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.
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.
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.
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!
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.
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?
“Is documentation of our cultural heritage important? If so, why and how?”
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!
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.
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.
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.
“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.”
There’s this one exercise I usually use during workshops. I’ll tell them to imagine their utopia, their ideal world.
“You need to have an understanding of the world you’re in.”
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?
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?’
“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.”
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.
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.
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.”
“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.
“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 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
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.
“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.
“Striving for excellence motivates you; striving for perfection is demoralizing.”-
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.
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.