Academic Draft 2 (3)

Grade 4 Imperial Classical Ballet students achieve ‘correct’ posture, combating Lordosis through successful teaching methods.

Future fit training limited (2006) states that Lordotic posture or Lordosis is very common in dancers; its defining characteristic is “where the lower back has an excessive curve”. Initially a number of the young girls in Power Academy of Dance Grade 4 Imperial ballet class displayed the anterior pelvic tilt, the lengthened rectus abdominus, the flexed hip joint, the hyper-extended lumbar spine and relaxed gluteals associated with Lordotic posture (http://www.mgmpt.com/id6.html [Accessed 16 November 09]). Correct posture is essential in ballet, Jackie Pelly physiotherapist is quoted in Lantin (2005) stating “If dancers maintain a neutral posture, they are not putting the body under so much strain, and are less likely to sustain injury” (The Telegraph, Lantin, 2005) and therefore it is essential for a dance teacher to instruct on good posture. Buxton (2008) dictates the ideal posture in classical ballet involves the “spine neutral and elongated by the lengthening support of the abdominal and spinal muscles, turn out held in the deep rotators, and the gluteals or butt muscles not over supporting, allowing your hip bone and pelvis of the working side to relax down” (Buxton, 2008, Buzzle.com [Online]). When considering the ages of the students it is necessary to provide them with an increased understanding of the technical requirements of posture as “puberty is an important stage for acquiring elite performance skills (ISTD Dance Examination Board, 2005, p38).

ISTD Dance Examination Board (2005) quotes Fontana (1995) declaring that association, visual presentation, repetition as well as recognition are acknowledged “strategies for assisting memory” (ISTD Dance Examination Board, 2005, p76-77). The students of the grade 4 imperial ballet class had been introduced to posture before the initial lesson on the 14th October, this was through association only (told to stand like princesses and pull in those tummy’s). Previously this concept was never defined as posture until the initial lesson, when the technical concept of posture were introduced using Fontana’s (2005) proven techniques of assisting memory, association, visual representation and repetition. In the forthcoming month repletion, recall and recognition were also used resulting in visible technical improvement. However without the addition of positive praise to the memory strategies White (1991) states that “self-esteem is the pivotal point between success and failure; it has a marked effect on learning” (White 1991, quoted in Buckroyd 2000, p 73) meaning that improvement would not have been possible without aiding the student’s self-esteem. By the 11th November marked improvements were visible on a number of students in the class with their spines more elongated, abdominal muscles and gluteal’s active and the hip bones and pelvis relaxed and therefore level. Essentially their Lordotic posture was not as severe as that observed in the initial lesson. A continuation of repetition, recall and recognition will enable the students to continue to improve their technical ability thus enhancing any work that they perform.

References:

Future Fit Training Limited, 2006, Posture Types [Online],mgmpt.com. Available from: http://www.mgmpt.com/id6.html [Accesses 16 November 09]

Lantin,B, 2005, ‘The Point of Good Posture’, The Telegraph [Online],12th December. Available from: http://www.telegraph.co.uk/health/dietandfitness/3334420/The-pointe-of-good-posture.html

Buxton, D, 2008, Understanding Muscle Function and Correct Posture in Ballet [Online], Buzzle.com. Available from: http://www.buzzle.com/articles/understanding-muscle-function-and-correct-posture-in-ballet.html [Accessed 17 November 2009]

ISTD Dance Examination Board, 2005, quotes Fontana, D,1995, ‘ISTD Foundation in Dance Instruction Unit 3: Lifespan Development and Learning in Dance, London: ISTD Dance Examinations Board

Buckroyd, J, 2000 quotes White, 1991, The Student Dancer, London: Dance Books Ltd

Descriptive Draft 3

Grade 4 Imperial Ballet students lengthen their spines, making enormous technical improvement!

The girls in the Grade 4 Imperial Ballet class have dramatically improved their once arched spines, lopsided hip placement and relaxed stomachs by following inventive instruction about posture during their lesson. They no longer display the casual posture of a teenage girl during their barré work but are gaining the control to perform the elongated and balanced posture required to present an accomplished technical dancer, aiding the beautiful aesthetic line associated with ballet.

Each week a group of young teenage girls enter the spacious, rectangular hall of Power Academy of Dance, lining up at the barré ready to learn the discipline of classical ballet where they are taken on a journey of wondrous discovery of self and the marvel of the enchanting world of Classical Ballet. On Wednesday the 14th of October the young girls watched in confusion as their teacher slowly removed her inventive teaching tool from her bag, ready to introduce the students to the complex technical requirements of posture. Although at the time they were unaware of how the wooden ruler would help them comprehend what good posture means and what physical position the body had to adopt so that the ideal alignment of the body could be created. The initial response to the teaching tool was met with laughter however when the straight edge was placed down their backs one apprehensive girl at a time, it enabled the students to visualise and feel elongated position of the spine and the internal feeling of the weight placement going up and over. One at a time the teacher went along the barré giving each attentive student individual encouraging feedback by guiding their movements verbally and physically encouraging them to glue their spines to the ruler. Some were able to display a more elongated spine, secure hip placement and engaged abdominals while others struggled to maintain the position once their ruler was removed allowing their curved spine and relaxed posture to return.

This new method of teaching introduced the technical concept of posture in a new and charismatic way, enabling the students to visualise what they are trying to achieve. From a young age children are taught technique through association, they are told to stand up tool and effective imagery is vocalised “stand like princess”, “make sure you don’t burn your bottom or your nose in the toaster” and “don’t let me see those banana backs” instead of using technical jargon

In each forth- coming lesson the girls were reminded at every opportunity to exert the same stance that they experienced in that first lesson and to concentrate on this in all of the exercises. Gentle prods of verbal encouragement were given when a student relaxed their posture and through this repetition of movement the student’s posture technique has vastly improved enabling the students to perform the set arrangements with grace, composure and confidence. The continuation of the development of this elongated extension of the spine, the equalised structure of the plane of the hip bones, the intense involvement of the abdominal muscles, the relaxation of the shoulders and the internal sensation of the weight dispersing up through the body and projecting over has given the students the basic tool to accomplish any of the divinely stunning ballet choreography.

Marketing Draft 3

Grade 4 Imperial Ballet students make astounding improvements!

Parents, just a little note to say...

Power Academy of Dance is proud to announce the technical advances of their Grade 4 Imperial Ballet Students. Substantial breakthroughs have been made since the beginning of October with a number of students displaying improved posture during their ballet class, creating the foundation for superb results in the summer exam session. An enormous achievement by all, parents you should be proud!

The students aged 11-14 began their learning journey on Wednesday 14th of October when the focus on posture was introduced into their lessons. A ‘unique’ teaching tool was used in order for the students to understand what correct posture was in a classical ballet stance and what this felt like within their own bodies. The unique learning tool created a few giggles during the class, giving the students a fun learning experience. Since the initial lesson constant reminders have been given to the students, making sure that they remember the 3 P’s in classical ballet; Posture, Posture, Posture! Before every exercise the students were given a verbal nudge in order to stimulate those synapses used for memory so they could focus their minds and bodies on correct posture, this only has to be practiced a few more hundred times before straight backs override ‘Banana’ backs in their muscle memory. No easy task! At this level posture becomes more than just standing up ‘nice and tall like a princess’ and not getting your bottom burnt in the toaster’ when performing a knee bend, it becomes the foundation of all technique for without it many movements cannot be performed. Alina Cojocaru, principal dancer of The Royal Ballet could certainly not dance the role of Princess Aurora in ‘The Sleeping Beauty’ without firm posture as the choreography would simply be impossible.

It was extremely visible in the last class on the 11th of November that the students have made astounding improvements with their posture; keeping their backs long, shoulders down, hips more level and each student has the ability to hold their core muscles for longer than ever before. By having a hands on approach to teaching and by creating a stimulating and enjoyable learning environment while ensuring repetition of technique the students have flourished and each parent should be very proud of their child’s accomplishment. The progression made has enabled the students to become more confident and perform movements with more technical accuracy while also adding a little sparkle to their work. A continuation of this learning and improvement will certainly lead to the children’s best exam results yet and an even more dazzling performance at next year’s dance festival in Bedford ‘Dance 4 all’.

Descriptive- Draft 2

The girls in the Grade 4 Imperial Ballet class have dramatically improved their once arched spines, lopsided hip placement and relaxed stomachs by following inventive instruction about posture during their lesson. They no longer display the casual posture of a teenage girl during their barré work within a ballet class but are gaining the control to perform the elongated and balanced posture required to present an accomplished technical dancers aiding the beautiful aesthetic line associated with ballet.

Each week a group of young teenage girls enter the spacious, rectangular hall of Power Academy of Dance, lining up at the barré ready to learn the discipline of classical ballet where they are taken on a journey of wondrous discovery of self and the marvel of the enchanting world of Classical Ballet. On Wednesday the 14th of October the young girls watched in confusion as their teacher slowly removed her inventive teaching tool from her bag, ready to introduce the students to the complex technical requirements of posture. Although at the time they were unaware of how the wooden ruler would help them comprehend what good posture means and what physical position the body had to adopt so that the ideal alignment of the body could be created. The initial response to the teaching tool was met with laughter however when the straight edge was placed down their backs one apprehensive girl at a time, it enabled the students to visualise and feel elongated position of the spine and the internal feeling of the weight placement going up and over. One at a time the teacher went along the barré giving each attentive student individual encouraging feedback by guiding their movements verbally and physically encouraging them to glue their spines to the ruler. Some were able to display a more elongated spine, secure hip placement and engaged abdominals while others struggled to maintain the position once their ruler was removed allowing their curved spine and relaxed posture to return.

This new method of teaching introduced the technical concept of posture in a new and charismatic way, enabling the students to visualise what they are trying to achieve. From a young age children are taught technique through association, they are told to stand up tool and effective imagery is vocalised “stand like princess”, “make sure you don’t burn your bottom or your nose in the toaster” and “don’t let me see those banana backs” instead of using technical jargon

In each forth- coming lesson the girls were reminded at every opportunity to exert the same stance that they experienced in that first lesson and to concentrate on this in all of the exercises. Gentle prods of verbal encouragement were given when a student relaxed their posture and through this repetition of movement the student’s posture technique has vastly improved enabling the students to perform the set arrangements with grace, composure and confidence. The continuation of the development of this elongated extension of the spine, the equalised structure of the plane of the hip bones, the intense involvement of the abdominal muscles, the relaxation of the shoulders and the internal sensation of the weight dispersing up through the body and projecting over has given the students the basic tool to accomplish any of the divinely stunning ballet choreography.

Marketing- Draft 2

Power Academy of Dance is proud to announce the technical advances of their Grade 4 Imperial Ballet Students. Substantial breakthroughs have been made since the beginning of October with a number of students displaying improved posture during their ballet class, creating the foundation for superb results in the summer exam session. An enormous achievement by all, parents you should be proud!

The students aged 11-14 began their learning journey on Wednesday 14th of October when the focus on posture was introduced into their lessons. A ‘unique’ teaching tool was used in order for the students to understand what correct posture was in a classical ballet stance and what this felt like within their own bodies. The unique learning tool created a few giggles during the class, giving the students a fun learning experience. Since the initial lesson constant reminders have been given to the students, making sure that they remember the 3 P’s in classical ballet; Posture, Posture, Posture! Before every exercise a the students are given a verbal nudge in order to stimulate those synapses used for memory so they could focus their minds and bodies on correct posture, this only has to be practiced a few more hundred times before straight backs override ‘Banana’ backs in their muscle memory. No easy task! At this level posture becomes more than just standing up ‘nice and tall like a princess’ and not getting your bottom burnt in the toaster’ when performing a knee bend, it becomes the foundation of all technique for without it many movements cannot be performed. Alina Cojocaru, principal dancer of The Royal Ballet could certainly not dance the role of Princess Aurora in ‘The Sleeping Beauty’ without firm posture as the choreography would simply be impossible.

It was extremely visible in the last class on the 11th of November that the students have made astounding improvements with their posture; keeping their backs long, shoulders down, hips more level and each student has the ability to hold their core muscles for longer than ever before. By having a hands on approach to teaching and by creating a stimulating and enjoyable learning environment while ensuring repetition of technique the students have flourished and each parent should be very proud of their child’s accomplishment. The progression made has enabled the students to become more confident and perform movements with more technical accuracy while also adding a little sparkle to their work. A continuation of this learning and improvement will certainly lead to the children’s best exam results yet and an even more dazzling performance at next year’s dance festival in Bedford ‘Dance 4 all’.

Feedback

Hey guys,
My Task D has been up for over a week now and so far I've not had any comments. I would really appreciate for some feedback on my work so that I can improve on it. Please!!!!!!

Writing Style 3

Future fit training limited (2006) states that Lordotic posture or Lordosis is very common in dancers; its defining characteristic is “where the lower back has an excessive curve”. Initially a number of the young girls in Power Academy of Dance Grade 4 Imperial ballet class displayed the anterior pelvic tilt, the lengthened rectus abdominus, the flexed hip joint, the hyper-extended lumbar spine and relaxed gluteals associated with Lordotic posture (http://www.mgmpt.com/id6.html [Accessed 16 November 09]). Correct posture is essential in ballet, Jackie Pelly physiotherapist is quoted in Lantin (2005) stating “If dancers maintain a neutral posture, they are not putting the body under so much strain, and are less likely to sustain injury” (The Telegraph, Lantin, 2005) and therefore it is essential for a dance teacher to instruct on good posture. Buxton (2008) dictates the ideal posture in the dance genre of ballet involves the “spine neutral and elongated by the lengthening support of the abdominal and spinal muscles, turn out held in the deep rotators, and the gluteals or butt muscles not over supporting, allowing your hip bone and pelvis of the working side to relax down” (Buxton, 2008, Buzzle.com [Online]). When considering the ages of the students it is necessary to provide them with an increased understanding of the technical requirements of posture as “puberty is an important stage for acquiring elite performance skills (ISTD Dance Examination Board, 2005, p38).

ISTD Dance Examination Board (2005) quotes Fontana (1995) declaring that association, visual presentation, repetition as well as recognition are acknowledged “strategies for assisting memory” (ISTD Dance Examination Board, 2005, p76-77). Although the students of the grade 4 imperial ballet class had been introduced to posture before the initial lesson this was through association only (told to stand like princesses and pull in those tummy’s) and this concept was never defined as posture however during the initial lesson the technical concept of posture was introduced and by using Fontana’s (2005) proven techniques of assisting memory, association, visual representation and repetition were all used in the initial lesson followed by repletion, recall and recognition in the weekly lessons over the forth coming month, technical improvement were visible. However without the addition of positive praise to the memory strategies White (1991) states that “self-esteem is the pivotal point between success and failure; it has a marked effect on learning” (White 1991, quoted in Buckroyd 2000, p 73). By the end of the four week period marked improvements were visible on a number of students in the class with their spines more elongated, abdominal muscles and gluteal’s active and the hip bones and pelvis relaxed and therefore level, essentially their initial Lordotic posture was not as severe as that observed in the initial lesson. A continuation of repetition, recall and recognition will enable the students to continue to improve their technical ability thus enhancing any work that they perform.

Writing style 2

The girls in the Grade 4 Imperial Ballet class have dramatically improved their once arched spines, lopsided hip placement and relaxed stomachs by following inventive instruction about posture during their lesson. They no longer display the casual posture of a teenage girl during their barré work within a ballet class but are gaining the control to perform the elongated and balanced posture required to present an accomplished technical dancers aiding the beautiful aesthetic line associated with ballet.

Each week a group of young teenage girls enter Power Academy of Dance ready to learn the discipline of classical ballet where they are taken on a journey of wondrous discovery of self and the marvel of the enchanting world of Classical Ballet. On Wednesday the 14th of October the students were introduced to the technical requirements of excellent posture when the teacher brought in a unique and inventive teaching tool in order to help the students comprehend what good posture means and what physical position the body had to adopt so that the ideal alignment of the body could be created. The initial response to the teaching tool was met with amusement however it enabled the students to visualise and feel elongated position of the spine and the internal feeling of the weight placement going up and over. One at a time the teacher went along the barré giving each attentive student individual encouraging feedback by guiding the movement both verbal and physical encouragement. Each one of the girls displayed an understanding of the concept through their movement. This new method of teaching introduced the technical concept of posture in a new and charismatic way as although a child is taught posture in ballet from a young age it is not given a specific name, children are told to stand up tool and effective imagery is vocalised “stand like princess”, “make sure you don’t burn your bottom or your nose in the toaster” and “don’t let me see those banana backs” so that young children can associate an instruction with something that the know, without confusing them with complicated concepts.

In each forth- coming lesson the girls were reminded at every opportunity to exert the same stance that they experienced in that first lesson and to concentrate on this in all of the exercises. Gentle prods of verbal encouragement were given when a student relaxed their posture and through this repetition of movement the student’s posture technique has vastly improved enabling the students to perform the set arrangements with grace, composure and confidence. The continuation of the development of this elongated extension of the spine, the equalised structure of the plane of the hip bones , the intense involvement of the abdominal muscles , the relaxation of the shoulders and the internal sensation of the weight dispersing up through the body and projecting over has given the students the basic tool to accomplish any of the divinely stunning ballet choreography.

Writing style 1

Power Academy of Dance is proud to announce the technical advances of their Grade 4 Imperial Ballet Students. Substantial breakthroughs have been made since the beginning of October with a number of students identifying what is correct posture and putting this knowledge into physical practice, creating the foundation for superb results in the summer exam session.

The students aged 11-14 began their learning journey on Wednesday 14th of October when the focus on posture was introduced into their lessons. A ‘unique’ teaching tool was used in order for the students to understand what correct posture was in a classical ballet stance and what this felt like within their own bodies. The unique learning tool added some fun and excitement to the class while the students were still learning the fundamental elements of posture. Since the initial lesson constant reminders have been given to the students, making sure that they remember the 3 P’s in classical ballet; Posture, Posture, Posture! Before every exercise a the students are given a verbal nudge in order to stimulate their memories so they can actively concentrate on their posture as the students still have to practice this concept a few hundred more times before straight backs override ‘Banana’ backs in their muscle memory. At this level posture becomes more than just standing up nice and tall like a princess and not getting your bottom burnt in the toaster when performing a knee bend (imagery is a well recognised teaching tool that enables young children to associate a concept with something that they know), it becomes the foundation of all technique for without it many movements cannot be accomplished. Alina Cojocaru, principal dancer of The Royal Ballet could certainly not dance the role of Princess Aurora in ‘The Sleeping Beauty’ without firm posture as the choreography would simply be impossible without this concrete foundation.

It was extremely visible in the last class on the 11th of November that the students have made astounding improvements with their posture; keeping their backs long, shoulders down, hips more level and each student has the ability to hold their core muscles for longer than ever before. By having a hands on approach to teaching and by creating a stimulating and enjoyable learning environment while ensuring repetition of technique the students have flourished and each parent should be very proud of their child’s accomplishment. The progression made has enabled the students to become more confident and perform movements with more technical accuracy while also adding a little sparkle to their work. A continuation of this learning and improvement will certainly lead to the children’s best exam results yet and an even more dazzling performance at next year’s dance festival in Bedford ‘Dance 4 all’.

Examples of Kolb's learning cycle

Donald Kolb’s learning cycle consists of four stages; concrete experience, reflective observation, abstract conceptualisation and active experimentation. The cycle can be entered at any point but Kolb believes that in order to learn we must complete the whole cycle. There are four situations where I have found myself a certain stages within the learning cycle; Writing my CV, writing my teachers essay, finding out the effectiveness of specific imagery within my classes, and learning how to do a pirouette.

Concrete Experience: When writing my Curriculum Vitae as part of Task A I started by actively writing a draft using the instructions I had been given as part of my previous education. I started by sitting down at the table in front of my lap top and using my existing knowledge on how to write a CV typed my personal details, my work experience as a teacher and as a performer as well as my relevant qualifications using the plan that I had created from my previous knowledge on how to write a CV therefore by planning my CV active experimentation pre-ceded my concrete experience. This was the beginning of my learning cycle and following this I filled out the table reflecting upon situations that I excelled in and then looked at the skills that it took in order for me to succeed at the task. I also looked at the compared these skills with what I had already put on my CV which in turn lead me to conclude that I had skills such as team working and teaching skills that I had not put on my CV following learning that I had additional skills however when analysing this against what is required for a teaching CV I felt that these additions were not necessary for my perspective employers within the world of teaching.

Reflective observation: I have experienced reflective observation when writing ‘My Teachers’ essay and on this occasion this was where my learning cycle started on this occasion as I had to reflect on my prior experiences and learning. By looking at the bodies of knowledge that I had I had to reflect upon where this knowledge had come from and had to review what I had actually been taught and who I had been taught by. This involved me creating a number of ‘thought showers’ so that it was easier for me visually analyse what my knowledge was and where it had come from. This was the first stage of the cycle in this instance, followed by abstract conceptualisation when I concluded that the knowledge that I know hold on Jazz, Ballet and teaching methods are most relevant to my professional practice today and thereby choosing the teachers that I would choose in my essay. Following my reflection I was also able to concluded how I was using the information that I and learnt and which parts of it I was passing on to my students. Active experimentation involved me planning the essay thinking of ways to include what I had learnt while also the process of reflecting reminded me of ideas that I could include in my classes. The final stage of concrete experience involved writing the essay.

Abstract Conceptualisation: Within my teaching practice I wanted to try using some of the forms of imagery that I had invented during my FDI teaching classes. I wanted to use the imagery of holding a beach ball in order to try and make the children understand the shape of en avant. I concluded that the imagery of the beach ball was ineffective because none of the children’s arm where in the correct rounded shape that the arm position of en avant should be. If it had just been one child that had not grasped the concept my conclusion that using the imagery of holding a beach ball may have been different however as not one of the children in my class performed the correct arm shape I concluded that this was in-effective imagery. The cycle began with using the imagery in my primary ballet class in preparation for teaching the Port de Bras (concrete experience) while watching the children perform the arm position and seeing that it did not work was the reflective observation . following my analysis of the situation I was able to make the conclusion that I have described above (Abstract Concpualisation). The cycle continued with my planning/ trying out new imagery then trying out the new imagery on the children thus perpetuating the learning cycle again. I eventually managed to conclude at the abstract conceptualisation of the cycle that asking the children to imagine that they were hugging their mothers was an effective form of imagery when trying to get the children to perform the arm shape of en avant.

Active Experimentation: The occasion that I have chosen to example active experimentation was when learning how to do a double pirouette. The procession began with the experimenting with trying to turn trying to use the techniques that my teacher had informed us of (making sure your weight is over the front foot, a strong relevé, spotting, use of the back etc) building on the knowledge I already had on how to do a single pirouette. Planning what position my feet and arms where in while also thinking of what I must do next. Within the cycle the stage of concrete experience is actually doing the pirouette for the first time and then reflecting on the experience of what went wrong and what went right. On this occasion I concluded that my weight was too far back and I had not spotted very well thereby completing the abstract conceptualisation of the cycle. This immediately followed with active experimentation perpetuating the cycle of learning again. Although this is only a small learning cycle of one detail I believe that it clearly shows the different stages of the learning cycle.

Kolb’s learning cycle I believe can be applied and can explain the cycle of learning in all the situation I have described as with each situation I have effectively learnt something and it is evident that I have gone through the stages thereby complete or in some cases perpetuated the cycle of learning.

My top 5 resources revised

My Top 5 Resources
· The Stage Online- http://www.thestage.co.uk/ This website has information on Job listings (both performance vacancies, teaching vacancies, backstage vacancies as well as a number of other roles within the Performing Arts industry), Articles of current topics within the industry, reviews, performance listings, adverts for places that provide training for a professional career in performing arts as well as a forum for people to discuss problems/ issues that they may be encountering within the industry and is easy to navigate however certain information is only privy to subscribers of the magazine and therefore making it difficult to get some information if you are not a subscriber. The website publishes the information published in the newspaper once a week however it also has additional information as well as extra information for magazine subscribers. This website/magazine is an excellent place to find job vacancies as looking for new employment within teaching work is an important part of my daily activity. It also allows me to keep up to date on the issues that the industry faces so that I can keep informed about what is occurring in my profession and as the information is evidentially reported, I find this a reliable resource. ‘Stage talk’ allows me to talk to others in the profession who may be able to give me advice on problems that I encounter and for me to give them advice. This is essentially a forum for sharing information but as a teacher I find it useful for getting ideas while some may not work for me others might and it is only through trial and error that I am able to decipher my opinion on the validity of the information.
http://www.thestage.co.uk/stagetalk/

· Dancing Times Magazine- http://www.dancing-times.co.uk/ - This magazine and website has articles about current topics in the dance industry- teaching, study aids, articles about dance anatomy posture and teaching related articles, reviews of dance performances, interviews with industry professionals. The reviews are the subject of a journalist’s opinion however all other articles are based on fact and often articles are based on medical/ expert research and therefore I consider these articles valid and a valuable resource. Both the magazine and the website hold a number of similar articles however there are also certain things that are only on one or the other e.g. only the magazine has the dance study aids and the website allow you to look at popular articles from previous issues. I find this magazine to be an in- exhaustive bank of knowledge the information contained on the website and in the magazine allows me to (with every new issue) keep up to date with what is happening in the world of dance and provides me with essential teaching material. Expanding my knowledge and making sure I am aware of any new information on all aspects of dance is an essential part of my day to day activities as a teacher.
http://www.dancing-times.co.uk/2008Sept/Into%20Dance%20spread/Manon.html
http://www.dancing-times.co.uk/News/News.html

· The I.S.T.D. website- www.istd.org This website has a section where I can order any book, CD, DVD, music script that I need in order to teach ISTD syllabus work, teacher training manuals as well as a few other items that may be of help to an ISTD teacher. It also has information on up-coming seminars and event to help improve teaching, news on up-coming events, job vacancies, a brief history of the ISTD, details of the different Syllabi, Customer Services as well as a resource area that has a number of articles related to anatomy and dancing (e.g. Balance and Posture, A Knee for Dance or Disaster) as well as a list of useful resources. This website allows me to keep up to date with any changes and upcoming news in the syllabus that I teach as well as providing me with the resource to easily order syllabi related materials for my lessons. It also allows me to access up to date health and safety information relating to the dance field (which is supplied by medical experts) so that I can make sure that I am keeping my students safe. The job vacancies section is also useful as it enables me to check daily if there are any job vacancies available at schools that teach the ISTD syllabus that I am qualified in and therefore giving me access to information on possible employment. This website however is slightly difficult to navigate your way through but once you know where to find the information it is relatively quickly to get to, the links down the left hand side are the best way to navigate through the website.
http://www.istd.org/training/anatomy/balanceandposture.html
http://www.istd.org/training/anatomy/thekneefordanceordisater.html

· Dance Teachers Magazine Website- www.dance-teacher.com – An easy to use website with obvious and categorised links on the home page showing a number or articles under the areas of teaching, business, Health and tips of the day as well as a video feed for various routines and exercises that are broken down step by step as well as a facility for ordering back issues of the magazine so that if there is a feature that you are particularly interested in you can order that issue to obtain a copy of the article. Articles at the moment included Tips on how to motivate reluctant dancers and dealing with Eating Disorders. This website allows me to keep up to date on a daily basis with helpful tips on teaching and new methods of teaching as well as new findings from research into the world of dance. When I come across a problem with one of my students whether it is motivating them, finding a new way to help them understand a concept of technique or a health related issue this website will often have a helpful tip in order to help me solve my problem. Having the video link with constant ideas of choreography and new exercises is also a very useful resource tool when creating new work for students which has to be done on a day to day basis, I can watch and evaluate it by what I like, how can I fit it/ reflect it in my choreography and what is suitable for the level of students that I teach. The websites Tip of the day is a daily source of information that can affect and hopefully improve the way that I teach.
http://www.dance-teacher.com/sections/articles/6

· You Tube- www.youtube.com- YouTube is a website that has access to music videos, videos of sections of ballet works, musicals, television programmes, films almost anything that you can think of. I find this website an excellent resource for keep up to date with current styles of choreography, getting inspiration for choreography and being able to research different styles and evaluate what inspires me and what is suitable for my students so that I may be able to incorporate them into my teaching, giving variety to my students especially in a jazz class. When having some up with new work for jazz and drama classes this website is a very useful tool as I can at the touch of a button visibly see what professional choreographers are doing which can provide me with new inspiration when creating exercises/ routines for teaching children by just typing the name of a musical artist, choreographer or title of a song into the search tool on the home page.
http://www.youtube.com/watch?v=vpyndxbwo90&feature=related
http://www.youtube.com/watch?v=XDTibf0qIzw&feature=fvsr
http://www.youtube.com/watch?v=3gvcpb4_7ZQ

My Interests

All things Dance:
Unsurprisingly my main interest is in all things dance, from live performances of dance/ musical theatre, films to the history of dance/ practitioners of genres. Since a teenager I have lived for the world of dance every time I watch the films ‘Centre Stage’ or ‘You Got Served’ they make me want to get up and dance. I thrive on watching dance related TV programmes, I’m addicted to ‘So You Think You Can Dance’, ‘J-Lo’s Dance Life’, ‘Dirty Dancing- Time of Your Life’ and ‘America’s Best Dance Crew’ (I could go on), my only disappointment is that in England we could not watch the MTV programme on finding Elle Woods for ‘Legally Blonde the Musical’ on Broadway, thankfully ‘You Tube’ could oblige. Watching the different styles of dance and the choreography that both dancers and professional choreographer’s devise I find very intriguing and entertaining. It was only when I went to college that I really got into Musical Theatre and started to watch Ballet’s and now my Theatre Programme and DVD recording Collection just keeps on growing. I thought ‘Wicked’ was just phenomenal the first, second and the third time and every time I see ‘Blood Brothers’ Mrs Johnston final song of ‘Tell me it’s not True’ makes me cry, I only wish I was born with the voice of Edina Menzel. Listening to music (Popular music and Musical Theatre soundtracks), watching performances, reading relevant books just makes me want move, not a day goes by where I don’t get the urge to dance and I hope that this will always continue.

http://www.legallyblondethemusical.co.uk/
http://www.fox.com/dance/
http://www.youtube.com/watch?v=RRuZHdduQng
http://www.wickedthemusical.co.uk/sightsandsounds.asp


Art and Textiles:
Since a young age I have always had an interest in all things artistic painting pictures and making things. I love being able to get in front of a blank piece of paper or a sewing machine and creating something. We were always given costume lists in my dance classes both before and after college and I took every opportunity I could to make my costumes which I still have bags full of. Every time I am given a piece to dance I always imagine what I would wear for the piece and often just sketch an outfit that I think would look good. When looking back at the history of Ballet I found it intriguing that a lot of the great artist including Picasso and Matisse created the sets for many famous ballets and similarly fashion designers (Coco Chanel) created costumes for them. The development of dance and art are more intertwined than one would imagine.

Living in a village I often find myself looking out into the countryside a seeing a scene that I think would make a beautiful picture and when I can, I try and find time to capture that on a bit of paper or canvas. Artists such as Georgia O’Keefe have inspired me to paint and I find some of Turner’s pictures of sunsets are something that you can get lost in. Getting in front of a sewing machine and sewing is something I find very therapeutic, I would love nothing more than to have my own dance school teach children dance and make the costumes for the yearly shows. Being creative is something I find very enjoyable and it is this enjoyment that motivates me to do activities that involve this.

http://www.google.bs/imgres?imgurl=http://humanflowerproject.com/images/uploads/okeefe-canna.jpg&imgrefurl=http://www.humanflowerproject.com/index.php/weblog/comments/okeefe_and_warhol/&h=408&w=330&sz=53&tbnid=GGUs15rrYlHNCM:&tbnh=125&tbnw=101&prev=/images%3Fq%3DGeorgia%2BO%2527Keefe&hl=en&usg=__UtUlXhtDFp6JUoi7JCuTUr8v43s=&ei=WE7PSvzFAc6W8Ab8wryCBA&sa=X&oi=image_result&resnum=1&ct=image
http://www.kenbushe.co.uk/html/_turner_.html
http://www.rohcollections.org.uk/SearchResults.aspx?searchtype=collection&keyword="tutu"&collection=Costume Collection

For those who want to know more

For those of you that want to find out more about Alvin Ailey and Ninette de Valois there are a couple of books that I can highly recommend that you read:

-'Alvin Ailey, A Life in Dance' by Jennifer Dunning
-'The Royal Ballet, 75 Years' by Zoe Anderson
-'Ninette de Valois, Idealist without Illusions' by Katherine Sorley Walker

Happy reading!

People that I admire

Alvin Ailey:
Alvin Ailey was the founder/ director and choreographer of the Alvin Ailey American Dance Theatre, the first all black dance company in America. Ailey himself had a number of teachers but the one that had most influence on him was Lester Horton, Ailey became a member if Horton’s company and when Horton died the Artistic director of his company. Alvin Ailey had a notable career as a dancer before creating the Alvin Ailey American Dance Theatre starring in a number of off Broadway productions including ‘The Carefree Tree’ and ‘Sing man Sing’ as well as Broadway productions including ‘Jamaica’ but it was when he formed the Alvin Ailey American Dance Theatre that he became noticed within the dance world. Ailey created a new dance technique and a huge number of dance works including ‘Blues Suite’, ‘Revelations’, ‘For Bird... With Love’ and ‘Witness’ some of which were more loved by the critics than others. His company became one of the most popular contemporary dance companies in the world and Ailey did not only create a company but a school in order to train dancers in his technique and in other techniques within a multitude of genres.

I admire Alvin Ailey as a choreographer, dancer, teacher and for the courage that he showed while providing black dancers a chance to be professionals at a time when there was little opportunity for minority groups. I believe that Alvin Ailey was an exceptional man with a number of achievements for which he is to be admired for. He was a man that created his own dance technique using that and other dance techniques in his self devised choreographic work that is powerful, elegant and full of meaning. Watching his choreography you can see that he demanded athleticism, perfect technique and most evidently emotion form his dancers as most of his choreography was inspired by Ailey’s own past often referred to as his “Blood memories”(Author not known, ‘Alvin Ailey- Founder’[Online]. New York. Alvin Ailey Dance Foundation Inc. Available from http://www.alvinailey.org/page.php?p=art_d&v=55&sec=aaadt [Accessed 07.10.09]) in a number of publications . He made groundbreaking changes within the American dance industry by having providing black dancers with professional work, he created a structured learning environment for his dancers and opened a school to train dancers (which would later become ‘The Ailey School’ one of the most prestigious dance schools in the world). Every time I watch ‘Revelations’ it takes my breath away.
www.alvinailey.org
http://www.youtube.com/watch?v=_emeASlSa2E&feature=related
http://www.youtube.com/watch?v=X1rSClaHWAM

Dame Ninette de Valois:
Ninette de Valois was the founder of the Royal Ballet and the Royal Ballet Schools. She herself was a dancer who was determined on learning as much about technique as possible as she took classes covering French, Russian and Italian styles of ballet. De Valois vision was to provide stability for British dancers in the form of a company and to give her dancers present and future solid training in technique by opening a school. She managed to make Ballet accessible for all, touring Britain and eventually the world, The Royal Ballet was the first British company to dance on a New York stage. De Valois herself danced with the company and also choreographed a number of new ballets as well as re-creating the classics however she also enlisted the help of Frederick Ashton and others. She was the director of the Royal Ballet company until 1963 Where she taught, directed and decided on the future the company should take. After retiring as director of the company de Valois focused her energy on the school teaching classes passing on her knowledge to the ballet dancers of the future.

I admire de Valois for her vision, her knowledge, her teaching and what she did for British ballet, she created a ballet empire two companies and two full time ballet schools is an enormous accomplishment. De Valois tried to gain as much knowledge as possible about technique in order to make her a better dancer and a better teacher something that I am striving to do myself and have incredible admiration for her drive to this. De Valois created a school which has given the world some of the most talented ballet dancers including Margot Fonteyn, her quality as a teacher is immeasurable providing students with the tools of technique and performance. Her dedication to her work and dream was incessant and I can only admire the amount of work that de Valois put in to creating The Royal Ballet, The Royal Ballet School, The Birmingham Royal Ballet (previously Sadler’s Wells Theatre Ballet and Elmhurst Ballet School. I can only remain in awe of de Valois’s achievements and as a teacher can aspire to achieve even a fraction of what de Valois achieved.

http://www.roh.org.uk/discover/ballet/index.aspx
http://www.youtube.com/watch?v=U6-6mdsfoMs
http://www.britannica.com/EBchecked/topic/154126/Dame-Ninette-de-Valois

Robin Antin:
Robin Antin was the creator of the original Pussycat Dolls Dance Troupe and the Pop group that entitled by the same name, and more recently the girl group ‘Girlicious’. Robin Antin was originally a dancer with a number of credits to her name but in the 1990’s her and a couple of friends started a dance troupe taking inspiration from the burlesque style of dance. The group grew in numbers and popularity with a number of Celebrities wanting to perform with the ‘Dolls’ and from this success Antin decided to make an all singing and dancing girl group with lots of sex appeal. Robin took an old style of choreography that originated in the seedy underground clubs of Berlin and created a new sexy, flirtatious and funky style of choreography and brought it to the forefront of musical entertainment. Robin Antin is a strong woman, a talented choreographer/ director and a business woman and it is these qualities that I admire about her. I first encountered Robin Antin whilst watching the E! True Hollywood Story on the Pussycat Dolls and then on the television programme ‘Pussycat Dolls: Search for the next Doll’ where she talked about empowering women and that confidence, strength and sexiness was the essence of what the Pussycat Dolls were about. Upon reflection I felt that this is what I felt when dancing in the style of dance that Robin created, confident and sexy and I admire her for giving the world choreography that can make a woman feel that way and founding a Pop group whose music has the same effect. Her business sense is incredible now having two successful pop/ R&B girl groups, The Pussycat Dolls Lounge on Sunset Strip and 2 successful TV shows under her belt. When seeing her dance and watching choreography that she has created it inspires me to dance and it is this evocation of inspiration that makes me admire Robin Antin.

http://www.pcdlounge.com/history/
http://www.pcdmusic.com http://www.myspace.com/girlicious
http://www.youtube.com/watch?v=2K25EcSliPc

My CV

MELISSA DYER

TRAINING AND QUALIFICATIONS
-Stella Mann College 2005- 2008
-Foundation in Dance Instruction for Imperial Ballet from the I.S.T.D.
-NQF level 6 National Diploma in Professional Dance validated by Trinity College London

EXPERIENCE
-Power Academy of Dance (Sep 09- Present)- Teacher of Ballet, Modern, Tap and Jazz.
-Stagecoach Northampton (Sep 09- Present)- Teacher of Drama.
-Bugbrooke Guides (November 2008) – Teacher of Jazz and Drama.
-Stella Mann College Lower School (2005-2008)- Teacher of Ballet and Jazz.
-Sylvia Bebb School of Dance (25th Oct 2008)- Teacher of Ballet, Modern, Tap and Jazz.
-Campion School Dance Club (2003-2005)- Teaching Assistant of Jazz and Contemporary.

SKILLS
Street jazz, Jazz, Modern jazz, Ballet, Contemporary, Tap, Partner work and Acting

THEATRE EXPERIENCE
2008 42nd Street Radlett Theatre Ensemble
2007 A Chorus Line Radlett Theatre Ensemble
2006 Best Little Whore House in Texas Radlett Theatre Ensemble
2005 Movin and Groovin Showcase Castle Theatre Dancer
2004 Young Performers Her Majesties Theatre Dancer/ Singer
2002 Think Floyd Tour Derngate Theatre Black Chorus

TELEVISION EXPERIENCE
2008 Britannia High UK Productions Arlene Phillips Supporting Cast

REFEREES
Mary Breen (principal)/ Janet Devenish (Deputy Principal) – Stella Mann College of Performing Arts, 10 Linden Rd, Bedford, Bedfordshire, MK40 2DA.
Caroline Gell – Campion School, 1-7 Kislingbury Road, Bugbrooke, NN7 3QG

About me!

My name is Melissa, last year I graduated from Stella Mann College gaining my Trinity Diploma in Professional Dance and my FDI teaching qualification in Classical Ballet with the ISTD.

Dancing is a passion that I developed as a teenager and it wasn’t until the age of 14 that I started training at Chaplins Stage School, while also attending Campion School Dance Club, Bugbrooke Regional Dance Group and Northants County Dance Group. I also studied Drama at school, so as you can tell I got into the performing arts in a big way. This passion is what led me to Stella Mann College where I was able to undertake professional dance training and gain dance teaching qualifications. Whilst there I took classes in Jazz, Street Jazz, Ballet, Contemporary, Musical Theatre, Tap, Partnerwork, Tap, Acting, Singing and from second year onwards ballet teaching while also taking part in a number of performances. My journey at Stella Mann was a fairly bumpy one as I managed to get a number of injuries while I was there two of which required operations and a lot of physiotherapy. Whilst there I learnt that my strengths were Jazz (Commercial and Technical), Ballet and Acting which now I am teaching as well as Modern and Tap, passing on the knowledge that I gained whilst at Stella Mann though I do believe that I am learning as much from my students as they are learning from me. I wish that I could say I was teaching full time but as I’m sure that everybody reading this blog knows we all have to pay the bills.

My aim when I went to Stella Mann was to become a Commercial Dancer (my ultimate dream was to dance on stage with the Pussycat Dolls but now having seen them live I now know that they don’t have any female dancers. Gutted!) as Street Jazz had always been my strength and to also gain my teaching qualifications so I could teach ballet, Modern and Jazz. My plans have changed slightly now having had the injuries and life circumstances changing my professional ambition is purely teaching. I would love teach children and professionals in training alike.