever you are.

I know it's not easy starting out, or cracking the industry but don't give up and keep working hard. I truly believe in hard work breeding success. I've been living my dream for 14 years but never thought I would have done the variety of work all over the country. This year especially has been an unbelievable experience and it's one I never thought would happen. It's a hard industry and not always rosy but for all of you aspiring dancers, don't give up. Take the knocks and get back up even hungrier and most of all, keep dreaming.

Kate Wormald x

In this first series of four blogs focussing on basic psychological skills, we will be examining the skill of Relaxation.

There are two major reasons as to why the ability to relax as a performer is important. Firstly most, if not all, performers will experience a level of anxiety prior to, and during a performance. It is the ability to control this anxiety and make it manageable and even use it to their advantage that distinguishes an elite performer from an average performer. Secondly, research shows that being relaxed during a performance is one important characteristic of experiencing peak performance.

So how do we achieve relaxation?
The easiest and most common way is through meditation. Sit (or lie) in a comfortable position free from anything that might restrict your body. You may choose to listen to soft classical music or nature-related music in the background. Close your eyes and take in 3 deep breathes to prepare your body and mind for the meditation.

In both the inhalation and exhalation of your breathe, you should aim for six seconds to complete each action, so in total one action of breathing in and out should equal approximately twelve seconds.

Benefits of meditation
There are a number of benefits of meditation which include:
Reduction in stress related symptoms such as anxiety
Clarity of mind
Physical relaxation
Good supply of oxygen to the body
Lower blood pressure
Improvement in cardiovascular and respiratory efficiency

Sound easy?
Unfortunately meditation is not as easy as it seems. Surprisingly many people find it hard to sit still and relax. It is very common that many thoughts are going to be racing through your mind - your shopping list, your ‘to do' list, the last song you heard on the radio, or you might start to fidget, or you might start to notice physical sensations in certain parts of your body. It is difficult not to be distracted by all of this. Part of your job in meditation is not to be led down the paths of any of these thoughts or entertain them. Just notice them and know that they are in your realm of awareness, but don't attach any emotion to them. Concentrate your efforts on focussing on your breathe going in and out of your body. As soon as you find yourself getting d