# data[].attributes.body
Sometimes all you have to do is try a new recipe for something so familiar in order refresh the taste all over again :)

# data[].attributes.body
As a child of the 1980s and someone who grew up without mobile phones, and certainly without camera phones, I never initially think to use my phone to take pictures of work in college. I often just think, I will ask where the book or image came from so that I can go away and find it myself. Or if I see a book I want I will photocopy it - WRONG! Wake up Craig - it's 2017 and it's about time I started using technology and improving my digital literacy (hence I am using Padlet too). I was at the Laban library with no way of photocopying the amount of books I wanted and that's when I had the idea to take pictures of what I needed. At first I felt like a criminal, but I soon realised that taking pictures is simply the new photocopying! So, how can I use this at work? Well, in the past I have discouraged students to take pictures of things as I have wanted them to copy it down in their books - but how engaging is this to a Millennial student? Was this ever the most immersive way of learning or is it simply a system we all got used to before the Millennial age? In short, it's time to e engage with mobile phones in the classroom and realise that if young people are going to learn anything, the older generation need to to learn too.

So, some rules for students in the studio or classroom;

1. Only have mobile phones out if the teacher has instructed you to do so. Phones should be viewed as a learning tool.

2. Phones should always be on aeroplane mode.

3. Nothing created in the classroom should be posted on social media without full consent.

4. Digital literacy and use of mobile phones, tablets and other devices should be encouraged and discouraged where appropriate.

To be continued...

# data[].attributes.body
Well, for many years I have tried to get my head round the topic of stretching and for the majority of the time I have only understood the basic principles, mainly - stretch when your warm and do it a lot. I have read books on it, taught lessons about it and muddled my way through injury 'almost' understanding the stretching principes, but now, at last, I feel I 'get it'. Thanks to Katie Chapman, one of Laban's physiotherapists I feel confident that I now have a solid understanding of the topic and have descovered both theoretical and practical ways of improving flexibility and stretching properly/safely. This new found understanding will be extremely valuable in my teaching as I actively teach stretches every single day. I look forward to passing on this information to my students and my colleagues in the future.

# data[].attributes.headline
Contemporary Dance - Good Days and Bad Ones

# data[].attributes.subject
Contemporary Dance - Good Days and Bad Ones

# data[].attributes.body
We have all been there as dancers. One day you dance like you were born to do it, other days you look like you should be taken outside and banned from the studio for all eternity. But why does this happen? I have come to the conclusion that it occurs because we are human and there is no formula for 'getting it right'. So, on reflection I have remember that when having a good dancing day it is important to own it! Be proud of what has been achieved and enjoy the learning. On the bad days - laugh, just swallow your pride and smile. Know that the world hasn't ended and that you are not a bad dancer, you are just a human being and in order to grow, we often have to fall. Learning how to dance is a continuous process and this means continually allowing yourself to shine and fade out if necessary. I had a moment in class yesterday where I almost gave up and walked to the side of the studio, but, I was able to dig deep, realise how lucky I was to be at Laban, and cracked on. Never let your mistakes govern your decisions, use them to inform your growth.

# data[].attributes.body
Sometimes we need to train, sometimes sleep, and other times we just need some cake. Listening to the body is a tool that is so often overlooked, but as a dancer, it is something I have been doing for the best part of 15 years. Everyday I try to listen to my body and the silent messages it tries to give me. On reflection, it's a little bit like knowing you need a drink or realising that you need to put a jumper on. Whether your thirsty or cold, we, as humans recognise these signs because we have learnt what the triggers are and what to do to combat them as a result. With practise, if we listen to the body everyday and learn what the signs are for what triggers, we could find ourselves, as dancers, having a true understanding of what our body can do. That would make for a great dancer!
...

# data[].attributes.body
Being in London, training in London has many advantages. The most obvious to me is that whilst training in Europe's leading centre for contemporary dance one is training with a host of international dance artists, students and specialists. The environment is extremely international and for that I am so very thankful for, especially at a time of such global uncertainty. Living in Swansea and working in Neath certainly allows me to experience a range of people, but by comparison it all seems very local and small scale. So, I and now reminded to use what my international experiences have taught me and bring back these experiences by using them in my everyday local life.

1. Be kind to each other.
2. Say 'thank you' and 'you're welcome'
3. Embrace your own individuality
4. Learn from others everyday.
5. Laugh at yourself

# data[].attributes.body
Doing class today was like taking a walk down memory lane for my dancing body. Luca taught some sequences that were new to me and yet the style and technical demands were like putting on an old pair of my favourite shoes. My body loved remembering the movement that was once the stuff that actually taught me to dance. I am so pleased to be back in such a familiar place dancing to the tune of my own body. I have done many contemporary classes over the years, but today was true like coming home for me.

# data[].attributes.body
Time and time again we all here people stating that ballet is he most important part of the dancers training and once again, after three classes I have to 100 % agree. Ballet not only allows the dancer to practise popular combinations and steps, but the class promotes the conditioning of technique in the dancers body. Some dancers use ballet to improve in that style of dance and others use it as a way of informing other dance practices. I have realised that I use ballet to condition my mind and body.  Though I am unlikely to choreography original work using the vocabulary, I will continue to use the principles of the technique when dancing and teaching dance. The Fairyale Productions often include ballet vocabulary and this course has been a clear refresher for me in preparation for the next term. I wouldn't mind starting a Boys Ballet at the College. Pause for thought!

# data[].attributes.body
As part of the two week programme I am taking Pilates class. I have just done my third session and although my body is tired I can already feel it's condition improving and I believe the intricate attention to detail set up in the Pilates class has contributed to this. As a result I am reminded that body conditioning and body maintanance is very important for any dancer, student or professional. I often neglect this because of my workload, but I will ensure to maintain my body conditioning on my return to wales. It is one way of keeping my muscles in check, allowing me to connect with the learning side of my teaching self.

# data[].attributes.body
Okay, so having the decency to attend class on time is something of an expectation and being here in TL I am reminded that being on time for class is the bottom line of all things! Nobody would ever be that disrespectful would they? Well, I pride myself on starting my class on time and never finishing it early, but I frequently observe others starting classes late and finishing them early. I just don't understand how these people sleep at night! Professional practice should be something you do, not something you tell others to do. I promise to continue my professional attitude towards class times in the hope that others might follow suit.

# data[].attributes.body
When teaching dance I often stress the importance of sleep and rest to my students and I frequently tell stories of when I was a dance student myself and how I had to go to bed early in order to survive the next day.  Well, I am reminded of that here.  My training is of a better quality when I have slept and I respond better to instruction it seems.  In the past I have always sustained injuries when I have been tired.  Both my ankle and elbow injury followed a period of intense work overload and as a result my dancing body was not able to cope with the demands in the studio and became injured.  The attached article comments on this and has provided an excellent source of information.  Sleep and rest is something my body is crying out for and so I set myself the additional target to get at least 8 hours sleep every night!

# data[].attributes.attachment_link.readable_text
"Quality of training is more important than hours danced. Optimal learning occurs when dancers are not tired, and therefore rest is a fundamental training strategy" Matt Wyon, Professor of Dance Science, University of Wolverhapton

The Healthier Dancer Programme (under Dance UK)and Dancing Times, the UK's leading monthly dance magazine, launched a social media campaign to promote the importance of rest for dancers during Summer 2014!

During July and August 2014, dancers were encouraged to share photographs of themselves resting on Facebook and Twitter, using the hashtag #dancersneedrest. The best photograph, as judged by Erin Sanchez, One Dance UK Healthier Dancer Programme Manager, and Zoe Anderson, Dancing Times News Editor, won a year's Dance UK membership, a Dancing Times subscription and a selection of books about dancers' health.

Entry was open to professional and student dancers as well as anyone who simply loves to dance. Dancers were pictured resting in such ways as reading, sunbathing, sightseeing, doing yoga and even catching a quick nap at the airport!
The winning image was announced and printed in the October 2014 issue of Dancing Times.
The campaign was part of our ongoing work promoting healthier dance practice. Whilst many dancers believe that practising as much as possible results in the best performance, adequate rest is a vital component of a balanced training programme.

What is rest and why is it important?

Rest is anything that gives you a break - either physical or mental. In order to push artistic and technical boundaries, professional dancers work long hours and push their bodies in the studio and onstage, sometimes in addition to training outside of dance.

However, if a dancer does too much and ignores early warning signs, they risk the serious and lasting issue of overtraining or burnout. Characterised by consistent or unexplained tiredness, emotional changes, frequent illness and injury and poor performance in spite of normal training, burnout is a major concern for dancers. Although there are a number of possible causes, dancers' burnout can be due to emotional and physical stress, poor fitness, and of course, too little rest. Click here to find out more about burnout.

Busy class, rehearsal and performing schedules (not to mention a dancer's personal drive for perfection) can also result in overtraining and injury. Artistic and administrative staff can plan training or performing to allow dancers to reach a mental, physical and technical peak in time for performance. This process, called periodisation, involves gradual build up of training and learning.

Reducing training just before performance (called tapering), gives time for dancers to switch from preparation to performance mode. In this method, it's important to reduce technical training and classes as rehearsals increase and allow for greater rest time.

Although dancers and students are not in control of these schedules directly, it's important for them to understand how scheduling can affect their performance, health and well-being. Click here and here for more information.

What are the benefits of rest?

Rest allows the brain and body time to assimilate and store what has been learned each day, improving both your memory and how well you perform movement*

Taking time to review movements and choreography mentally as well as practising physically is more effective than physical rehearsal alone*

Dancers working in periodised environments (including rest) perform better and have fewer injuries

Rest aids muscle regeneration after dancing and reduces fatigue and injury rates

* Somatic Studies and Dance - Glenna Batson ©2009 IADMS and Glenna Batson, D.Sc., P.T., M.A

How to integrate rest into your training

Make sure to spend time eating healthy and nutritious food. Bring lunch and snacks with you so you can rest during breaks rather than spending time finding food. Click here for recipe ideas

Prevent burnout by balancing high performance standards with realistic goals, including gradual return to dancing after breaks or injuries.

Focus on quality of training, not quantity

Spend time mentally reviewing the movements you have learned rather than physically practising

Balance dance activities with other interests; rest isn't just about sleep

Don't wait until your dancing starts to suffer. The longer you wait to address fatigue and overtraining, the longer it takes to recover. If you notice tiredness, illness, pain or niggles, don't just train through it

# data[].attributes.attachment_link.title
Dancers Need Rest Campaign - One Dance UK

# data[].attributes.attachment_link.description
"Quality of training is more important than hours danced. Optimal learning occurs when dancers are not tired, and therefore rest is a fundamental training strategy" Matt Wyon, Professor of Dance Science, University of Wolverhapton The Healthier Dancer Programme (under Dance UK)and Dancing Times, the UK's leading monthly dance magazine, launched a social media campaign to promote the importance of rest for dancers during Summer 2014!

# data[].attributes.body
Gianluca Vincentini has performed, taught and directed dance throughout the UK, Europe, Asia and USA since 2003. He is Artistic Director and curator for Möbius Dance.

He trained at the Accademia Nazionale di Danza in Rome, La Biennale Di Venezia, and Transitions Dance Company at Trinity Laban. Performance credits include: Henri Oguike, IJAD Dance Company, Efrosini Protopata’s Lapsus Corpi, Himherandit Productions and Iceland Dance Company.

Gianluca has held Artistic Director roles with VERVE at Northern School of Contemporary Dance and Iceland Dance Company. He was also collaborative Rehearsal Director for Carte Blanche. His diverse portfolio includes projects; he was assistant choreographer for the BBC TV show So You Think You Can Dance and choreographed music videos internationally. Gianluca now offers freelance Artistic Direction, programming and curation across the dance industry internationally as well as coaching and supporting early career dance artists

# data[].attributes.body
Choosing to continue my professional dance training at TL has always meant  immersing myself in the best teaching and learning experiences.  Over the past two days I have taken technique class taught by an old peer of mine from 2004 and it has already been great to feel my contemporary body awakening to a style that was once so familiar to my muscles.  It is no secret that I am now at a place in my career where I teach more than I dance and this is all the more reason I choose to spend my holidays from NPTC Group dancing.  Whether this is a half term holiday dancing on stage myself, or, as I am doing over the next two weeks, training again at TL.   For me, dance training is so important.  My body and my mind needs it if I am going to inform my practice and inspire my students to do the same.  The contemporary technique I have chosen to do is based on the Release technique principles because this is a method of moving that I feel the most happy with, and yet, it is a style that has become so settled on my body, I need to push forward my practice and encourage new ideas to develop.  The first class was difficult.  I have spent the past three years developing a technique class whereby the exercises I teach are so familiar that when I attempted alternative ways of moving, by brain and body said 'hang on a minute!'.  However, today things seemed to have settled and in the second attempt to dance the set phrases I began to feel my old (and younger) body coming back to life.  I can still dance, I do still have the ability to take on board new information, and I am reminded once again, that you never stop learning in the dance industry!  So, what are my strengths in this class so far?  Well, an understanding of suspension and alignment.  This is something I feel confident in and I think it is demonstrated in the flat-back exercise, where the combination of the two are required and clearly evidenced.  My weaknesses feel like so many, but mainly I think it is my energy and remembering to breathe (the two may be connected).  I noticed that I felt very tired and it was hard to give it my all.  I then noticed that I wasn't really connecting my breath, which is something I tell my students to do all the time...so how did I forget this?  Who knows..... I have decided to set myself some realistic targets for the next few days.  Firstly, I would like to work on my concentration in the class as I find myself thinking about other things and getting distracted.  Not random things, dance related, but this doesn't help me when trying to learn new material, so I want to stay focused and in the moment.  My second target is to observe the detail in the material and try to understand its origin.  I don't want to copy the material, I want to recreate it in my own body so that I can fully engage with the ideas of the technique.  Finally, I want to remind myself to enjoy the class, maybe ask the question 'why do you enjoy dancing?'  because I am not sure I know the answer and without this in my mind I am not sure I will ever fully engage with taking technique class again.

# data[].attributes.body
It's day two and in the past 24 hours I have experienced a magamix of emotions and changes to my feelings about my dancing body.  Firstly, yesterday was hard! I was shattered for the most part of the day and by the evening evening my eyeballs were hurting (no seriously - the left one particularly).  After a good night sleep and plenty of sugar (not advised) I feel much better today and already after this morning's lecturers I am beginnng to feel my body reawakening.  I have also decided to focus on my general health and welbeing this week.  I am dancing yes, but I want to eat well and rest as much as I want to dance.  I almost forgot that eating and resting was as important than the dance itself!  The one thing I have already taken from being back at TL is that the entire fabric of the learning environment is wonderfully enriched with respect.  Each fibre of the building reflects the importance of dance and every lecturer has so much respect for the subject and for each student here and wanting to learn.  I often wonder where my 'no judgement' attitude comes from and I can definately see that my own training at TL has contributed to this.  Learning to dance is a process that every individual has the right to do.  Working with mis-infomred young people arriving at NPTC Group to study dance can often be exhausting.  I often spend the first two terms having to unpick all the negative and incorrect attitudes within so many students about dance.  I often have to deal with other subject lecturers and the general public and thier misinfomred views about the subject too.  But, here in the 'mother ship'  there is not judgement about what dance should or shouldn't be...there is just respectful practice and that to me is something that all teaching and learning environments deserve.

# data[].attributes.body
There is such an amazing extra curricular programme at th Summer School! I've signed up for advice on better stretching and a number of performance showcase opportunities! I am hoping that I will learn more about how to develop and enhance my own practices and how I can better inform my students at NPTC Group with regards to the maintenance of their own dancing bodies.

# data[].attributes.body
Once a mentor always a mentor! In 2003, way back when I first began my training at Laban, it was my teacher VJ that spoke with me about my programme options and advised me to take a module called Teaching Studies taught by Ally Jones. This class was not only something I really enjoyed, but proved to be the class that would inform my professional practice for the rest of my career to date. When enrolling today, VJ was there and when she saw me struggling with my choices she came over and said 'why aren't you doing choreological studies?' And to my surprise I was like 'ummmmm I don't know'.
What was I thinking! Of course I should be doing this class! Not only do I hope to specialise in the field, but I also hope to apply to do the Specialist Programme here next year. See, once again VJ was there to show me the path I needed and indeed wanted to take.

# data[].attributes.attachment_link.title
Lifetime Achievement Award for Veronica Jobbins | Trinity Laban

# data[].attributes.attachment_link.description
Veronica Jobbins, Head of Learning and Participation (Dance) at Trinity Laban, has been given the Lifetime Achievement Award at the inaugural One Dance UK Dance Teaching Awards.

# data[].attributes.body
So, day 1. Nervous? Well, I guess it's only natural to feel apprehensive before starting a new dance training programme and today I definitely felt a little underprepared for the course. Surrounded by a variety of dancing bodies I begin to reflect on my own and how many changes it has gone through since I first came to Laban in 2004. Being handed the welcome pack made me question what I was actually doing here and furthermore, if I was signed up to the best classes for me. So, after some self reflection and discussion with a young lad called Ben, I decided to change my training programme to better suit my needs and the future needs of my students at NPTC Group. My new training programme for the next two weeks consists of Ballet, Pilates, Contemporary and Choreological Studies.

# data[].attributes.headline
It's Sunday, 16th July and as I travel by train to London I feel excited and a little nervous about plunging myself back in the deep end at Trinity Laban! 

# data[].attributes.subject
It's Sunday, 16th July and as I travel by train to London I feel excited and a little nervous about plunging myself back in the deep end at Trinity Laban! 

# data[].attributes.body
At the age of 35 (when did that happen?) I start the reflection process already, remembering my first Summer School at Laban at the age of 21! Wow, how fast time has passed and how much I have changed, evolved, grown and developed over the past decade and a half. Today I feel hopeful and excited that my legs, arms and all that's in between will regain their strength and flourish in my 'mother ship'. I want to emerge myself in dance learning - reminding my soul why I started dancing in the first place and re-informing my professional self what it means to work and grow in a professional training environment. I am already thinking of my own students at NPTC Group and how my time at Laban again will directly help to provide them with new industry based teaching and learning, in the hope of inspiring them to what to one day audition for a dance course at a higher level. Let's see what happens shall we?

# data[].attributes.attachment_link.description
The Dance Summer School offers a unique opportunity for people of all dance levels aged 16+ to experience intensive dance training of the highest quality in our state of the art facilities, while making new friends from all over the world. This year, the