Live report

Here you can read the live report of the conference BEYOND ballet why and how by Visuele notulen.  Read en watch the content addressing multiple themes that impact many levels of dance. The conference format facilitates content development over three days, presenting in-depth discussions and workshops that offer the opportunity to expand knowledge.

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Creating Awareness in Dance Nutrition and Body Image by Adrienne Stevens, EdD

More than any other performing artists, and certainly more than most athletes, dancers are at high risk for poor nutrition, eating disorders, and preventable, career-ending injuries. To address these physical issues, it’s necessary to examine the underlying causes. And to do that, we need to understand the dancer’s frame of mind.

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Beyond ballet why and how by Hans van Keulen

Theatre can’t be preserved, you have to see and experience it. I often encounter this objection when I’m enthusiastically telling people about the Theatre Heritage collection that we conserve and manage. In large part, it’s true. The goose bumps, the shivers, the hearty laugh, the emotion: everything that’s aroused by a beautiful and outstanding performance can indeed not be conserved by us, as heritage curators for the performing arts. Nevertheless, by conserving a great deal of data and objects we can, as it were, reconstruct the performance.

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Speech from Mayor Herman Kaiser Arnhem Beyond conference on April 16, 2015

Mina damer och herrar, hjärtligt välkomna i Arnhem!
För mig som borgmästare är det ett stort nöje att få ta emot er här på denna internationella konferens BEYOND ballet why and how.
Ladies and Gentlemen, welcome to Arnhem!

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BEYOND wrap up

During the closing ceremony at the Eusebius Church Fay Nenander, Jan Aström and Gaby Allard summarized the most important findings from the conference. What have you learned in the last 3 days?

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While training, emotions affect the teacher and the student. Emotions are contagious and we need to learn how to deal with them to improve the quality of the training. A way to learn how to deal with those emotions, is to first of all create an awareness that there are in fact emotions. Even in the dancing world.

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full body contact

“To me, dance is a primal urge.”

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Open training: summary and gallery

There’s something in the individuality of being here whenever you want and doing whatever you want, weather it is alone or together.

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Boys Action Method by ELISE & WIL BOOM

It’s our mission to give these boys a broad vision on what dance is. Dance is not just So You Think You Can Dance or hip hop or whatever, but there is much more to it than meets the eye.

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Boys Action Method: Gallery

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Emotionally Intelligent Ballet Training

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Beyond current structures II: communication between the dance field and its audience

You have to know who your main audience is. How much money they make, where they life, how many children they have, are their children in school?

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Your past defines you. Just look at what’s going on in the world. A lot of people are ruled by systematically erasing their past.

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“It’s the specific combination of dancers, time and space that makes a performance.”

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Preservation of Art panel: Margriet Schavemaker

I try to program as much transient art as possible, but on the other hand I try to mind the archive as much as I can.

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Preservation of art: testimonies and panel photo gallery

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PRESERVATION OF ART: The role of tradition in arts by Margriet Schavemaker

“Is documentation of our cultural heritage important? If so, why and how?”

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Preservation of Art Keynote: photo gallery

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Tomorrow is Medicine and Science Day with partner NCPA

Tomorrow will be an interesting day with keynote speakers and panels on the Medicine and Science topic. Don’t miss out the keynote from Yiannis Koutdakis and the interdisciplinary network panel!

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Opening reception at the city hall: photo gallery


Development of talent: panel

Peak performance is no coincidence. Becoming a real expert in any domain takes a lot of time and effort. This panel discussion relates to sports but is equally applicable to dance. Often, elite athletes have invested more than 10 years of their life before they reach the highest level.

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Development of talent: How should we nurture talent? by Dr. Elferink

In her daily profession of assistant professor ‘Sports Sciences’ at the Center for Human Movement Sciences (University Medical Center, Groningen) Dr. Marije Elferink, together with many partners and colleagues, follows talented athletes in a variety of sports over time in order to determine what makes one athlete more successful than another.

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Beyond current structures: Amy Raymond

“Entrepreneurship requires both honesty & viability.”

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Beyond current structures: Max Valentin

I’ve been interested in how the online world influences cultural development by innovating funding since 2003.

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Beyond current structures: Gaby Allard

I feel it’s my responsibility to look beyond the known and beyond the familiar. Actively seeking and sharing information is crucial. We can learn a lot about creating a voice, that comes from a community and a connectedness.

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Beyond current structures: Bart Huydts

It’s a very interesting and challenging time in the field of arts & dance to become more entrepreneurial. Our dialogue today gives us pieces of the puzzle that helps the building of new structures.

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Put your missions in dimensions: Leadership by Arjo Klamer

There are four dimensions in which you can articulate your missions: social, transcendental, societal and personal. In the ideal situation you determine your mission in each of these dimensions.

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Official Opening BEYOND ballet why and how


Beyond current structures: Brandon O’Dell

I see us as opportunity makers. We really need to use our imagination.

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Beyond current structures: Lydia Harmsen

We often hear that funding should stick to the basics. But we really need to change the way we think to really add to our brands and products and look beyond the current ways and means we rely on to achieve funding.

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Beyond current structures: Christopher Ramsey

I really believe the question we have before us requires an interdisciplinary approach and non-traditional solutions.

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Beyond current structures: Sara Lourenco

“We were used to paradise. We can complain or we can look forward. In an artistic sense, if you don’t have anything, you are pushed to find a way. Even if they’re just baby steps. In the end you need to know that you need to reach out and also be reachable. You need to be able to vocalize the value. Collaboration needs to entail this as well. The added value and depth of exchange is becoming more and more essential.”

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“Your audience is really not the best critic. They will love you anyway.”

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Determine your mission, your contribution: LEADERSHIP BY ARJO KLAMER

There’s this one exercise I usually use during workshops. I’ll tell them to imagine their utopia, their ideal world.

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Determine your worldview vision: Leadership by Arjo Klamer

“You need to have an understanding of the world you’re in.”

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Articulate your mission: Leadership by Arjo Klamer

As a leader, you need a mission and you need to be aware of it. Whether you have to guide your family or your employees, ask yourself and ask them: what is it good for?

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What you want is not important: Leadership by Arjo Klamer

What you want is not important

When giving guidance, never ask: ‘What do you want?’ People want all kinds of things. Money, success, more free time. Instead ask: ‘What is important to you?’

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The key take-aways: the psychology of change by Elsa Urmston

“I have a strong interest in positive psychology and I’d love today to become an interaction around what I have to share and who you are as professionals.”

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End discussion: the psychology of change by Elsa Urmston

Getting somewhere or reaching a goal will take time. Enabling dialogue and giving over control to the dancers themselves is sometimes a paradox within the external demands there might be on our educational system.

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Keynote summary: the psychology of change by Elsa Urmston

Change is around us all the time. From technology, culture, politics to evolution and the weather it surrounds and influences us. In dance it has all kinds of elements and it is often a cyclical process. Form and abstraction and the expression of the body balances with the social context.

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Starting discussion: the psychology of change by Elsa Urmston

At the core of my work acknowledging the dancer as a person and the concept of the individual responsibilities in life-long learning. The Oxford Dictionary says : “An act or process by which something becomes different.”

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About being a leader: Leadership by Arjo Klamer

“Leadership is stepping up in a time when everyone is lost.”

What is leadership really? There will come a time when you will find your people, your team, your class or even your family in front of you, questioning your authority.

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Management versus leadership: Leadership by Arjo Klamer

“Managers crowd out creativity”

There is a distinction to be made between managers, entrepreneurs and leaders. At least, it’s a distinction I like to make.

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“Change is essential for moving beyond, there is no progress without it. How can change be facilitated? What skills and tools are needed for individuals to move forward? How should one deal with the fear, challenges, the unexpected, disappointment and expectations?”

– Elsa Urmston, Manager at Dance East Centre for Advanced Training (CAT) in Ipswich, UK



The conference started. The opening reception is sponsored by Harlequin

Workshop: ‘Attentional focus & ballet’ (Finnish National Ballet, Cannes Danse Festival and the Royal Academy of Dance)

“The world of dance is in the middle of a global renaissance and the only way that we grow collectively is to share the knowledge we have with others and try and lift them up as much as possible. Dance is not a competition against other companies, it is a competition to remain a vital part of the global cultural scene.”

– Shane Jewell, Oklahoma City Ballet

6 Skills Young Arts Managers Need to Have by Shane Jewell

More and more students have started to contact me, asking if I have time to talk to them about arts management. Some are even arts or dance management majors.

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“An ever increasing variety of choreographic repertoires, one daily training only, less time outside the studio imply to provide to the dancers a physical preparation able to both preserve our legacies and their health. Beyond Ballet Why and How is now an inevitable issue for the international dance community.”

– Alexandre Munz

‘Holistic Ballet’ dancing from the inside out – an introduction to a holistic approach to ballet training by Clare Guss-West B.Hum

Today, ballet students and professionals regularly turn to alternative training methods such as yoga, Pilates and weight training to supplement their daily ballet class, finding it insufficient as a stand alone training to meet the demands of todays choreographers and diverse repertoire.

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Resource paper: Perfectionism by Sanna Nordin Bates

“Striving for excellence motivates you; striving for perfection is demoralizing.”-

Harriet Braiker

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The breaker’s shoulder by Sophie Manuela Lindner

A lot of bboys and bgirls have problems with their shoulder when they go down to the floor in breaking. The shoulder is a joint that is mostly held up by muscles. Because of this, the proper physical preparation of the shoulder muscles is essential for having a professional breaking career.

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Temporality of the Dancing Body: Tears, Fears and Ageing Dears by Mark Edward and Dr. Helen

This paper examines and highlights the importance of valuing the body as it gravitates towards maturity (or ‘otherness’) refuting the myth that people do not or should not dance as they get older.

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