Great Change for Dancers
February 22nd, 2012More than Dance
February 21st, 2012
Hinged is a new contemporary dance company recently formed whose aim is to deliver a story through dance. Choreographer, Taira Foo emphasises “we want our performances to be filmic, so that we can really take the audience on an emotional journey”.
Three Danceworks staff were lucky enough to go on that journey this week at the Place for their piece – The Soloist. We left the theatre having been fully involvedin a heart-wrenching story based on the movie.
“The performance of the Soloist was transporting me into Julliard’s world and its emotional fragility and existence was as if in another universe” felt Cherine.
Though constrained by a running time of 25 minutes, the twelve dancers performing in The Soloist, including our own Sara Dos Santos, did an astonishing job, and with 9 pieces to learn in two weeks, with rarely a stop or breath between the numbers. But, according to Taira, Hinged is a very “physical company”.
Each dancer was very different which really adds to the piece – all individuals each with their own story. Altogether, it makes The Soloist an impressive performance, which touchedthe audience’s heart.
Coming up for Sara now are two new performances;in March, “I have a Dream” and another one, which she keeps on secret in May.We will be there to see her sensational dancingthen. Good Luck!
New Pole Dance Fitness Courses at Danceworks – Sundays & Mondays
February 15th, 2012
Adam Pudney on The Dream/Song of the Earth
February 15th, 2012
From Wednesday 1st February to Monday 5th March The Royal Ballet dances The Dream/Song of the Earth, one of its classic double-bills, at the Royal Opera House.
(Photograph: Tristram Kenton for the Observer)
The contrasting combination of Frederick Ashton’s Shakespeare-inspired The Dream and Kenneth Mc Millan’s sombre musings on mortality of Song of the Earth is one of The Royal Ballet’s most traditional and popular stagings. Based on Shakespeare’s famous comedy A Midsummer Night’s Dream – the conflict between the fairy king Oberon and his queen Titiana, danced by Steven McRae and Alina Cojocaru, causes the fairy and the mortal world to mingle and plunge into chaos. This is contrasted with Tamara Rojo as the girl who is torn between the hopeful lover, danced by Rupert Pennefather, and Carlos Acosta playing the Messenger of Death, in The Song of the Earth.
Adam Pudney, is one of Danceworks’ highly professional, successful and experienced ballet teachers, who’s CV includes dancing in the corps de ballet and as a soloist in the London City Ballet, working with the English National Ballet in Derek Deane’s arena productions of Swan Lake and Romeo & Juliet, Christopher Hampson’s Nutcracker and assisting with the choreography and setup of scenes in Stanley Kubrick’s Eyes Wide Shut. Since 2008 he has offered physically demanding and challenging advanced and professional classes with a twist at Danceworks.
Adam calls the ROH performance “top notch ballet”. He says that this is the level he and his colleagues at Danceworks aspire to reach with their classes for professionals, and that the occasional appearance of famous dancers at Danceworks such as Lauren Cuthbertson from The Royal Ballet are always an inspiration for the dancers in class.
(©Danceworks/Zsolti Szabo 2012)
Good news for dancers at Adam’s and other Danceworks ballet classes is that famous directors and producers such as Peter Mallek, the founder and artistic director of Vienna Festival Ballet, or Peter Schaufuss, former director of the English National Ballet and owner of the Peter Schaufuss Ballet, visit now and then in search of new faces for their companies and productions.
So if you are an advanced or professional ballet dancer looking to get to the level of the “The Dream/Song of the Earth”cast, wanting to work with experienced professionals and even getting a chance to be discovered by famous directors or producers, come and train with Adam and his colleagues’ at Danceworks. (Professional classes: Mo – 11:30/15:00, Tue – 10:00/15:00, Wed – 10:00/11:30/15:00, Thu – 11:30/15:00, Fri – 11:30/15:00, Sat – 11:00).
Danceworks raises funds for Sport Relief
February 15th, 2012
Spread the word!
From this Saturday 18th February, for five weeks to Saturday 17th March, Let’s Dance for Sport Relief returns to BBC One with celebrities such as British skier Eddie ‘The Eagle’ Edwards, The Only Way Is Essex stars Amy Childs & Harry Derbridge, Shooting Stars regulars Angelos Epithemiou & Ulrika Jonsson, comedians Ava Vidal and Terry Alderton, and comic performer and writer Arabella Weir; plus performances from JLS, Will Young, LMFAO, Tinchy Stryder and Pixie Lott.
Danceworks is taking the opportunity to contribute. During the five weeks in which the show is running we will donate £10 of the fee for every new member joining Danceworks, to Sport Relief. So if you’re interested in dance and fitness and want to support a good cause, come round to Danceworks, (opposite Selfridges Clock), and check us out. If you already know us, and have fallen in love with the warm atmosphere, the diversity of dance styles, classes and courses and are thinking about becoming a member of the Danceworks community, this is the time to do it!
Flamenco Festival at Sadler´s Wells
January 31st, 20122 weeks of pure flamenco
The annual two weeks of top flight Flamenco from some of the world´s
best dancers, singers and musicians starts at Sadler´s Wells on 7th February.
Flamenco is now popular all over the world and, is taught in many countries. In Japan, for instance, there are more Flamenco academies than in Spain. However, the origin of flamenco and even the word itself is uncertain.
This popular art is said to have started in Andalucia, but this genre of music, song and dance is a combination of Arabic, Jewish, Gypsy and Andalusian
roots and Oriental music.
The fundamental stylistic range of Flamenco was first introduced in the early 19th century – the Golden Age – and,comprises seven different techniques: Seguiriya, Solea, Tangos, Fandango, Cantes Libres, Cantiñas and Bulerias.
Flamenco was originally performed in theatres and later, in opera houses, and it is still developing. In London
next week there will be the opportunity to see some current flamenco masters including: Vicente Amigo, Manuela Carrasco Company, Olga Pinicet, Gerardo Nuñez, Antonio Gadés Company, Rafael Amargo Company, La Shica and José Mercé.
In Danceworks, we run six weekly classes with two great Flamenco teachers, aimed at complete beginners through to professionals. All newcomers are welcome. They are both enthusistic about the Festival:
Maria Vega has developed a brand new dance form – a unique fusion of Flamenco and Spanish dance, with a twist of Jazz. In her view, the Rafael Amargo Company, “is one of the hottest talent performing today”.
Lucia Caruso, has more than twenty years experience of classical flamenco, and prefers the Manuela Carrasco Company performance, and its “virtuosity and profound knowledge” and the Antonio Gades Company with Fuenteoveuna “folk-dance-drama, and beautiful period costumes”.
Both Maria and Lucia agree that the Flamenco Festival is a great opportunity for Danceworks members and dance-lovers to experience this heartfelt, narrative, sexy and athletic dance form.
Got To Dance Series 3
January 3rd, 2012
Got To Dance Series 3 got off to a great start on New Years Day on Sky 1. It’s a competition for a prize of £250,000 judged by Adam Garcia, Kimberly Walsh and Ashley Banjo- all great professional dancers.
From episode 1, watch out for The A Team – individual street dancers who got together especially for the competition, and Chuck – who takes Hip Hop to a new level. And from episode 2, Prodijig Irish dancers are going to be hard to beat.
Last years’ winners, street dancers Chris and Wes, now have their own show currently on Sky 1 – Let’s Do This!
In one episode you can see them rehearsing a new routine in a Danceworks studio, and joined by Ashley Banjo.
Check out their dance tutorials on the programme’s website.
http://sky1.sky.com/sky1hd-shows/got-to-dance-home

SING SING SING
September 2nd, 2011![]() |
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Like dancing and all other skills, learning to sing well takes time and practice. Sure, lots of people can do it a little bit and some people even have good natural singing voices. Make no bones about it however, to really sing, to become a master, takes time, work, commitment and lots of encouragement. We can love doing it for its own sake just for fun and we can also take a more professional approach if it is a passion that we want to make our career. It doesn’t really matter why people want to sing, the important thing is to JUST DO IT if it is in your heart to do.

Lorrayn de Peyer, Founder and Director of THE COURAGE TO SING, a UK based school of Singing and Voice explains, “Who we are is naturally so beautiful, and bringing that out and being relaxed with one’s self is so empowering. Singing is such an amazing release and way to honor our true selves. If we have the passion and urge to sing, it is so important to follow that calling otherwise it can be like being in an emotional prison with all that vitality and energy locked away”.
Lorrayn, goes on “All the singing stars we love and look up to from Beyonce, to Leona, to Mariah to Chris Brown, Rihanna, Will Young, Robbie, the Justine’s, have all had or are having singing lessons and worked so hard at there voices and performing. Knowing what to work on and how to work on it is the secret. Consistency of practice, concentration and showing up again and again and again are what make people good at it”.
She goes on to joke that, ”The first twenty years are always the hardest”.
Lorrayn should know, she has had a career as a professional singer for over thirty years singing all over the world and all COURAGE TO SING trainers are personally trained and supervised by Lorrayn.
Ten top tips for learning to sing:
- The very first thing a singer has to work on is their posture. You need to be standing up straight with the shoulders relaxed, the knees slightly bent and the feet firmly spread out on the floor.
- Breathing using the whole lung area is essential in singing. To do this the rib cage is extended and slightly lifted to allow free and easy breathing, filling up the lungs with air from the bottom of the lungs first.
- Warm up the body as well as the voice with a few simple stretching exercises because you are your instrument and any tension in your body will come out in your voice..
- Warm up your voice slowly in the same way an athlete would warm up before running a race. Gentle sighing and humming exercises work well for this.
- Good vocal training with an experienced coach will help you learn which vocal training exercises are the right ones for your particular kind of body shape.
- Practising in small amounts is much more effective than doing one or two hours all in one go
- Remember that your voice is made of flesh and bone and is a part of you-treat it with respect and it will serve you well.
- Aim at producing a good healthy sound that is truly your voice and that you like.
- Choose the right material to sing and learn. For example if you have a quiet voice you may not want to start out by learning a Beyonce song.
- Be patient. A voice takes several years of correct use to develop. If you practise well and often and have a good teacher you will be amazed at how after six months; one year and two years of steady and consistent work your voice will have much more power, strength and flexibility.
THE COURAGE TO SING runs Learn to Sing Classes at Dance Works on a Thursday evening from 7.30-8.30pm and a Sunday afternoon from 3.30-5.00pm. Please apply to Singing lessons Marble Arch to enroll or email/call: info@thecouragetosing.co.uk 01297 639922 to for more details.
We look forward to supporting you on your journey to increased confidence and ability as singers.
Written by Roxy Goldman
Interview with our Tamara
August 28th, 2011Interview with Tamara Mckoy-Patterson
former dancer of the musical FELA
We want to show you how proud we are of our staff, and how talented they are. Our lovely Tamara was a dancer in the musical FELA earlier this year, and as the current show is ending at Sadler’s Wells today, we had an interview with her about the experience what she had in Fela Kuti’s world.
First of all, how did you get into FELA?
I auditioned for it, I was in The Lion King at the time. I had two auditions and then my agent called to say I got the job! YeY!
How was the rehearsing?
We had two weeks boot camp in which we learnt the show. It was a great experience both fun and exhausting. It was tough! But an experience ill never forget. Good times.
How many shows did you have during the week?
Well usually in the West End we do 8 shows a week but here at The National as we were in rep we did 4 or 5 a week but in between we rehearsed.
So it wasn’t as exhausting.
Lol! The show is hard work as well as fun! Its a high energy show and Fela’s music alone will make you want to give 110% it was electric! So by the time you’re ready to go home after the show, your body was like its Game Over! Until tomorrow!
Did you like the job?
I loved the job! To this day we still talk about it. The cast, crew, everyone! It was an honour! Especially working with Bill T Jones. It has been the best job I’ve ever done and I hope to meet and work with more incredible and talented artists!
What is your most memorable moment?
Wow, that’s a hard one! Everyday something would happen that would make us laugh. Whether we were in or outside of rehearsals or the show we had lots of jokes, lots of laughs, we were Kalakuta.
But one of the things I’ll always remember would be our Yellow Fever solo’s! Getting ready for that in the dressing room!
If someone asked why it’s worth seeing the show, what would you say?
Well, if you like music, if you are a musician, if you love jazz or afro-beat, if you love dancing, like a live show or concert I’d recommend to go to see FELA. It is everything and more. It’s energetic, the music is fantastic! People who haven’t even heard of Fela, just by going to watch the show, will become a fan for life.

Hofesh Shechter: Putting a little rock and roll into contemporary dance
July 6th, 2011
The normal air of polite (if excited) restraint will be missing in the build up to the 12th July opening night of Hofesh Shechter’s Political Mother The Choreographer’s Cut at Sadler’s Wells. Schechter’s work has more than a hint of rock about it both on stage and in the audience starting with the live band and including an enthusiastically engaged audience cheering as the house lights dim.
The original production was enthusiastically received last year and has been augmented with additional dancers and musicians to create an even more powerful version of the piece. Sadler’s Wells will be removing the seats in the stalls for the show creating an even more rock show like experience. In an interview for Time Out Schechter speaks of, “[T]he audience forgetting themselves in the intellectual sense, losing the judging part of the brain,and they are suddenly drowning, totally engaged, they lose themselves inside this massive sound, movement, visuals, whatever emotions it brings.”
The combination of music and movement can be so powerfully harnessed as Schechter creates the score as well as the choreography. He has a musical background studying music in Paris and playing drums in a rock band. The cohesion of music and movement add to the power of his work. The choreography is often fierce, rhythmically driven and dynamic in its own right too.
The dynamism creates immediacy and excitement much like the provocative works of the Young British Artists (YBAs) Damien Hurst and Tracey Emin did in the ‘90s. This draws new audiences into the medium and Schechter has been the recipient of many prestigious commissions and worked as a choreographer for The Royal Court, the National Theatre and has created Maxxie’s Dance for the opening of the second series of Channel 4’s Skins.
Schechter seems able to live with one foot in contemporary dance culture and one in popular culture without struggling with any contradictions. He does this by focussing on his work with a passionate perfectionism, “I mostly don’t succeed in doing what I want to do, on a daily basis… The fantasy is amazing but in the reality everything is compromised, so I have to just keep trying again, and maybe it will get a little bit more focused, a little bit more like what I was imagining; maybe I will catch the feeling, I will catch the timing.”
In a remarkably short time he has built a powerful reputation for himself and his company.




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