News Blast: TL Dance Science & Health in Helsinki 2018

Over 50 Trinity Laban faculty, students and alumni headed off to an international conference in Helsinki last month!

The Dance Science team along with MSc, MFA, PhD students and alumni had the pleasure of attending the International Association for Dance Medicine and Science (IADMS) annual conference in Helsinki, Finland. The conference spanned across four-days and was attended by dance science enthusiasts from all over the world to learn and share new knowledge about the growing field of dance medicine and science.  The event consisted of talks, poster presentations, interactive workshops, movement sessions, round table discussions and debates. Topics included sleep, training load, injury, psychology, hypermobility, creativity and many more. The presenting speakers were of varying professional backgrounds including doctors, physiotherapists, psychologists, educators, scientists and dancers.

Those who attended from Trinity Laban included Professor Emma Redding (Head of Dance Science), Dr Liliana Araújo (Dance Science Programme Leader), Dr Lucie Clements (Lecturer in Dance Science), Elsa Urmston (Lecturer in Dance Science), Anna Williams (Health Clinic Administrator) and Leanne Steel (Dance Science Graduate Intern). Faculty, alumni and current students all contributed to the conference through podium and poster presentations, or by facilitating workshops and movement sessions.

 

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Trinity Laban faculty, alumni and current students.                 Photography: Elizabeth Yutzey

 

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Current and previous Trinity Laban Dance Science faculty members. Photography: Elizabeth Yutzey

 

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Professor Emma Redding represented Trinity Laban by introducing the AJG Howse Memorial Lecture on Management of the dancer’s hip. Photo credit: Julie Ferrell

For several of our students and alumni it was their first time attending the IADMS annual conference while many others have attended year-on-year. See below for thoughts and reflections from our students and alumni.

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Photo credit: Lauren Copping

“I had an incredible experience in Helsinki attending my fifth IADMS conference. It was not only wonderful to see how many Trinity Laban students, alumni, and staff were in attendance, but it was also great to meet or reconnect with researchers from other institutions. During the conference, I also had the opportunity to present my MFA research for the first time post-submission. It was really exciting to share my project and to receive such encouraging feedback and questions from the other attendees.” Lauren Copping, Year 2 MFA student 16-18

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Photo credit: Farah Md Fadzali

“It was the first IADMS conference I attended and it was a really great experience! It was amazing to listen to the latest research findings and how these can be applied in practice. Additional sessions catered to students allow you to connect with your peers around the globe. IADMS is a great opportunity to follow the latest research findings and be surrounded by other researchers, scientists, and teachers, who share the same interest and passion for dance and science!”
Hannah Jussli, MSc Student 17-18

“A great event offering a compact source of inspiration, great for gaining insights into unpublished research and scientific findings and a significant opportunity to network.”Farah Md Fadzali, MSc Student 17-18                                                                                           

“As a new Master’s student, I loved having the opportunity to meet dance scientists at all stages of their career and seeing what the trends in current research are. It was very eye-opening to where the field is heading, what it is still lacking, and the opportunities that await!” –Julie Ferrell, MSc Student 18-19

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Current 2018-19 MSc students and teaching team.  Photography: Reina Zi Teh

“IADMS Conference you were AMAZING! 100% inspired by the work and great people in this field. My brain was stimulated, overwhelmed, thought flooded and I loved it! Can’t wait for next year.” -Freya Simmons, MSc Student 18-19

“I am really grateful I had the opportunity to attend IADMS as a current MSc Dance Science student at Trinity Laban. I learned a lot about the current research being done in the field, which gave me numerous ideas for my own research project. I also met so many different people who are all really passionate about dance medicine and science, both peers and professionals that I hope to stay connected with as I prepare to start my career in dance medicine.” -Stephanie Pittman, MSc Student 18-19

This year we were delighted to have nineteen presentations by Trinity Laban faculty, alumni and students. See the list below of all our presenters!

IADMS presentations

Trinity Laban in action! Photography: Dr Liliana Araújo
Professor Emma Redding & Leanne Steel

Trinity Laban presenters at IADMS 2018 Helsinki

Appleton, R., Clark, T. A qualitative analysis into perceived factors associated with psychological readiness to return to dance following injury(Rebecca Appleton)

Araújo, L. From inspired dancers to inspiring teachers: same passion, role satisfaction and commitment to excellence within multiple professional roles(Dr Liliana Araújo)

Ascenso, S. Mind the mind: findings on mental health in dance. Trinity Laban Conservatoire of Music and Dance. (Sara Ascenso)

Chambers, K. Movement efficiency for dance proficiency: an exploration of individual neuromuscular activation patterns and guided application of techniques to maximise movement potential. (Katy Chambers)

Clements, L., Clegg, H. A mixed methods study of performance anxiety in vocational dance students. (Dr Lucie Clements)

Clements, L., Lefebvre-Sell, N., Redding, E., & May, J. ‘I wouldn’t really call it dancing’: the role of expertise in assessing contemporary dance creativity. (Dr Lucie Clements, Naomi Lefebvre-Sell & Professor Emma Redding)

Copping, L., Clements, L., & Redding, E. Dancer’s experiences with memory and strategies used to improve upon it. (Lauren Copping, Dr Lucie Clements & Professor Emma Redding)

Grossman, G., Redding, E., & Nordin-Bates, S. The porous boundary between dance, art and science: perspectives from dance science, physical therapy and psychology. (Professor Emma Redding)

Harman, G., Redding, E., & Holmes, P. Investigating the phenomenon of dance and music performance through the experience of the performer. (Gemma Harman, Professor Emma Redding & Patricia Holmes)

Lewton-Brain, P. Searching for efficiency of movement: the mesentery and its relationship to dance movement. (Peter Lewton-Brain)

McGrew, M., Mitchell, S., Descoteaux, J., Meder, C., Alvarez, A., Anker, S., & Steel, L. Dance science in the digital age. (Madison McGrew & Leanne Steel)

Mitchell, S., McGrew, M., Anker, S., Alvarez, A., Meder, C., Descoteaux, J., & Steel, L. Student and young professional networking workshop. (Madison McGrew, Sutton Anker & Leanne Steel)

Moravcikova, S. Physiological demands of Brazilian zouk social dance in healthy adults.(Simona Moravcikova)

Nordin-Bates, S., Schwarz, J., Quested, E., Cumming, J., Aujla, I., Redding, E.  Disordered eating attitudes among dancers: a longitudinal study of between and within-person risk factors (Professor Emma Redding)

Paschali, A. The effect of dance-specific aerobic training: An investigation into cardiorespiratory capacity and attitudes towards supplementary cardiovascular training of female dance students. (Anastasia Paschali)

Pooley, A., Clements, L. & Araújo, L. Exploration of emotions and creativity in a choreography class: a literature review (Alexandra Pooley, Dr Lucie Clements & Dr Liliana Araújo)

Sakuta, A., Clements, L. Methodological challenges of dance psychology research: obstacles and future avenues.  (Aska Sakuta & Dr Lucie Clements)

Shi, M. The motivational process in Chinese vocational college dancers: An investigation in the perceived autonomy support, basic psychological needs satisfaction and motivation characteristics. (Menggian Shi)

Squires, L., & Sarah Needham-Beck. Recovery during high intensity intermittent exercise in female vocational contemporary dance students. (Lauren Squires & Dr Sarah Needham-Beck)

Williams, A., Redding, E., Coleman, J., Beach, F., Quin., E & Clements, L. A 10-year retrospective study of contemporary dance students’ standing active turnout. (Anna Williams, Professor Emma Redding, Jessica Coleman, Felicity Beach, Edel Quin, Dr Lucie Clements)

Wyon, M., Allard, G., Nenander, F., Morris, M., & Rafferty, S. Embedding dance medicine and science into teaching and learning (Maggie Morris & Sonia Rafferty)

Yutzey, E., Redding, E. & Clements, L. The evaluation of existing creativity measures in dance and suggestions for a dance-specific measurement tool. (Elizabeth Yutzey, Professor Emma Redding, Dr Lucie Clements)

 

We are looking forward to next year’s IADMS conference already!

Report compiled by Trinity Laban Graduate Interns
Jessica Lowe and Leanne Steel

The Importance of Rest!

As we know, a typical day in the life of a dancer can be highly demanding, physiologically, psychologically and emotionally. Conservatoire dancers who may be exposed to long training hours and a heavily practical daily workload could be at a heightened risk of injury, as a result of fatigue from insufficient rest. Previous studies documenting the rest-work ratios of professional dancers have highlighted trends whereby common dancer injuries, such as sprains and strains, were often a result of fatigue from training.

Fatigue has been defined as “extreme tiredness, weakness or exhaustion—mental, physical, or both.” Once fatigued, the ability to perform movements requiring complex skill is compromised.

“Dancers from previous studies considered fatigue and overwork to be major contributing factor to their injuries…” 

A lack of rest can take its toll on the technical aspects of a dancers practice.  This can negatively impact alignment, heighten inefficient biomechanics, and place stress on the muscles and joints which can only be tolerated to a limited extent before injury occurs.

Augmented rest– what is it and why does it matter to me?

As is often the case for dancers, designated break or rest times are used for things like warm-up/ cool-down, rehearsal and stretching.  The busy life of the dancer may also mean that this time is used for frantically running around trying to complete all of your errands in one go as there are simply not enough hours in the day. But is this really rest? Dance scientists are working actively to assess how dancers can use their (albeit short) breaks in the most effective way to rest, recover, consume and digest food for energy, and to prepare for the rest of the day.

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Image: One Dance UK (Photograph by ASH)

HOW CAN I REST I HEAR YOU CRY!?

Ever heard of somatics?

Somatics balances rest and action which can have positive implications for technique and creative practice, as well as general well-being and personal authority. In resting, a student is encouraged to observe themselves with attention to residual sensations, novel organisation of their self-image, and a general state of open awareness to their present experience. From within this reduced activation, a re-calibration of self-organisation occurs that allows for more freedom of choice when reactivating movement.

Rest and recovery in Somatic Practice

  • Restful reflection
  • Using imagery
  • Listening to the presence and quality of movement

Consider..

  • Feldenkrais technique
  • Ideokinesis
  • Alexander technique
  • Sweigard’s constructive rest

Written by Jessica Lowe, Graduate Intern for Health and Dance Science

References:

Batson, G., & Schwartz, E. (2011). Revisiting the value of somatic education in dance training trough an enquiry into practice schedules. Journal of Dance Education. 7 (2), 47- 56

Twitchett, E., Angioi, M., Koutedakis, Y., & Wyon, M. (2010). The Demands of a Working Day Among Female Professional Ballet Dancers. Journal of Dance Medicine and Science. 14 (4), 127- 132

 

 

 

 

 

 

 

7 super reasons to join Trinity Laban’s Young Musicians’ Summer School

The Young Musicians’ Summer School is the perfect opportunity to meet new people, develop your skills and have some fun! With many different activities over three days, you can pick and mix workshops or opt for a 3-day course.

1.Pick’n’mix your courses

Create your perfect Summer School! Choose from our amazing selection of courses and combine them in a way that works for you.

2. Work with inspiring tutors

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Get a taste of what it’s like to study at a leading conservatoire with our fantastic Junior Trinity tutors and workshop leaders. Who better to learn with than professional musicians at the top of their respective industries?

3. Be the next Ed Sheeran

Ever fancied giving looping a go? How about songwriting? With a wide array of new and exciting courses on offer, you can try something new and leave with brand new skills.

4. Make new friends

This year, we’ll be joined by participants from all over the world, from France to the US! Young Musicians’ Summer School enables you to make new friends and learn about music-making in other countries.

5. Perfect for all musicians, whatever your skill level

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We offer junior and advanced levels for our Jazz, Percussion and Guitar courses so whatever your ability or prior experience, you will find a course to suit your level.

6. Get ahead of the game

As well as our short courses, we also have a selection of 3-day courses designed to support students’ studies. For musicians aged 15-18, our A-Level Preparation Course prepares and supports students with A-Level Music and for participants aged 14-18, Music for Film offers support and learning opportunities for young composers.

7. Experience conservatoire life

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Create music at our World Heritage Site campus in Greenwich! Hear your music echo around the courtyard, stand on the spot where huge Hollywood blockbusters were filmed, take a selfie in front of our beautiful building and experience life at London’s Creative Conservatoire.

For more information and to book your place on the Young Musicians’ Summer School, visit trinitylaban.ac.uk/ymss.

Transitions 2018: Q&A with company member Paola Drera

Ahead of Transitions’ 2018 international tour, we caught up with dance artist Paola Drera.

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How does it feel to be dancing with Transitions as it celebrates its 35th year of touring?

It’s an honour to be part of Transitions. Not many dancers in Europe have the chance to experience an MA in dance performance and I feel privileged to be a trannie in such an important moment for the company.

What can audiences expect from the Triple Bill?

The audience should expect emotions, physicality and visual effects.

What is your favourite piece to perform and why?

I don’t have a favourite piece. I love how all of three challenge me in a different way.

In Jarkko Partenen’s Lovers your vision is reduced/restricted as a condition of the work. What’s that like to perform?

Touching and hearing become essential. You start to look through your palms. You realise people are close to you because of their breathing, the sound of their feet and the movement of their costume. It is fascinating how other senses counteract the lack of vision.

What are you most looking forward to ahead of the tour?

I look forward to performing with my fellow dancers. They have become my new family here in London and we can’t wait to show what we have discovered in this past 13 weeks of the creative process.

 

By Robyn Donnelly (Press & PR)

 

Transitions 2018 Tour | 19 February – 24 May

For full tour details and to find out more about Transitions Dance Company, visit www.trinitylaban.ac.uk/transitionsdc

To find out more about studying dance at Trinity Laban, visit our pages.

 

10 reasons to apply for CPMM

The Certificate: The Practice of Music Making is a one-year programme developed by Trinity Laban in partnership with The Open University. It offers adults with a passion for music the opportunity to develop their practical music making and performance skills. Here are our top ten reasons to apply:

1. Innovative blended learning

Designed in partnership with The Open University, Trinity Laban’s The Certificate: The Practice of Music Making offers all music-makers an accessible opportunity to develop their practical and performance skills whilst gaining a qualification with a world-leading creative conservatoire.

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2. All music-makers welcome

“As an adult amateur viola player, who only started learning to play the instrument several years ago, I have already benefited from the course in various ways: from learning about different approaches to practice sessions and rehearsals to dealing with performance and performance related challenges.” CPMM student, 2017

The Certificate is perfect for amateur musicians of any genre and instrument. It’s suited for those who make music regularly with others in any type of genre or setting, from amateur orchestral players, DJs, or Samba drummers to folk musicians.

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3. A new approach to Practice and Performance

Feel unconfident to perform or rehearse in a group? Struggling to have meaningful practice? The Certificate can help you to increase your understanding of your own music-making and explore the musical ideas and practice employed by a range of musicians. This learning can be applied to your performance, practice and rehearsal in your own setting, whatever that may be.

4. No audition necessary

You don’t need to audition to gain a place on the programme; it’s all about how you engage with new musical ideas rather than your technical or performance ability.

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5. A world-class teaching team

“The quality of the teaching was outstanding…All the tutors were friendly and supportive, and their enthusiasm was infectious and created the right kind of ambience for adult learners” CPMM student, 2018

The Certificate brings together a diverse range of tutors from Trinity Laban and The Open University to support you in your studies, practice and music-making, along with opportunities to engage with established musicians working in a variety of genres.

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6. Bitesize learning

The course is designed to enable you to fit study within your life. The programme consists of a mix of online tutorials, listening, video, reflective journals and short assignments with around 16-18 hours study per week recommended.

7. An Easter Residential in Greenwich

“Such a fantastic experience. A chance to perform and create with musicians from so many different genres. Very well organised. We were well supported. There really was time for everyone to shine. Perfect end to an amazing week.” CPMM student, 2018

“To get the chance for a whole five days at a London Conservatoire with like-minded musicians was something I never thought I would get the chance to do.”  CPMM student, 2018

Students take part in an inspiring week-long Residential at Trinity Laban’s World Heritage Site home. Meet your fellow students in person to make music, take part in practical workshops, discussion groups and masterclasses, all culminating in a celebratory open sharing performance.

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8. Gain a qualification from a world-leading conservatoire

“Having played with instrumental groups and sung in choirs since my youth, the course has been highly informative and invaluable in consolidating my prior experience and in providing new insights into the practice of musical performance. And having the opportunity to study at a music conservatoire with the academic rigour expected of a Level 3 OU course has been a bonus”. CPMM student 2017

Gain a Level 6 standalone Higher Education qualification certificate, or if you are enrolled with The Open University, the Certificate counts as a 60 credit OU Level 3 module within your degree or other qualification.

9. International applicants welcome

We welcome applications from all over the world, as long as you can attend the Easter Residential. Fees are consistent for all students.

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10. Be part of a vibrant musical community

“I really enjoyed the performance because of the fact that there were so many people from diverse musical backgrounds coming together to make music as one.” CPMM student, 2018

The supportive atmosphere within the student cohort really aids the development of your music-making. The virtual learning environment supports open discussion and fascinating debate and is a great opportunity to meet and exchange ideas with people who share your love of music.

To find out more about CPMM and to apply, visit trinitylaban.ac.uk/cpmm or email the programme team: admincpmm@trinitylaban.ac.uk.

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Walk This Way

Transitions Dance Company is out on the road performing a triple bill of new works, including Award-winning Israeli choreographer Hagit Yakira’s The Ar/ct of Moving Forward.

The simple yet energetic piece is inspired by London’s ‘unspoken rule’ of constant forward motion, and sees the dancers embark on a nonstop journey of walking.

That got us thinking about other famous dance moves inspired by the walk…

9. Powering into the line up is The Strut, embodied by Queen Bey

Look at the catwalk action and hairography!

 

8. Elegantly gliding into 8th is ballet’s ‘Classical Walk’

Noble and graceful, it’s how ballet dancers move on stage when not doing a jeté or pirouetting.

 

7. Flashing back to the seventies at 7 is the Stayin’ Alive Swagger

Well you can tell by the way they walk that Beyoncé was not the first to werk it…

 

6. “Any time you’re Lambeth way, Any evening, any day, You’ll find us all Doing the Lambeth Walk.”

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This Cockney dance craze was first made popular in 1937 by Lupino Lan, and even featured in the musical Me and My Girl.

 

5. Stick on your cowboy boots and get walking to some country music

Look at Alan and Sonia giving their best grapevine as part of the ‘Achy Breaky Heart’ Line Dance!

 

4. Taking it to another level is Trisha Brown’s Walking on the Wall (1971)

Re-created at the Barbican in 2012, the dancers spurn gravity to walk on the walls of the performance space!

 

3. Hitting the gym has never been so fun…

Check out the full video of ‘Here It Goes Again’ to be amazed by more treadmill choreography from Ok Go.

 

2. John Sergeant’s infamous Paso Doble ‘Stomp’

Known to Strictly Come Dancing fans everywhere…the drag and walk! Not necessarily a traditional latin move but memorable nonetheless.

 

1. And top of our list….the iconic Moonwalk courtesy of Michael Jackson

Nailing it.

 

If our countdown has whetted your appetite for some more walk-dancing, then book your ticket for Transitions Dance Company Tour 2018 to see Hagit Yakira’s The Ar/ct of Moving Forward alongside two more brilliant new works.

 

And now, in the words of RuPaul, it’s time for us to….

Transitions: Q&A with company member Orion Hart

Ahead of Transitions’ 2018 international tour, we caught up with dance artist Orion Hart.

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Image: Orion Hart (Credit: Chris Nash)

How does it feel to be dancing with Transitions as it celebrates its 35th year of touring?

It feels quite amazing to be part of something that has such an extensive history and has produced so many fantastic dance artists. I consider myself very privileged to have been given this opportunity and so far it has been an incredibly enriching experience.

What can audiences expect from the Triple Bill?

The line-up of the pieces in our Triple Bill is definitely very diverse, ranging from the simple beauty of human experience, through to the raw physicality of animal instinct, and even going as far as the downright whacky and absurd. I think that there is something for everyone in there.

What is your favourite piece to perform and why?

I would say that I have the most fun performing the piece choreographed by Jarkko Partanen. We perform the entire work unable to see which makes it both exciting and scary and it’s never the same twice.

What are you most looking forward to ahead of the tour?

I’m really looking forward to how the pieces will develop and shift once we begin to perform them in front of live audiences. It’s my opinion that you can only rehearse something so much and that once you put it in front of an audience is when it really begins to take on a new life.

Transitions will be running a workshop at Rubicon, ahead of your performance at Dance House, Cardiff. What will it be like to return to where you trained?

Rubicon Dance was where I first really began to find my feet as a contemporary dancer and I owe the teachers there so much. It will be great to be able to return to share with the teachers and students some of what I’ve experienced since I left.

 

By Robyn Donnelly (Press & PR)

 

Transitions 2018 Tour | 19 February – 24 May

For full tour details and to find out more about Transitions Dance Company, visit www.trinitylaban.ac.uk/transitionsdc

To find out more about studying dance at Trinity Laban, visit our pages.