· Good mentors are essential in the training and career of dancers, and good mentoring should be developed as a skill in organizations.
· Practical aspects in terms of presenting oneself professionally and knowing one's market value, are essential parts of the occupation, and must be taught.
1b. dance culture: THE BELIEFS WE WORK WITH
· Despite lip-service to the contrary, an antiquated system of beliefs still has an enormous influence on the dance training and the dance profession in the general. Dancers and dance professionals must be made aware of these in order to change them.
· While 'abusive practies' are most obvious in the ballet world, they are also present in other areas of dance and dance training.
· Implicit in each training method is the teaching of a dancer's relationship to his/her body. The value systems inherent to these methods must be examined and the methods changed in order to improve that relationship. These new methods then must be integrated in the training of dancers.
1c. education: MINDFUL TRAINING FOR DEVELOPING YOUR FULL POTENTIAL
· Physical performance can be tremendously improved by better using mental techniques which utilize the power of the mind more than has been traditionally done in the dance.
· These techniques can help individual dancers develop methods that will eventually be of great benefit in their careers and training.
· Utilising methods such as mental imagery, positive reinforcement, and proactive thinking can drastically increase the effectiveness of dance education and training.
1d. management: WHAT DO WE NEED?
· Accessability of information about dancer's health organizations is the right of the dancer and a responsibility of artistic and educational organizations. The management is not doing enough to inform dancers.
· The medical world must be informed of the need for dance-specific knowledge among occupational doctors; the occupational physician needs better information; where to send dancers for best care.
· The infrastructure, network and information exchange of dance medicine organizations must be strengthened, nationally and internationally.
1e. practical: ANATOMICALLY SOUND DANCE TECHNIQUE: no report available
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WORKSHOP ROUND 2 - LIFE LONG LEARNING
2a. career in dance: BREAKING OUT OF THE MONOCULTURE
· The monoculture of dance does not have to be perceived as a negative phenomenon. It is more of a rich universe within defined limits that one chooses to be a part of.
· Breaking out of the monoculture can happen when one listens to one's inner voice and approaches the context in a different way. Doors are then opened to a world of new possibilities
· Through changes in the society and in the dance world the new generation of dancers is less limited by a traditional dance monoculture, skills must be developed in order to exploit the possibilities afforded by these broader horizons
2b. dance culture: MULTIDISCIPLINARY COOPERATION
· Evidence has shown that cardio-fitness training can result in better stamina, increased concentration leading to better artistic output, and quicker recovery from injuries.
· In order to gain wider acceptance among dancers, dance companies and dance education institutions, myths about non-dance training must be dispelled and dancers taught to be able to make individual choices about how they can improve their fitness levels.
· Management in dance institutions need to improve their skills and knowledge in this area, and must initiate long-term planning in the areas of health and fitness for dancers.
2c. education: DANCE TRAINING REVISED, PHYSICAL/CONDITIONING IN DANCE
· While 80% of a body's capacity and limitations stem from hereditary factors, the other 20% can be drastically shaped through training.
· The evidence of the positive of effects of fitness training for dancers must be applied and integrated in current methods of dance training.
· It is essential to introduce certain training procedures only at the age when a dance student can understand and utilize them on a mental and physical level.
2d. management: HOW TO SET UP A HEALTH AND SAFETY PLAN
· A risk assessment inventory which leads to the setting up of a health and safety plan contributes to the long term goals of the company
· The benefits extend to all levels of the company; dancers, management, and staff, and result in a mote successful cooperation within it
· For an effective implementation, it must be seen as an integral part of any production, beginning at the start of it, and contributing, growing and adapting as the production progresses
2e. practical: MENTAL PREPARATION FOR PERFORMING SITUATIONS/ THINK IT, FEEL IT, DO IT
· Imagery, or more correctly 'mental simulation of movement' (MSM) is a key skill for performing in any area, and extremely well-suited to dancers.
· Dancer performers can employ these skills to learn choreography, to adapt and promote the correct mental and emotional sets for performance, and even to avoid problems associated with injury.
· In order for MSM to be effective it must be taught properly, and in a way that leads to controlling and effectively applying these skills in a positive way.
WORKSHOP ROUND 3 - EXTREMES/PARADOXES
3a. career in dance: TAKING CHARGE OF YOUR LIFE/LIFESTYLE MANAGEMENT
· There are many similarities between dance and professional sports, but since sport training is science oriented and dance training is not, there are applicable lessons to be learned from sports training.
· There are tools available in order to regulate an irregular life in terms of workload.
· Finding the balance between dedication to and distance from the profession is the key to managing the dancer's lifestyle in a healthy and constructive way.
3b. dance culture: GROUPS DYNAMICS: did not take place
3c. education: STRATEGIES FOR THE PRACTICE OF TEACHING
· Begin with a positive.
· Seek ways to engage learner's response and responsibility.
· End with a positive future.
3d. management: GETTING THE BEST PERFORMANCE OUT OF THE DANCERS
· The emphasis of the whole has to be on the performance rather than on rehearsals or training.
· The responsibility about how they each maintain their condition has to be given to the dancers, but this must be supported by the staff and infrastructure of the company.
· An optimal situation would be when at least 3 days before a premiere performance a 'refocus period' could be held leading up to the performance itself. This can be achieved through a better planning on the part of the staff.
3e. practical: EMPOWERMENT: no report available
3f. medical: DANCERS' HEEL: CAUSES, PREVENTION AND (NEW FORMS OF) TREATMENT
· Treat the patient and not the X-Ray. Doctors should be aware of the dancer behind the patient.
· Painful 'limited relevé may be caused by ankle or by big toe problems.
· Dancer's heel may successfully be treated by open or endoscopic operations. Unexpectedly in the results so far noted in dancers, the latter seems not be more effective than the former. More research is needed.
WORKSHOP ROUND 4 - CREATING AN OPTIMUM ENVIRONMENT
4a. career in dance: TAKING CHARGE OF YOUR LIFE/FACING TRANSITION
· Educational institutions should focus on developing not only good dancers but well rounded individuals who are aware of their strong and weak points and thus capable of making informed decisions when faced with choices about their lives and careers.
· While the needs of each individual dancer varies widely according to his/her character and talents, support systems should be made available to those needing coaching and counselling in periods of transition.
· Compassionate and informed mentors are extremely important in the lives and careers of dancers.
4b. dance culture: ETHICS IN DANCE: A DEBATE YET TO BE HELD
· The rights and responsibilities of dancers and choreographers must be specified within the context of a dancer-centred paradigm.
· A response to codes of human values and legislative codes that affect the dance community must be formulated.
· How do we monitor ethics in the profession and what are the sanctions in terms of the underlying and evolving values of the dance world?
4c. education: SCIENCE AND FICTION OF THE DANCE TEACHERS JOB: report will follow
4d. management: CREATING A SAFE ENVIRONMENT
Trust is the essence.
· Individual responsibility cannot be fully effective without shared responsibility: Multidisciplinary collaboration (between management, artists, and health infrastructure)is essential.
· An objective (external) confidant is essential.
· Bottom line is that the artistic director must lend his support to the idea of creating a safety environment.
4e. practical: FABULOUS FEET. EFFORTLESS JUMPING: no report available.
