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Actually... I've probably taken hundreds of dance classes. The only difference being that on Wednesday the 13th of September, I was participating in a dance class for the first time in four years, and only two months on from breaking my ankle.
Now you may be wondering, why on EARTH is an injured, unfit, non-dancer dancing all of a sudden?? Well I'm glad you asked, imaginary other half of this conversation. I am dancing because I've chosen to challenge myself. As an actor, I feel it's important to encompass as many performance skills as I can to be as versatile as possible, and quite frankly I didn't feel challenged enough doing all Acting based lessons. I also feel that I had potential going to waste, despite the fact I'll never be an amazing dancer, I know that I have it in me to become a capable one. Therefore in my last year at college, I am trying my hand at Musical Theatre in the hope that I become a better all round performer before I possibly embark on acting in higher education. So here goes!! Warts and all, I will become a dancer by the end of this year.

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Founded in 1914 by Marie Rambert, it is the oldest existing dance company in Britain. Originally a ballet company formed of Marie Rambert's students, it is said to be the birth of British ballet. After giving their first performance in 1926, the company began to grow in popularity and diversity and to this day it is one of the leading British dance companies. Now it provides a large number of workshops, exercise classes and dance classes for beginners and professionals alike.
With the company having such a strong background in ballet, this is something that I have taken into account regarding how I prepare myself for this audition scenario. All the dancers in their company are lean, graceful and muscular, therefore I will be engaging in body conditioning, doing ample stretching and abdominal workouts during every warm up before I dance.
The dance I will be looking at specifically for inspiration is A Linha Curva, described as Rambert's party piece. It is a fusion of samba and contemporary styles and is created around repetitive percussive rhythms with movements being fast, wild and sexy.
This particular dance was created by Israeli choreographer Itzik Galili, who after being a dancer in his home country at the beginning of his career, soon "got bored", and moved to The Netherlands in 1991 where he started his own company. In the following years he has gathered an impressive portfolio, creating hundreds of works with many different companies across Europe.

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Be fearless. Specifically...

Stop holding back on energy.

Although this ties into my second target, I'm highlighting it as a key target for me anyway because I often lack confidence and feel self conscious when I dance, so much so that I often forget to really give it my all. I'm aware that even when struggling, if you have the right energy, enthusiasm and commitment you wield much better results.

Use a confident mindset.

This is incredibly cheesy and something I never thought I'd say, but in the past year I have really struggled with self belief. Putting all other targets aside, I think the key to being a successful performer, (at least in my case anyway) is having faith in myself that I DO know what I'm doing, that I DO remember my steps, and that I can and WILL perform well. Sometimes that's all you need.

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The Physical and Interpretive Skills Required for a Dancer

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The Physical and Interpretive Skills Required for a Dancer

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Strength

Stamina

Flexibility

Musicality

Co-Ordination

Balance

Extension

Posture

Focus

Dynamics

Spatial Awareness

Expression

Emotion/sensitivity

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After splitting into two groups and learning a short contemporary phrase in class, we peer evaluated each other, each choosing one person to study closely as the groups took turns to perform. The feedback I received was very helpful, allowing me to realise my strengths, which is something I struggle with as a perfectionist always having high expectations of myself.
Sophie's evaluation of my dancing was that I had good focus, timing, musicality and spatial awareness. Because of this I appeared to dance smoothly and rhythmically, but the only downside was that I wasn't using my face to express the emotions my body was showing and rather I just looked like I was concentrating really hard. Therefore I am setting this as a target to make my facial expressions a strength, rather than a weakness.
I also feel that although my timing is good, at times when the music is quite fast I struggle to keep up due to lack of flexibility, strength and sometimes technique as well. In slower dances I have time to travel or move and consider how exactly I'm moving so I'm able to make it precise and strong. To improve on this I'm going to work so that dancing to upbeat music is just as controlled and precise, which the first step of achieving will be to improve my stamina.

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Dancers from The Rambert Dance Company posing, showing the importance of spatial awareness, extension and posture within a contemporary company in order to create beautiful shapes and lines.

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To begin this lesson we did a warm up involving a lot of cardio and intense stretches to ensure our limbs were fully warmed up and prepared for the fast paced phrase we then began to learn. Heavily inspired by A Linha Curva, the phrase begins with swinging both arms over the head in a clockwise direction and then bringing the right arm across the body in a strong, cutting motion, extending fully. Other actions in the phrase include clapping, pirouettes, lunges, gallops, leaps, squats and hops.The use of these actions to such fast paced, rhythmical music really challenged my musicality, and especially stamina because both skills are involved in performing the moves correctly in the right time, the right time being really fast. Through learning these actions in this phrase I will be able to monitor my progression towards my targets as I find it easier with practice to dance more precisely. All of the actions have been included in the choreography to show an appreciation of the human body, specifically in its ability to be strong and powerful. This is arguably what Galili was aiming for when he choreographed A Linha Curva, with some saying he was including references to male vanity, as well. This initial phrase was a great starting point for introducing us as a class to the dance style, and became a great basis for developing our own choreography in small groups. I began to work with Sophie to create a duet, and later joined with Emily and Agnes making a foursome. We set a target of finding some lifts that worked well within the choreography. I felt that in this lesson, I was already a lot better at keeping up with the music without tiring quickly, showing that I'm already on my way to my target of getting better stamina.

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Adding Lifts into the Choreography (section 2)

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Adding Lifts into the Choreography (section 2)

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Sophie and I spent quite some time experimenting with various contemporary lifts before we finally found one that worked. With both of us suffering injuries, we decided early on to be creative and inventive, working with what we can do, rather than getting frustrated at what we couldn't do. Lifts we tried included a counter balance partner move, which worked by holding hands and leaning out, using each other's weight to balance. This looked a bit messy and we both found it difficult getting into the position, therefore we tried a sideways piggy back type move, where I jumped across Sophie's flattened back and wrapped myself round her middle. This just about worked, but Emily and Agnes were already using that particular lift so we thought it would be better to use more variety. This resulted in us coming up with a koala embrace type move, like a piggy back but with Sophie and I facing each other. This actually worked as it allowed us to kill two birds with one stone - we had pain free but effective contact work, but it also allowed us to travel during the lift, which helped us transition into the next phrase. This was fantastic as we achieved our target that we set last lesson.
Nevertheless, our work was not yet done with my classmate's feedback necessary for us to polish and perfect our lift. Initially, once I was up in the air I would spread my arms outward into jazz second for the lift to look more impressive, but we were informed that the lift didn't have much of an effect that way, that in order for there to be a point to contact work there had to be a connection. Thus, we changed the lift so that I clung to Sophie, wrapping myself around her entirely. This however looked far too messy. Therefore we eventually landed with a lift where at first I cling to Sophie but then slowly lean back, so that my head whips around. This move used strength and stamina on Sophie's behalf and core strength on mine, and creating the move used our creativity and emotional interpretation. This lesson was productive because we achieved the target set last lesson, and set and achieved another target which was to polish and perfect the lift.

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Adding to our Audition Piece (section 3)

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Adding to our Audition Piece (section 3)

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With the audition date fast approaching, I felt it was time to start assessing my progress. Once we were about half way through choreographing the dance, I found that I actually had a lot of confidence within this style. The only target that I was yet to work on was confidence in myself, but I worked on this by using the mirrors repeatedly. I found that the more I looked at myself doing the movements, the more I could be accepting of the way I move as a dancer and learn to have confidence and pride in it.
As well as this, the four of us were having to consider how we were going to make up the full 2 minutes required for the assessment, so we made it a target to complete this by the end of the lesson. Amy helped us choreograph a phrase starting towards the stage right diagonal, performing a step hop with both arms extended upwards. We take steps backwards into a floor roll leading to a short phrase on the floor, and then bringing us to stand up. This phrase was brilliant for helping me realise what else was missing from our routine. I decided after re-watching A Linha Curva that we were missing out on a lot of the more sensual, fluid, samba-esque movements that they include. Therefore, I made it my mission to really play around with rhythms and dynamics, using wrist and hip isolations mixed in with fast jumps and the occasional sharp arm movement. For example, one section involves the hands being held together and moved from up by the left shoulder, to the right, then across the hips (all the while swaying hips with the direction of movement) and then turning around to face the front. Then arms are brought in an arc over the head, moving anti clockwise to then release the hand position and sweep the arms back over the opposite way, double time and then hop, facing the right. This brings variety to the routine and shows my thorough understanding of the style, so hopefully in an audition situation will be to my advantage.
Our next target was to complete the dance by creating an effective ending. We achieved this by doing as Amy suggested, repeating the initial beginning phrase we were taught, the four of us deciding that including some canon would benefit the variety of techniques in the routine even further. Thus, the four of us in two staggered lines repeated the first half of the first phrase, stopping one by one after each repetition until finally Sophie, having done the phrase four times stood still. This felt like a really rounded ending, using moves from the beginning of the dance to now bring it to a close.

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In today's lesson, we focused on learning a warm up phrase and I made it a goal to include a lot of stretches to work on my flexibility. This included stamina exercises such as squats and a plank. We held the squats for an increased amount of time compared to previous weeks, and I didn't struggle as much as I did previously so in doing this I could tell I was achieving my target of improving my stamina. This could also be said for doing the plank, an exercise that predominantly utilises the abdominal muscles. In doing this exercise I could see that I had clearly achieved my stamina target, because this lesson I was able to hold the position for a full 10 seconds longer than before.
Following the warm up we re-capped the dance and solved any timing problems so we could ensure that everyone in our group dances in sync. It was during this lesson that we all really had to use our spatial awareness, because the only way we could tell if we were dancing in time with our group members or not was to watch each other carefully whilst also focusing on the dance ourselves. This awareness and ability to work together as a team is hugely important, because even though this assessment is in the style of an audition so we are all being assessed more or less individually, I still think it's so important for any group phrases to be performed well as a group. Although viewed as individuals, any timing errors or differences are going to stand out massively when compared to the sections we clearly dance in unison, and this is something that would stick out to an audition panel.
Another target we worked on during this lesson was improving our performance. This meant looking at extension, facial expressions and emotion. I found channeling the right emotion quite hard at first because the dance is considered wild and sexy but the Rambert dancers also channel a certain seriousness, almost grandeur. From this I figured that using focus skills to become exceptionally confident would bring this cockiness to the dance. This would of course also be reflected in good extension. Being a samba based dance, a lot of the movements do have smoother dynamics than perhaps just an aggressive jungle contemporary dance would. These of course being present in hip and wrist isolations. However, a large part of the dance specifically the first section is very strong and fast, and it's so easy to lose the perfect extension when travelling quickly. Therefore, in this lesson we took turns to sit out of our group and watch the other members perform the dance, immediately giving feedback on where and during which steps extension was good, and where it started to slip, allowing all of us to remember to really concentrate on the moves that weren't up to standard until they're perfect without even having to think. In this lesson I felt we all achieved our target of improving our performance because through teamwork we were able to help each other assess and improve our physical and interpretive skills.

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Stemming from the fact that I have never in fact been to a dance audition, my curiosity has grown such that I thought it might be worth researching what the general consensus is on how to "successfully" attend a dance call. Therefore, I cross-referenced several articles written by people far more experienced and qualified than I, and this is what I found.

1. Preparation. The most important part of auditioning happens before even the day of the audition - preparation. Research as much about the audition as you possibly can. What style is it? Is there a fee? What does it require me to bring? Is it for a show? Can I familiarise myself with the choreographer's works? All of these things provide information on how to prepare. For example, many dance styles require specific attire -

BALLET- Black leotard, pink tights (no holes, runs, smudges), pink ballet shoes, no skirt, clean bun with colored hair accessory for recognition

JAZZ- Tight top/leotard, tight pants/shorts, jazz shoes or bare feet, hair off face (not distracting), bright colors and unique dancewear are best

TAP- Tap shoes, pants should be away from ankles, hair off face (not distracting), bright colors and unique dancewear are best

HIP-HOP- Sneakers, loose fitting pants (no jeans), bright colors, memorable hat or accessory. Be funky!

MODERN- Leotard, tights/leggings, hair in bun or clean ponytail, bare feet.

2. Arrive early, prepared for any eventuality. It's always possible you'll have to fill out extra paperwork, and bring spare kit and leave time to change in case it's required. Oh, and make sure you eat a good breakfast!

3. Work with the space. If the studio is small and filled to the brim with dancers, stay positive and polite. And although you may not be able to see all of the routine being taught at first, ensure you're still thinking for yourself and not copying anyone else. If you make a mistake, pick it back up and just keep on going.

4. Audition etiquette. Something I had no clue about was the appropriate manners for when you're auditioning and all the do's and dont's, however Jacqui Dunnley-Wendt explains them perfectly:

a good audition etiquette to have is: never stand at the back of the studio, always stand on the sides and never dance full out until it is your turn. It distracts the team and is very disrespectful to the people who are on at that point. Keep warm, keep your brain focused on the routine and dance the choreo with your toes in your shoes, at the most with light arms movements only. This helps the team so much, believe me. AND before I forget – don’t chat. If all are chatting, it is very noisy.

5. Audition complete! Before changing, make sure you're not required to dance again, and proceed with the rest of the audition. If you are not called back, take it on the chin - you didn't necessarily do a bad audition you just weren't quite what the panel were looking for.

References: https://www.musical-creations.com/tips/auditioning/10-tips-successful-dance-auditions/
http://dancedreamstudios.com/dance-audition-tips/
https://www.nyfa.edu/student-resources/how-to-prepare-for-a-dance-audition/

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Behold, through hours of looking through my collection of dance kit and makeup, here is the outfit I deemed appropriate for this contemporary dance audition. It was requested that auditionees wear black clothing with no large logos.

This outfit I felt worked well for me during the audition, as it is smart, stands out in the appropriate ways and most importantly, allowed me to move. I chose those leggings in particular because they happen to have a really secure fitting waistband, allowing for no distracting, slightly out of place clothing. The sports bra also fits me well, showing my body and movements clearly and I wore a small black tank for modesty. I invested in a pair of foot thongs to allow me to pirouette adequately, as I find that when dancing bare foot occasionally my feet stick on the floor and I lose balance. Although only minor, I didn't want to risk even this small slip up in an audition situation - the more I can prepare myself for avoiding any mistakes, the better. I kept my makeup very simple, using bronzer and highlighter to enhance my complexion, (this particular bronzer gives a warm, brassy glow that I thought fitting for a wild, hot samba) a very simple eye line, a slight outline of the brows and a bold, orangey-red lip to draw attention to my face. My hair was back in a bun and held into place with hairspray.
Aside from this outfit presenting me in a way I felt smart and appropriate for the audition, it also filled me with confidence as I felt comfortable and that I looked good. This in the end was the most import thing about my attire.

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I felt that the audition went well. After warming up and stretching thoroughly, I worked hard to maintain my energy levels consistently and not wear myself out too much, trying as best I could to keep my movements controlled, ensuring I used full extension and performed confidently. By far, showing this dance has been the most confident I have ever felt to date performing a dance and that is a huge achievement for me. I felt truly in tune with the music, showing off my musicality and just fully immersing and committing myself to the style.
On practice runs if ever I made a mistake I continued, picked it back up and styled it out. I stayed focused and well composed throughout, trying to present myself as professionally as possible. At the end of it I felt proud that I managed to dance without mistakes, in time with the music and committing my emotions fully to the dance.
In reflection, I felt I achieved my target of showing excellent extension, fully. Although I may have exhausted myself slightly by the end, that was only due to using my muscles to the fullest capacity to ensure all my movements were strong, precise and fully extended. For the next project I am targeting myself to keep improving my stamina, as I have improved a lot this term but want to keep it going. Another target I am setting for the next assessment is to work on my balance, especially when doing pirouettes. I've come very far this term, seeing as I've only recently recovered from breaking my right ankle. When I first started dancing again it was a very painful and frustrating process building enough strength in it to relevee and pirouette on it, so next term my focus will be on balance, now that I've improved my strength. I was committed to projecting my performance, and felt I used my musicality to an exceptional standard. I fully immersed myself in the rhythms of the music and felt connected through my dancing. My focus and posture were strong throughout the duration of the assessment.3e