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Notes on the seminars & other observations
PRIX DE LAUSANNE 2001
(Helene Markstein) <helenem@lisp.com.au>

"Integrating modern dance: a reality"
Samuel Wuersten

Girls from the Geneva Studio talk about Modern Dance

Contemporary Class
Samuel Wuersten

The Safer Way to Teach en dehors
Francis Weytts

The Issue of Port de Bras
Monique Loudieres

PREPARING FOR THE PRIX & AUDITION CIRCUIT Useful stuff

FOR THE PRIX SUGGESTION BOX

Salle Barcelone
Public Seminar 2
10.00 -11.30, Thursday 25th January 2001

Seminar
Integrating Modern Dance: a reality
with : s = Samuel Wuersten
Studied dance at the Hamburg Ballet School, the Rotterdam Dance Academy, and in New York. International guest teacher. Teaches a Cunningham based contemporary class. Started choreographing in 1992; his latest creation was for Martin Schlaepfer's BalletMainz. Artistic Director of the Holland Dance Festival, The Hague, since 1994; of the Rotterdam Dance Academy since 2000, Artistic Co-director of Steps#7 (international dance festival in Switzerland) since 1998; member of the Artistic Committee of the Prix de Lausanne since 1997.
f = Foofwa d'Imobilitie
Born in 69, Geneva from mother/dancer Beatriz Consuelo and photo-father Claude Gafner- Plies at the Ecole de Dance de Geneve and the Ballet Junior-> Double tour-en-l'air at the Prix de Lausane 1987 (Professional Level Prize) and double-cabriole at other dance competitions -> 1987 to 1990 kinds of entrechat-six with the Stuttgart Ballet -> 7 years of tilts, triplets and complexity with Merce Cunningham dance + received the 1995 New York Dance and Performance Award (Bessie) -> since January 1998, performed in New York, Paris, Brussels, etc. his self made " video_vice-text_dances" -< Teaches at the Sarah Lawrence College, USA.

bt = ballet training
m = muscles
b = bones

In this day and time dancers need to be versatile, they need to know the choreographers process and be part of the creative process. Its not sufficient to rely on a classical training,
The question "Is it (contemporary)a necessary part of dance training and does it compliment current training.
Why do contemporary dance?
Training is a bit of an unknown component.
As a teacher one has to carefully follow what is happening with many considerations.
* it enriches / enhances / where a career can take them - it can make opportunities in their life wider
* the idea supports even narrow focused bun-heads
* it will not interfere with their ballet course - (AND IS A NON-SENSE idea THAT IT DOES!!)
* the idea supports today's spectrum of dance styles/ body shapes and wide spectrum of aesthetics
* For Ballet students there is limitations to being 'bigger' in the use of space/use of breath
* the finding and using of their 'centre' for ballet students- gives the opportunity to explore movement and take this knowledge into their ballet - creating a FUSION
* There is no longer a separation of styles, but a 'fusion' of styles
today with purely Contemporary and purely Classical sitting at both ends of the spectrum and in the middle people who can do both.
ok with bun-heads only:
* what they learn is breathing and they can take that into their ballet training
* finding their centre - very important
* simile is like going away - travelling
when you go away and come back - you see everything anew
through contemporary they can compare -seeing the difference
* gives an early choice to students, if they start early they can have a choice - can go deeper - use choreographers of their choice or just for their own body movement education
Sam Wuersten-(amongst other things)(Stehen Petronious US.)
Pedagogues - Often it is not clear in the educational picture of what they are doing - curriculum
Pedagogues - experts know what to do with you (the child)
Foofwa - Educated choice helps you as a dancer when you travel on -
A grey area - a contemporary technique class
- what do you work on?
The key is the approach- experience the movement
- how to get somewhere/ not the point
- physicality - sense of weight/ a lot of variation in this
- a down feeling/centre drops
- with ballet training the feeling is up
* difference - allows for fast movement/ ready absolutely - to go!!
* ballet training struggles with this 'centre' being up in the chest
* logic of placement/ also of turnout
* body in space - for ballet training - is to the audience
Contemporary - is the centre of the universe (front is where you face) - relation to space in this sense also makes sense in ballet training, as not always directed to audience
*Torso - verticality is let go of
without any stability
* adds range of movement to ballet training


F- Basic technique - Graham/Limen/ Cunningham
Look at body like BodyMind Centering and Alexander Technique
* these teachers - had a certain idea about the limitations of their previous training etc
added their own ideas turning it into a contemporary technique/style

THIS NEW CONTEMPORARY - is 100 YEARS!!! of contemporary - Ballet evolved as did contemporary
with modifications etc.
useful to remember that

example - from ballet to contemporary what is needed
is to shift:
* the TORSO - Cunningham did a characterisation
He took ballet legs and put contemporary idea into the back
speed/ complexity of legs also involves torso taking the space and taking it further into tilt/arch
etc.
* open 2nd more and cover space as big as possible even get in place with body stretching in all
directions -torso on top * stretching all out into space
S * Taking big steps - how to develop pelvis is the key
eg: develop say with tilt
also strong sense of pelvis
bt have it all down ask then to tilt develop
They have no sense of strength
Asked to make big - loses centre/paradox

Highly essential in bt
In all areas have to have a sense of centre
consider - muscles - bone structure
What makes what possible - is it muscles or bones?
Approach m or b
bones- start to talk about this - often there is very little movement in the skeleton
muscles -dancers with bt have developed this awareness

* looseness in joints
* keep centre
* in isolating through joints bt has the hardest time with this

s* demonstrates
ex;
up/down/front /back (shoulders)
bt cannot do- almost impossible for bt
*doors open- cover more volume if they incorporate this knowledge

front is always where you are
perspective - new front each time you change direction
facing or facets -to be prepared for -centre is helpful could be complimentary- this type of training helpful
------------------------------------

Young girls from the Geneva Studio talk of their experience with contemporary or modern classes -6 bt -13yr olds 14 Mod 14 jazz
C. says Modern helped her to relax/stress
is complementing her bt and anatomical understanding of her body - knowledge through modern dance class position etc -form-contemporary form more natural-understood bodies

S* A 'given'in bt training perfection
what she doesn't like -is sometimes too much freedom -too vague

S* Do you take one from the other in experience
-supported by teachers but also from her own experiences
F* the interest
* quick change of perception of the different
Her body can go from our approach to the other
shifts
-choreo idea
eg from linear body (ideal) and what is flesh and muscle
choice as student/choreo experience movement in different ways
*in both is the love of movement
the experience of dance (no turnout demands etc)
does much to further experience of movement
Qs from audience
13 yrs start 1 1/2 2-3 hours a week
from9 - is that too early?
A* not too early - absolutely not - start sooner than later
or as they grow they get caught in a single form
At the PRIX - older students have probs letting go - trying things-younger will 'get it'
letting their movement be as second nature- ideas -fantasy etc
F* Both impro and classes of contemporary tap into movement- later is harder
There is no right or wrong way
They are free in any type of experience
- this will help
1. As interpreter- are more alive on stage
implication - There is body conscience
They are the ones creating the movement- even if not impro - they know how to create movement
-imitating movement
2. They will want to choreo early - they know what they like and look for- with understanding how choreo is built- gives tools and builds understanding of how this artform is built
Q* - Development by choreographers- pedagogues
what is opinion - should it be choreo or like classical
A* - Skill - that goes into teaching background if creative or just teaching IMP - Teaching skill present if choreo at heart - as long as good teacher
-direct teaching from teacher at heart is just as good- no rules
skill in teaching is very point
F*- some pedagogues are terrible teachers, some choreos are terrible pedagogues
Q My teaching- very important to have free movement time - have to teach them how to reach this goal
have incorporate a little time in each class to try this
2 how do you develop jazz
A - fully from the music/
how you centre
S* -ballet dancers stand from chest
this is holding on- from a very weird place
drop centre without collapsing
not holding on to standing from up the 80% of a bt class stand
not a clear understanding of this
demo:
Take 1st position
(use of long)
drop from standing-
focus in different ways
not like centering
-don't go to place addressing

start at top-
and you lift your head - to fall
choreo understanding of side and back - head is not on
just talking of head
- also feeling good in head frees the body
- feel a power in area of 'centre'
establish being 'in the body'

- building a 'centre' is a LONG PROCESS
-every experience you do brings back a sense
-much bigger than you think
- everything comes and comes and comes, and keeps coming from this centre
demo- doing 2nd plie-
(use of long)
its what you say, sensation reaching into space/ wide back - with release your hips
-redirect attention
-are my hips open
-haven't even thought about
corrections - frappe battement.
Head sh etc
-observe on one area
teachers need to play
-more surprising where it goes
F*- having basic knowledge
being closer to the skeleton image is not the priority
bt try what your going after
go inside- body knowledge
-you can bring this body knowledge to the bt
can present this way -build cross training
Q*
Have you taught 10 yr olds impro/playing with gradually into form basic travelling dev. parallel a position/ floor
Q* 11 girls jazz
A* - not authority on curriculum
think 11 is a bit young for jazz
found jazz component
-approach/presentation
q -if your young better
F*- All just add - not cancelling other forms
As long as this (in their minds)is not the only type of dance- forget bt Jazz is it! etc. syndrome
Q* boys- take longer to find their shape- what would you suggest for contemporary

A* - generally boys resist, boys have a better time of it, boys have more play values
A feel of weight and throw of the body into space
girls have
probs
revealing
in class
demo:
she- swinging arms
girls are challenged
boys find it naturally
key areas
therefore MIX classes
an area where they meet and relative as dancers
F*- female bodies are ideological
movement difficult
q medical french - concern-to prevent -safe dance bt over- prevent injuries by contempt and different styles

In trying to get more boys doing devise schemes through hip hop, athletic free style- greater way, sneaky
1st week- connect to dance seriously
gradually being pulled in
introducing formal language and ways of dance
-bring them into contemp class
see how they enjoy it
then ballet class
-pulling through various characters
-have to open door both ways not dismissing one or other
F*-ref to ballet because seminar-in a class situation
-not necessary- plus to have bt for modern dancers
-not 100% NECESSARY- GIVES ONE TECHNICAL ABILITIES
THERE ARE MODERN DANCERS WHO NEVER TOOK A BALLET CLASS
-THE IDEAL DANCER IS GIVING POSSABILITIES
DONT GET STUCK IN BALLET
Q*=BOYS-VERY LATE 13-14
VERY LITTLE BT
TAP JAZZ MODERN- FAB MOVERS- FLOPPY
-TO ENCOURAGE TO CLEAN UP THEIR TECHNIQUE
-PULL THEM IN
Q* IS THERE A POINT TO YOUR STEER
A* IDEA OF CLASSICAL-ADJUST TO CONTEMP
GIVES THEM A TRANSITION
CASE TO CASE
JUST PRESENT OPTIONS- CLEAR
SHOW SPECTRUM/ LET GO OF DREAMS
NEVER EVEN ENCOURAGING TO BECOME A DANCER- CANT PUSH OR STEER
MUST BE CAREFULL ENCOURAGE only PROVIDED IF SUPPORTED
CONSEQUENCES AREA SO ENORMOUS
*A DANCERS LIFE MUST BE THEIR DECISION
Q* - STUDENTS JUST WANT TO DANCE - NO OPTIONS IN 50'S NO LIVING OUT OF IT/ START OUT OF JOY OF DANCE- NOT WITH SPECIFIC TEACHING BUT WITH RYTHYM/FOLKLORIC THEN AREA TO TURNOUT- THEY SORT THEMSELVES OUT- SOME LIKE STRUCTURE/ LIKE SPORTS TRAINING- USE TURNOUT - FROM PARRA TO EN DEHORE
MUCH LOOSER AND STRENGTHENING
A* - JOY OF MOVEMENT
SHOULDNT CANCELL OUT EACH OTHER
LOVE OF DANCE
IMP TO NAME
ALL IS DANCE
SPECIFIC ABOUT DIFFERENCES
Q BE AWARE OF CONT INTO BT- DONE FULL OF MOVEMENTS FROM CONTEMP DANCE- IMPROVEMENTS THAT HAVE COME FROM DUNCAN ET ALL, ETC.
THERE IS MUTUAL INFLUENCE CONTINUALLY

HOW TO TRAIN TO BE HAPPY AND BE ABLE TO PROGRESS AND DANCE IN THEIR LIVES.


CONTEMPORARY CLASS -Samuel Wuersten
SOME NOTES

*USE TORSO TO CARRY YOU AROUND

*SECRET OF ADDAGIO -BE LATE -DONT STOP MOVING

*WHEN YOU DROP YOUR HEAD- HOLD TO YOUR CENTRE

*GO THROUGH THE MOVEMENT
-MAKE YOUR WAY THROUGH THE MOVEMENT NOT 'OH GOD, THIS IS SO SLOW'

*USE THE MOVEMENT WHEN FACING THE AUDIENCE TO CLOCK THEM
AND SWING BACK FROM THE FORCE OF IT

*ENERGY TRAVELLING THROUGH OUTSTRETCHED ARMS -STRENGTH IN CHEST

*FROM REACHING -BRING MOVEMENT BACK

*STAY TILTED FORWARD IN SPACE

*INSTEAD OF JUST STOPPING AT END AFTER FINISH OF SPIN
-SPIN -STEP-SHIFT

Salle Barcelone
Public Seminar 3
16.00 -17.30, Friday 26th January 2001

Seminar
"THE SAFER WAY TO TEACH EN-DEHORS"
with : FRANCIS WEYTS

Born in Antwerp, Belgium. Graduated as a physiotherapist from State University of Antwerp and the Antwerp School of Physiotherapy in 1984. Additional courses in manual therapy, osteopathy, muscular chain therapy (kinesiological and physiological chain reactions), regularly gives seminars and works with companies. Official Physiotherapist of the international competitors of the World Acrogym Championship in Antwerp in 1988.
Currently runs his own practice in his home town. Takes particular interest in the bodies of people who 'overuse' them, like gymnasts, dancers, top sports-people etc. and successfully treats them.

How many teachers here say unconsciously "turn out your feet?"

There is a safer way
(3 children run out and lie on towels placed on the floor, and begin stretching - all aged about 8-10)

NOTICE - 3 different bodies - 3 different ways of stretching
personality/constitution/pelvic alignment etc ALL DIFFERENT

Important to leave when teaching
Don't look at me -they learn, they are being looked at
position turnout / not hips BUT joint

Important to learn where its movement is happening
Try to look at differently - so you can reach the child
IMPORTANT -to use the same words
your vocabulary is important

hormones/food/climate/type/afraid-will cramp up etc

movement going longer than position

pelvis moves/twists/lifts etc
THEY NEED to know- certain muscles are being used

1st girl asked to stand - tighten buttocks/quads -"Marche" -(a state of tension, not a nice position)
asked to "marche" (walk) freely - Buttocks relaxed in a state of adapting - the muscle in general is not tense
* when you see a class = children are in a state of tension
*those 2 muscles put the legs in parallel position/not open when tense
to turn in rather than out
position of rotation - other muscles are used, inside muscles
side go to the back to lift
inside the pelvis
The difference is:
the child is using imagination
the more freedom you give the child - the more you will see it happen

-different state of mind when just doing their own relaxed stretching

food- WILL MAKE inside different
just- born - has a rotation of40%
20years -15%
mineralisation is also changing
child growing has to find another way -supple bones need fruit to keep the bone supple

hormones- also can be fed
elasticity - full grown fat is full of reserve
a lot of elasticity CAN BE ACCESSED in another place

How do you check turnout?
laying on stomach
Ask Kids to lie - bend knees open and cross feet at ankles
dropping legs, pelvis block to table
if she is tightening -showing turn in buttocks
when she relaxes it drops open
other way of testing child
on back - and just dropping, lumber down
if arching (cheating) -check
Important to do both

-you can check
on 90% is much less - also VIP 2nd
notice the need to take care of natural turnout

next victim
Important to use the same way of working the child EACH TIME
NOTICE DIFFERENT POSITION OF FEET
AGAIN PUT PELVIS ON FLAT
YOU KNOW SHE IS COMPENSATING
CHEATING BY ARCHING
AT 90% YOU SEE THE REAL POSITION OF TURNOUT

Next victim
legs are down - see more flexibility
when you see the difference
you can adapt
see dropping legs -pelvis totally down 90% elasticity
a natural turnout is observed

an easy way to work turnout

cannot focus blindly
turnout resembles to plie/passe
tie elastic on foot
hold down pelvis
release leg
I can walk almost all around
pelvis still on bed
when I do movement - I keep in mind position of the bone
even slight lift of knee
when you lift
to alter joint to stay inside the bone
if you don't
you see her lift and change her hip
-she would have no stability on 90%-she is stuck
(pulling elastic Parallel up)
she couldn't perform
she would twist her pelvis to compensate
needs to work her elasticity
in the back leg muscles
you can check

Another Imp Quad front muscle
- show forward in turnout, they connect the pelvis toward the floor
in dance you stand
most important muscles are feet
insides of legs give central position
inside stability
when you lift - the inside is active

don't use outside muscles- they will lift the pelvis

kids need to learn about their muscles

if you watch how they 'hang about'
gives you a different position on how to work with them - notice the compensations/weaknesses/inclinations etc
they need to feel these muscles to work more accurately with theses muscles
eg
standing on point- because they don't know how much to control the understrength of feet when changing from 1st to 2nd
etc
outside muscles will pull you over your foot

you want them to stand
Have to feel the muscles- inside the pelvis
DONT HAVE THE TENSION
YOU WANT THEM TO HAVE A SENSE
need tension
diff -is a sensitivity
before and after class - the joy of working in class - the tension
inside - tension gives retention and no turnout

"express" is always a turnout
if you cut that they will turnout

simple eg:
additional info -how to meet)

close the legs
grab a ball with their feet- notice no strength
you have to ask and tell them about -don't tense here
try to feel-its easy if you touch them-victim tensing whole leg - put at ease with hand to control
victim pulled hips down so she can use correct muscles -inside
outside muscles released

DO THIS BEFORE CLASS
get to know the insides of their legs as playtime
hip down, 1 bent knee other with elastic around heel -teacher sitting next to her and pulling elastic

*same position
*same muscle
*they will start at barre
tendu and closing
its not pushing -its closing from inside

he didn't ask her - said she was doing it correctly if she didn't want to get pulled closer to him the elastic was winning

With Ball (textured heavily bumpy)
trying to use toes to pick up ball- keep as game
to keep turnout - need strength of feet

child plays with ball - flex and point = control -won't start using achilles, no tension in achilles
must be flexible - to end of movement
if tension in landing!!-

turnout is done by muscles of feet
not calf or quads
feet muscles will give you 'fine' movement
eg: slow large drawing is from arm,
elegant drawings from fingertips

as a society-not used to standing
not using foot in front
not using for fine control of movement

more and more control of movement by use of foot

Other ways with elastic
- on knee leg
pushing down
point-
making stronger
more she works on the distance from joint
she won't have tension
the more tension in feet
the more relaxed in hip
- builds strength and flexibility /stability


-in all the ways of working, look/think
"what's wrong with this?"

elastics on both toes
if you don't have strength to keep your toes straight
can't keep turnout steady on inside of toe

Students need:
To know which muscles to get you to both, stability, etc.
is as important as learning 1st and 2nd position
SAFEWAY
TO TAKE CARE OF INDIVIDUALITY OF CHILD - SO YOU KNOW WHICH WAY TO TREAT

LOOK AT THEM LYING DOWN
SEE WHERE THE TENSION AND STRESS IS
if compensating, arching etc- she will have a lot of tensions towards the pelvis and hip joints

take care of elasticity
of the rest of the body

if the students work together - they copy their environment
if you see someone sitting "comme' ca" and they look skinny and etc
they think that's how they should do it. etc.

They have to enjoy doing - learn basics - play around, etc
As a natural way of keeping turnout

write down your observations
eg. needs more mobility -in spine
you have to look keeping an eye open
look she sits well - straight alignment-natural turnout
- she will lose this if she has tension

alignment through to toes
plie turnout you can do on floor
relax the knees
The more you relax, the more possibility you have
In the alignment- take care how they feel about it
communication
if you can't reach a child one way
you need their attention

Trochanter? muscles -outside
to get a feeling of turnout use "deepen" in and around the pelvis
eg. buttocks tensed in

feel balance - of joint in socket
on one foot - standing/hanging/turning

Ask to feel the difference
they will feel tension

lift
if she can lift knee keeping turnout
doing developpe and j stretch
won't have to use tension of toes
before doing big lift
you have to feel the little one
the small play
-use small goals

Madame from Varganova gave her exp. of Cambodian turnout
she had to go there to organise a ballet school - had to select from 100s all having natural turnout
her conclusions:
how babies there are carried across mothers hips in 2nd position
all slept on floor without cushions and they don't sleep on their sides
therefore have a natural turnout
They had difficulties with back of foot - difficulties arching foot

Squatting for half a minute will relax inner muscles - which assist in lifting the leg

also for osteoporosis
if you can
you wont need a prosthesis

joint can be overused -older can suffer

you can then stretch-look at literature on the subject- you need to work the other way -in!!

To keep it oily -use the opposite way
14yrs you loose it

a good turnout- could be looked at as a medical problem

use flexibility
if you use only to get elasticity, expect to get overuse of cartilage

if you use turnin
will feel more tensing in small muscles around inside and surrounding pelvis

which will give a better general flex/stability
a better growing possibility
keeps a healthy bone
won't have probs later

tutu girl - if you approach at the time and don't have muscles in toes
if they don't have - will provoke probs around 18-20-28 yrs
snappy hips/shin splints
also you could absorb through arches
Important to stretch out in all directions

learn about muscles you are not much used to using
feet/inside muscles/posit of spine(same package)
Q & A
if muscles are bosses
import in everything happening
what can you do with abdomen
can they help with hip probs
a safety zone
Is there a difference between boys and girls?
A- Brain is boss - will give you a command of activity
Nerves-inner and outer will influence your muscles/strength
if you use your imagination
if you feel well -no probs
if you feel sad -tuning drops

abd wall- gives you a better stability

if sources have a natural way of organising ability
in ballet love and stability
in your exercise- you learn about muscles -all ages

Boys and girls do different dances
boys jump more- lift more-lifts in basics all are equal
* hormonal diff
*pelvis is diff
*bones are diff
- you must look at all children
will be different for everyone
length of legs
play of hormonal system
girls inside -boys outside
different way of feeling
boys- contact with outside world gives different tensions
-to adjust
in class in certain lessons
-occur at diff times- diff times of starting
late age
anaemic
boys will make more muscle
the female diff shape
girls will do the same but diff

Q
the elasticity of muscle will be imp for up etc
what muscles to back?
A-inner sides
held toe well and feet will also
sole muscle activity
Q Some children have very short front part
A just by squatting feet arched
keeping pelvis straight will stretch this part out
leg- foot in front stretch
watch the quadroceps that lift!!
if there is contradictions they must be dealt with first
Q there are 3 interlocked muscles- can you keep?
A Inner and antagonist on the other side
-for a child when you put too much tension eg. 'use your turnout!"- will cause turn-in!
Q doctor -Interest in foot work
high jump
in medicine "pronnio ceptive"
control of position of joints-
encourage play and solution with foot- go to toes
try to find balance
helps a lot
to improve their work
A Boys- higher in basketball etc landing through toes if they don't have toes working - bad calf muscle of tension
get strong by smallest part of the chain

turnout -we can control and help from something far from the joint

longer life/stronger movement

Seminar
The Issue of Port de Bras with : Monique Loudieres
After 5 years training at the Paris Opera School of Dance, she joined the corp de ballet and was appointed danceusse etoile in 1982 after interpreting "Kitri" in Nureyev's "Don Quixote"
Since then she danced the entire classical repertoire, as well as ballets by the great contemporary choreographers. She was awarded the Grand Prix National de la Dance in 1993, and was nominated Commandeur des Artes et des Lettres in 1996.

PORT DE BRAS seminar with all the non selected candidates (after the selection of the semi-finalists - only 3 Australians chosen - Michelle Edwards, Joseph Aitkin and Natasha Kuson, Natasha later being the only Australian to go through to the finals

Some notes:
This was in the form of an observed class, with observers sitting above the class in an oblong mezzanine level looking down. Monique Loudieres was 'miked' and there was a lot of confusion with language as each thing was interpreted. Speaking English and French - 3/4 of the time was spent in translating into the several languages needed, it was a slow frustrating experience for everyone.

looking for feeling in body
impulse out - to get wider to stretch
go to work of timing
think back long, all way to fingers
together-work with back
careful of the lift
change with back
stable pelvis

energy coming from 'centre'
plus from pelvis


resist/yield

CHAIN of students with gestural movements of:
"hullo/good morning/what are you doing here "?
be yourself - use your personality
project what you think
be big/big back
salute up/shake hands/both hands out for "what are you doing here ?"

PLAY using ALL BODY

GROUP placed as in - RING A RING A ROSIE
each facing a partner in a linear circle
every second facing the other way
salute to each other then move around them, weaving, to the next person in the direction they are heading

IMPROVISATION - 2nd exercise
partner must understand from port de bras your intention - Using any of the previous port de bras exercises - your body following it
whatever the impro
expression sent of choice shy/angry/etc

Groups lined up opposite each other for call and response
each performer tells the pianist what they hope to express and he plays appropriate music
after the impro piece - the opposite partner speaks what they thought they were looking at

The execution of this game was very moving - the tall blond Russian boy expressing grief, anger and depression then as a hope for the future with what he was able to experience.
Steffi Hancox from Australia also giving a stunned, sad rendition of her feelings of the prix that bought tears to everyone's eyes. A student who performed a most beautiful piece of personal Disappointment, in a completely mature and dignified manner for all to understand from every atom of her body, absolutely understandable, even from my position of viewing her from the back and looking down on her.
A wonderful way to communicate the mixed feelings of this group - who were the non-selected candidates, these classes were open to the public.
As a means of showing oneself off, these varied open classes classical, contemporary, variations on a daily basis worked in a way, better for them than the selected candidates. When not performing for the judges, these selected students were thrashing themselves, working together on a tiny allocated space going over and over their variations and especially bits that were not working for them. Many of the non selected were picked up by schools canvassing talent and I would hazard a guess that all of them were offered places somewhere. I know all the candidates I spoke to did, including the least prepared.
As a piece of group movement therapy this was an excellent way to communicate in the vocabulary that was consistent with all of them and needed no interpreters. Movement


On the last night of the Prix buffet/cocktail I spoke to Sam W from the Rotterdam School telling him how much I enjoyed the Contemp seminar and how moving the port de bras seminar was in the global language of human movement. He said much had changed over the years and was a continual battle that was slowly coming over. It really helps the young dancers to see people who are their models and wannabe likes, such as the French teacher -young and from the Paris Opera School - their ideal. If they see her talking of 'centre' and stability of pelvis and weight low and down, they think there must be something in it - look who she is! and where she has got to. I suggested maybe they were ready for contact impro and how some of them would really love that. He thought it might be a little soon for that, but on the game played out in the port de bras- we talked of how something along these lines as an introductory movement set early in the prix may be useful in breaking down the oral language barriers directed in a face to face way.
Thinking about it - as it is a competition - maybe its in the best place after the selections when the tears and disappointments are almost done with, because the cockiness and competitiveness would be a trifle overbearing whereas at this position everyone is 'over it'- allowing a freedom of personality to show through their movement dialogues.


'Madame' from (?) Vaganova Russia, getting in on the act in 'adagio speak'-only to be politely exited off.

THINGS of NOTE: for future companions to PRIX de LAUSANNE, Competitors, AND ON THE AUDITION CIRCUIT
Can you really be thinking of doing this?

BE FIT - However fit you think you are - you are not in any way prepared for the amount of walking and stair climbing you will have to do.

COMPETITORS
LESS BAGGAGE- 2 manageable bags (one of these is your costume/Tutu! If it doesn't fit in your bag) the other wheelie bag will be filled firstly with all your pointe shoes and ballet stuff /cd's tapes/makeup, hair stuff, then your thermals and day wear, you must be able to lift it and carry it up stairs. Then your handbag, a separate hanging about your person inside your coat (document/valuables carrier) as well as your carry-on bag but you must be able to walk with it around/on your body comfortably. You only have 2 hands, you will also be carrying food and drink when you travel on long distance trains.
Less is more. Luggage is a pain in the back and knees factor.Luggage control may make the difference between coping or not!
If you can't carry it for hours - walk - practice, drag it around the block, at one time you will have to go further than this! If it's not manageable - cut back - don't take it.
Thinking of not coming back home? Pack bags to be sent later, don't complicate your life until you have a place.

HOMEWORK - Look at maps of the areas you intend to visit. Know your addresses and how to get to them - Research out hotels nearby. On arrival in a new town/city before you go to sleep at night try to take a walk to the school in the daylight. The student then knows how to get there for an early start in the morning. Transport - be aware of the differing types in each city - some of this homework can be done before you leave home. Look at the routes on metro maps and work out directions and changes - it will save time when you are there and tired from travelling etc.
Be prepared to look for and leave all your luggage in Railway lockers, if you are only in a town for an audition.

CLOTHES -You must have tried and tested everyday walking boots/coat suitable for all occasions and snow! Apart from 3 pairs of thermals - and one could get away with 2 and a tube of commercial handwash. Girls need a party dress for the final night no matter what happens, but make sure it goes with your warm accoutrements, meaning warm coat and accessories - you can always slip on thermals coming and going on the tram to keep those bare Australiana legs warm in -0 degrees. The coat you choose should cope with all occasions from dressing up on Finale night - if it has a hood, this allows bunheads that one less worry about keeping their head warm without mussing, in below zero temperatures, and allows for hair to be bunned before heading out early for classes. A scarf that works as a hood and scarf works really well inside a coat hood. One needs a scarf and waterproof gloves for freezing hands. A small tote-ish foldaway bag that can carry party shoes with longjohns is useful, pulling out the 'if you must' take glitzy party bag when you get there and dumping the bigger bag with boots and l'js with minder who could cloakroom the lot at the Theatre. A Ballet bag for everyday shlep, that has a smaller cloth bag containing all your ballet shoes means you are never caught short. A small umbrella that lives in your coat pocket. Coats with big pockets also carry maps etc.

DIET Be prepared to spend your spending money on food. Its hard to get fresh vegies and fruit in restaurant situations and worth asking around for. You need to eat well and regularly to keep up the energy levels required for travelling around like this.

ON GUARD - for dehydration- because of $ costs, drinking is one of the areas that if you are not careful, it happens - one drinks less. Travelling between one place and an other, being in over heated surrounds and being over dressed, coats, thermals etc. This is one area you can't give up on. Watch out for headaches, sunken eyes dry tongue, remember that WHEN YOU ARE FEELING THIRSTY, YOU ARE WELL ON THE WAY TO DEHYDRATION
MAKE SURE - student always takes a small bottle of water/with lemon etc.to class/audition.

IN PLACE - Before you leave - a downtime set of exercises for relaxing completely - it doesn't really matter from which discipline it comes from, as long as it works for you. It could be anything from meditation to BodyMindCentering. As long as you and the student (who may have a different one to you) can use it to both: relax - focus - instill calmness - ease into aches. Important for both of you. It is most important for dancers because they rarely relax completely. By osmosis minders stress out with this.

SLIM JOURNAL/BOOK
For the waits in between classes and auditions, can be for letter writing also drink and food carried with you can come in handy during the wait - though most places have a canteen - you may want your own food and 'something' to do.

CLASSES - For the student - Experience all the classes that can be got for nothing!! These are also private Auditions, if you are doing these classes out of Audition dates and just doing it with the regular 1st or 2nd year morning class, that generally starts early, be there at 8.30 for a 9am start. You would pay dearly for these as a class if you could get into them. It helps to tailor what you look for in a school - which is different for each person. And think.....would you like to be in this class for the next 3 years?
Just up the same street as the Theatre Beaulieu for those attending the Prix de Lausanne, is the Rudra Bejart School of Ballet. If timing works this could be an opportunity to take a class for both the experience and as an audition. A class here could be taken just before or just after the Prix, before leaving Switzerland.
The Prix first classes are usually Contemporary for girls, separate class for boys, one of these will be open to the public- try and make it to the boys - not only for the obvious interest and excitement but it is usually the same class and as a reinforcement tool can be very useful to view. As a spectator you will see how others treat the same information and how they manage it - they are not compulsory at all for students to view, but extremely useful if your time-table permits.
The Prix has classes for all non-selected students and when and if you find yourself in this position, take all these classes offering. You get some of Russian/Paris Opera/Royal etc. teachers. - to get to a barre and do a class will help with any disappointment. These classes are usually observed by the public and ballet school scouts, directors etc. Just show how really wonderful you are here, do your class here as a performance, and you will find yourself offers you will be hard pressed to refuse.

TAKE OFFERS OF STUDIO SPACE before the Prix - use this as an orientation not only for where you need to enter etc. but eye-balling the other competitors, where the different studios are, the terrifying rake! And enjoy the opportunity to strut your stuff! They will play over and over again going through the different variations where you will see 25 Giselles suddenly take to the practice space or 30 Don Quihotte's fly through the air doing extra spins whilst undoing their shoes, everyone is excited and the atmosphere is more relaxed and showoffy rather than full-on into the Prix. This begins with the Registration and the giving out of numbers that you wear all the time - because you are on show all the time. Minders also get a green name card to wear at all times. The prep introductory chat is inspiring and you will be told it is an opportunity to be there and to make the most of it.

SAY YES! AND THANK YOU! TO ALL FOR ALL THAT YOU EXPERIENCE OR ARE OFFERED

NEGOTIATE This is what you will always have to do in this career. In doubt? Ask or start with "Is it possible..........?"

ALLOW THE STUDENT To do all the talking to directors, if they need special requirements or need to ask for scholarships, they have to talk to the top. Functioning as a mature young person who can speak coherently at any level is an advantage and noticeable. The directors need to know what they are investing in, that they are capable of functioning on their own. The student needs to be able to sell themselves to this director letting them know what they have done /achieved/won etc. - with a cv to back it up or a portfolio of the needed poses in leotard, plus whatever photos that are good. The minders are there just to be there, for these young dancers, this is their trial run on the next step of their career. They may be only 16 and still immature with a frightening realization of this - that only hits home when a - 'oh how cute! - totally inappropriately -or a -that's OK, I can deal with that!- when it is out of the question and it's only their immaturity that makes them say it - The usual teenage thing of saying the opposite of whatever is happening - do you like that? No I don't like that - Oh really! - I actually find it rather nice, etc. The inappropriate laughing as a reaction, at something or someone that they haven't seen or a situation not experienced before, or as a sexual tension, may come as a sudden shock from the sophisticated made-up young thing you are travelling with and you think to yourself -"where do you start with all this?". IGNORE IT ALL!! They have to be able to function in their class work as well as living, looking after themselves. They must be able to ask questions and look for information - find the maps - find the right platforms - look up a train timetable etc. - as a functioning adult, when everything is different to what they are used to and the language is sometimes not their own. They also have to be able to experience travelling a bit on their own - catching buses and trains to meet you somewhere. While the minder is around, do short trips - once they know they can handle it on their own their confidence will grow with each European city, as all have a similar set up, once they crack the code they can function in any of them. They have to be able to deal with questions being asked of them, drunks, young men stares. Get them to ask the hotel prices, organise the travel-checks, the hotel bills, questioning it if needs be. They need to deal with different currencies all in their wallet and maybe up to 3 in the one day and be mindful of their belongings and luggage.

PREPARE-WELL BEFOREHAND
How to pay for and keep yourself overseas. Students sit down with parents or minders and work out how much can be spared, begged or borrowed etc. This will spare sudden disappointment if you are offered a place but need $xxx for your keep. This keep is very expensive in Europe and no matter what scholarship you negotiate you will need money for fares, tights, shoes, food, meal, snacks, drinks, toiletries, stationery, miscellaneous, e.g.; batteries as a bare minimum of needs - sometimes the hostel will require more for washing/ironing etc. not to mention phone calls and communications back home (an absolute necessity for a 16 yr. old) organise some form be it whatever for friends and family - check rates on phone calls for those 'HAVE TO CALLS' - which is cheaper? getting home to ring you there? Or a phone card? simcard? whatever form needs to be worked out before you leave - different things suit - letters/email/phonehomecards etc. The hostels in the London area charging over 100 pounds are offering b&b, that is 2 meals a day/ heating / water / Electricity / Security / sometimes cleaning and washing - doesn't seem quite so bad when you break down what you are paying for.

BUT IT NEEDS TO BE THOUGHT HARD ABOUT Until a student has a place in a company where they may receive a probably small wage, someone has to pay for the living expenses. They will need to understand their parents annual income if they are asking for a scholarship and are needy, lets face it all Australians suffer under the current AUD$ value. They may also need a guardian in the city they study in, prepare to ask everyone you know.

ACCOMMODATION FOR THE PRIX
The starts each day can be early - There are only a few times for mixing socially, so basically one could stay closer to the Beaulieu Theatre - than the offered 'deals' that are on offer. You may want to catch the tram in to town for a 'Menorah' meal, but being closer to the venue would be really handy for both ends of the day and if you forget something -or even as a haven in the middle of the day.

MINDERS NEED TO BRING THEIR OWN DAILY SPECIALISED FOOD - IF THEY NEED IT - or exist on Cafe Artiste food, coffee, cakes and wilting salads -the competitors have great meals and are well looked after -ensuring they all get fed well and is part of the 100 Swiss Francs registration fee.
For Switzerland -you need to take boiling water travelling gismo -if you like tea in your room, useful for much needed tea for celebrating or commiserating or downloading - and cups that won't break in your luggage.
Take adaptors for all countries
Pick up and collect pamphlets on all schools -they will have relevant and up to date info in them for the following year and generally have wonderful photo's of ballet drool.

CHECK OUT AS MANY BALLET SHOPS AS YOU CAN FIND
Try on different shoes, leotards - it will make you feel at home, lusting over a leotard.

LEARN -BASIC FRANCAIS AND GERMAN - at least 'Greetings and 'FOOD' talk.
Michelle Thomas tapes and cd's are great, listen to them every opportunity in the car before travelling.

Its sort of obvious but I thought I'd try and put in everything because some things just sneak through as never having given it a thought, To get this far in ballet means a lot - these 16'ish year olds are very special, and all of this so called 'living' stuff and beginning of their big adventure, will be a piece of cake for them.

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