ran-&-rave – Page 9 – NEXTSTEPPAD

The Dangers of Social Media for Dancers

Social media can be an excellent learning tool, but it also comes with physical dangers – ones that could affect your health and your career as a dancer.

Like most dancers, your Instagram feed is probably taken up with gorgeous poses, inspirational quotes and other images and videos that motivate you to excel at your craft. There are likely a few accounts you are particularly devoted to – but are they doing you more harm than good?

“This is a topic that is extremely pertinent right now,” says Lisa Howell, respected dance physical therapist and owner of www.theballetblog.com. “Young students are copying their idols on Instagram, and putting themselves at serious risk of injury.”

The biggest issue is that people have different body types. A movement or position that might come easily to one dancer, could be impossible – or dangerous – to another.

“You also don’t know the history of the person in the photograph,” says Lisa. “How long they’ve been training, how many hours a week they’re dancing, whether or not they’re in pain. I know quite a few girls who are ‘Insta-famous’ but are carrying several injuries.”

dangers of social media for dancers by Mike Howell

Cartoon by Mike Howell.

If you’re thinking about copying anything you see on the Internet, whether it’s a pose, a routine or a new stretching technique, it’s vital to check with an experienced dance teacher, physical therapist or other health professional first. Also, make sure that they are qualified, as there are several people in the industry claiming to be something they are not.

“With any particular pose, there is always a process of getting to it safely. It’s not something you can do overnight, and some poses may not actually be possible, or safe, for all dancers. Often pushing directly into the desired position is the slowest and most dangerous way of getting there. There are often multiple components involved in achieving any position, and especially for young students, simply trying over and over to do something that is too advanced, carries an enormous risk of injury.”

There are various moves in particular that are currently trending, which Lisa advises extreme caution on, including any kind of oversplit, extreme leg mounts, ‘scorpions’ and standing on top of the feet (with the toes bent underneath). We will look at each of these positions in detail in upcoming articles.

One of the main issues is that there are some very influential people offering advice and tutorials and, in the world of social media, everyone appears to be an expert. But it’s crucial to make sure the person you’re taking advice from has a good basis for giving it – a long-term basis, not just a couple of years of doing something.

“There’s a 12-year-old girl who does flexibility tutorials on YouTube with over 200,000 views. She’s an extremely hyper-mobile little girl, and one of her second exercises is popping straight down into the splits. She is a 12 year old child, and as far as I am aware has no education or authority at all to be teaching. Yet she is – and people are listening to her. You must be extremely careful of who you listen to, as what has worked for them may not necessarily be safe for you.”

Just like ‘in real life’, there is often pressure to conform to what you see on social media, but it’s important not to judge yourself against other dancers. We all develop at different rates, so just because you see someone doing a certain movement at a certain age, it doesn’t mean you should be able to do it at the same age. Don’t beat yourself up – the most important thing is to train safely, at an appropriate level for your own personal stage of development. Keep an eye on your long term goals, rather than getting distracted by short term achievements that do not really add to them.

Cartoon by Mike Howell.

“Some steps that are fine for an adult to perform are not safe for children. Especially between the ages of 8 and 14, when the growth plates are really active, things like dropping to the knees, using a foot-stretcher or over-pushing into second position can cause serious, long term damage. When the pelvis, knees and feet are very vulnerable, we must be extremely careful about using any kind of force. Force is not actually needed; there are much more intelligent and safe ways of getting amazing range without using force.”

“A lot of people are treating children’s bodies as disposable and I do not agree with that at all.”

Everybody has their own journey, their own strengths and their own list of things to keep working on. And even if something feels OK now, you could be doing damage to your body which will only show up later in life – and may stop you from dancing altogether.

So always ask yourself: Will it be worth it in the long run? How long do you want to continue to dance for? For most of us, because we love dance so much, the answer will be ‘forever’. But we need to be smart if we want that to be a reality.

“You only have one body for the rest of your life,” says Lisa, “so make sure anything you’re doing is sustainable, not just to get a few ‘likes’ in the short term.”

It’s also important to remember that physical capabilities, such as being able to put your leg behind your head, do not make you a good dancer. As Lisa says: “That just means you can put your leg behind your head. There are very few professional dance pieces that actually require that. If you’re aiming for a career as a dancer, I highly advise against any of the extreme mobility kind of stretching that is popular now, because you seriously risk doing long-term damage that may mean you won’t actually be able to make it as a dancer. Damage to the hip capsule and labrum can be extremely hard to rehabilitate from and can be career ending.”

“It’s important for the parents of dance students to look at the training their children are doing and realize the potential for long-term damage, and then make an educated decision as to whether or not it is worth it,” says Lisa.

There ARE safe ways to achieve your goals, appropriate to your age and stage of development. Use social media for inspiration, but don’t be pressured by what you see. Everybody is different, and the most important thing is that you build a strong and safe future for yourself, whatever your goals may be.

By Rain Francis of Dance Informa.

The post The Dangers of Social Media for Dancers appeared first on Dance Informa Magazine.

8 Ways to Make Pointe Pain-Free

If you’re a professional dancer wearing pointe shoes all day long, you may experience some pain with pointe work. However, it is possible for pointe to be pain-free, especially for the beginner. If you have your shoes fitted correctly, and achieve the right level of strength and mobility, you shouldn’t be experiencing any real pain. Rain Francis teamed up with renowned dance physical therapist Lisa Howell of Perfect Form Physiotherapy to bring you this list of 8 ways to make pointe pain-free.

1. Get the right shoes.

Correctly fitting pointe shoes are absolutely essential. Once your feet have stopped growing, and have found a shoe that works for you, it may be more convenient to purchase them online, but for anyone who is still growing and developing, and especially for your first few pairs, make sure you see an experienced pointe shoe fitter, who has access to a wide range of styles. If the shoe is fitted correctly, it will be firm around the front part of the foot but should not be squashing your toes in together too much, as this can lead to ingrown toenails. If the box of the shoe is too wide, the foot will slide down into the box while en pointe, putting pressure on the toes, which can lead to bruised toe nails. If the box is too short it can cut in under the joint of the big toe and may contribute to the formation of a bunion. Always ensure that the wings of the shoe come up to the level of your big toe joint. As everybody’s foot is different, there is no one perfect shoe that is right for all dancers, and it is essential that all students at a school have shoes that specifically fit their individual foot type, even if this means that they are in different brands.

2. Be prepared.

Every student should undergo a pre-pointe assessment with a qualified practitioner, for example a physical therapist who specializes in dance, or a private lesson with a very experienced dance teacher. This is important to ensure that you have the required range and strength before you attempt pointe work. Otherwise, you risk injury and developing incorrect technique, which can take a long time to correct. Be patient – if you don’t pass your pointe assessment the first time around, listen to the advice from your assessor and work on all of the elements that are identified before your next assessment. It may only be another six weeks of sticking to your exercises before you are able to get your first pair of pointes! Refer to Lisa Howell’s The Perfect Pointe Book for some exercises that will really help with your preparation for pointe work.

3. Strengthen correctly.

Ask your teacher for a structured program to improve your strength en pointe gradually. It is not just about being up on pointe or down on flat – it’s imperative to learn how to really articulate the foot in the shoe in every single rise and every tendu. Working through a graduated rise and being able to control your lowering is the most essential part of pointe work and will improve your strength and technique while helping to prevent injuries. For more information on this, check out the My Beginner Pointe program that Lisa developed with ex Australian Ballet Principal Artist Vicki Attard.

4. Use the right shoe for your level.

The shoes you wear should be appropriate for your level of pointe work. As a beginner, while just working at the barre, a softer shoe will help you learn to articulate the foot correctly in the shoe. When you move into doing things like multiple turns in the center, a stronger, more rigid shoe may be more appropriate. As you progress further with your pointe work, you may find you need a few different pairs of shoes – a really supple one for barre work and softer, more Romantic solos; and a stronger, more stable one for center work, or stronger variations, which require multiple hops en pointe.

5. Look after your feet.

Foot hygiene is extremely important, yet often neglected. If you don’t clean your feet and take care of your pointe shoes properly, you’re at risk of all sorts of nasties, such as blisters, ingrown toenails and fungal infections. Treat your toe pads or ouch pouches like socks: Remove them from your shoes and wash them frequently. You sweat a lot through your feet and wearing the same dirty pair of toe pads every day without letting them dry out can be a direct road to pain! If blisters do develop, make sure you deal with them hygienically and cover them up for class rather than letting the raw skin rub on the inside of your pointes.

6. Use appropriate padding.

There are many different options on the market these days, but when choosing padding for your toes, look for something that has minimal fabric underneath the toes. Too much bulk here can interfere with the placment and working of the feet. Any padding you use should be minimal. The biggest issue with pain en pointe is usually due to the toes clawing in the shoe, and the knuckles rubbing on the underside of the box. Most dancers then feel they need to put something in place to stop the rubbing. However, it is much better to deal with the clawing in the first place, by developing the articulation of the foot and strength to the correct muscles to keep the toes long in the shoe. Clawing indicates the incorrect use of the long toe flexor muscles which can lead to problems in the back of the ankle, such as posterior impingement. If your toes are clawing, focus on learning how to articulate the foot better during all aspects of class.

7. Keep your shoes strong enough.

If you leave any padding in your shoes after dancing, the sweat may soften the glue of the box. This can cause the shoe to weaken and will result in your foot sinking down too far in the shoe. Always make sure to dry out your shoes thoroughly between each use, especially if you live somewhere that gets very humid. Having a couple of pairs that you cycle through during the week will help extend the life of the shoe, especially if you are dancing on pointe every day. You can also use a glue, such as Hot Stuff or Jet Glue to help re-stiffen the middle of the shank to extend its life. Also, each pointe shoe may have a few reincarnations; it may start off as a performance shoe, then become a class shoe, then a rehab/pointe exercise shoe, before finally the shank is pulled out and it becomes a demi pointe shoe for class work. Make sure you have shoes that are each stage, so you’re not using your stronger class shoes to do the really deep articulated exercises, especially when you’re doing more than 4 or 5 hours of pointe a week.

8. Pre-weaken your pointe shoes.

Pre-weakening (sometimes called ‘breaking in’) your new shoes in the areas you want it to weaken will help to stop it from breaking in the middle of the shank. It is important not to cut the shank, heat it or wet it; these things may have been done in the past but are simply not relevant any more. Pre-weaken the shank in the demi pointe area a little so that you can rise through it correctly, and also soften in underneath the heel so that the shank can sit in close to the arch when you are en pointe. You can check out a video on how to do this here. Just using your feet to weaken the shoes can cause them to break in the middle of the shank, which will make you start sinking down and back into the shoes, meaning you’ll need to replace them more often. The shape of everyone’s pointe is different, so measure where the breakpoint is in your foot (where the heel becomes the arch) then weaken the shank of the shoe at this point so that it sits flat against your arch. It will feel better, look better and can also help extend the life of your shoe.

By Rain Francis of Dance Informa.

The post 8 Ways to Make Pointe Pain-Free appeared first on Dance Informa Magazine.

How the pianist chooses music: A discussion with Patrick Gallagher

When I was younger I grew up dancing at a school that used ballet class music from CDs. The songs became intimately familiar, every track memorized, and every song seeming to fit just right to the steps our teacher had set. Of course I wondered how the artistic director for that album chose the music, but it seemed like they must choose from an endless list of perfect songs adapted from the old musicals or older classics. When I grew older and took my regular classes with live accompaniment, I realized that the success of the combination or even the whole class could ride on the choices of the pianist, and I wondered regularly just how they accomplished that symbiosis between step and note.

To find out more, I spoke with one of my current favorite class pianists, Patrick Gallagher. Patrick is young compared to most of the accompanists I have known, but he is also one of the few who when I see him in class I know it’s going to be a good one. Originally from Ohio, Patrick won first prize at the Buckeye State Piano Auditions at age 16, and moved to New York to attend Sarah Lawrence College, where he studied both music and dance. This combined artistic background gives him a unique insight into the musical demands of class.

Patrick did not specifically study accompaniment, but his mentor, André Gribou, “was also a dance musician so I think that, although I didn’t study accompanying intensely with him, I absorbed some of his techniques,” he shares. Patrick came to pursue this in college. “I began accompanying dance because it was a combination of my two passions, the two threads of my artistic life. I actually started dancing before playing the piano, then had very strong piano instruction. At Sarah Lawrence College we didn’t have majors so I was able to study both essentially equivalently. I did choreography and composition, performed classic post modern works (e.g. Yvonne Rainer), and spent a lot of time investigating the tradition of post modern dance that comes out of Judson Church. I do gravitate toward ballet teachers who have a strong somatic understanding and musicality.”

Patrick Gallagher, far right, with the cast of ‘Find your Fifth’. Photo Shane Ohmer.

And how exactly do the teacher and accompanist work together? “It’s a very complex dynamic, like a date! It’s an unusual situation where two relative strangers are asked to spontaneously collaborate and, with that, comes a lot of surprises!” But he explains that it is a balancing act since the teacher creates steps and the pianist has to work, sometimes quite hard, to make it happen. “The teacher is running the show. My main aim is to please the teacher because it’s still their class, and at the same time I have my own ideas about what I want the class to sound like. It’s a balance.”

As the dancer, you might assume everything is figured out very easily but, because of this dynamic where both the teacher and the pianist wield great power while the teacher outwardly controls the class, there is also the potential for conflict. “It’s a particularly fraught situation,” he explains, “because both participants are making themselves vulnerable and someone’s ego can be bruised. I try to make every teacher feel comfortable in that they can ask me to change something; I’m always open to communicate. Sometimes you just have to take a blind stab at what you think will work best, and often it works just fine. The teacher doesn’t tell you what to play! You’re lucky if you get any instruction so specific as that it’s a 2/4 vs 3/4. It’s not as if there are only one or two pieces to play for a specific exercise. Rather, the choices are endless and a lot of the decisions I am making are split second. Improvisation is a hugely useful tool.“

So, how does Patrick actually choose what he is going to play? It’s a grand combination of spontaneity informed by both knowledge of technique and life experience. “Each dance class is different so I have an open mind about what I’m going to play, but the most important things are to support the dancing rhythmically, dynamically, and to keep the energy of the class. For example, I’m often thinking about trying to have variation between pieces that are more somber and that have more vitality, striving for variation and musical interest. The musician has a responsibility – our music can make or break a class.”

“It’s an interesting field because you’re expected to have a certain degree of knowledge from the get-go, but there is very little formal training available and there is a steep learning curve.”

The music comes from Patrick’s vast knowledge of the western cannon as well as his own compositions. “Depending on the class, students, and teacher, I could be improvising up to 75% of the class,” he explains. “An extant piece of music will have to be altered to fit the phrasing of a ballet class, and that is one of the challenges for any accompanist. One way of getting around this is to improvise, so I have created improv scores that utilize certain chord progressions, melodies, or rhythmic devices. But within that structure there can be great freedom, and that is where my job becomes truly thrilling.” He tries to keep things fresh and not fall into patterns but if something works, he’ll keep it.

Patrck Gallagher and Director Matthew Powell. Photo Shane Ohmer.

Patrick recently collaborated with celebrated teacher Matthew Powell on ‘Find Your Fifth,’ a DVD/CD set that was just released in June 2015. While I assumed it would be Powell making all of the decisions, Patrick was the one who actually chose most of the music. “It wasn’t totally carte blanche; the decision making was collective but I was given the task of selecting the music content. I knew the dance combination and meter, then chose.” And for the album, where spontaneity is not a big issue, did he use existing music or his own creations? “I did favor my own compositions mainly for practical reasons of copyright; we had to use music that was in the public domain or original.” But, even though everything was decided and recorded, Powell still demonstrated the combinations while he played for the recording, which was “both practical and inspiring because I pay attention to what the dancers are doing, which helps me support them dynamically. I also don’t actually count out the length of the combinations, which would be a lot of work to count out the bars, so I can just watch and know where to be in the music and know when to end.”

If you want to communicate better with an accompanist, whether as a teacher or dancer, here are a couple of things you should know!

Know rubato – this refers to slowing down to accommodate the dancers. Be specific where in the combo you want it by saying something like, “during the pirouette, give us some rubato on the last count.” But don’t make the pianist accommodate the dancers all the time; it makes it hard to maintain the music’s integrity.

Know the difference between rhythm vs tempo – a lot of people use these interchangeably but rhythm refers to how the notes or steps are organized in time, while tempo refers to the speed at which they are performed.

Don’t say ‘a hair faster/slower’ – usually for a musician what the dancer wants is much more than the extremely small changes a musician is capable of, so just show the tempo you want!

Know the difference between duple vs triple – does the pulse have march like quality (duple) or a waltz like quality (triple)? This is your basic meter. Decide if you want more time (usually triple) or more urgency (usually duple) in the movement.

Do demonstrate with the accurate rhythm and desired tempo. If you mark the combination quickly, just make it clear to your musician what tempo you intend for the exercise.

And please thank your musician!

One final word on musicality from Patrick’s perspective: “The term musicality gets thrown around a lot but, how do we ‘be more musical?’ What does that mean? I think what people are trying to say is they want the dancing, like the music, to be 3-dimensional, with dynamic shifts in tone, texture, and volume. There are parallels for the dancer: you can dance bigger, you can change the quality, you can take more time, etc. These elements make a dancer fun to watch, and these are the same elements that make a musician fun to listen to. There are these fundamental similarities, and we get too caught up in the language of how we talk about these things.”

Patrick’s latest project, “Find Your Fifth,” (Director Matthew Powell; Sound Engineer Lawrence Demartin) is an instructional class DVD and CD pairing that portrays a classic New York City ballet class. You can find out more about it at findyourfifth.com.

By Leigh Schanfein of Dance Informa.

Photo (top): Accompanist Patrick Gallagher. Photo by Shane Ohmer.

The post How the pianist chooses music: A discussion with Patrick Gallagher appeared first on Dance Informa Magazine.

8 Ways to Prepare for Nationals (Teacher Tips Included!)

#1. Rehearse, rehearse, then rehearse some more.

I cannot stress enough the importance of running dances. I know it can get a bit monotonous and tedious, but judges love a clean, well-rehearsed dance. Teacher tip: Have a Nationals rehearsal the week before Nationals. Run every single dance, every single day and have someone else (a fresh eye) clean your dances too.

#2. Talk about the emotion of each piece with your instructors and your group.

Judges want the whole package. A clean dance is one thing, but a clean dance with full-out energy and consistent emotion from the whole group will send your dance soaring to new heights. Discuss pivotal moments in the music and choreography, create a story or character, and discuss dynamics and how far you should take your emotion. The beauty (and high scores) is in the details. Teacher tip: You cannot withhold any information from your dancers – especially the more mature dancers. If the piece you choreographed is about something personal that means a lot to you, have a discussion with your dancers about how you feel and what they should be feeling. This will translate on the stage and you won’t regret opening up as dance can be very therapeutic.

#3. Practice your faces for each dance in the mirror.

If you don’t go full-out in the studio, how can your teacher expect you to just turn it on when you’re on the Nationals stage? Practice your faces in the mirror and do not feel ashamed if the teacher tells you to pull it back some. If you go completely full-out with high energy during rehearsal week before Nationals, your performance can only get better and be more elevated when you hit that Nationals stage.

#4. Have a pep rally!

Positive energy and studio spirit is so important for mental and emotional preparation for a Nationals dance competition. I highly suggest a studio pep rally. Yes, the whole nine-yards, like a football pep rally. Hire a DJ, buy some silly string, paint your faces, and get pumped up with studio spirit before Nationals! Teacher tip: This exciting, fun-filled day will bring your dancers closer, and the camaraderie will be so much more heightened during Nationals week.

#5. Make a list and check it twice.

Having a checklist for your costumes and hairpieces and then checking it again before you pack is essential to a positive Nationals experience. You don’t want to be the one girl/guy with one glove on or with the incorrect shoes on stage. Teacher tip: Remember to tell your dancers to bring their studio gear. And discuss how wearing your studio brand is important and that professionalism is expected when representing the studio. So no ugly talk about other studios. Only positive vibes!

#6. Stay in shape physically.

Most likely, the Nationals that your studio is attending is during the summer and a couple of weeks after your recital. Make sure to stay in shape physically by taking open dance classes, yoga, or working out on your own at the gym or at home. Endurance is key! I suggest hitting the gym at least three times a week and doing the elliptical or running at least a few miles each visit.

#7. Get plenty of sleep.

I know, I know. It’s summer! But sleep can affect your performance more than most athletes know. Especially during Nationals week, sleep is important for energy, focus and injury prevention. Teacher tip: have an in-bed curfew the week of Nationals. This may seem a bit harsh but Nationals are no joke.

#8. Have fun!

Preparing for Nationals may seem a bit overwhelming, but try to keep an open mind and positive outlook. Your teachers only want the best for you and to make you look your best on stage. Try to listen and really take in every correction and comment. Nationals are usually the final time you perform your dances for that year – so make it count!

Do you have any other tips to add? How do you uniquely prepare for Nationals? Share below:

Photo (top): Photo courtesy of Velocity Dance Convention and Competition.

The post 8 Ways to Prepare for Nationals (Teacher Tips Included!) appeared first on Dance Informa Magazine.

When Is The Best Time To Market Your Studio?

By Steve Sirico of DanceTeacherWeb.com and Dance Teacher Web LIVE Conference & Expo.

We have been asked this question many times. The answer is now!

We need to think about our marketing in the same way that we prepare for our classes. If we taught only one class to students, we wouldn’t expect results right then and there – even if it was a great class. Marketing, I have learned, is the same way. It’s not about running one ad or putting out a few flyers. It is developing a plan to put into action for the growth of your business. I can tell you right here and now that there is no magic bullet or ad that will be the one that will change everything. There is, however, a plan that you can develop that will make a big difference to you and your bottom line.

To start, you need to try many different things. What works best for one may not work that great for the next. One thing is for sure: you need to make your clients an offer they can’t refuse! We will get more into the offer later. For now, let’s focus more on the plan.

We have found that the best time to focus on our advertising is as follows:

1. May and June, or five months prior to the start of your new semester. This is the best time to focus on getting both new and returning students to register for your program. If they are leaving their former school, this is when they will be looking for another school, and you can lock in returning students.

2. August and September, the month before or when your new semester starts, as we know this is the time many new people come in. During this period, offer free trial lessons or placement classes for new and returning students. If the schedule is filling up, make sure you have it posted with the words “class closed” across it.

3. October or the month following the start of your new semester. By this time the people who have forgotten or not made time to find an activity for their child will be in a panic. Also, soccer season is coming to an end. Your ad will help them to find a good solution.

4. December. Make a holiday gift package offer. We have found that these are the times we have had the best bang for the buck!

Are you stuck inside of your studio?

You may have the best classes, choreography, faculty and facility, but if you don’t get out and promote it, it will be the best-kept secret in town!

Here is the good news!

It does not have to be really expensive to market your services to your local community. Think about it – since your target market is close to where your business is located, you do not have to spend thousands upon thousands of dollars to get the word out. A continuous flow of advertising to the right markets in different media will do the trick. Best of all you can personally get out to spread the word. Who else will have the kind of passion that you have for your business? Join local clubs, and go to the meetings. You will be surprised, no matter how long you have been in business that many people do not know who you are. Think about this: wouldn’t you much rather do business or recommend a business of a person you know? Help your community to get to know you and watch your business grow.

For more essential studio success tips, make sure you attend Dance Teacher Web LIVE this summer, hosted by the amazing team of Steve Sirico and Angela D’Valda Sirico. A four-day event that caters to dance teachers and studio owners, DTWLive will take place at Foxwoods Resort and Casino in Mashantucket, Connecticut, August 3-6. DTWLive will include an expo of the world’s top dance merchants, movement classes and business seminars. Make sure to come and meet the Dance Informa team there!

The post When Is The Best Time To Market Your Studio? appeared first on Dance Informa Magazine.

Get the Cleopatra Look: Egyptian Make Up Tutorial

By Christine Dion of Mode Dion.

Makeup in Egypt during the time of Pharaohs was more than just a beauty ritual. Both men and women sought youthful beauty and used many cosmetics and skin care products to enhance skin tone and radiance. Egyptians believed makeup had magical powers. Black Galena Kohl was used as eye liner applied with a special stick tool from a Kohl Pot to create almond-shaped eyes. This eye shape was to resemble the falcon eye of the god Horus, son of Osiris the god of the after life. Osiris was depicted as having green skin. Favorite colors for eye painting were black and green. Malachite is a copper ore that was used to create the green eye shade. This green was applied from lash line to under the brow.

The Black Kohl eye makeup was thought to have magical protective powers to ward off evil spirits. It turns out the Kohl was more than magical, it was also healing as Kohl helped prevent ocular infection and eye diseases often caused by the flooding of the Nile. The lead-based substances in Kohl promoted the production of nitric oxide in their skin, which helped strengthen their immune system against diseases.

The soot in Kohl also helped in reducing the damaging effects of sun glare on their eyes. Of course these wonderful benefits were thought to be the magic in the makeup. Egyptians, especially royalty, liked to be depicted as art and in an ideal state of youth as part of their divine nature. Talented makeup artists were used to paint their faces into works of art for public appearances and to honor their beauty. Sacred oils like castor and sesame oil were used in their daily skin care regime to fight wrinkles and milk baths with rose petals became the legendary beauty secret of Cleopatra.

Here is an easy Egyptian make up tutorial with step by step instructions to achieve Cleopatra beauty. It can be applied to either a clean fresh face or as a quick change Egyptian look to add on to already applied standard stage makeup.

Bold Brows– Black (if you don’t have a costume change) or dark brown applied sweeping down at the sides of the face so the upper eye liner can meet at the brow in the outer corner.

Magic Liner on the upper lid line across lash line to sweep out and up almost into where brow ends. This creates the “Eye of Horus” for good luck. Apply white pencil at outer corner straight out for seperation of line and the black liner across lower lash line sweeping down at inner eye corner creating a “cat eye” which was thought to bring protection. Line to outer lower lash line sweeping down at outer corner for a “fish tail” look. The fish tail was thought to enhance abundance in life.

Kohl Eyes– Since Black Kohl was used as makeup, use the black shadow shade to create a very angular eye shadow application across eye just above eye crease blending out to where the eye brow ends. Ancient Egyptians also used a pigment for shadow that was an emerald green color. It was applied from lash line to under the eye brow. I found from a distance it closed the eyes a bit so I prefer the Kohl look instead. Both are historical. Blend the edges of the black shadow with brown eye shadow to soften edges and look more polished. Warm the outer eye bone just a bit with a balancing warm shade to create dimension.

Add a little Glamour– Use a shimmer shadow or powder to lift lids, under brow arches and cheek bones. This enhances the facial bone structure and adds a little glamour to the look. Really shade the contours of the face. Just a little stage red cheek color on the cheek rounds.

Cleopatra Lips– Reddish orange lip shades were used in Ancient Egypt made from henna. You can go with that shade or lighter for a more Hollywood version.

Egyptian Glitz– If the costume is glitzy and you would like to step away from historical accuracy, try a little glitter for fun and to help bring out the costumes detail. In the video I used gold glitter on lips, at outer eye corner, inner eye corner and brow arch to tie in the costume.

MODE DION COSMETICS Products used:
5-Color Pro Pallet Eyeshadow, Shimmer Pot, Contour Cheek Color, Stage Red Cheek Color, Russet Lip Liner, Rhubarb Lipstick and Gold Glitter Pot.

For more great tutorials and to purchase Mode Dion cosmetics, visit www.modedion.com.

Photo (top): Christine Dion’s model in Mode Dion Cosmetics Egyptian makeup. Photo courtesy of Christine Dion.

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8 Ways to Make Ballet Fun For Boys

We all know the world of ballet needs more men. So how do we, as teachers, keep boys interested in ballet class, at any age? Rain Francis consulted Shaw Coleman, who is currently working as a freelance dancer and choreographer in Europe.

#1. Focus on combinations that are less complicated and pretty and more strength-based and energetic. For example, less adage or port de bras, more jumps. “Even when I was a kid and didn’t know what grand allegro was, my favourite barre exercise was grands battements,” says Shaw.

#2. Set specific exercises for the boys. Don’t forget to include things like tour en l’air (or preparatory exercises for tours), turns and hops in a’la seconde, and pirouettes from second position.

#3. “Having other boys in the class helps,” says Shaw. “Men are very competitive, so having a sparring partner can be motivating.” Wherever possible, have special boys-only classes to work purely on techniques for male dancers. If there are no other boys in your school of a similar age, encourage your male students to bring a friend.

#4. Make a clear distinction between ballet for girls and ballet for boys. Of course, the classical technique remains the same, but the functionality of it – as well as the aesthetic – differs. “Boys need to hear the message ‘what you’re doing is for men, not for girls’,” says Shaw.

#5. Encourage your students to find male role models so they can see what they are striving for. Role models can be famous dancers such as Nureyev, Baryshnikov or Acosta, a favourite dancer from a local company, a male teacher, or an older student. If there are no male ballet teachers at your school, arrange regular one-off workshops or masterclasses with a male teacher to inspire your boys.

#6. Make sure your school has published uniform requirements for boys as well as girls, even if you only have one male student. “[Not having uniform requirements] always made me feel like an oddity,” says Shaw. “It was like they weren’t set up for teaching boys, that I wasn’t especially welcome.”

#7. As boys hit puberty, it’s important to have “the jockstrap talk” with them. “There were no older guys in my dance school at the time I went through puberty,” says Shaw. “The female teachers either didn’t know or didn’t want to have that conversation with me. I would look at pictures of pro dancers and try to work out what they were wearing under their tights. I remember being embarrassed every class wearing just jocks under my tights, feeling very exposed.” 11 or 12 is a good age to transition to wearing a dance belt. “I didn’t work it out until I was 14 or 15!”

#8. These days, there is unlimited access to so much material to inspire your boys. Point them towards YouTube videos of outstanding male dancers, and encourage them to read autobiographies and attend performances. Teach them variations from the classical repertoire, tailored to their age and skill level.

By Rain Francis of Dance Informa.

Photo: A scene from Billy Elliot the movie.

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Dance Teacher Web Live Heads to East Coast

The ever-popular and highly anticipated Dance Teacher Web Live (DTWLive), a four-day event that caters to dance teachers and studio owners, will take place on the east coast for the first time since it was first created in 2009. To be held at Foxwoods Resort and Casino in Mashantucket, Connecticut, August 3-6, DTWLive will include an expo of the world’s top dance merchants, movement classes and business seminars. DTWLive anticipates close to 700 attendees this year and is offering an early bird rate for those who register by May 15.

The Expo Hall is always buzzing with excitement and amazing offers.

“We are very excited to have a wonderful event planned, and this new location offers some great different options for attendees,” says Steve Sirico, co-founder of Dance Teacher Web. “I have been told by our attendees that what makes us unique is that we offer curriculum for all levels. This way, no matter what you teach, from preschool to recreational or advanced, we have classes that will give you great useable material. Plus, you won’t find our business seminars anywhere else.”

The decision to move the event to the east coast this year, as it’s usually held in Las Vegas, stemmed from Sirico and his wife’s growing relationships with dance teachers in the area and the location of their own studio in Connecticut for the past 28 years.

Sirico says DTWLive has an amazing lineup of master teachers, including Aaron Turner, Liz Imperio, Simone DePaolo and Wayne Sleep, and business professionals such as Misty Lown, Robert Landau and Joy Gendusa. Movement sessions will offer fresh content and ideas for dance classes, syllabi for all dance styles and choreography strategies for all levels. Business-centered classes will highlight management and marketing strategies, financial and insurance plans and more. All seminars aim to enhance business, and participants can mix any combination of movement and business classes as they see fit.

Dance Teacher Web Live faculty member Aaron Turner.

Sirico and his wife, Angela D’Valda Sirico, along with Robert Landau, will also present a pre-conference seminar on “The Ultimate Leadership for the Dance Professional”, which is only open to 50 participants and is already quickly filling up. For the third year in a row, DTWLive will offer the Dance Teacher University Program, a new and progressive teacher certification.

“Our event is strictly for the dance professional and dance studio staff,” Sirico adds. “No students or parents. Our event is about giving back to the busy dance teacher, studio owner and dance studio business staff.”

Sirico’s favorite aspect of each year’s DTWLive event is connecting and reconnecting with the teachers.

“It is great to see everyone network and build a lasting relationship with their peers. We have so much fun hearing about everyone’s successes and if they have had issues, as we can all brainstorm on how to make things better!”

Dance Teacher Web Live founders Steve and Angela D’Valda Sirico with NappyTabs.

This year’s location, Foxwoods Resort and Casino, is located in scenic Connecticut and is easily accessible by plane, train, bus, ferry or car. The resort also offers many activities aside from the DTWLive classes and seminars. DTWLive offers a special room rate of $139 per night, which can be redeemed by calling the hotel at 1-800-369-9663 and asking for the Dance Teacher Web rate.

For more information on DTWLive and how to register for this year’s first-ever east coast event, head to www.dtwconference.com.

By Laura Di Orio of Dance Informa.

Photo (top): A Dance Teacher Web Live class for dance teachers and studio owners. Photo courtesy of Steve Sirico.

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Teachers: Win $1000 in Costumes for your Studio

Dance Informa, Weissman and Dancewear Solutions have recently partnered to create Steal the Spotlight – an exciting opportunity for your studio and dancers to team up and win amazing dancewear and tuition prizes!

By encouraging your dancers to enter this contest, you both have a chance of winning a grand prize worth $2,000. This prize includes:

$500 Visa gift card for winning student’s class tuition (to be sent directly to your studio)
$500 Dancewear Solutions credit for the winning student
$1,000 Weissman gift credit for the winning student’s studio to purchase costumers and/or dancewear

The grand prize drawing will take place on August 1, 2015.

In addition, 1 dancer and his/her studio will be chosen each month to win $150 each in shopping credit at Dancewear Solutions and Weissman’s Designs for Dance, now through July 2015.

Encourage your students to enter our Steal the Spotlight sweepstakes so that you may all have a chance to win these great prizes!

For a teacher packet, including a display poster for your studio and flyers, email editorial@danceinforma.com. We’d love to send one out to you to increase your chances of winning.

Visit www.StealtheSpotlightNOW.com to enter!
A complete list of sweepstake terms is available at www.StealtheSpotlightNOW.com.

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How to Create Perfect Mime and Harlequin Makeup

Mimes painting the face white originated from stage shows dating back as far as 467 BC. This form of entertainment used gestures, mimics and dance, not words, to communicate and entertain. The purpose of the white face was to help the audience be able to see the performer from far away. The designs on the face helped bring the character to life and express emotion without words. For example, the tear drop in reference to saddness. Comedy arose from mime theater as well as satire. It is said that the first origin of show dancing, was a slow rhythmical song accompanied by the distinct movements and phases of dance mime.

The Athenians (sixth century B.C.) were the first people to introduce stage dancing with drama. The oldest of these dance dramas was called the “Delian Dance of the Labyrinth”, or the “Flight of the Cranes,” and was said to have been introduced by Theseus, King of Athens. These stage dances were the earliest representations of the Pantomime version of mime which has since been brought to such great perfection thru the ballet stage. Charlie Chaplin sprung from this art. Most cultures have some form or variation of the Pantomime in their history.

The Harlequin is characterized by his checkered costume. This character originated from an Itallian performance troup in the 16th century and became very popular in England and France. The character Harlequin was a light-hearted, nimble servant often acting to thwart the plans of his master. His main interrest was to win the love of Columbina, with wit and resourcefulness, often competing with the sterner and more melancholy Pierrot. Harlequin was a bit devious therefore sometimes depicted with a mask. Many villain characters later used this prop for drama. Without his mask he was often shown with a tear as he wept for Columbina.

These easy steps will show you how to get the perfect Mime Face for your next recital or performance:

Step 1. Wet White Pigment Paint and using a foundation brush dipped in a little water. Paint face until skin does not show through. Leave eye lids bare.

Step 2. Enhance eyes with matte eye shadows. Use black in outer corner, burgundy tone just above and across crease and cream color just below eyebrow. Create flush and drama with red toned cheek color at the outer eye bone. A little shimmer in the inner eye corner and brow arch will help add dimension to the eyes.

Step 3. Place eyeliner across lid and sweep up at the outer corner. Line across lower lashes and sweep down at the outer corner leaving lines apart. This creates an old fashioned “fishtail effect”. Apply white pencil in between lines to keep eyes looking wide. Using dry burgundy eye shadow, line over and just below lower line to round eyes and create a smokey effect.

Step 4. Apply red cheek color high on cheek rounds to flush.

Step 5. Line lips with a more brown tone lip liner, then lipstick to create a stronger lined lip look. Apply red lipstick over liner to enhance fullness. A smaller “rose bud” lip is often used.

Step 6. Paint a tear drop using the black eye shadow applied with a wet liner brush and fill in. Create reflection by applying glitter glue at reflective point of the tear and add a few glitter sparkles to help the drop look more realistic. Use same black eye shadow to line up from brow and below from center of lower lid down. A little glitter on the lips and at the center of eye lids can add more drama.

This tutorial will demonstrate:

Mode Dion Cosmetics has all the tools you need to get the look: White Pigment Paint, Eye Liner & Foundation Brush, Pro Pallet Eye Shadow Compact, Stage Red Cheek Color, Russet Lip Liner, Stage Red Lipstick, Shimmer Pot, Silver Glitter & Diva Glue. Click here to learn more.

By Christine Dion of Mode Dion.

Photo (top): Christine Dion’s model in Mode Dion Cosmetics mime makeup. Photo courtesy of Christine Dion.

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