autumn tour 2015 - National Dance Company Wales

A RESOURCE PACK
FOR TEACHERS AND STUDENTS
PRIMARY SCHOOLS EDITION
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National Dance Company Wales (NDCWales) is committed to working with young people, many of whom will be
experiencing contemporary dance for the first time, and to develop their dance appreciation by watching,
participating in and talking about dance.
NDCWales presents opportunities for the public to experience contemporary dance in different ways. Through
participation in various engagement activities on tour, such as workshops or interactive performances, audience
members experience an introduction to the art form in a relaxed and open environment.
This pack has been compiled to assist students studying or watching NDCWales work, focusing on Tuplet by
Alexander Ekman, which forms part of the basis of our participatory work. It is designed to help students in
primary schools/groups to help them understand the work, to try out some of the dance ideas for themselves,
and to talk about dance in the classroom. It also provides information on the work and structure of the company
and information on our current Autumn Tour. Contained in this resource is information on…
Content
THE COMPANY – Page 3
AUTUMN TOUR 2015 – Page 4
THE WORK TUPLET – Page 5
ABOUT THE CHOREOGRAPGHER ALEXANDER EKMAN – Page 7
THE CREATIVE PROCESS (Interview with rehearsal director, Lee Johnston) – Page 9
THE DIFFERENT ELEMENTS OF THE WORK – Page 11
Movement
Music
Lighting
SECTION BREKDOWN – Page 13
Scene by scene.
PHYSICAL AND CREATIVE TASKS – Page 14
Ideas for warming up/preparing to move in a specific style
Solo tasks
Duet Tasks
Group work
LINKING DANCE TO THE CURRCIULUM – Page 16
Creating Choreography and Rhythm
Suggested Tasks (GCSE/BTEC/AS & A2/DEGREE)
BEHIND THE SCENES AT NDC WALES – Page 18
Meet the Dancers
Meet the Marketing and Production Staff
Interviews (With Suzanne Carter)
Glossary – Page 22
Useful and Supporting Information – Page 27
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ABOUT THE COMPANY
National Dance Company Wales (NDCWales) is an awardwinning company presenting work by some of the most
celebrated international choreographers alongside new
creations by emerging choreographic talent.
NDCWales creates dance which engages and resonates with
audiences by being extraordinary and inclusive. We bring
the best dancers and choreographers from across Wales
and the world to make dance for stages large and small, in
unusual spaces and online.
NDCWales is committed to working with young people,
many of whom will be experiencing contemporary dance for
the first time, and to develop their dance appreciation by
watching, participating in and talking about dance.
NDCWales presents opportunities for the public to experience contemporary dance in different ways. Through
participation in various engagement activities on tour, such as workshops or interactive performances, audience
members experience an introduction to the art form in a relaxed and open environment. Pre or post-show talks,
Workshops, Watch Dance Class and Open Rehearsals are other great opportunities for audiences to discover
more about the process involved in creating a work, hear about the inspiration for a piece, or just talk about
dance.
Recent productions include choreographers Stephen Shropshire, Stephen Petronio, Eleesha Drennan, Angelin
Preljocaj and Christopher Bruce. Current performances include works from Johan Inger, Alexander Ekman and
Jeroen Verbruggen. The Company has recently appointed a new Artistic Director, Caroline Finn and Chief
Executive, Paul Kaynes.
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AUTUMN TOUR 2015
The company’s autumn tour brings together three unique pieces of dance created by three very
distinctive, European choreographers. The three pieces work together to create a fantastic and
enjoyable evening for dance lovers to get their teeth into.
TUPLET
By Alexander Ekman
A piece focused on rhythm, the connection between movement and rhythm and the many different rhythms
found in life. A piece for 6 dancers that includes: body percussion, theatrical lighting and a multi layered
soundscore.
WALKING MAD
By Johan Inger
A highly theatrical work set to Maurice Ravel’s Boléro and Arvo Pärt’s Für Aline. A piece for nine dancers,
incorporating humour, physicality and a mixture of mesmerising group work. The piece also features a large wall
which the dancers manipulate and navigate
A MIGHTY WIND
By Jeroen Verbruggen
A high energy piece exploring the concept of “Rock chic” set against the use of wind as a force, a movement, and
a catalyst for change. The music, features a fusion of alternative rock with more classical scores creating a work
that is both slick and humorous
To find out information about a performance near you, please visit
www.ndcwales.co.uk
or you can find information on the company on the following social media websites

Twitter: @ndcwales

Facebook: http://www.facebook.com/NDCWales

Vimeo: http://vimeo.com/NDCWales
Instragram: ndcwales
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ABOUT THE WORK
TUPLET
Choreography: Alexander Ekman
Music and Sound: Mikael Karlsson, Featuring Fly Me to the Moon, performed by Victor Feldman, from the album
“Jazz at Ronnie Scott’s.”
Lighting Design: Amith A. Chandrashaker
Costume Design: Nancy Haeyung Bae
Costume Maker: Louise Edmunds
Dancers: 6
Dancers include: Matteo Marfoglia, Mathieu Geffré, Joseba Yerro Izaguirre, Àngela Boix Duran, Elena Thomas,
Josef Perou, Mathieu Geffré, Camille Giradeau, David Pallant, Josie Sinnaduri and Ed Hygill.
Tuplet is a swift, pulsating, eighteen-minute tour-de-force for six dancers using a score created in collaboration
with their own rhythmic impulses and employing their bodies as percussion instruments. The soundscape is
integrated with original electronic music composed by Mikael Karlsson as well as elements of the dancer’s own
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rhythmical impulses and body percussion, made live on stage.
Originally created on Cedar Lake Contemporary Ballet in 2012, Tuplet displays all the trademark elements of
Ekman’s work including:

fast paced timing

innovative use of sound and composition to form the dance

clever and concise transitions

witty humour, intentional sarcasm and characterization

integrated used of props/setting
The piece and the aural score go hand in hand. The composition bounces back and forth between the live body
sounds of the dancers and the recorded score in combinations of irrational rhythms and groupings, to stunning
visual and aural effect.
When asked what the work is about Ekman states,
“The whole piece is dedicated to rhythm…Why do certain rhythms work for you, why do some not work for
me…I’m attempting to find a fraction of an answer to an extremely large question: What is rhythm? In my world
of music and dance this theme is a huge challenge and continual exploration for me. Tuplet endeavors to
understand a small fragment of this quest,”
Re-staged by NDC Wales as part of the Autumn Tour in 2014. This was a significant moment, as this was the first
time a UK Company had the opportunity to perform and tour the work of this prolific choreographer; who is
largely considered one of the most exciting artists currently creating work on the international contemporary
dance scene.
Ekman states that he feels excited in being able to show Tuplet to UK audiences as he feels that “the UK
understand the humour in my work as Scandinavian humor and humor in the UK is very alike…I’m happy about
that!”
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ABOUT THE CHOREOGRAPHER
Alexander Ekman
Born in Stockholm in 1984. Ekman trained at the Operans Balettelevskola 1994-2001. From 2001-2002 he danced
at the Royal Opera House in Stockholm. He later joined Netherlands Dans Theater II and spend three years there
as a dancer During his performing career he worked with a variety of choreographers in various contexts
including: Jiří Kylián, Hans van Manen, Nacho Duato, Johan Inger and Mats Ek.
Between 2005-2006 Alexander joined Cullberg Ballet where he had his first breakthrough receiving a prize at the
international choreographic competition in Hannover for his piece The Swingle Sisters, for which he also claimed
the critics’ prize. In the same year he was chosen as one of the dancers to create a work; Unknown art? for
Cullberg Växtverk project, which was performed in Stockholm and Malmö in April 2006. During the autumn of
the same year Ekman created choreography, set and music to Flock Work for NDT II, which premiered in
November 2006 and marked his international breakthrough as a choreographer. Since then he has devoted his
time creating pieces, which both entertain and question the observer. He aims to transform the atmosphere in
the auditorium and to always surprise the audience.
Ekman has been associate choreographer at Nederlands Dans Theater (NDT) since 2011-2012. A choreographer
of international reputation, he has made work for various international companies including Cullberg Ballet,
Compañia Nacional de Danza, Goteborg Ballet, Iceland Dance Company, Bern Ballet, Cedar Lake Contemporary
Dance, Ballet de l’Opéra du Rhin, Royal Swedish Ballet and the Norwegian National Ballet. He also created for
festivals as the French Europa Danse and the Athens International Dance Festival.
In 2010 Ekman created his first full evening for the Cullberg Ballet. Triptych is a study of entertainment: it
received great response, and is still touring the world. In 2011 Ekman also worked as a teacher / choreographer
at the prestigious Juilliard School in New York City.
His 2010 NDT 2 work, Cacti, was an instant hit and has been performed by NDT 2 in the Netherlands and on tour
world-wide to great acclaim. Cacti was also nominated for the Dutch dance prize Zwaan 2010 and for the
National Dance Award (UK) 2012. Last spring, the piece premiered in Australia and Germany. Sydney Dance
Company, Dresdenb Ballet and Dortmund Ballet have now also added the successful piece to their repertoire.
In his years as a choreographer, Ekman also proved to be a multi talented artist, often making film productions.
Though usually integrated in his choreographies, these productions also gathered more and more interest on
their own. In 2009 Ekman created the dance film 40 Meters Under for and with Cullberg Ballet, which was
broadcasted on National Swedish television. That autumn he collaborated with the Swedish renowned
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choreographer Mats Ek on video projections for Ek’s play Håll Plats. Ekman also created an installation for the
Modern Museum in Stockholm with dancers of Cullberg Ballet.
In 2013 Ekman created his first commercial dance video for the flooring company, Bolon which uses the floor as a
tool for making costumes, set design, and as food. This work has won the design award in Milano and is currently
nominated for the big design award in Sweden.
In 2014 Ekman created his own version of Swan Lake in which he filled the stage with 6000 litters of water
creating a real lake on stage. A new take of the most famous ballet of all time, A Swan Lake received enormous
attention and praise world wide and returns to the Oslo Opera House in 2016.
2015 shows signs of continued success for Ekman. In April, he presented a new work with The Royal Swedish
Ballet and in May, was nominated for a Benois De La Danse Award and presented a solo entitled Thoughts at The
Bolshoi discussing the high and lows of his career in the dance industry thus far.
Choreographic Repertoire includes:

Midsommarnattsdröm (2015) for the Royal Swedish Ballet

Nude (2014) for Staatstheater am Gärtnerplatz

Fontängruppen (2014), pop up installation in Stockholm

A Swan Lake (2014) for The Norweigan National Ballet

Contradiction of Silence (2013), video work for flooring company Bolon.

Definitely Two (2013) for Netherlands Dance Theatre

Maybe Two (2013) for Netherlands Dance Theatre 2

Tyll (2012) for The Royal Swedish Ballet

Cacti (2010) originally for Netherlands Dance Theatre, also performed by Sydney Dance Company,
Dresden Ballet, Dortmund Stadstheater and Boston Ballet

Ekman’s Trptych (2010) for The Cullberg Ballet

40m Under (2009), full length film danced by the Cullberg Ballet
To see Ekman talking about the process of working with NDC Wales, check out this interview
https://vimeo.com/111116462
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THE CREATIVE PROCESS
Before NDC Wales head out on their national tour the company have been rehearsing the Autumn tour
programme back at home in the Dance Studio. Here we chat to Lee Johnston, Rehearsal Director as she gives
us some insights from the studio as well as talking about her role in the company and how she has rehearsed
Tuplet.
What does your job as Rehearsal Director involve?
When a new dance work is being made it is my job to
know the framework of every role in the piece, all
musicality, spatial arrangements and costume/ prop/
technical requirements. This is so that once the
choreographer leaves I am able to maintain the
quality of the piece, recast if a dancer leaves or gets
injured, or remount if the piece needs to be
performed again in the future. I also take care of the
dancer’s overall training by making sure they have appropriate dance classes (ballet or contemporary) and crosstraining (pilates, strength & cardiovascular in the gym, yoga) to support what they need to achieve in their
performances.
What is a typical Rehearsal Day like?
Each day will start with a one & a half hour class of either contemporary or ballet technique. Following this the
dancers will take a 20 minute break to refuel, followed by a 2 hour rehearsal, an hour’s lunch & then another 3
hour rehearsal with a 20 minute refuel break. In rehearsals we will either be creating new sections of a dance
work, ‘cleaning’ sections that have already been created, or doing full runs of completed works & doing ‘notes’
afterwards. ‘Cleaning’ is a process of practicing every single movement until everyone has the same
understanding of the artistic, physical, spatial and musicality components of each moment to bring the overall
piece to the highest quality. After a run of a work, or sections of a work, I give ‘notes’ which are feedback &
corrections for individuals or groups on their performance – again this covers artistic, physical, spatial &
musicality components.
Let’s talk about Ekman’s style within Tuplet, any thoughts?
Tuplet has all the hallmarks of Ekman’s style – it is a ‘classic’ Ekman piece – it has fast paced timing, witty humor
and a subject everyone can relate to.
Did you ever think ‘Ok, this might be tricky to rehearse?’
The blackout vignettes involve the dancers keeping a body rhythm that needs to stay consistent as the phrases of
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movement fit within landmarks on the soundtrack & lighting cues. If they take too long they become late in the
soundtrack & out of sync with the lighting patterns. Even trickier to manage is that there are multiple casts of
Tuplet & each cast has a slightly different body rhythm that needs to be rehearsed!
What do you think were the major challenges for
the dancers in restaging the piece?
The Blackout Vignettes are a scene of random
images and the dancers found it difficult to
remember what came next as there was no logic!
The Names section was a challenge as there was no
other way to learn the section other than lots and
lots of repetition.
A lot of the roles are double cast so dancers had to
learn two sets of rhythmic patterns as each role is
different. The physicality involves extreme
sharpness and clarity of movement yet artistically
they are required to impart easygoing joy, lightness
and humour, which can create a contradictory
dynamic mode in the body.
Why do you think audiences love and engage with
Tuplet?
Tuplet engages audience because the notion of
rhythm in daily life is something everyone can relate to. Ekman delivers this theme in a light-hearted yet touching
way - when combined with lighting design, which is visually striking, Tuplet is a lot of fun to watch!
What has been your favourite or most inspiring time during the rehearsal period so far?
We are currently re-casting some roles with our Apprentice dancers from London Contemporary Dance School
and it’s really fun to see their personalities come alive in this piece.
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DIFFERENT ELEMENTS OF THE WORK
Movement
As the piece is about rhythm, the movement vocabulary is mainly created through the use of body percussion; at
various times within the piece the dancers use their bodies as way of making sounds. These sounds are then
layered with various gestures and/or actions to emphasis the noise they make or to match the accompanying
soundscore. Key physical elements of the work include:

A sense joyfulness and carefree

Elements of virtuosity

Clear sense of personality/characterization – name solos

Quick shifts of weight

Use of the floor

Grounded earthy movement
The piece is formed from a variety of different choreographic devices. Key structures seen within the work
include

Canon

Unison

Counterpoint

Duet/Contact work

Improvisation
Ekman says that he “believes in honesty on stage…if a dancer is having an experience on stage then I think its
honest and we can feel that as an audience”
Music
Mikael Karlsson’s detailed electronic score works perfectly in tune with the dancers’ own rhythmic impulses, their
bodies as percussion. Various noises are used within the work such as stomps, claps, laughs, and breath to create
a powerful drumming soundtrack, that is layered and textured with a sense of character…almost as if it has a
mind of its own… as well as the familiar and evocative jazz sounds of ‘Fly me to the Moon’.
At times the music and movement relationship exist in direct correlation, the dancers appear to be controlled by
the electronic voice, as one calls out rhythmical noises and instructions they respond with matching movement.
Lighting
The lighting within the piece aims to strengthen the relationship between movement and rhythm. Within the
opening section, the lighting is very non theatrical, which aims to set up an everyday environment where the
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dancers set the space and set the scene. Towards the end of section 1 the lighting condenses, focusing in and
becoming much sharper, more theatrical before fading to black. In opposition to when the dancers set the scene,
this brings a sense of theatricality and allows the audience to question and think on what is coming next.
Within Section 2, the dancer is silhouetted against a stark white backdrop. This section aims to highlight the
connection between the body of the dancer and the voice controlling him. Whilst the soloist moves we are
unable to see his facial features but rather focus on an outline of the various shapes he makes in space.
Within section 3 and 4, the lighting returns to the highly theatrical state. The dancers are lit in a very focused and
intense line bright against a heavy blackout throughout the rest of the stage. Within the blackout vignettes, the
lighting again works to emphasise the rhythms within the soundscore and explores how lighting can be used to
make rhythm.
Within section 6, we begin to see an almost filmic state emerging. The dancers are lit in a sepia tone, creating a a
sense of being in a jazzy environment which aslo makes reference to the song, “Fly me to the moon” which can
be heard at this point. Within the section the dancers also experiment with using light. They stand downstage left
and right, and use handheld lights to focus on in the duet, casting their shadows onto the backdrop.
Towards the ending we see the lighting return to a very simple dark state that creates a sense of intimacy
between the dancers and audience. We also see the film scenes of everyday rhythms projected onto the
backdrop. At the very end the dancers form a line downstage and are lit by single lights whilst they scat and jig to
their own rhythms. The lighting becomes very focused on their facial features, highlighting them as individuals,
strengthening the idea of rhythm and movement as being a “common human experience”
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SECTION BY SECTION
You can use this step by step guide to help with the structure of the piece as a whole when viewing or
discussing the work.
Section 1- Setting the scene
Section 2- Voice solo
Six white squares are arranged in a neat line at the front of the stage. The
dancers enter the stage on by one feeling an unheard rhythm, almost as if
they have their own headphones in. Two film loops of lips speaking silently,
and fingers signing are projected onto the back wall. Once all the dancers
are on stage the Lights cut to black as electronic beeping begins.
Against a clear white background (cyclorama) a solo dancer orchestrates his
body. He articulates his hips, back, legs and flicks his hands all the while
responding to the call from the voice and the human noises made within
the soundscore.
Section 3- Blackout vignettes
Six dancers in black tops and blue trousers stand on white square mats
arranged in a neat line at the front of the stage. To the sound of beat-boxy
voices they throw body shapes and semaphore moves that are witty,
willful, controlled and extreme. We see various motifs from the stamping
and slapping of the thighs; to the quirky little walks they do in a square
around their mat. The use of blackout is again commanded by the voice
within the soundscore and used to reveal and remove the dancers and
segment their different scenes. Within the changes of the blackout the
dancers form various different relationships with each other.
Section 4 – Names
Spoken names are drawn and signed in explosive calligraphic convulsions of
the body, It’s like patting your head and rubbing your belly at the same
time. Again the voice within the score mixes and matches different parts of
the dancers names to create various different musical patterns
Section 5- Contained solos and What is
rhythm duet
Again the dancers break the fourth well as they move to set up a scene
change. Almost as if released from something, they explode and scatter
across the stage, turning and turning whilst holding the squares of white
flooring. Some exit the stage but two soloists remain dancing within their
white squares upstage, almost back within their own world, grooving along
to their private rhythms. A conversation begins within the soundscore that
asks questions about what is rhythm? and where do we find it? This
happens whilst two dancers enter and perform a duet that builds in
physicality. They jump, turn and throw each other around, pulsated by the
drive of the conversation they pick up on numbers and rhythms discussed
with the voices above them
Section 6 – Clapping unison and films
Section six begins with a soft electronic underscore. Videos of bands
playing, drummers, trombonists, and jazz musicians are projected
diagonally onto the back wall. The dancers enter one by one, all are facing
different directions. With a sudden vocal cue from one of the dancers they
begin to sway in unison, shifting their weight from one side to another.
Accompanying this movement these use the sounds of the breath and,
stomping and slapping of their thighs slapping of their thighs in various
different rhythms and counts. The piece ends with the dancers forming a
line at the front of the stage, silhouetted against the films. They return to
their own little jigs and rhythms making scatting noises, each one is
different. As the music and lights fade, the dancers turn to face the back
and watch the videos play out, before leaving one at a time.
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PHYSICAL AND CREATIVE TASKS
In this section you can use some of the suggested ideas to try making some of your own creative responses to
rhythm or work in the style of Ekman’s Tuplet and might be a good idea to use after seeing an NDC Wales
performance.
SOLO TASK
 Working on your own, pick 12 different parts of your body and create a movement for each one. Try to
be as creative as possible and use lots of different body parts for example the back of your knee, your
shoulder, the side of your head, the chin, the left elbow, the right hip and so on. You can create anything
you want, you can use different levels (high, medium or low) and different body parts but remember it
has to stay on the spot.

Give each movement a different dynamic or rhythm. (It can be fast, slow, sharp, smooth, straight/curved,
small, big, harsh, gentle)… anything you can think but each separate movement has to be different
WARM UP TASK
Style Specific- try to move and use as many different body parts that you can think of to make as many different
noises as possible. Begin slowly, take time to notice all the different noises you can make. You can shake your
arms, clap your hands, stomp your feet). Think about how you and are mindful not to cause any injury to yourself
or other
From this you are then changing you movements from making noises to writing you name with different body
parts in silence. As the task progresses you can use your voice to accompany the small movements you are doing.
Ensure that you physically warm up all the necessary body parts (arms, shoulders, back, legs, stomach muscles)
DUET TASK
 First work on your own to make a little rhythm that uses your body to make lots of different sounds. You
can use claps, stomps, whistles, speaking and any other noises you can thing off.

Think about how you make each noise and the movement that happens when you make your noise. Play
with how you can make this movement bigger, imagine that your family are sat right at the back of the
theatre. You want to make the noises and movement as big as possible so that they can see them.

Go back to working with your partner, learn each-other’s moves and rhythms and now think about how
you can use your partner to make your rhythm of noise…Do you clap out a beat on their chest, can you
stomp around together at the same time? Use each-others moves and rhythms to make a little duet
dance together.
You can try and use
Canon: where one person goes after another
Unison where you both do something together at the same time.
Repetition: repeating something
Retrograde: make something go backwards, doing it in reverse.
Travelling: make the phrases move across the room rather than on the spot.
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GROUP TASK
 Everyone needs to create 1 move for each different part of their name.
(1 move for the birth name, 1 for their middle name and 1 for their surname) Be sure that’s its something
short so that it can be performed quickly. Try to use different dynamics (smooth, sharp etc.)

Write down on separate pieces of paper each different element of everyone’s name moves. Elect 1
person to arrange the names into a different order. Each person performs their movement when their
name or part of their name was called. You can play with saying part or all of a name. Vary the speed
at which the names are said and the pattern they are said in.
POINTS FOR DISCUSSION
These questions can be used as a guide to stimulate discussion about Tuplet and/or a visit to an NDC Wales
performance. For more suggested tasks and ideas on merging dance with in the curriculum, please see pages
17 & 18.

CAN YOU THINK OF ONE WORD TO SUM UP THE PERFORMANCE OF TUPLET?

WHAT WAS YOUR FAVOURITE MOMENT IN THE DANCE AND WHY?

CAN YOU THINK OF THREE WORDS THAT DESCRIBE THE WAY THE DANCERS MOVED?

IS IT SIMILAR OR DIFFERENT TO ANYTHING ELSE YOU MIGHT HAVE SEEN IN THE THEATRE?
LINKING DANCE TO THE CURRICULUM
Within this section there are some suggested ideas about how you may link elements of the work and/or a visit
to see an NDC Wales performance with particular areas of the curriculum as well as developing students
interest in and around dance & performance. These ideas can also be used with the physical/creative tasks and
points for discussion provided on pages 15-16 in order to develop a detailed lesson plan. For more information
on Dance specific terms, please see the Glossary on Pages 24-27.
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LINKING DANCE TO THE CURRICULUM
Within this section there are some suggested ideas about how you may link elements of the work and/or a visit
to see an NDC Wales performance with particular areas of the curriculum as well as developing students
interest in and around dance & performance. These ideas can also be used with the physical/creative tasks and
points for discussion provided on pages 15-16 in order to develop a detailed lesson plan. For more information
on Dance specific terms, please see the Glossary on Pages 24-27.
PHYSICAL TASK
CURRICULUM LINKS:
Group work, Music and
rhythms, Physical Education
(Dance)
Creating choreography and rhythm

Using the tasks provided on pages 11-14. You might want to think
about making a piece of choreography together with students. Get
them to create lots of different phrases so that you have a bulk of
movement material to play with.

You can set students a research task to find lots of different pieces of music with different rhythms (2/4,
4/4, 3/4, 6/8, 5/4, 9/8). You can also ask them to bring their favourite piece of music and identify what
rhythm is. You could also ask them to recall the music used within Tuplet, and to find a different piece by
a different composer that sounds similar. Play with arranging the different movement phrases you have
made with the music and rhythms you have collected. You could put solos and duets together. Getting
peers to teach their phrases to one another can create unison.
(This task will not only allow students to develop their numeracy skills in that they must be able to count and
identify rhythms, but will also challenge them to develop their logical thinking in the way the patterns and
shapes can be created and encourage them to work as part of a team, to problem solve and to self manage and
think creatively)
SUGGESTED TASKS
WRITTEN TASK
CURRICULUM LINKS:
Literacyappreciation and
analysis, creative
writing

USING THE WORDBANK BELOW CAN YOU WRITE A SHORT DESCRIPTIVE
REVIEW OF THE PERFORMANCE YOU HAVE SEEN?
This allows students to develop their appreciation and analysis skills and create a
written response. To develop literacy skills when describing dance, encourage them to
use imagery and metaphors and adjectives to explain the way the dancers moved or
the patterns they saw within the choreography or the effect of the lighting and sound. This will allow students to
become reflective and to make decisions and judgements as well as allowing them to write in the past tense and
use descriptive language.
Graceful
Rhythm
Canon
Stomps
Quick
Body noises
Unison
Claps
Humorous
Percussion
Powerful
Voice
16
Physical
Characters
Strong
Names
WRITTEN/DESIGN TASK
CURRICULUM LINKS:
Literacy- using factual
information and persuasive
language
Numeracy: numerical data,
times, dates
Art – creation skills.

CAN YOU DESIGN AND CREATE POSTER ADVERTISING A
PERFORMANCE OF NDC WALES IN YOUR TOWN? DRAW PICTURES
AND BE SURE TO INCLUDE ALL THE RELEVANT INFORMATION YOU
THINK AUIDNECES WILL NEED TO KNOW.
This simple task allows students to handle factual information and use
persuasive language to attract an audience. Students will be independent
enquirers as they find answers, solve problems, plan and research
information to put on their posters. This allows them to produce a creative response to the work. This task also
encourages students to develop digital literacy skills in using the Internet to source information available,
including tour details and photos/images of the pieces (Information can be found at www.ndcwales.co.uk)
WRITTEN TASK
CURRICULUM LINKS:
Career pathways/ lifestyles,
choices and decisions.
Art and Design – creative
skills

WATCH OUR INTERVIEWS ONLINE WITH OUR COMPANY DANCERS
TALKING ABOUT REHEARSING AND PERFORMING THE WORK. IF
YOU WERE TO PACK A SUITCASE FOR A DANCER GOING ON TOUR
AROUND THE WORLD, WHAT THINGS WOULD YOU PUT INTO IT?
AND WHY?
This task allows to students to think about what it might be like to be a dancer with a professional touring
company and develop an understanding of the different roles of those involved in dance production. It will
challenge them to make choices and decisions on items they think every dancer needs and to provide reasons.
This can include drawings and designs of items, clothing etc. they think dancers should take.
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BEHIND THE SCENES
At NDC Wales a whole team of highly creative people work together to help create and tour the work. The
company works with dancers, directors and choreographers, technicians, designers, programme managers,
marketing and participation consultants and many more. In this section we’ll introduce to some of the people
who are the driving force behind NDC Wales.
At the heart of the performance work are our company of 10 dancers; lets get to know them a bit…
Josef Perou
Born in Sussex, Josef trained at Laban and Central School of Ballet
graduating in 2008. During his final year he performed in
Pinocchio and Faeries by Will Tuckett for ROH2 as well as touring
with Ballet Central. He toured with Bare Bones in 2009 and later
that year joined Phoenix Dance Theatre. He was a member of
Henri Oguike Dance Company from Spring 2010 to Spring 2011,
as well as reviving Faeries. Josef returned to Phoenix as a Guest Artist in the summer and joined NDCWales in
August 2011.
Camille Giraudeau
Originally from Oxford, Camille joined NDCWales in August 2011 as an apprentice as part of the MA programme
at London Contemporary Dance School. Camille attended Arts Educational School before studying at Trinity
Laban Conservatoire of Music and Dance, where she graduated in 2011 with a first class degree in dance. Camille
started dancing professionally for the company in 2012.
Matteo Marfoglia
Originally from Pesaro, Italy, Matteo trained at the Accademia Nazionale Di Danza in Rome and graduated from
Rotterdam Dance Academy. From 2007 to 2011 Matteo worked in Introdans having performed pieces by Jiri
Kylian, Lightfoot & Leon amongst others. In 2010 Matteo won second prize at the Certamen Internacional De
Coreografia Burgos, New York, for his choreography Just A Breath. In 2012 he danced in the multi-disciplinary
project Nierka in London, directed by Tupac Martir and choreographed by Fernando Hernando Magadan. Matteo
joined NDCWales in May 2012.
Mathieu Geffré
Mathieu studied modern dance from 2001 to 2006 at the
Conservatoire National Supérieur de Musique et de Danse de
Paris. After graduating he danced for several
choreographers in France. In January 2009 he joined
Dansgroep Amsterdam under the artistic direction of Itzik
Galili and Krizstina De Chatel. In July 2011, Mathieu started
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dancing for Noord Nederlandse Dans and in August 2012 he joined National Dance Company Wales. Alongside
the works created as part of 2013, 2014 and 2015 Alternative Routes programs, Mathieu was commissioned to
create a piece for Monmouthshire Youth Dance Company in 2014 and recently a site specific work with his fellow
company dancers as part of the Artes Mundi 6 lunchtime performances at National Museum Cardiff.
Elena Thomas
Originally from Nancy, North East France, Elena trained at Ecole Nationale Superieure de Danse de Marseille and
the Conservatoire National Superieur de Musique et de Danse de Lyon. Straight from training she started
performing with Jeune Ballet Conservatoire National Superieur de Lyon. In 2007 Elena spent 5 months with
Europa Danse before joining Ballet National du Rhin where she performed works by Mathieu Guillaumon, Jo
Strømgren, Alexander Ekman amongst others. In 2009 she moved to Spain to work with La Mov' in Zaragoza
where she was introduced to Company Chameleon when they choreographed on the company. Elena joined
Company Chameleon in 2012 before moving to National Dance Company Wales in December 2013.
Àngela Boix Duran
Originally from Barcelona, Spain, Àngela trained at Ballet
Conservatoire for 5 years and later joined IT Dansa
Companyia in July 2010 where she was directed by
Catherine Allard. In July 2012 she worked at Noord
Nederlandse Dans, performing many pieces by Stephen
Shropshire. In 2010 Àngela won first prize for her
contemporary dance piece in the Castellon National Dance
contest. Àngela joined NDCWales in autumn 2013.
Joseba Yerro Izaguirre
Originally from Pamplona, Spain, Joseba trained at the
Institut del Teatre in Barcelona, graduating in 2011, that
same year he was awarded the 1st Prize at the National
Dance Competition in Castellon. Joseba danced with IT
Dansa Jove Companyia from 2011 – 2013 under the artistic
direction of Catherine Allard. As a freelancer, he has also
performed works by Israel Aloni & Lee Brummer and
Ronald Wintjens & Stefan Ernst. Joseba joined National
Dance Company Wales in July 2014.
David Pallant
Originally from Farnham, Surrey, David trained at Central
School of Ballet, London before specialising in
contemporary dance at the Conservatoire National
Supérieur de Musique et de Danse de Paris. In 2011 he
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joined Oper Graz, Austria, working with choreographers including Natalia Horecna, Itamar Serussi, James Wilton
and Dong Jie. In 2013 he moved to Heidelberg, Germany and performed for two years with the Nanine Linning
Dance Company, during this time also creating and performing his own work.
Apprentice Dancers
Edward Myhill
Ed joins NDCWales for a year long apprentice from this
Autumn. From London, Ed grew up in Leeds and went to
Hammond Secondary School in Chester, followed by three
years at Rambert School of Ballet and Contemporary Dance.
Josie Sinnadurai
Josie Sinnadurai grew up in Brecon and was a student of
Mid-Wales Dance Academy for 6 years as well as being a
National Dance Company Wales (NDCW) Associate for three years.
She trained at London Contemporary Dance School (LCDS), graduating with a first class BAHons degree in 2015.
While at LCDS, Josie performed works by renowned choreographers including Ohad Naharin, Richard Alston,
Hofesh Shechter, Didy Veldman and Sasha Waltz.
Josie has performed at LCDS as well as in Spain and has trained with many prestigious teachers including
Alejandra Velasco, José Garcia, Juan Ogalla, Pastora Galván, Mercedes Ruiz, Marco Flores, Rosario Toledo,
Inmaculada Ortega, Javier Latorre and Nuria Garscia.
To watch interviews of our dancers talking working and performing as part of NDC Wales as well as
some of their favourite moments within the works please visit
https://vimeo.com/ndcwales
Meet the Marketing and Engagement Staff
NDC Wales aims to engage with audiences and believes in taking them on a journey of discovery and offer a
range of extra activities as a way of accessing the art form and developing a greater understanding, insight and
extra involvement in the work we do. Here we chat with Suzanne Carter, Marketing and Engagement
Manager, as she gives an insight to the work NDC Wales does outside of the studio and on tour
What does your job as Marketing and Engagement Manager involve?
At National Dance Company Wales I am responsible for managing both teams. The Marketing team is responsible
for promoting all NDCWales activities and engage with audiences and people who engage with our work at our
home at the Dance House or on tour around the UK. The role varies every day from managing the website and
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social media channels; creating posters and flyers about our tour; creating press release and stories of interest,
programmes and helping to generate adverts to promote the shows. Through our Engagement work we also look
at ways for people to engage with us and how we can enthuse and help them develop an interest in dance. We
run workshops, classes, courses as well as opportunities for people to come and see how we make work through
our Open Rehearsals and Open Dance Class.
What is the best part of your job when a new piece is being created?
It’s wonderful to see how a piece is created, the process in the studio, how we communicate this and then seeing
the reaction people have to seeing something new to them. It really is something special.
Why do you think audiences love and really engage with Tuplet?
Its so fun, quirky and people really relate to the reactions and gestures of the dancers in the piece. It really shows
that dance is fun and accessible and not to be taken too seriously.
Lets imagine that I’ve never seen contemporary dance before and I come to watch NDC wales on tour…what
am I going to see?
Something for everyone. Each piece offers a fun and accessible style whether you like rock, classical or jazz plus
you will be amazed by the agility and energy by this company. There are so many mesmerising bits to watch out
for!
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GLOSSARY
These terms have been compiled to help both teachers and students to develop their understanding of what
dance is and the specific terminology associated with dance and performance. It will hopefully allows you as
teachers to talk about dance more in the classroom, to introduce and explore new ideas and encourage
creativity.
Balance
Base of Support
Binary
Body
Canon
Choreography
Choreographic devices
Choreographic intention
Choreographic processes
The equal distribution of weight. Harmonious
arrangement of parts.
Base of support is a two dimensional area
bounded by the points of contact of the body with
the ground. The larger the area of the base of
support the easier it is to achieve and maintain
balance.
A two part choreographic structure with an A
theme and a B theme (AB). The binary form
consists of two distinct self-contained sections
that share either a character or quality i.e. the
same tempo, movement quality, or style.
As an element of dance it encompasses
developing an awareness of:
—the body parts that support the
rest of the body e.g. when standing the feet are
the body base
—legs, arms, head torso, hands, feet
—weight transference, travelling,
turning, rising, falling
—curved, straight, open, closed,
symmetrical, asymmetrical.
A choreographic device that reflects the musical
form of the same name in which individuals and
groups perform the same movement phrase
beginning at different times.
The art of planning and arranging dance
movements into a meaningful whole; the process
of building a composition; a finished dance work.
Tools of the choreographer. Used to make the
dance. Can include: canon, motif, contrast,
accumulation, repetition, reversal, retrograde,
inversion,
The purpose behind the choreography or
performance of movement. Sometimes it can also
be called the meaning.
The methods for creating dances.
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Choreographic structure
Components of dance (Constituent Features)
Contemporary dance
Contrast
Culture
Dynamics (energy qualities)
Energy
Focus
Fragmentation
Structures that a choreographer uses in the
creation of a dance such as AB (binary), ABA
(ternary), rondo (ABACA), theme and variation (A,
A1, A2, A3), and narrative.
These may be grouped together in four main
categories:
—body, energy, space, time
—music, poetry, clapping,
silence, soundscape, costumes, props, lighting,
performance area
—number of dancers, age, gender, size.
Contemporary dance is a broadly inclusive term to
describe an approach to dance that draws on
modern dance elements, classical ballet, release
work and other forms of dance often reflective of
the creative innovations of particular dance
choreographers and directors. Contemporary
dance may also draw on other dance forms
including popular dance and forms from other
cultures and times. Many contemporary dance
pieces reflect explorations of structure and body
dynamics in space/time.
A choreographic device where dance elements are
altered to create oppositions, thus making
contrasts such as high/low, big/little.
The values, attitudes, customs, practices,
language and conventions commonly shared by a
particular group that forms a part of their identity
as a group and contributes towards a sense of
shared understanding.
Shadings in the amount of energy, intensity, or
power, subtle variation in the treatment of
contrasts. The manner in which energy is applied,
continued, or arrested. Energy qualities can be
described as: floating, swinging, sudden, smooth,
sharp, percussive, vibratory and explosive. By
manipulating the energy in a movement the
choreographer creates certain qualities e.g. a light
free flowing movement may create a dream-like
quality, and constrained movement may create an
aggressive mood.
As an element of dance it focuses on the weight
and force of power needed to produce and/or
manipulate a movement.
Conscious attention toward a certain point; with
eyes, body parts, or the direction in which the
dancer faces. Focus is not just confined to the
eyes. It also involves the use of the whole body
focus to communicate the intention of the dance.
A choreographic device where only a part of the
movement sequence/motif is manipulated. A
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movement is broken down into smaller units.
Genre
Historical context
Improvisation
Levels
Motif (movement idea)
Movement Phrase
Movement Sequence
Musicality
Narrative
Placement
Repetition
A specific category of dance that has a tradition
or history and is identifiable by specific
characteristics, social and cultural contexts (e.g.
classical ballet, jazz, contemporary, tap).
The historical context focuses on when the dance
was made. The relevant developments in that era
may influence the dance
Improvisational structures permit the dancer
elements of freedom and creativity in making
movement and dances. The dancer can employ
any number of compositional strategies and
creative responses to pursue an outcome where
the result is not fully known, for example a floor
plan which is ‘scored’ but in which the movement
is unknown; or the reverse, where the movement
is designed but the floor plan is open and the
dancer is given the freedom to make the spatial
decisions. Other decisions might affect the
timing, the choice of music, in fact any elements
of BEST.
The altitude of a movement in relation to its
distance from the floor. The height of the dance
floor.
 LOW: close to the floor, downwards
 MEDIUM: e.g. the level of everyday
walking.
 HIGH: any movement done with
elevation,
A movement or gesture or short movement
phrase which has the potential to be developed
in the dance/work. A movement motif functions
as choreographic device within the
choreography. It can contain the essence for the
completed piece and is usually repeated with
integrity and manipulated throughout the dance.
Two or more movement ideas (motifs) linked
together.
A series of movements linked together to make a
distinctive pattern.
A series of movements, longer than a phrase but
shorter than a section of a dance.
The music elements of a dance performance.
Attention and sensitivity to the musical ear while
creating or performing.
A choreographic structure that follows a specific
storyline.
A balanced alignment of the body, hips, torso,
limbs, head, knees, rib cage.
A choreographic device whereby a movement or
motif are repeated exactly for emphasis or to
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gain interest.
Retrograde
Reversal
Style
Technique
Unison
Warm-up & Warm down.
Another of the choreographic devices used in
creating dance compositions that produce
variations on a movement phrase. The
movement phrase is performed backwards, as if
rewinding a video.
The performance of the movements of a motif or
sequence in reverse order
A style can sometimes be located within a genre.
A style can be the distinctive features in different
patterns of movement or choreography.. For
example, ballet (genre) may be identified as
romantic, classical or modern in style. More
specific styles may relate to the country or origin
or the company or community by whom the
dance is performed. Choreographers also have
their own distinctive styles (which may change
and develop over time).
The physical skills dancers use to help them
perform moves. Can include, posture and
alignment, strength, stamina, flexibility and
agility.
Two or more people performing the same
movement at the same time.
Warm ups are Activities that raise the core body
temperature loosen the muscles and to focus in
before dancing.
Warm downs, or cool downs can include light
activity and stretching to allow the body to
return to its normal state.
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What is contemporary dance?
Contemporary dance can be described as lots of things. Often
it’s a form of dance that brings together lots of different styles
and other influences to create something new. Within
contemporary dance we can often see a blend of different
dance styles (elements of ballet, jazz, hip hop, breaking, folk
dance etc.) Within performance it can sometimes be used to
tell stories, sometimes its used to explore different themes or
ideas.
Mind maps are a great way to engage
students to think about dance.
SUGGESTED TASK:
Before coming to watch the
performance ask students to work in
small groups to create words to
describe what they think dance is or
what they saw within the piece?
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USEFUL WEBSITES AND SUPPORTING
INFORMATION
www.ndcwales.co.uk
information on the company, tour schedule, get involved programme.
www.vimeo.com/ndcwales
video footage of the pieces on tour as well as interviews with dancers and
choreographers
www.alexekman.com
information on Tuplet choreographer, Alexander Ekman
www.johaninger.com
information on Walking Mad choreographer, Johan Inger
www.v3rbrugg3n.com
information on A Mighty Wind choreographer, Jeroen Verbruggen
CREDITS
Written and compiled by Luke Ganz in consultation with NDC Wales
Photo credits:
© National Dance Company Wales (NDCWales) 2015
Dance House
National Dance Company Wales, Wales Millennium Centre, Pierhead Street, Cardiff CF10 4PH
Tel: +44 (0)29 2063 5600| Fax: +44 (0)29 2063 5601| Email: [email protected] |
www.ndcwales.co.uk
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