New Experiences for our Dancers

Congratulations again to Laurie Alston for her opportunity to choreograph and perform in a commercial for the Alberta Physiotherapy Association.  If you haven't had the chance to see this video, here is the link - https://youtu.be/MAB8mm2JyY4.

One of the exciting follow-ups from this commercial was that Laurie was chosen to be highlighted in a second commercial the follows Laurie's life as a mom and a teacher.  Congratulations Laurie!  This meant that Laurie had the opportunity to choose some dancers to be in the video with her!  Several of our dancers had that chance.  Here is the link so that you can see another great video featuring Vimy/ESB teachers and dancers! https://youtu.be/ckEIpjHMAIA


Here is what some of the dancers had to say about the experience!  

"Bella and I were the first ones to get there and we were sent to little dressing room where we put our stuff. After everyone else got there we went into the studio studio we would be filming in and warmed up and met everyone. We had to set a little routine we would always do over and over until they got all the right angles they wanted. We shot the same thing over and over for at least half an hour and it got really tiring. In the end only a few seconds of what we did actually ended up being used. When we were done we went into one of the smaller studios and talked with the other girls in our group. They called us back to take a picture. Everything had to be very precise and our spots were constantly switched. The picture took around 30 minutes to take one they were happy with and I never did see it. Watching the commercial was super exciting because I have never done anything like this and I never thought I would be picked to do anything like this."

~ Isabel Bento

"This year I was invited to be in a commercial for The Alberta Physiotherapists Association. It was a really interesting experience. It was good to get the knowledge/experience of what it’s like to dance in things like commercials or on tv. The amount of filming that goes into a 3 minute commercial surprised me. It”s a lot more than just 3 minutes worth of filming, that's for sure! I enjoyed working with the whole tech and camera crew along with all of the other dancers. They made it a very welcoming and fun environment, which was nice considering it was a whole new experience for me. Filming this commercial made me think about wanting to do more things like this in the future."
~ Grace Antoniw

"I felt inspired by the experience of taking part in the creation of this commercial. It was monumental in my development as a dancer and a person. I was presented with a variety of new experiences, which allowed for growth. Experiences like these really allow you to see what a career in dance would look like. It allows for your training to flourish as you find motivation and create a mentality of professionalism.  During this experience we were introduced to the film industry and how they work to create commercials and videos. They pay a tremendous amount of attention to details. They have a vision to create images that the audience will respond to. In this case showing the talent of the physiotherapists in Alberta. I am very grateful for the opportunity to be involved in the making of this commercial."

~ Jillian Engen

"Having had the opportunity to participate in the making of a commercial was an enormously invaluable experience, one that I will carry with me for the rest of my life. Although going to a new place and meeting people that I had never met before was a bit daunting, the experience of quickly learning the choreography and constantly having to make changes to what I was doing to ensure that our movement suited the vision of the director was very exciting. It taught me how different dancing for a camera is compared to dancing on a stage. With a performance in a theater every movement one does and expression one makes has to be very exaggerated so that the audience can understand the story, however dancing for film requires much more attention to details and nuances since every small movement and smile is captured. Ms. Laurie is such an inspirational teacher and not only helps us grow as dancers but as young men and women, so being able to watch her in her niche was incredibly uplifting. The experience pushed me out of my comfort zone and gave me insight into what the professional world of dance is like. I am incredibly grateful for the opportunity, which allowed me to grow immensely, and will now be added to the long list of experiences that I have had while at Vimy dance that have all prepared me for a professional career in dance."

~ Charlotte Battigelli

"Participating in the “Born to Move” commercial for Physiotherapy Alberta was both an exciting and educational experience. In working with Laurie Alston and fellow students, I gained invaluable insight into the world of professional dance, and gained an understanding of how  different art forms come can come together to produce works of unimaginable talent and creativity. It was so very inspiring to see Ms. Laurie and her colleagues at work, doing what they have dedicated their lives to, and sharing with others their endless love and passion for their areas of expertise. Although I was first hesitant to take on this challenge, in working with so many new faces and quickly learning new choreography, I learned the importance of detailed instruction and the subtleties of movement in directing such a film. I know this is an experience I will take with me for the rest of my life, and I hope to eventually share such dedication with the youth of my generation. I am so thankful to have participated in such a memorable and humbling opportunity, and am blessed to have worked with such capable and gifted individuals. The connections I made in shooting this video were endless, and have helped me to grow exceptionally as a dancer. I look forward to the many exciting opportunities that a future in dance may present for me, as I move into my final year in the Vimy Dance program"

~ Josh Hidson

“Tricks” vs. “Technique”

I found this great article that I thought might be interesting for you to read as well!  The original article was taken from - http://breehafen.com/tricks-vs-technique/

“Tricks” vs. “Technique”

by admin on March 7, 2016

Similar to dancers, as teachers and choreographers we also have to develop a pretty thick skin.  Each year as our dancers hit the competition stage we place our bare naked creativity out to be scrutinized by our contemporaries.  We place the very lives we live under the microscope.  Our dancers, our dances – our everything. Personally, I get much more nervous on this side of the business than I ever did as a performer.  Criticize my body, my technique, my ability to perform – I can handle that.  Criticize my creativity, my ability to train, my CHILDREN – that brings out a whole new beast!

For the most part, the critiques and even criticism I receive from competition judges is constructive. Many times I have to chuckle and roll my eyes at the judges comments that echo what I have been telling my sweet dancers for MONTHS! However, one critique has been eating at me for over a year, and it’s high time I settle the score.

It was given to one of the most talented teen dancers with whom I have ever worked.  Her solo was contemporary.  Not contempyrical – straight contemporary with artistic risks that I knew some judging panels may not fully appreciate.  We knew this going into the choreo, and we were both willing to take the risk.  Much to our delight – the solo competed very well and most judges loved the piece… but there was the one.  The one comment that repeats in my mind every 4 days or so.  It went something like this:

“She is a really great dancer, and I want to score her high.  However, there is just not enough technique in her solo to receive a high score from me.”

A-HEM. What was that?  Not enough technique?  I literally rewound that phrase 6 times to make sure I heard her correctly.

I quickly realized that what that judge meant to say was “there aren’t enough tricks in her solo” – which got me thinking… are competition dancers taught that “technique” and “tricks” are one in the same? Yikes.  Let’s clear this up.

Technique: “A way of carrying out a particular task, especially the execution or performance of an artistic work or a scientific procedure. Skill or ability in a particular field. A skillful or efficient way of doing or achieving something.”

Trick: “A clever and skillful action that someone performs to entertain or amuse people.”

The technique of a dancer should be seen in the way she walks on stage.  The way he works through his feet as he chassés. The way the shoulders pull down through the back muscles, elongating the neck. The energy exchange between the dancer and the dance floor to create a stable foundation.  The slight wing of the ankle in derrière. A coupé turned out from the hip.  A tailbone positioned toward the floor in plié.  An open chest coupled with a closed rib cage.  A great technician is even allowed to “throw away” some of this technique in moments of artistic choice because they know just how to use that technique to thread into and out of those moments seamlessly.

Tricks, on the other hand, are an act that take place within a dance – usually a skill that is deemed difficult or given worth through the technique it takes to execute it well.  Things like jumps, turns, tumbling, and extensions can be found in this category.  When done WITH great technique – tricks can certainly have their place in a routine… but the lack of “tricks” in a dance certainly does not imply lack of technique.

When are each necessary?  In my opinion, technique is constant.  It has always been important, it will continue to be important; great technique will never go out of style.  There are no types of dance that aren’t enhanced by great technique (though the proper technique for different styles may differ.)  Each and every piece of art you create is going to look its best when executed with sound technique.  Tricks, on the other hand, depend on the choreography, style/genre/feel, and the general goals of the piece.  For my personal choreographic style, I do not see a need for a lot of “tricks”.  I love to create based on storyline or even just a certain feel or type of phrase.  However, last fall when I chose to do an 80’s throwback jazz for a production number, you better believe I put lots of good “tricks” in there!


There are three main problems that I would love to see less of – things that I see as a judge weekend after weekend:

1. “Tricks” performed by dancers who haven’t reached a level of technical readiness.  I love a great pirouette as much as the next judge. However, when it’s on a flat heel with multiple hops and weak upper body… I have to believe that this performance is valuing the “trick” above the “technique”.  I will speak for judges across the globe in saying, we would rather see a nicely executed single pirouette than to watch your dancer hop and bobble through a triple with a disconnected passé.  My rule of thumb that I share in critiques often is: If the dancer is not nailing the trick with proper technique consistently in rehearsal – then that trick is not stage ready.  It’s time to go back to the basics of technique.  Build upon a SOLID FOUNDATION, rather than feeling the pressure to throw in tricks for which your dancer is just not ready. That isn’t good for your dancer, her scores, or her safety!
   
2. Teachers/choreographers feeling that tricks are required to score well.  I can’t tell you how often I judge a beautiful contemporary or modern routine – one that takes me on a journey, building a story, relationships, creating staging, shapes, textures, layers… then 3/4 of the way through when I am chest-deep in LOVING the piece – the dancers abruptly stop the movement to step-prep into a hundred turns in second.  Guys, I don’t mind a well-executed turn in second. But – why?  What do these tricks do to enhance the art you are creating?  How to they tell your story?  Do we feel obligated to put tricks in our choreography in order to score well?  In my opinion, that may be one of the reasons competition dancers aren’t always taken as seriously.  Let your art be art – and if your dancers are ready, let your tricks be integrated into the art in a meaningful way that serves the purpose of your piece.  If you, like me, run in to the random judge who needs tricks to understand the technique of your dancers… may I kindly suggest you let it roll off your artistic backs and consider taking that competition off your schedule for next year.
   
3. Dancers working incorrectly or impatiently in order to achieve the latest “trend trick”.  I feel like, especially since social media and reality television exploded their way into the dance world – there’s now a new “standard” which dancers can measure themselves against.  The problem is that, often dancers are diving into flexibility stunts, pointe work, tumbling or leaps that their body is either not made for, or not ready for.  This is where teachers need to be very smart, and convincing.  Just because so-and-so that has 4 gagillion Instagram followers can do that, doesn’t mean that you are ready for it.  Some of these dancers are L I T E R A L L Y breaking their backs to get that perfect needle for which their body was not designed!  We are responsible to help these dancers understand their bodies, and to know that technique is prerequisite to tricks.  And that there are some tricks that would be unhealthy and unwise for them right now – and maybe always.

Technique is always important.  Tricks have their place when executed with proper technique – but let’s stop using those terms synonymously.  Build a solid foundation of technique, and your skyscraper of tricks will be solid and stage-ready.

Dance on,
Bree