Magazine-April-06-QXD6 (Page 1 - 2) - EADA

The voice of English Amateur DancersAutumn 2009 £1COUTURE, FABRICS, ACCESSORIES,MENSWEAR, PRACTICEWEARA MASTERFUL BLEND OF COUTURE & COLOURwww.eada.org.ukCrystal Clover - London:102 - 104 Church Hill Road, Cheam, Surrey SM3 8NATelephone: +44 (0)20 86448858, Fax: +44 (0)20 86448992email: info@crystal-clover.com, www.crystal-clover.comIn this issue...- Memories of Blackpool:we interview our finalists- Interviews with our top Juniors- Dress Designs- Wheelchair dancingNEW Store! Crystal Clover - Tokyo:ENOMOTO BLDG 2F, 3-12-10 AMANUMA,SUGINAMI-KU, TOKYO167-0032, JAPANTel. +81-3-6915-1066 Fax. +81-3-6915-1068Email. tokyo@crystal-clover.com, www.crystal-clover.comEdda Hsu:Oldenburger Straße 112, 27753 Delmenhorst, GermanyTelephone: +49 42 21 98 75 90, Fax: +49 42 21 98 75 92email: info@edda-hsu.de, www.edda-hsu.de

The voice of English Amateur DancersContentsDear All,2009 was the year in which we hoped toconsolidate our systems and prepare for thefurther development of EADA. Whilst we haveachieved a great deal, there have beenenormous outside pressures, both at home andabroad, that have taken too much of theCouncil's time.The Personal Accident Scheme has now been inforce for over a year and we have recently beenfortunate in renewing it at the same premium.We are in the final stages of negotiating a veryadvantageous Travel Package which will include“Competitive Sport”. This will initially beavailable to all our couples travelling abroad todance but will, in the long term, benefit thewhole Membership. We hope to give you detailsat the AGM.All of you who dance abroad will know that youhave to be registered with IDSF and from thebeginning of next year we expect to be able toprovide you all with a “Dancing Passport”. Patand Ramen are currently running this project.Whilst on the subject of foreign competitions, Ifeel I must warn you that we are looking at theever increasing cost of sending couples to Worldand European Championships. This has almostdoubled in the past year and it is beginning to bean unfair burden on the whole Membership. It ishoped that we can obtain outside Sponsorship.Whilst on this subject, I regret that the oneproject that has failed to come to fruition in2009 is our change to “Charitable Status” andthis must be our principal aim for 2010.Companies will not sponsor if they cannot obtainTax Relief and they can only do this if therecipient is a Charity.During the year we have welcomed the Rockand Roll Association, the Bedfordshire DanceClub and the English Wheelchair DancesportAssociation to EADA and we expect that shortlythe competitive section of Country and WesternDance will also join us. This goes a long way tofulfiling one of our Corporate aims, which is torepresent Dance as a whole to Sport Englandand to Government. I will continue to do this andensure that our interests safeguarded. Borderand Migration issues, the newly formedIndependent Safeguarding Authority and thechanges to the 1968 Children's Act (which couldaffect competitions) are some of the areas withwhich I have been involved. I am currently indiscussion with Sport England on the new“Clubmark” initiative which gives Amateur Clubsa “Kyte” mark and enables them to seekGovernment and County funding for theirmembers. We have presented a robust front inthe face of a number of moves to dilute ourindependence and I continue to serve on severalBritish Council Committees.We are now more closely involved with theExercise Movement and Dance Group and I amdelighted that Pat Fortin has managed to attendsome of their Board meetings.Mary and I attended the IDSF AGM in Macauduring which several of the Presidium's motionswere robustly defeated by the Membership. Itwas a long trip and a difficult weekend. I laterattended the IDSF Presentation in Stuttgart of thenew IDSF Judging System that is proposed for2011. Those present were able to makecomments and to join in the debate over asystem that will, no doubt, be popular with theOlympic Movement but will be extremely difficultto implement in its present form. Currently, weare under some pressure once again, to considerthe formation of a UK body at IDSF and sometime must be given to this in 2010.There have been several changes on the Councilin 2009. Keith Hateley has taken over as VicePresident, Albert Heaney as Child ProtectionOfficer, Ramen Sen as Webmaster, RachelleStretch as Press and Publicity Officer, ColinHanson New as Travel Co-ordinator andDemonstration Controller and I am delighted thatCorrine Hanson New has agreed to become ourMinutes Secretary. They have all done a splendidjob and I hope that you will be able to ratify allthese appointments at the AGM. If, however, youwould like to stand against one of thesevolunteers for one of these posts then pleasecontact Pat Fortin for a Job Description and aNomination Form.We have carried out yet another review of theArticles of Association and a Motion for Changewill be included with the AGM papers. We live ina constantly changing world and always have tobe aware of this.Finally, you will see that Mary is not standing asCompany Secretary for another 3 year term asshe wishes to retire from the Council. She hasworked hard and long for EADA for the last sixyears and without her support we would all havefound it impossible to achieve our goals. Shedeserves our thanks and good wishes, as do allthe Council for their hard work and support. Iwish you all a peaceful and restful Christmasand a Happy and Successful 2010.Yours,David CorfieldPresident of EADADid you know?EADA members are entitled to 10% discount fromthe following dance suppliers:Show your card and get your discount!President’s foreword 2News 4Ben & Becky’s Britain’s got Talent Diary 6Hear from our Top Junior couples 8The importance of hydration 12Wheelchair Dancing 14The British Open - our finalists 16Memories of Blackpool Photos 21Competing Abroad 24Dani & Zuzana abroad 26Dress Designs 28A Tale of Tails 35Club News 37IDSF News 38If you would like to contribute an article or photographsfor inclusion in the next edition of InMotion pleasemail them to Rachelle at publicity@eada.org.ukDesigned and produced by Blue Fish Media.Tel: 0118 9750272, www.bfmedia.co.ukPlease phone or email for advertising rates, the nextpublication will be printed at the end of April.We would like to thank all contributors and advertisersfor this edition - their help is greatly appreciated.Cover photo thanks to J J Ault.23SPOT TURN BALLROOM

News...EADA NewsSequence Training & ChartsWe are delighted to announce that our firstSequence training day will take place on Saturday19th December at Willenhall Leisure Centre. Itcaters for competitive sequence dancers of allages. The day offers competitors an opportunity totrain with top class coaches in a friendlyenvironment, promoting greater unison amongstthe EADA competitors whilst also improving theirdancing. Each couple will have 3 sessions, eachlasting 1 hour and there will be a 1hour lunchbreak. Juveniles & Juniors will be from 9.15am-2pm and Youth, Amateurs & seniors from 11.45-5pm. The cost is £12 per person (lunch is notincluded). You do not need to attend with a partner.The coaches include Darren Park, Robert Aldred,Kathy Thomson and Craig Bedwell. To book pleasecontact Martin Bird on sequence@eada.org.ukWe will also be trialling Sequence charts in 2010for five age categories. The ranking events are yetto be announced but further details can be foundon the charts section of the EADA website.EADA Membership for 2010We are delighted to be able to introduce a newcategory of membership for 16-18 year olds andover 65s in 2010, this will be at a reduced price of£21 for the year.Please remember to register early if you wish tocompete in January. In 2010 prices for Juvenileswill be £14; Juniors will be £17; Adult membershipwill be £26; university student membership will be£15. Juveniles, Juniors and Adults who are currentmembers and reply before 24th December 2009will be entitled to an earlybird discount on 2010membership: these prices will be £13.50 forJuveniles, £16.50 for Juniors and £25 for Adults.Freestyle membership for 2010 will cost £8.4New Discount -SPOT TURN BALLROOMWe are delighted to announce that anew couture company, Spot TurnBallroom, have agreed to offer allEADA members a 10% discount. Thecompany is based in Bournemouthand run by partners Sue Charon and BeverleyDunlop. They believe in competition qualityprofessional dancewear at affordable prices. Byworking mainly on-line they keep overheads lowand pass on the savings to customers in the formof very competitive pricing. They also carry stockof girls ballroom and latin juvenile dresses forimmediate delivery. They are also keen to givesomething back to dancing and currently sponsor2 young female dancers and hope to do more astheir business expands. See their website on:www.spotturnballroom.co.ukWheelchair Dance Sport Association (UK) haveaffiliated to EADA. For more information seepage14 and the new pages on our website.John and Linda West have recently announcedtheir retirement from competitive dancing and haveturned Professional. John and Linda won the over50s Latin at the National Championships in 2007and 2008, and have been semi-finalists in theSenior I at the British National Championships forthe last 4 years. They have been at the top of theEADA Senior II Latin chart for the past two yearsand have twenty years dancing experience. Theywill be doing the IDTA Associate exam for bothLatin and Ballroom, have already started workingon cruise ships and holding classes in Essex. Fordetails see: www.simply-the-west.co.ukWorld News...The World Games.Dancesport (Ballroom, Latin & Rock n Roll)featured as part of the World Games in 2009 inTaiwan. 13,000 came to watch the dancesportevent at the Kaohsiung arena - which may bedancesport's largest crowd at an indoor venue -providing an amazing atmosphere for thecompetitors. Unfortunately no English couples tookpart as there are currently no all-English coupleswith IDSF rankings. The 136 athletes chosen tocompete were selected on based on the 2008World Championships and their IDSF WorldRankings. Drugs testing did take place at theGames and although there were 5 positive testsnone were in dancesport.The IDSF joined the International World GamesAssociation in 1995 and Ballroom and Latin wereincluded from the 5th games. Previous winners ofthe event from England include Chris Hawkins &Hazel Newberry in 1997 and Jonathan Crossley &Kylie Jones in 2001. The next World Games willtake place in Columbia in 2013.Dancing on TVAs the new series of Strictly starts again and 16more celebrity couples hit our screens in what isclaimed to be “the toughest series so far”, itseems more and more dance shows are springingup. This year Britain's Got Talent featured anumber of dancers including our own membersBen & Becky Milan Vega (see page 6) who madethe semi finals.Fever Media havealso filmed a showabout wheelchairdancing. “Dancingon Wheels”(working title) will bereleased on BBC3 inJanuary and involvescelebrities dancingwith beginners inwheelchairs. BrianFortuna has been acoach to thesecouples. He has been teaching wheelchair dancingfor 8 years and his mother, Sandra Fortuna, hastaken a pivotal role in establishing a syllabus forwheelchair dancesport in America. The celebritiesinclude Heather Small, Mark Foster, MichelleGayle, Kevin Sacre, Martin Offiah and CarolineFlack. A panel of judges will decide each weekwhich couples stay in the competition. There willbe a dance off in the final week to select who ischosen to represent England in the EuropeanChampionships. EADA are now working closelywith Sue Cummings and Ruth Boyne from theWheelchair Dance Sport Association (UK) whohelped with the show - see page 14.Sky One have launched a hunt for dancers tocompete in their “Just Dance” TV competition,produced by Princess Productions & Shine TV.They are looking for any style of dancer of anyage to attend castings and be judged in front of apanel before dancing in front of a live audience inthe final. The application deadline is the end ofOctober: www.sky.com/sky1Fever Media are also looking to play tribute toMichael Jackson in a competition “Move likeMichael” by finding dancers, of any age and anystyle, who can incorporate his moves andcelebrate his life. Auditions will be held in Octoberand November. Contact Dance@fevermedia.co.ukThe BBC have also been looking for dancers for anew Saturday night show “So you think you candance”. Dancers aged between 18 and 35, inany style, will be competing for the title ofBritain's Favourite Dancer.Bingolotto has also returned to our TV screensand airs weekly on Virgin 1. Buying a £2gamecard from Tesco, for this interactive TVgame will give you the chance to win prizeswhilst helping support EADA. 20% of all proceedsmade by the sale of the bingo lotto tickets will godirectly to the CCPR, (which EADA and the BDCare affiliated to), and then will be available toEADA to help support dancing at a grassrootslevel. Last year £1000 was used to help trainteachers in schools so they can teach pupilsballroom and latin.However, the third Eurovision Dance Contesthas been postponed as the number ofbroadcasters that signed up for participation didnot reach the desired level. The event will takeplace in 2010 in Azerbaijan.Amendment from the last issue:Apologies to James & Rachel Barron: there was a mistake in theroll of honour printed in InMotion in May 09 - they placed 11thin the World Senior II Ballroom in Belgium last October not 24thas printed.5

BEN & BECKY'SBRITAIN'S GOT TALENT DIARYYou may have taken time out from the WinterGardens to watch them on TV - Ben & Beckyexplain what went on behind the scenes.Autumn 2008 - We saw an advert for the nextseries of Britain's Got Talent online. Luke &Charlotte did so well in the first series, butBallroom and Latin weren't represented in thesecond series so we thought we should give ita go and we sent in an application form.November 2008 - We went to the 'Producer'saudition' in which you go in a small room with aproducer and a camera man. We performed ourJive routine to Rockin' Robin and they asked forextra filming, which included walking in a trainstation in our Latin outfits (which was freezing!)December 2008 - We received a letter saying wehad made it through to the judge's stage inFebruary.February 2009 - Our friends and family camealong on the day to support us and we auditionedin front of Piers Morgan, Amanda Holden andSimon Cowell. We treated it like a competition,but were more nervous than any competition orshow we've ever done! They asked us a fewquestions and then it was time for ourchoreography. We chose the music for thisaudition and we choreographed it with our Latincoach. We received a standing ovation - althoughthat wasn't shown on the TV; Piers Morgan saidwe could win the whole show. We received threeyeses from the judges and went home elated.6March 2009 - The next stage was the 'reveal'where they tell you if you are in the top 40 andthrough to the semi-finals. We had to go toWembley where we sat waiting for a whole day,with over 150 acts. They filmed more interviews,then after more waiting, we were transferred bybus to Lancaster House where we had to walkdown in groups of five to the judges. We weresitting next to Julian Smith, who we began tospeak to and who has now become a good friend- he has even been to competitions to see usdance. Also in our group were Hollie, Julia andCallum - we were all nervous walking into seethe judges. The judges explained how tough thedecision was and Simon said they were judging iton whether or not they felt the acts could winoverall. Amanda delivered the news that we werethrough and we were all delighted. We made ourway out to more interviews and were then askedto go through for an interview with StephenMulhern of ITV2. We had a great time, having ajoke with him. He didn't know we were brotherand sister and asked us if we were boyfriend andgirlfriend! Stephen was one of the best parts ofthe show - he is really genuine and a hilariousguy. The top 40 acts were then asked to stand onthe stage behind Ant and Dec and wave whilethey did their 'link' for the show. We were alsosworn to secrecy about being in the semi-finals,which was one of the hardest parts of the wholeexperience.April 2009 - The next few weeks includedlawyers meetings and management meetings todiscuss the contracts and work following theshow.May 2009 - We had to go to the choreographersfor the first time and they said what we did in ourfirst audition would be too “small” for the liveshows. We gave them a selection of tracks, andour first choices for the semi-final were'Candyman' or 'The Boy Does Nothing'. However,the producers chose 'Land of 1000 Dances'. Wefelt that the song was far too slow and didn't giveus enough time to dance. They asked us to havemore dancing apart facing the audience and morelifts. This part put a bit of a downer on theexperience but we worked hard for over a month.Our audition on TV - We weren't shown until thelast week of auditions. We had lots of family andfriends round for a 'BGT party'. Everyone wentcrazy when we came on the TV. Our audition wascut down a lot, the judges' comments werepositive, but not the best of what they had said.We were in the Tuesday semi-final, which meantthree days time.The semi-finals - We were taken to London by achauffeur and stayed in the Wembley Park Hotelfrom Monday night. After having a nerve-rackingfirst rehearsal on the Friday before where we sawthe studio for the first time (which is tinycompared to how it appears on TV) we felt wewere ready to give the performance of our life,even though we were not 100% confident withthe song and routine. After watching the Mondaynight semi-final in the hotel it started to hit us -15 million people were tuning in every night.The night before we both got as much sleep aswe could before having to wake up early to go tothe studios. The day consisted of hair and makeup(everyone backstage was lovely) before morerehearsals and dress rehearsals. It was a verylong day but began to speed up quickly when theaudience started to come in. We waitedbackstage in a corridor in a long line. We knewwe had stiff competition from the likes ofShaheen Jaforgoli and Stavros Flatley but weremained positive. We heard the music for thetitle sequence come on and the nerves hiteveryone. Pacing up and down the corridor wasour way of calming our nerves. We were third onand before we knew it we were put on the stairsin front of the judges with our video tape (VT)playing in the back. Ant and Dec introduced usand the music began to play, everything wentaccording to plan, even some of the tricky lifts wehad literally put in days before. That was it, it wasover in a flash. We stood with Ant and Dec toreceive the comments from the judges.Simon was first, and was extremely harsh,however now having watched it back we can seewhere he was coming from. Becky was upsetbecause the criticism of the track and the loss ofconnection were a result of the advice we hadtaken beforehand. Piers and Amanda werepositive so we left the stage feeling slightlyembarrassed but also extremely annoyed. Wewished we could have performed to the track wewanted. We did not argue with the judgesbecause we did not want to come across sour ontelevision.The results show came around and we didn'texpect to be in the top three. We weresurprisingly calm as we waited. We would like tothank everyone who supported us that night andstill voted for us after a performance that did notlive up to what we are capable of.We thought we were going home, when we wereasked to go back upstairs for an interview. Wewere the only act to get a spot on this show whodidn't get through!After it was all over, we came home to see 100sof emails, messages and texts from everyonewho had supported us, including completestrangers from all over the world! It really meanta lot and boosted us after feeling low.We met some best friends for life and had a greattime, although perhaps regretting we didn't usethe track we wanted to. People have emailed ussaying they are starting dancing because of uswhich is great. We are now back to the realitiesof intensive training and the competition floor.7

JUNIOR COUPLES INTERVIEWED...Alex Pritchard & Chloe Hewitt and Michael Foskett & Carla Garrett.Our top two Junior couples are currentlyAlex “AJ” Pritchard & Chloe Hewitt andMichael Foskett & Carla Garrett. They haverepresented England in World Championships,are currently top of the EADA rankings but willbe moving up to Youth within the next year.ALEX & CHLOEHow did youstart dancing?Chloe: I went to abirthday party atPritchard's Dance& FitnessAcademy when Iwas 7 years oldand my mumthought it wouldbe a good idea tostart danceclasses. I gave upgymnastics andstarted to doBallroom andLatin Classes.AJ: My dad received a request for “DinkyDancers” to appear on a TV programme and Iwanted to do the programme to be on the TV butthere was one major problem: I could not dance.I talked my dad into finding me someone whocould dance and had a few lessons just for theaudition, needless to say I did not qualify into thefinals and did not appear on TV, but at thatmoment I realised I wanted to become aWorld Champion.When did you start dancing together?AJ: We have danced together for 2 years, startingat the ages of 11 and 12. Chloe was a littledisappointed because I was an absolute beginner!We both live in Cheshire which makes it easier.many titles andChampionships,but making thefinal of theBritish JuniorChampionshipsis our bestWho are your favourite professionals?achievement soBoth: Mirko & Alessia are inspirational andfar. Being in theamazing and we want to produce a Tango toEnglish Team wasmatch theirs.tremendous andChloe: Riccardo & Yulia, Yulia portrays everythingwinning the NorthI wish to aspire to.of EnglandAJ: Franco & Oxana; Franco`s Samba rhythm isChampionships,like a clock which never stops ticking which Iwas again a very memorable event for us. It waswork hard to emulate.exciting to travel to Italy and Finland for theWhat are your favourite dances?Worlds and we recently took part in the GermanAJ: Samba, the carnival beat excites my veryOpen Championships which we thoroughlycore. Quickstep has to be my favourite ballroomenjoyed. We treat and approach every competitiondance it releases my soul.as though it is the most important one ofChloe: Jive makes me feel on top of the worldour lives.the rhythm is exhilarating. Waltz, the elegance,What's it like representing England at agrace and deportment of this dance makes meWorld Championship?feel like a lady.Both: We have represented England twice in theDo you think you will specialise or stay in tendance?is a great honour and it makes you feel veryWorld Championships, representing your countryBoth: We're both enjoying 10 dance at thehumble.moment.When did you realise you wanted to be aWhat is your training schedule like?Professional dancer?Chloe: Our whole life rotates around our dancingAJ: I have always participated in extreme sports,schedules. Adrian Pritchard is our mentor, andwhen I broke my arm hill riding I was unable tomanager. He trains us in both Ballroom and Latin.dance, this highlighted the realisation that I wantMargaret Redmond also teaches us Latin. Debito become a World Professional Champion and soPritchard instructs us on extra fitness training andI gave up these dangerous sports. I realise I getdiet to compliment our dancing, although sheall the adrenaline rush I need from dancing.takes into consideration that I like chocolateChloe: The day I said no to my best friend'sfudge cake! Our schools, Brine Leas and Bishopbirthday party and no to a skiing trip with theHeber High respect and support our commitmentschool was the day I knew the passion of dancingto the dancing which is great.had taken me over.What is your favourite venue?How can we encourage more children to startBoth: Our favourite venues are The Winterdancing?Gardens and The Tower Ballroom in Blackpool.AJ: Strictly Come Dancing has had a positiveThese are exceptionally grand buildings andeffect on adults dancing and I truly believe theunlike anything you find abroad. These buildingsmedia is the way forward to encourage childrenhold many memories of great Champions whichto start dancing. I think that Darren Bennett andexhilarate our desire to achieve the same.Lilia Kopylova are really good professionals andWhat has been your best achievement so far?have given their time to promote dance inBoth: It has been a very hard, exciting andschools. I think the BBC should talk to us, thechallenging year and we have wonJuniors, to produce a similar type dance show!8 9MICHAEL & CARLAHow did you start dancing?Michael: My parents were amateur andProfessional Ballroom and Latin competitors andrun Surrey Hills Dance Centre in Dorking. I wentalong to theschool from anearly age, but Ididn't join a classuntil I was 5 yearsold. I then didmostly LatinAmerican medalwork. Watchingthe 2004 StrictlyCome Dancingseries inspired meto ask my parentswhether I coulddo something likethat. They explained to me about opencompetitions, including the amount of lessons andpractice I would need to put in, and that therewouldn't be much opportunity to continue someof the other activities I was involved in, such asfootball and scouts. I went along to a competitionat Egham to watch and decided that was what Iwanted to do.Carla: I started dancing when I was 3 years old.My older brother Courtney was involved in lots ofdifferent sorts of dancing, including Ballroom,Latin American, Jazz, Modern, Tap and Ballet andit seemed natural for me to go along too.Although Ballroom and Latin American dancingcomes first, I like to attend classes in Modern, Tapand Ballet as well.When did you start dancing together?Michael: In February 2005 when I was 10 yearsold. When I made the decision to compete, myparents spent a lot of time over the Christmasperiod teaching me new choreography andimproving my dancing. Carla was advertising for apartner in Dance News, so we had a try-outtogether in Reading.Carla: Although I had been successful as aJuvenile with another partner, being part of theBritish Juvenile team in 2003, I was without apartner at the time when Michael was lookingfor one.

Who are your favourite Professionalsto watch?Michael: Mirko Gozzoli & Alessia Betti - they areso smooth and powerful with great musicality andtogetherness. In Latin, I'm a big fan of AndrejSkufca and Riccardo Cocchi.Carla: I like Domenico Soale & Gioia Cerasoli inBallroom, they are slim and not as tall as most ofthe other Ballroom Professionals, like Michael andI are for Juniors. My Latin idols are RiccardoCocchi & Yulia Zagoruychenko.What is your favourite dance?Michael: Tango as I love the feeling of power inthis dance. In the Latin I don't have a particularfavourite.Carla: Foxtrot because I like the smoothness ofthe movement. Like Michael, I don't have aparticular favourite in the Latin.Do you find ballroom or Latin easier? Do youthink you will continue in 10-dance?Michael: I find Ballroom easier then Latin. I thinkI understand Ballroom better than Latin and canmore easily apply what I learn across dances andpieces of choreography, however, I enjoy bothequally and certainly plan to remain a 10-dancer.Carla: I also find Ballroom easier than Latin. I findI can more easily feel what is good in ballroom. Ialso want to continue as a 10-dancer.Whereabouts do you practise?Michael: For Ballroom we are trained by my dadat Dorking, plus we have occasional lessons withMarcus and Karen in Streatham and with ZoeyPrice in Reading.Carla: For Latin, we go to Lorraine Kuznik inReading, Graham Oswick in Cheam and ShirleyBallas and Riccardo Cocchi in Streatham. Whenwe are in Reading on a Saturday we practicethere, but we also try to get some Latin only orBallroom only practices at Semley Road, Norburyand Cheam.What is your usual training schedule?Michael: We practice every Wednesday eveningin Dorking, Saturday evenings somewhere, andTuesday evenings when possible. When there isno competition on a Sunday, we use one of mumand dad's venues for a private practice.I sometimes have a lesson on my own eachweek but we have one together with my dadevery Wednesday.10Carla: It would be good if we could get togethermore often, but living quite a way apart (I live inReading) makes this difficult.How do you manage to balance your dancingwith your schoolwork?Michael: It's very hard. I try and make sure I getall my homework done, practice dancing and amready for lessons etc. I extend my school plannerto include a home planner. I try to stick to theplan.Carla: I also find it very hard. I often attend a'catch-up' club at school after school to help mekeep up with work and homework. Michael and Itake homework with us to lessons and practicesand sit and do it between lesson and practice ona Wednesday.Michael: We also sometimes go through subjectslike Maths on the way to competitions when weare travelling together. It helps that we are both inthe same school year.What do you think is your best achievementso far?Carla: I think our best achievement was coming18th in the World Junior 10-DanceChampionships in Moscow this year, but I am alsovery proud to have won such competitions asChampions of Tomorrow both as a Juvenile andJunior and many other events such as the JuniorBallroom and Latin South of EnglandChampionships. Many of the trophies have thenames of past winners who judge us today!Michael: It's hard to pick out a singleachievement. The Junior World 10-DanceChampionships in Moscow was very memorable -we got a lot of marks into the semi-finals,particularly in the Ballroom dances. Some of theother really great things we have done have beenappearing on Strictly Come Dancing series 3, andhaving the opportunity to demonstrate atfunctions such as the 2008 ChildLine Ball at thePark Lane Hotel. Another highlight was dancingballroom for Great Britain in the 2009 JuniorInternational Team Match at the Tower Ballroom,Blackpool.Do you have a favourite competition venue?Both: Definitely the Winter Gardens at Blackpool.We love the huge floor and the atmosphere there.The Tower Ballroom at Blackpool comes aclose second.What's it like representing your country at aWorld Championship?Michael: We've represented England five times inWorld Championships. It is an amazingexperience being at the worlds and in particularholding the national flag. I also feel very proudrepresenting my country. I enjoy meeting peoplefrom all around the world and seeing differentcountries. It's great to watch competitors fromcountries such as Russia whose lives revolvearound the dancing, and to see their strength anddetermination. I hope that I can produce their kindof strength in the future.Carla: It has been great seeing all the differentplaces which we probably wouldn't haveotherwise visited; we have been to Latvia,Ukraine, Italy, Russia and now Finland. I feel a bitnervous initially as I know that I'm representingEngland, but also very proud. We have made anumber of international friends from people wehave met at these competitions and it's great tokeep in contact.Do you do anything different to prepare for bigcompetitions and international events?Carla: We try to schedule in more practice timeand lessons and we focus more on impact as it'simportant to stand-out at a very large event.When will you be moving up to Youth and howdo you feel about moving up to Youth?Carla: We move up to Youth for EADAcompetitions in January next year as bothMichael and I are 16 next year. I'm quite excitedabout moving up, but a little bit nervous.Michael: We just get one more British OpenJunior in at Blackpool. It's lucky that in 2010 thefestival is just before Carla's 16th birthday.Dancing Youth will be a challenge but we arereally looking forward to it.What do you think can be done to encouragemore children to take up ballroom and Latinand compete ?Carla: I think Strictly Come Dancing helps, asmany children like watching it, but schools thenneed to advertise so that parents and childrenknow that there are local classes.Michael: My parents have quite a large numberof children in their children's classes and takingmedals, but only a small number start competing.The difficulties with competing are cost and thededication needed from the parents. This is oftendifficult if there is more than one child in a family.What do you do in your free time?Carla: My main hobby is dancing, and eventuallymaking a career out of it would be fantastic, butwhen I have some free time, I like to go toWest-End shows with family and friends; I likeshopping and am into fashion. I like trampoliningand badminton as sports and want to continuelearning to play the guitar and sing.Michael: Most of my time is spent dancing or onschool work. When I have some free time, I enjoybeing with my friends. I enjoy cycling, bodyboarding,and going to the gym. When this is notpossible, playing 'Wii Fit' acts as a goodsubstitute!From 2010 The Junior Festival at Blackpoolwill be moving from the Tower Ballroom to theWinter Gardens, Blackpool due to the increasein numbers taking part. The Festival has beenheld in the Tower for 52 years and nowattracts over 1,100 dancers aged 6-15, from31 different countries.11

Do Drink and JiveWith thanks to Laura Blazy who works in the dance science department at LABAN.Why is water important?The human body is 50-70% water. Muscle cells containmore water than fat cells so leaner people have a higherpercentage of water in their bodies. Water carriesnutrients around the body; helps to regulate bodytemperature; lubricates joints and helps cushion thespinal cord and brain from sudden impact. In order tofunction properly the body needs 3 litres of water perday; 15% of which is produced through digesting food1.Dancing and dehydrationWhen exercising, muscles produce heat and to cooldown sweat will evaporate from the skin. Studies 2 havefound that this water loss can be up to 2 litres per hourfor dancers. This figure increases as temperature,humidity and intensity of the practise increases.Dehydration is a common problem for dancers. If thebody is dehydrated it becomes fatigued andperformance level will decrease. Minor levels ofdehydration (2% loss of body weight) could result in acapacity reduction of 15%, due to a slowing down of thecirculation and heating up of the body. Serious levels ofdehydration can lead to heat stroke.Replenishing fluids:The “thirst signal” only occurs when 1% of body weighthas already been lost as water 3 . In order to maintainhydration it is important to replenish fluids before, duringand after exercise 4 :Before exercise: Dancers should consume up to 0.5litres one hour before competing. Cold water ispreferable as it is absorbed faster. Caffeine and juicesshould be avoided, as they reduce the rate of absorptionof water.During exercise: You should aim to drink 250ml of fluidevery 15 minutes.After exercise: It can take 24 hours to return tooptimal levels of hydration, so it is important to drinkwater after competing. It has been suggested4 thatalternating between drinking orange juice and low fatchocolate milk will help muscles recover faster byreplacing some of the carbohydrates and proteindepleted when dancing.References:1 - Rinzler, C. (2004). Nutrition for dummies. Hoboken, Wiley2 - Clarkson, P. (2005) Nutrition fact: fuelling the dancer. IADMS.3 - Petrucci, G. (1993) Prevention and management of dance injuries;Orthopaedic Nursing 12(2) 52-94 - Snell, E. (2002) Liquid assets for dancers; Journal of Dance Medicine &Science 6(2) 62-3This article was published in full in Dance Today in September 2009The only weekly newspaper produced for devotees of danceDance News Ltd., Hamble House, Meadrow, Godalming, Surrey GU7 3HJ.Tel: +44 (0)1483 428679 Fax: +44 (0)1483 417650 e-mail: editor@dance-news.co.ukHAVE IT DELIVERED WEEKLY STRAIGHT TO YOUR DOOR - BY POSTYou can order your subscription securely on-line at: www.dance-news.co.ukThe rates are as follows: 50 Issues 25 IssuesUnited Kingdom ........ £70-00 £41-00 Please complete and return the information below with your payment (by Credit Card - Visa / Mastercard/ Maestro: Or Cheque made payable to Dance News Ltd.).Name: ...............................................................Address: ............................................................................................................... Postcode: .........Card Type: Visa / Mastercard / Maestro(*delete as appropriate)Card Number: .... .... .... .... Expiry Date: ../.. 3 Digit Security N°: ...(For Maestro: Start Date: ../.. orIssue N°: ..)Name on Card: ....................

WHEELCHAIR DANCESPORTWe aredelighted toannounce thatthe WheelchairDance SportAssociation(UK) haveaffiliatedto EADA.The roots ofwheelchairdancing in the UKcan be tracedback to the late60s when arehabilitation centre in Scotland was teachingpeople how to manoeuvre their wheelchairs andrealised this could be done to music. A Wheelchairdance association was set up in the seventies butthe international competitive style did not seem togrow. Sue Cummings and Ruth Boyne in the pastfew years have put in hard work to makewheelchair dancesport rather than socialwheelchair dancing thrive.In 2006, Sue, who has been a wheelchair dancerfor 29 years, and Ruth helped set up theWheelchair Dance Sport Association (UK). TheAssociation evolved from the Beacons WheelchairDancers in Devon who wanted to try and competeabroad. Sue felt the style abroad was very differentand she went along with Ruth to a course hostedby Pippa Roberts of the Malta WheelchairDancesport Association. “The new style is more likeballroom and Latin that non-disabled dancersknow, with correct holds and more expression inthe moves, it's added a whole new dimension intodancing”, explains Sue. On their return, they wereenergised to publicise this new style and eventuallyset up an association which would cater for thisinternational style of dance. Their aim is to showthat everyone can dance regardless of disability orage. “We believe that if you want to dance, you14should be able to even if it's on your zimmer frameor crutches; even if you have hearing or visualimpairments, or if you need to be fully pushed inyour wheelchair,” explains Sue.Sue and Ruth travel across the UK (no easy feat asRuth has arthritis in most of her joints and Sue hasa spinal injury and is in a wheelchair) doingworkshops and demonstrations to interestedparties of various styles of dancing “wherever wego, a small pocket of dancers set up and carry ondancing after we have gone. So far we have about14 different groups that meet on a regular basisand dance for the sheer pleasure of it, although wedo have a few groups who have taken it a bitfurther and compete internationally now.”explains Sue.The WDSA (UK) has expanded a lot in the past year.They have also hosted two Level 1 InstructorsTraining Courses, taught by world-class instructors,and plan to host a third in 2010. Sue and Ruth arealso keen to get a syllabus for wheelchair usersestablished so that wheelchair users will be able totake dance medals. The Association is alsocurrently in the planning stages for hosting the firstever UK and Ireland Wheelchair DancesportChampionship, which will be held in Torquay from3rd-5th September 2010. “We hope that all thegroups that have set up after workshops will getinvolved. We are planning on having workshopsrunning at the event and there will be events forbeginners and improvers.” explains Sue “We hopeto have demonstrations by Professional dancersand World Class Amateur wheelchair dancers, andhopefully a demonstration of Rollator Dancing(where zimmer frames and other walking framesare used).”Sue and Ruth will be demonstrating on behalf ofEADA at the Exercise Movement and DancePartnership “Moving Together” Show at the RoyalAlbert Hall on 5th June 2010. Tickets are now onsale for the show. Their routine, “Latin heat”,involves 20 couples (both combis and duos) doing asamba, rumba and paso.Wheelchair dancing abroad:Wheelchair dancing is now being taught in at least24 countries across the world. Pippa Roberts, aProfessional dancer, started training couples inMalta after completing a course in Sweden held byCorrie Van Hugten & Ondine de Hullu. “Many formsof wheelchair dancing have been around for a longtime. It really started as a Latin American &Ballroom discipline after Corrie van Hugten whowas a dancer, ended up in a wheelchair. She did ademonstration at the Albert Hall during theInternational Championships in 1984 with RuudVermey. Over the past 25 years it has grownimmensely with new countries every yearparticipating in International Championships.” Thereare also origins to wheelchair dancing in Sweden inthe sixties and seventies when it was used forrehabilitation purposes. The first competition washeld in Sweden in 1975 and thirty couplesattended, and two years later the first internationalcompetition was held.Wheelchair competitions:The IDSF define Wheelchair dancesport as “involvesathletes with a physical disability which affects thelower limbs. Although this has expanded toincorporate upper limb disabilities and multipledisabilities.” In 1998, Wheelchair Dance Sportbecame an International Paralympic Committee(IPC) Championship Sport and the IDSF haveentered into formal cooperation agreements withthe IPC.The format of wheelchair dancesport competitionsis very similar to those for non-wheelchair dancers,with beginners competitions, Intermediate andChampionship level and the same five dances forBallroom and Latin. There are two categories fordisabilities: Class 1 for severe disabilities and Class2 for the not so severe. There are also two types ofcompetitions: Duo-dance where the two dancersare both in wheelchairs and Combi where one is ina wheelchair and one is an non-disabled partner,which currently seems to be more popular.Different age categories are not well establishedalthough Junior and Senior events do exist.Ordinary wheelchairs can be used for dancing, butsome can be modified and advancements over theyears have helped with the dancing. In the last 25years the chairs have become more advanced sothat competitors can now dance a figure that usedto take four bars in half or even a quarter of thetime.Corrie van Hugten helped with the massive growthand popularity of wheelchair dancesport in Holland- where there are now over 140 clubs with 3,500participants, there is a fixed technical syllabus andthe Ministry of Sport recognises wheelchairdancesport. She is now acting as the IDSF'srepresentative for the sport. “We try and keep therules for wheelchair dancesport as much the samefor dancesport for non-wheelchair dancers” sheexplains, “sometimes class 1 have slightly slowermusic because of their handicap but otherwise themusic is the same.”Every year there is an official competition Europeanand/or World Championship - the first WorldChampionships was held in Japan in 1998. Theother well-known IPC-approved competition is atEaster in the Netherlands “It is open to allcountries“ explains Corrie “Last year we had 18countries and over 350 couples take part - somecall it the Blackpool for Wheelchair dancers!” In2008 the sixth World wheelchair dancesportchampionships was held in Belarus. 137 athletesfrom 17 countries took part. There were events inclass 1 and 2 for Ballroom and Latin in both duodanceand combi styles. There were also formationcompetitions with teams of 4, 6 or 8 couples. Thoseadjudicating at these competitions have experienceof wheelchair dancesport.The European Wheelchair DancesportChampionships will be held this month. Last yearthere were 420 participants but only 8 were British.Sue and Ruth hope to encourage more people toget involved.The popularity of wheelchair dancing looks set toincrease and we wish good luck to Sue and Ruthas their venture gains momentum.Visit their new website onukwheelchairdancesport.comAdapted from an article in Dance Today October 2009www.dance-today.co.uk15

British Open...Photo by Andrew MillerThis year we had four couples in thefinals at the British Open inBlackpool. There were numerousother semi and quarter finalists andit was great to see 7 English couplesin the 48 of the Amateur Ballroomand 5 couples in the 48 of theAmateur Latin.Steve & Sue Witherington6th Senior I Latin British Open 2009UK Closed Champions 2009. InternationalChampionship Finalists in 2007; won theClassique de Danse Award for the Over 35Ballroom Dance Category in 2008 andrepresented England in three WorldChampionships.When and how did you start dancing?Sue: I took lessons in ballet, tap and jazz from theage of 7 until 16 years old. I didn't dance againuntil 1996, when Steve, who hadn't any dancetraining at all, talked me into going to a social jive16class. We had been together three years then. Weenjoyed it so much that we completed a six weekcourse learning four Latin American dances. Wewere then hooked, which lead to us doing ourfirst competition, Over 35 Beginners in “Stars ofthe Future” in 1997, which we won. We haveenjoyed competing ever since.What is your training/ practice schedule like?Steve: Practice is always tricky! Like many otherdancers we juggle our practice and lessonsaround our work time, so it varies, and involves alot of travel, but we try to be as consistent aspossible.Where do you both work?Both: We are soft landscapers, we supplyflowers, plants and trees and create showgardens; so our work is quite physical whichhelps keep our fitness levels up.What is your favourite dance?Steve: PasoSue: SambaHad you been focusing on anything particularbefore the British Open - or is there any prepyou do for a major championship?Both: Dancers are constantly on a learning curve,so just working towards being the best we can onthe day. We believe in “Practice, practice,practice”What do you do when you are not dancing?Sue: Not dancing and stoning costumes?! Well, itdoesn't leave much free time these days, but Ienjoy spending time with my family, when I can.Steve and I like to go to shows, musicals andballets in the West End; I am a big Carlos Acostafan. We also enjoy watching the old Fred Astairefilms and various musicals. We both come frommusical backgrounds and share an interest inlistening to all types of music and have a goodcollection of original recordings.What do you think we need to do in thiscountry to get more English couples intointernational finals?Photo by Ed AultBoth: We have many competitive dance friendsabroad, and have discussed this at great lengthwith them. Many overseas Professional dancersare dancing in the over 35 amateur competitions,which makes it much harder for dancers likeourselves and our fellow English competitors tobe successful, this is because we dance as ahobby and are not involved in dance full time. Ourmental approach in England is also quitedifferent. Similar training, to overseas coupleswould be beneficial, maybe by developing localclubs, as they create team spirit, support andencouragement, which seems to be currentlylacking in England.Neil Jones & Ekaterina Sokolova6th Amateur Latin, British Open 2009UK Closed Champions, UK Open Rising StarChampions; Semi-finalists UK Open 2009;as well as winning all four chart events they havecompeted in.When did you start dancing?Neil: I started ballet when I was 3 years oldbecause my sister was also dancing ballet, then anew dance school opened in my town and mysister wanted to Latin and Ballroom. At that time Ialso was doing judo but every week my sisterwas bringing home a trophy so I became jealousand I also joined the dancing school.Katya: I started when I was about 7 years old. Istarted with gymnastics, then studied singing, thepiano, painting and dancing (Russian children areencouraged to do lots of activities!). But as timewent on, dancing took priority and finally I knewthat I wanted to dance and devote all my time toit, so I gave up playing the piano. At first I dancedin the small town where I live, and then continuedin the club in St Petersburg.When did you start dancing together?Katya: We met each other in Blackpool last year. Isplit with my partner in Russia just before theBritish Open but I decided to come and watchanyway. Richard Porter told me that he knew agreat guy for me but he wouldn't tell me whobecause he was still competing.Neil: I was dancing Blackpool in a newpartnership, we had only been dancing togetherfor 4 months and we had a good result (we madethe top 24) but we both decided that we wouldn'tcontinue together and we ended the partnershipamicably the next day. Within an hour of endingthe partnership Richard Porter told me that hehad found a partner for me and we should have atry out straight away.Katya: Richard told me the name of the guy hehad in mind: Neil Jones. My mum's first reactionwas “Oh it's the one with the ginger hair!!” Wehad a try out and our teachers were impressed.Neil: We left Blackpool with the decision thatKatya would come to England in two weeks sowe could practise together and see if it wouldwork. I had dinner with Richard and explained thesituation (normally Richard says not to rush adecision) but he say “Just say yes - send her amessage now!” So I did and she texted backsaying yes; so Blackpool was our one yearanniversary for dancing together!What is your typical practice/trainingschedule like?Neil: We try to practice every single day for about3 hours, and we always take any other chanceswe can to practice longer, but it all depends onour travelling schedule.Do you do any other kinds of dancing orfitness training?17

Katya: We always try to keep our mind open toother dance forms to have better understandingof dancing in general. At the moment we arebusy with learning swing dances such as boogiewoogie, lindy hop, to help us understand anddevelop our jive. We also do stretching - Neil isgetting a lot better!Whereabouts do you practice and havelessons?Neil: We have lessons with our teachers here inLondon. While we are in the UK we practice inSemley or in Dance Options, and while wetravelling abroad we just try to find a place forpractice, even if it is at a bus stop! In Russia wepractice mainly in the studio where Katya used todance.What is your favourite dance?Neil: I love jive the most, because of the energyand you can have fun with it and let go.Katya: I can't choose! I always try to findsomething in each dance to make it 'mine', bringmy style in it, especially when I don't feel onedance as much as another. I really enjoy thisprocess of searching and making it into myfavourite.Had you been focussing on something inparticular before British Open - or is there anypreparation you do for a majorchampionships?Neil: The two main things we do before anymajor championship are working on ourconnection and fitness training. To build upstamina we do lots of practice finals to make surethat we feel confident and ensure that our lastdance is just as good as our first dance on theday.Katya: Before Blackpool we were hoping to makethe semi-finals again after our UK Open result.Normally we set a goal we want to reach, beforethe UK open it was to win the Rising Stars and bein the semi final. So after getting this result wewanted to keep this semi for the whole year, butjust before Blackpool we changed our minds, anddecided why not trying to push for the final.What do you do when you are not dancing?Katya: I still study at the University of Culture andArts in St Petersburg, which is really hard for me18as I'm away a lot. If I have any free time I go backto Russia and try my best to cover everythingI've missed - I've got 2 more years of the courseto go.Neil: Dancing takes all our time because we alsotry to learn other dance forms as well, but if wehave time to relax we like to go to the cinemaand watch movies with friends.What do you think we need to do in thiscountry to get more English couples intointernational finals?Neil: The main thing is the dancers themselvesneed to change their mind set, there are noexcuses because we have the best teachers andplaces to practice, they just have to have thishunger to win. If we have bad result we don'tblame anyone, we just go back to the studio andwork even harder.Katya: Dancers as they growing up need tosearch for their personality and their individualityand build it up more and more, decide what dothey want to bring out to people, and have astrong belief in themselves.Kyle Taylor & Liis End3rd Under 21 Ballroom British Open 2009When and how did you start dancing andwhen did you start dancing together?Kyle: I started dancing when I was 4 years oldand at first I really didn't have any interest in it.My parents have their own dance school andwhilst they were teaching I used to have to cometo the dance school with them. One day a few ofthe older pupils invited me to try and join in theclass so I did and I actually found the whole thingquite enjoyable.Liis: I was a similar age when I started. Mymother owns a dance school in Estonia so I grewup with dancing in the family.Kyle: We started dancing together in Marchthis year.What is your typical practice/trainingschedule like?Kyle: We are lucky because my parents havetheir dance school we are able to practiseContinued Page 22

Memories of BlackpoolAll photographs by Ed Ault unless otherwise specifiedPhotos of EADA members by other EADA members and friendsAlex and Katie Andy and Amy Dani and Zuzana Jack and KarolinaAndrey and Alex Marco and Jo Neil and Katya Simon and Julie CurtinJamie and Lauren John and Katherine Katya Kyle and Liis Neil and Katya Stephen and CharlottePhoto by Jennifer BealePhoto by DancelifePhoto by Rachelle StretchED'S TOP TEN TIPS FORDANCE PHOTOGRAPHY1. Do not photograph the backs of people.2. Photograph dancers that are nearest to you.3. Anticipate the dancers' movement, try tocapture promenades and lines.4. Try to capture the dancers in spotlights.5. Delete all pictures that the dancers would findunflattering or embarrassing.6. Consider the background of the picture,look for a nice background, typically onethat is uncrowded.7. Use a fast shutter in excess of 1/200of a second.8. Use a wide aperture.9. If possible use an external flash.10. Share your pictures!Ed Ault is 17 and is currently competing in Under21s and Amateur Ballroom and Latin. He has beendancing for 8 years and has been interestedin photography for about a year. He is currentlycompleting a personal trainer and sportsmassage course. You can see his photos on hisfacebook page.DON’T FORGET!The EADA AGM on Saturday 21st November from10.30am in the Renaissance room. There will alsobe an EADA stand in the Arena.Please send publicity reports and photos of EADAmembers to Rachelle on publicity@eada.org.ukor share them on EADA’s facebook group.2021

Photo by Morrison Findlaywhenever we want. We practise or have lessonsevery day of the week.Do you do any other kinds of dancing orfitness training?Liis: I often run a few miles every morning tohelp with stamina and fitness.Kyle: I also play football often and enjoy othersports which I suppose all add up and help keepme fit but I believe in dancing, dancing and moredancing.What are your favourite dances?Kyle: Samba and Tango due to the rhythms onoffer in the Samba and due to the aggression andspeed of the TangoLiis: Rumba and the Quickstep.How do you prepare for a majorchampionship?Kyle: I don't believe in changing diets or routinesbefore a major championship; I just focus onimproving my dancing every week. When thechampionship arrives, all we can do is the bestthat we have been dancing on the run up to thechampionship and aim not to over-dance.Are you focussing on anything in particularbefore the Nationals?Both: We are just looking to continuously improveour dancing in various aspects each time.What have been your major achievements?Liis: I was a finalist in the Junior British Openballroom championships and the InternationalJunior Ballroom championships with my brother.Kyle: I've won the Junior British Open andInternational Junior Ballroom championships andwas a finalist in both of those in Latin as well. Itwas great to be the top British couple in both theUnder 21 Ballroom and Latin events at the BritishOpen this year.What do you do when you're not dancing?Kyle: I've just finished my education in 6th formand am now taking a gap year to concentrate onmy dancing. I enjoy other sports and often playgolf and football whenever I can.Liis: I study via the internet and at the end ofevery month I have to return to Estonia tocomplete some school exams.What do you think we need to do in thiscountry to get more British couples inthe finals?Kyle: I strongly believe that the British dancingsituation at present is highly influenced bysupport and also confidence within the Britishcouples. At International events you often find thatthe Italian and Russian couples are groupedtogether and support each other throughout thecompetition and this sort of spirit has been lost inEngland. It would help with couples' confidence ifthey felt less isolated when competing ininternational events. The support would possiblymake them more determined to pursue highergoals in each event working as a team,representing their country, rather thanthemselves.Jack Beale & Karolina Szmit6th Under 21 Ballroom British Open 2009When and how did you start dancing andwhen did you start dancing together?Jack: I started to dance when I was 7. My Nanwas having lessons with David Trueman and theywere starting a kid's class on Saturday morning.My Nan thought I was very lively and should goalong, so I went with my cousin Laura. Laurastopped going but I continued, and David foundme my first dance partner.Karolina: I'm from Poland and I started dancingeight years ago. I started dancing with Jacklast April.What is your typical training schedule like?Jack: Generally we practice every day, for at least2 - 3 hours. Also I do fitness training which includesrunning and gym work.Whereabouts do you practice and have lessons?Jack: I live in Walsall in the Midlands so use thelocal practices at various venues that are on almostevery night, during the day I use David Trueman'sstudio also I have my own small studio which isgood for more technical practise.What is your favourite dance?Jack: The TangoKarolina: The Waltz.Had you been focussing on anything inparticular before the British Open - or is thereany preparation you do for a majorchampionships?Jack: Because we were such a new partnership,we were working really hard on getting everythingtogether as fast as possible, we didn't have time tothink!22 23Photo by Jennifer BealeHave you been focussing on anything inparticular before the National Championships?Jack: Our main focus for the NationalChampionships is to challenge for the title. To dothis we have to dance with sophistication andpurpose. We are working on a lot of fitnessrelated practice, so we hope to give our strongestever performance at the Nationals.What have been your other major dancingachievements?Jack: I was 2nd in the International YouthChampionships in 2008 and was twice UK ClosedYouth Champion, British National Youth Championand North of England Champion last year. I wasalso a finalist in the British Open Amateur RisingStar Ballroom comp in 2008.What do you do when you are not dancing?Jack: I left college a few years ago toconcentrate on dancing, but if I'm not dancingthen I like to hang out with my mates, I enjoywatching football - Aston Villa are my team.Karolina: I'm still studying in Poland, so I have togo home every month for a week for schooling.What do you think we need to do in thiscountry to get more English couples intointernational finals?Jack: First of all there are no clubs in Englandand I feel that young couples are running aroundfrom lesson to lesson not knowing what they aredoing, they don't have a system. Because there isno club system, English couples are notencouraged to work hard and practise. Mostcouples I know only practise a couple of dayseach week. I think there are too many otherdistractions for them. If there was a dance clubthey could go to each night it would become partof the social life. This dance club, could have afew teachers there, and couples would be able topractice and have group practice and lessonssupervised by the teachers, as they do in mostcountries.

COMPETING ABROADFor those wishing to compete abroad there is auseful information section on our website, whichgives advice on IDSF matters and anti-doping.IDSF licenceThe IDSF have a licensing system for Internationaldancers which has been in operation for a coupleof years. For 2009 EADA will update your IDSFlicence when you advise us that you are travellingto a competition abroad. If you do not have anIDSF Licence you will not get your IDSF points forthe World Computer Ranking List and you maynot be able to dance.Contact Pat on membership@eada.org.uk whocan ensure your licence is valid or, in the case ofnew partnerships, activate your licences andadvise your IDSF registration numbers. Pleaseensure your licence is valid at least 14 days priorto your intended dance date.You can see your licence on the IDSF website -http://idsf.dancesport.cz/Use the Person Search and check for your nameand you can see your licence and its expiry date,also check you have the correct partner and thatthey also have a licence, then check as a couplethe licence is 'active'.For 2010, International dancers must beregistered with the IDSF and be an 'active' coupleon the IDSF Licence system to compete in IDSFcompetition abroad. EADA are looking into thepossibility of producing a hard copy of the licencefor you to produce at IDSF competitions.Also if travelling abroad don't forget- To contact Colin as Travel Rep with the details ofthe comps you are entering. The BDC Rulesstate that you must advise your AmateurAuthority when you plan to dance abroad.Contact Colin on travel@eada.org.uk- Please also verify that the competition is anIDSF registered event using their webpage.24- Please also remember to make sure you have avalid passport, and arranged any travel visas, anE111 medical card and adequate travelinsurance cover (we advise you to check yourpolicy to ensure you are covered forcompetitions).- The IDSF also has a dress code for theircompetitions - check their website.How does IDSF Computer World RankingList work?IDSF World Ranking Points are given to registeredcouples participating in the following IDSFCompetitions:(i) IDSF World Championships(ii) IDSF World Open(iii) IDSF International Open and(iv) IDSF Open.Couples are awarded points depending on theirplacings in these competitions. The points forIDSF International Open and IDSF Open are basispoints - the points get an addition or reductionaccording to the numbers of participants.A couple's ranking is based on their best 6results in the past 12 months. However the IDSFare currently reviewing their ranking system.One of our couples who compete abroad quiteregularly are Daniel Juvet and Zuzana Sykorova.They offer advice on competing overseas.Photo of the IDSF AGM in Macau June 2009 byDavid Corfield

Dani & Zuzana DiaryDecember 2008 - Kirchberg, Luxembourg: nota very big competition but enjoyed it. Localfood was lovely!Jan 2009 - Pforsheim, Germany: a smallcompetition, not one of our favourites.February 2009 - Bassano del Grappa, Italy:floor was quite dark and it was like a mazeto get to the changing rooms.April 2009 - Brno, Czech Republic: the hall,the lighting and the music were great! Therewere big televised screens where you couldsee the couples dancing and the next roundswere announced.July 2009 - Alassio, Italy: After 470km ofdriving, we found fabulous weather moresuited to lying on the beach than to dancing,but we enjoyed competing here despite theheat and temptation to go to the beach. Thefield was comprised of very talented,motivated and well known dancers. The floorwas great and the music very enjoyable.August 2009 - German Open Stuttgart,Germany: one of our favourites withincredible organisation! Fabulous stands,great food and many different halls withdifferent competitions being held at the sametime.October 2009 - Ostrava, Czech Republic: agreat competition in which to compete, floorwas good, the audience were very motivatingand the organisation was good. Although theheats were a bit crowded.26When did you both start dancing and how old areyou now?Dani: I started to dance when I was 12 years oldand I am now 20.Zuzana: I started to dance when I was 13 years oldand I am now 22.How did you start dancing?Dani: Actually my mother initiated me into dancingbecause of my "untidy" way of walking!Zuzana: I was 13 and knew nothing about Latindancing when a teacher proposed I try Latin with aboy he had.... I took one look at the guy and Iagreed!How long have you been dancing together andhow did you meet?Dani: We had our tryout in August and we started todance last September.Zuzana: My teacher (Karel Bank) told me to look ondancesportinfo as there was a boy, Daniel Juvet,looking for a partner who seems good. I hesitated towrite, and was rather shy about it.I thought he still wanted to dance Youth, so I gaveup! But the next day I had a phone call from Mrs.Juvet asking if I'd seen the advert and if I wanted atryout! She'd seen my advert! So I went toSwitzerland.Where are you both from originally?Dani: I am British and I was born in Switzerland, so Ihave double nationality.Zuzana: I am from the Czech Republic.Which professionals do you admire orinspire you?Dani: I always admired Evgeni Smagin, recently Ihave turned my attention to Kirill Belorukov, NikitaBrovko and Franco Formica.Zuzana: Karina Smirnoff has always been the bestfor me, now she has stopped dancing, I have beenlooking a lot at Anna Melnikova & Melinda, I thinkthey're great.What is your favourite dance?Dani: All of them - but I guess it depends onmy mood !Zuzana: Rumba is my favourite but I like all thedances because each dance has a specific characterand it's lovely to be able to express different feelingsand tell a different story.What is your training regime like andwhereabouts do you do most of your training?Dani: We have a hall for ourselves in Lausannewhich we can use as we please, but the mostdifficult part is practising alone, just the two of us.Dancers should realise how lucky they are whenthey are surrounded by others, it makes it so muchmore encouraging and motivating. This year it ishard to find time to practise as I have to finish mycomputer course.How long have you been competing overseas?Dani: We have both competed in internationalcompetitions practically from the very beginning ofour dancing careers.How often do you compete?Dani: Our average is 2 to 3 competitions a month.Although competing overseas is not always easy, wehope to do more.Zuzana: Travelling to competitions requires a lot oforganising; we enjoy participating in differentcountries so we start early and plan the whole yearahead.What has been your favourite IDSF competitionin 2009?Zuzana: I think our last competition in August inStuttgart is our favourite one so far! We made thetop 24 in Rising Star.Dani: The Brno Open in April was also a good comp- there were very good dancers, and a greataudience! We felt good and motivated and everyoneseemed so friendly, talking and exchanging ideas.We just felt we were all part of a team!How are EADA NREs and IDSF competitionsdifferent and do you prefer competing in Englandor abroad?Dani: I enjoy doing EADA chart events and it's goodto see the usual couples again and get to know ourfellow dancers. It's just a shame they are over soquickly and everyone is in a hurry to get home. Ininternational competitions couples can come from allover the world and it's a great chance to meet otherpeople, and share experiences and even find thetime to go out for a drink together.Zuzana: I think IDSF competitions can be quitetough. I think IDSF events are judged more onpower, energy and dynamics; but they are a greatway to learn about what to improve.What advice do you have for people who arethinking of competing overseas?Dani & Zuzana: Decide fairly quickly whichcompetition interests you and start planning.www.spaeker.de/ is a useful website listing IDSFcompetitions. Choose the competition you would liketo participate in and find out whether it fits in withyour schedule. Google maps or viamichelin can alsohelp in calculating distances to and from comps.Once the dates are decided, start booking flights andhotels and don't waste time, so that you can get thebest deals. Something we personally have learnt isto economise on baggage content - we started offwith heavy baggage, then we noticed that we didn'tuse half the things we took! Now we can easilytravel with just hand baggage which is so mucheasier. Also be warned - we stayed at one hotelwhich we were told we were a five minute walk tothe comp venue, but was actually about 25 minutes!Also don't forget to take food and drink with you tothe competition as many of the competitions endabout midnight, and you can't always find placesopen to buy food then.What do you think English couples need to do tobe successful overseas?Zuzana: They need to get out there and take part!You have to be seen to be known!Dani: I also believe that we need some team spirit.It's disheartening going to a comp and only seeing acouple of British entries on the list - some countriesare very well represented. We always prefer it ifthere is another English couple there.Do you get to see a lot of other countries whenyou go abroad to compete or do you just go tothe competition venue?Dani: Sometimes our work schedule doesn't permitlong stays. Generally if we fly, we leave on the Fridayevening and return on the Sunday. If a competition ison a Sunday that means we have to take time offwork. There are competitions we drive to - we drivethousands of miles in a year - but this also allows usto appreciate the scenery. When we have more freedays, we do visit the main attractions in the area.For Alassio, I would definitely advise going a day ortwo before the comp, because the beach is reallywell worth the visit and you can get a better tan!Why do you think it might be daunting for somepeople to dance overseas, and what can be doneto overcome that?Dani: Perhaps because you have to fly everywhere itcan make it more daunting and complicated? Maybethe language in a foreign country can also bedaunting, although with English, you will manage inmost countries.Zuzana: - After a while it becomes a need to traveland dance elsewhere! I think it's great funcompeting internationally, you do get to see thesame couples again and you can meet up and shareexperiences. It is a wonderful way to make friendsand broaden your horizons! Come and join us, youwon't be disappointed!27

Dress DesignsHannah Davis & David BrownIf you want to make your own dresses or arelooking at styles for a new dress, some of ourmembers with experience in dress-making offertheir advice.The perfect dress?By Hannah DavisHannah Davis is an Amateur Under 21 Ballroom andLatin competitor who has been dancing since she was4. She is currently studying with the OU and helps hermother with her dressmaking business. See ElaineDavis on www.ballroomandlatindress.comWhen I started competing aged 6, I wanted prettydresses and preferably lots of them!! My Mumhad some basicdressmaking skillsand decided to digher old sewingmachine out of theloft and attempt tomake them for me.I won't go intodetail about herfirst efforts butsuffice to say that Iwasn't tooimpressed even atthat tender age!Making nice dancedresses is a bit likedancing - the moreyou practise the better the results. Throughout theintervening years I have been very lucky to haveowned and worn many beautiful dance dressesas my mum kept on “practising”. About four yearsago she turned her hobby into a business and Ijoined her after leaving College. It has been ahuge learning curve but I now make some of myown dresses along with helping to design, makeand stone dresses for a range of customers. Asan active competitor I keep in touch with thelatest trends and designs and can see howdresses look and perform on the dance floor.What makes “The Perfect Dance Dress”? Findingyour ideal dress, whether buying new off the peg,pre-worn or having a dress made, is not alwayseasy and mistakes can be costly. The followingare all factors which I take into account whendesigning and making my own dresses as well aswhen helping and advising customers.1) Fashion of any sort is a matter of personaltaste, what one person may love, another mayhate. The most important thing is that you thedancer like your dress and are going to be happywearing it. When considering whether to buy adress or have a design made by all means listento advice from teachers, friends, partner andfamily, along with your dressmaker/designerabout what they think might suit you, but don't beinfluenced into buying something that you are notgoing to be totally happy with, because at the endof the day it is you that has to wear it!2) Comfort is high on my list of priorities. When Iam dancing I don't want to be distracted by anydiscomfort caused by my dress, rubbing, cuttingor digging into me, nor do I want to be nursingskin damage or blisters after wearing it. Whenconsidering the purchase of a dress make surethat it is comfortable and if in doubt ask if anyuncomfortable areas can be altered.3) The perfect dress should be an excellent fit foryou. A well fitting dance dress should fit like asecond skin without being too loose or too tight.If a dress is too big it may gape and wrinkle aswell as moving around on the body as you dance.Equally the dress should not be too small or tootight as this can cause discomfort as well as overexposure of parts of the body and restriction ofmovement.4) Consideration should also be given to practicaland technical aspects of the dress, for examplestraps and fastenings. Are any straps the rightlength and comfortable, are fastenings secureand are there enough of them to hold the dressproperly in place? Themost beautiful dance dressis as good as useless if itis likely to fall off in themiddle of the floor!5) Design, is a matter ofindividual taste but whenconsidering what will orwon't work for you, a goodstarting point is to initiallyidentify which parts of yourbody and/or shape you likeor dislike and then look atdesign concepts which willflatter and enhance yourfigure as well as coveringany areas that you mightprefer not to be exposed.For example, if you are talland slim you might look at designs that will cutthe body into smaller sections, such as having astyle or decoration with horizontal lines around28 29Unique Affordable Couture100% British couture using only Swarovski RhinestonesBallroom Dresses from £1100 (including VAT)Latin American Dresses from £750 (including VAT)Sparkle Designs specialise in the design andmanufacture of stunning and unique Ballroomand Latin American dresses.Sparkle Designs SponsorAlexandra Hixson and Andrey SirbuKatherine and John Giannini - New for 2009!Natasha Manderson and Craig ShawAndrew Cuerden and Hanna HaaralaIzabela Hannah and Hannes EmrichSparkle Designs Limited, Crawley, nr London, EnglandTel: +44 (0)1293 549245 Mobile: +44 (0)7817 470731www.sparkledesignsuk.com e-mail: sales@sparkledesignsuk.comthe body; whereas someone who is smaller orwith a fuller figure might find that a dress withvertical lines and/or decoration may be moreflattering. Think about drawing attention to certainareas of the dress perhaps by use of design orembellishment, which also has the effect ofdrawing attention away from other areas.6) When considering colour/s/ think about whichcolours may work best with your hair and skin aswell as your body size and shape. Generally,darker colours will have a slimming effect withlighter colours working the opposite way.Rhinestone decoration is popular and really doesenhance the look of a dress, especially one madefrom plain fabrics. However they can be veryexpensive so if your budget will not stretch to adress covered in Swarovski, think about the useof colours or patterned or embellished fabrics orlaces to achieve a striking look without the needfor heavy decoration.

Fashions come and go and often come back intofashion again some years later. Dance fashion isno exception and there will always be fads andtrends. Should you follow them in an attempt tohave the latest look on the floor? I believe thatthe answer to this question should be “only if youlike them”! Don't feel pressurised into becominga dedicated follower of the latest fashions unlessit is something that you are going to be happyand comfortable wearing. If not stick with a styleor design that you know looks good and suitsyou, as at the present time I think it really is acase of anything goes!!Changes in fashionBy Justine HollyerJustine took up dancing relatively late whilst studyingfor a PhD at the University of Bath. After wearing someill advised creations on the student circuit, shedeveloped a keen interest in dance fashions afterexposure to the open circuit. She has competed at alllevels from beginner to amateur before age setting inand moving on to Senior making the 2008 NationalFinals on 2 months practise with a partner who lived500 miles away!Fashions in Dancesport are constantly evolvingand changing. Like Haute Couture, trends comeand go, some advisable, others less so. Theprimary aim of costumes is to draw focus, flatterand enhance the wearer, and, to a lesser degree,they are weaponry in psychological warfare.Whilst we all know it's the dancing that counts, agood outfit puts both yourselves and the judges ina positive frame of mind. Unlike Haute Couture,however, these outfits have to work hardphysically as well as simply look good. They haveto cope with the increasing athleticism of today'sdancers in terms of flexibility and not disintegratewhen faced with the chemical onslaught of faketan, makeup and perspiration. Current competitiveattire has morphed from genteel evening dressinto the attention grabbing sparkly creations incurrent vogue.Ever since the “Big Top” was introduced to theworld of competitive dancing, the cut of the tailsuit jacket needed to change to stop the shoulderpads pointing skywards, thereby ruining the lineof this new hold. There have been mild flirtationswith colour, grey, brown and blue have allappearing on the competitive floor, but traditionalblack is the dominant colour - although I didonce see a tartan tailsuit, which did cause a bitof a stir at a competition. However, it sotranspired that the wearer was doing so for a betand received a set of regular tails as payment forhis nerve! Style wise there have been a fewexperiments to try and update the image: thedouble breasted jacket did not catch on, nor didthe collar-less jacket. You occasionally see a shortjacket, often known as a Dokman after Tony whopopularised them. They are less common incompetition but very common in TangoDemonstrations. A good set of tails can workmiracles, and dodgy posture can be virtuallyeradicated with a good cut and judicious padding(although this did not work for John Sargeant).Latin is a relative new comer to the competitivescene, the first World championship being held in1959. The greater movement in the upper bodyand use of arms meant that tailsuits were toorestrictive to wear. Somewhere along the line theymorphed into hip hugging flared catsuits wornover a frilly shirt and huge bow tie. This has been.quite rightly, consigned to the sartorial room 101of dance fashion although a brave attempt toresurrect this was single handedly attempted byAnton on SCD.Another Latin trend to sink without trace is a fullskirt as worn by Paul Killick in Paso Doble,however, with his bravado, six pack and worldclass dancing this somehow worked (unlike DavidBeckham's sarong). There is little variationamongst today's Latin competitors other thancolour; trousers cut tight on the hip with volumeat the ankle are the current uniform, and shirtsare almost always close fitting and either matchtheir partner's dresses or are black.Competitive ballroom dresses initially mimickingthe long elegant styles in evening wear. Asfashions changed, the hems have got shorter andthe skirt fuller until at one point in the 1970s theywere made of so many layers they resembled ahemi-spherical pompom. One dress could provideenough netting to make tutus for the whole of theBolshoi! These ultra sized pom-pom dresses weremade with a split down the front so that the ladyGaye Biffen at the InternationalChampionships 1963would part theskirts as shestepped intohold, otherwiseher partner stoodno chance ofgetting near.Footwork inthose days hadto be perfect,there was nohiding! The hugepuffballseventuallydeflated and lengthened, acquired floats andfeathers and became more recognisable of thepredecessor to today's competition dress. Thevoice-over of the original non celebrity ComeDancing would explain how the ladies' dresscontained 53miles of fabric and everyone of the20,000 sequins were hand sewn by her mother.In those days there was no DSI or Chrisanne,-these companies only came into being in 1982and 1986 respectively. Dresses were often madeby mothers or local dressmakers. Dancingcouture companies are relatively recent but nowa million dollar industry. At the British Open inMay, there were over 1800 couples who takepart, at a conservative estimate of around athousand pounds a dress, - that's a big business!Such suppliers are constantly looking for newfabrics. Stretch fabrics and lycra wereincreasingly used and sequins were replaced byrhinestones, expensive in comparison but withuber high voltage sparkle. Feathers becamede-rigour too. They were virtually compulsory inthe 90s, but now they are very much an optionaldecoration. Feathers now come in several formsfrom soft wispy feather fringes to feelers tocockerel feathers: full boas are seldom seen andthere are less naked ostriches running aroundthese days.3031

Lorraine Barrichi was one of the first to departfrom this new uniform of a tight bodice and boatrimmed full skirts. She adopted a new slim linesilhouette, ditching the boas and wiredunderskirts. This new style stayed in vogue for along time using printed and shaded fabrics andincreasing numbers of rhinestones. However, thisstyle needs movement to create volume, sofashions have changed again. Skirts have been“pouffified” to the max again, the ultimate beingthe multi-layered crinoline edged modern versionof the puff ball. This trend started on thecontinent. As England sadly no longer dominatesthe competitive scene it is natural for othercountries to lead in innovative fashions as theirdancers become prominent and showcase newstyles, which are adopted quickly.The initial latin dresses were very demure incomparison to today, starting off as short versionsof the full ballgowns, and were even worn withcourt shoes before latin shoes were developed.They have undergone the biggest revolution, andare unrecognisable from the first dresses. In the80s asymmetric sheaths with skirts slashed highon the hips were the uniform, (howeverunflattering). The idea was to elongate the leg butthe result just emphasised the thigh. Bothdresses and dancers have shrunk considerablysince then. The legendary Gaynor Fairweatherbeing a forerunner in both fashion and form, shewas ultra slim and managed to make her latindresses look classy, not an easy task in thedecade with no taste.Today's Latin dresses are designed to suit thewearer, and their style of dancing. Dresses arelong, short, full, tight, stoned, plain, fringed,beaded, minimal, demure, sexy, in fact, anythinggoes, and no one style dominates.Whatever the trends have for us in store in future,there are some things which are fashion proof:orange skin, rhinestones and cheesy grins.Top tips fordressmaking:By Inna Vasilyeva-AshtonInna is a member ofthe EADA Council anddesigns and makesBallroom & Latindresses in her sparetime. She has twentyfiveyears experienceof dressmaking andhas sold her dressesinternationally.Dress by Inna1. The Dress has to "dance" with you - notagainst you and compliment your features andyour dancing. A good design will show off goodmovement.2. Think about your personal style, don`t justfollow the fashion blindly. What are your bestassets and what do you not want to drawattention to? The style of the dress has toshow off the best part of your body and hidthe worst part.3. The colour of the dress is important. It mustenhance and compliment your natural features(hair, eye and skin colour). However also thinkabout the venue - different colours will standout better in different halls. I think the bestcolour dress for Blackpool is white, whereaspale pastel colours don't look as good in theWinter Gardens.4. Think about how much decoration you want onthe dress - sometimes simple elegance isbetter than too much decoration. In Blackpooldresses with lot of stones look great, but veryfew dance halls have the same lighting and thedress can lose its effect.5. Fabric is a personal choice. I like a combinationof Pearl Chiffon and Crepe, Satin, Georgette forBallroom. Dress should appear light and not beheavy. For Latin I really like fringes and anykind of crepe. It gives a lot of dynamic toany dress.Spot TurnBallroomCompetition quality professional dancewearat affordable pricesAn exciting new name in Ballroom DancewearSpot Turn Ballroom is a unique designer and retailer of adult andjuvenile dresses, men’s and boys dancewear and dance accessories.Whether you dance just for fun or take your dancing more seriously, ourfantastic range of bespoke dresses, gowns, sexy Latin costumes andmen’s and boy’s shirts and made-to-measure trousers are for you.We carry stock of girl’s dresses for immediate delivery, and most of ourrange of juvenile costumes is fully compliant with British Dance Councilregulations.Feel like you're dancing with the stars!Inspired by Strictly Come Dancing and Dancing with the Stars, our dressesare created individually by our own designer with flair and style. We knowyou want a unique dress just for you - whether a gorgeous gown forballroom or something sexy for a rumba.We can also help with dancing on ice, prom dresses and a practice skirtor dance costume for your dance lessons. You can mix and match featuresor embellishments on any of the styles to create your dream dance dress.Our mission statement is to deliver great quality dancewear for yourdancing pleasure at affordable prices.Sue Charon and Beverley Dunlop would be delighted to hear from youon 01202 553803 if you would like any further information or tomake an appointment.www.spotturnballroom.co.uk32

A TALE OF TAILSBallroom dancing has changed overthe years – shapes have becomemore exaggerated, dancers areexpected to extend more and it’s allmore athletic. Tailsuits have had toevolve with the style of dancing andhave developed the need to be morestreamlined and performanceorientated.Bespoke continually develop and evolve theirtailsuits to keep up with these changes andtrends. Over the past five years the Pure ClassTailors have been busy introducing many newconcepts to the design and construction ofmodern dancewear. Tailor Andy Brown explainedhow a tailsuit is made and how they havedeveloped their latest design.Each and every suit is cut by hand using themeasurements and notes that have been taken atthe first meeting. Although many of the clothsused are still English woollen cloths, they havechanged considerably from the cloths used 5years ago. The cloths now used are stretchcloths, supplied by traditional Yorkshire Mills orfrom noted cloth merchants Holland & Sherry ofSavile Row. “We have developed some veryparticular cloths for our new suits,” explains Andy,“we have a traditional style woollen cloth with 6%lycra content and a fantastic microfibre cloth witha satin inner face that takes the place of thelining. Both of these have a one way stretchwhich allows the back line to be kept tensionedand clean and means the suit moves much betterwith the dancer. It’s important that a tailsuitmoves with the dancer to show more bodymovement, and not against them which some ofthe older style suits tended to.” The stretch woolsuits are referred to as Feathertouch Tailsuits andthe microfibrePhotos of the cutting process thanks to Andy Brown at Bespoke.The first step in producing a tailsuit is obviouslyto meet with the client and take measurements;around 10 measurements are needed in mostcases, with a few more if the client has specificneeds or physical traits that need specialattention. The tailor will look at their hold andframe and general body shape and note all theindividual characteristics. With more dancersrecognising the benefits of going to the gym,many men have more developed upper-bodiesand this is something new that the tailor has toconsider if they are to produce a well fitting suit.34referred to as Featherweight. Both of these suitshave no linings in the sleeves and trousers andboth of these cloths are lighter than clothspreviously used, with the microfibre being thelightest. “It is important to reduce the amount oflining in stretch suits otherwise the stretch effectwill be lost,” explains Andy, “a lining also adds tothe weight of the suit; without it the cloth canperform much better.”The next stage for a tailsuit takes place in theworkrooms where the sections of cloth that arenow cut are hand basted together. This is the

stage which produces a suit where parts aretacked together by white baste cotton. Thecustomer will try the suit on and the fit ischecked by the tailor, it is at this stage thatchanges to get the perfect finished fit are markedon to the suit. Any changes can be made easily atthis point as the suit is taken apart and re-cut toaccommodate any alterations. It is also at thispoint that the position for any padding in the suitis noted, but in line with the recent changes thepadding is kept to a minimum.Once any adjustments are made the suit is sewntogether. Machines are used in the process to jointogether some of the main sections of the suit,but a lot of the process is still done by hand bythe Bespoke team (consisting of 2 tailors MarkPlant, the business founder, and Andy Brown; 4tailoresses and several dressmakers headed byMelanie Plant co-founder). The linings are allfelled (sewn in) by hand. Bespoke believe intraditional methods, such as using a one piececollar (so that there is no seam on the back orinside edge of the collar). This involves the collarbeing stretched and shaped individually by hand,using a steam iron to stretch the collar to thecorrect shape for each dancer, every collar is thenhand sewn and finished. “As well as doing a lot ofthe work by hand to keep consistently highquality, we believe in using English materials,with as much locally sourced materials aspossible,” explains Andy, “as well as the cloths,all the thread and buttons we use are produced inEngland. If we cannot find a product that is madein England we will either get it made for us or wemake it ourselves.” This year so far Bespoke hasused over 2340 metres of cloth, nearly 4,000buttons have been handmade and used alongwith thousands of meters of cotton and hundredsof meters of lining and canvas.There will then be a collection fitting where anyfinal adjustments are made and the elastics aremarked and sewn in place. The fit and care istalked through with the customer andarrangements to see the dancer on thecompetition floor to check the look whenperforming are made.On average this whole process will take 6-8weeks, but can sometimes be a little quicker if asuit is needed for a specific date. Bespoke can36offer a 3 day service (although there is asurcharge for this service and there are only alimited number of slots available each year).Tailsuits used to have much deeper sleeves andbroader shoulders not to mention additionalweight of the many canvases and sometimesunnecessary padding. Bespoke have now throughhard work and development been able to removea lot of the canvassing and padding along withthe lining, this along with the new lighter clothshas reduced the weight of the suit and stretchmakes them feel even lighter. As methods ofweaving and production of yarn evolves, theproduction and nature of the cloth also evolves.Add to that the changes in the nature of dancingand the need for a competitive edge and there isconstant development of the perfect set of tails.New styles are constantly being researched, thelatest is a new side support, which is built intothe side of the body of the suit and helps tomaintain a clean line. Several top dancers arecurrently testing this and Bespoke will be makingthis and several other developments availablevery soon.Bespoke also produce Latin trousers and outfitsas well as clothing for many other dance stylessuch as American smooth. These can be madeout of the same cloths as the tailsuits or from arange of dance specific fabrics. For Americansmooth suits, Bespoke use a 4 way stretch crepecloth which is very light and moves and performswell and is suited to this dance style. Everythingis all hand cut and made to an individual’s set ofmeasurements. Latin trousers typically take 3-4weeks but it is just as important to get the fit andlook right as on the tailsuits.Dance tailoring differs hugely from regulartailoring and so a comprehensive knowledge ofdancing and its requirements and demands onthe suits is essential, to ensure correct padplacement, and understanding of the silhouetteand the need for a partnership to look balanced.Bespoke brings together a team with knowledgeof regular tailoring and dancing, who care abouthow look fit and feel of the suit, and who nowsupply dancers around the world.With thanks to Mark Plant and Andy Brown at Pure ClassBespoke www.pureclassdancewear.com Pure Class - not justa brand name but a statement of service and qualityCLUB NEWSBEDFORDSHIRE DANCESPORTCLUB, FIRST TO GAINCLUBMARKThe Bedfordshire Dancesport Club has becomethe first dance organisation in the country toreceive Clubmark accreditation. Clubmark is theSport England mark of high quality Junior clubs.To gain this prestigious accreditation, the Clubhas had to look at all its aspects of operations.Staff and Volunteers have all attended varioustraining courses to ensure that all the necessaryoperating standards are understood and met. TheClub gained its Clubmark status through the teamBeds & Luton Sports Partnership because EADAdoes not currently hold a licence.Whilst Clubmark is for Junior clubs we areapplying the same operational standards to theyouth and adult sections of the club ensuring aconsistent quality of service delivery.By Reg Challinor info@dancesportacademy.org.ukhttp://www.dancesportacademy.org.uk/bdc.htmlwww.clubmark.org.ukAVON AMATEURSThe Avon Amateurs have renamed their GayeBiffen day (their annual dance event interspersedwith fund-raising activities), the Gala Charity Dayand diversified the programme to include EADANREs. The club is still supporting Bristol CancerCharities and is proud to have raised over£50,000 in memory of Gaye. The world of dance at your fingertips is monthly, compact sizedand packed with news,reviews, interviewsand features every monthAsk for a FREE introductory copy today!- just call or email and quote EADA09(e) free@dancing-times.co.uk (t) 020 7250 3006 (f) 020 7253 6679Dance Today, 45-47 Clerkenwell Green, London EC1R 0EBwww.dance-today.co.uk

IDSF & DANCING ABROADIn June the IDSF AGM took place in Macau andDavid & Mary represented the interests of Englishdancers. The main outcomes were as follows:- An under 21 category is to be introduced (Youthwill remain as it is).- Senior I 10-dance; Senior II Latin; and Senior IIIBallroom are to be introduced. However Seniorevents will all be open which means EADA willselect two couples from the chart as normal andsubsidise their travelling expenses, but in additionother couples are permitted to enter at their ownexpense; these couples will require EADA'sagreement and the entry will be via EADA.- Senior III will be defined as one half of thepartnership over 55 and one half over 45.- Music for dances must be 1mins 30-2mins inlength and the minimum time between roundswill be 15mins.- There will be a set size for a couple's number;couples will not be permitted to reduce the sizeof their number.- Couples will need to wait 8 months beforechanging the country they represent unless bothAmateur Associations agree this is notnecessary.- The IDSF are hoping to have dancesportincluded in the 2020 Olympics, although thereare concerns from the IOC about thescoring system.The changes the IDSF have passed are likelyto have implications on our own chart events.These will be discussed at the AGM - pleasesee the enclosed papers.Motions that did not get passed included:renaming Senior, Adult II, Adult III etc; changingthe criteria for being able to represent yourcountry and imposing a strict dress code forIDSF judges.THE IDSF PRESENT A NEWSCORING SYSTEM.The IOC has asked the IDSF to review the scoringsystem for their Dancesport championships asthey consider inclusion of Dancesport in theOlympics in 2020. On August 23rd, at the end of38the German Open, representatives from Amateurand Professional Associations were asked toattend a meeting in Stuttgart to see, andcomment on, the IDSF's first presentation of arevised scoring system for their events. We areproud that David Corfield attended as arepresentative of EADA and, as the only Britishrepresentative present, we are grateful that hewas able to attend and air concerns. The systemthat was proposed would be more in line withice-dance, awarding technical marks for certainfigures, deductions for mistakes and couplesdancing each dance on their own from the semi.Many concerns were raised from those present toensure that this system would be viable andwould be a fair system of comparing couples.There was a lively discussion and feedback andcomments were given to the IDSF, who arereviewing the system even further. Thepresentation can now be found on theIDSF website.ANTI-DOPINGJack Gibson has now taken over full responsibilityfor the anti-doping role and this presents theideal opportunity to express our thanks toKeith Hateley for the effort he has directedtowards establishing the systems and proceduresnecessary to comply the stringent requirementsof WADA and IDSF.It has been a successful year for both in and outof competition testing and to that background thenext session of testing will soon be starting.Interestingly enough, a statistical report from IDSFshows out of a total number of 226 tests carriedout worldwide last year only one sample waspositive. As reported previously, EADA hasconducted 28 tests all of which were negative.Please don't forget that if you are on anymedication which may affect doping results,contact your doctor and complete a TherapeuticUse Exemption form. Caffeine has now beentaken off the prohibited substances list - but weadvise checking the latest lists online. For moreinformation see the anti-doping guide on theinformation section of our website or contactJack on antidoping@eada.org.ukDRESSES, FABRICS, SHOES, DANCE MEDIA. WWW.DSI-LONDON.COM T: +44 (0)20 8664 8188CREATE A STIRON THE DANCE FLOORDRESSES, FABRICS, SHOES, MEDIA AND LASTING IMPRESSIONS...