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Tereza Theodoulou looks into the crucial components that make up a Janet Cram winner
The 21st Century has developed an insatiable appetite for creating new ‘stars’ through the medium of the television talent competition. Our own pupils have dreams of one day being discovered, not necessarily by Simon Cowell, but still, the hope of winning a dance competition remains a tangible possibility. With so many competitions and festivals for our young dancers to enter, it is sometimes difficult to know what the adjudicators are looking for. Why do we start the event with a class? Is it all about the Dance? Is the choreography the most vital ingredient? Was it the choice of music or the outfit that captured their attention? What is that ‘special something’ that glows brighter than the rest? In this article we hope to shed some light on what makes a Janet Cram winner.
In order to answer these questions we must first ask ourselves another… who was Janet Cram?
Janet Cram was born in Lancaster in 1912 and was introduced to dance at the tender age of three. In 1925, already proficient in Ballroom, Ballet, Classical Greek and National styles, she moved with her family to London. There she attended daily classes at the Ruby Ginner School and studied Ballet with Judith Espinosa. Leaving school at 16 to work professionally as a dancer she later turned to a career in teaching. Zelia Raye, founder of the Stage Branch (now known as the Modern Theatre Faculty), noticed her talent and gave her considerable responsibility in running her school in London. She became a leading lecturer at Congress and published papers for Technical Schools.
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Left: Tereza Theodoulou with 2009 Senior Winner, Sophie Magee |
Janet Cram was ahead of many of her contemporaries. She was a brilliant teacher and examiner setting ambitious challenges, instigating and encouraging the developments in the study of Modern Theatre Dance.
She outlined new standards for her profession, emphasising the necessity for a rigorous system of technical and creative training. The validity of Modern Theatre Dance and its inclusion in the curriculum of so many Ballet schools and Performing Arts Colleges throughout the world is, in part, a reflection of Cram’s influence and her dedication as an ISTD teacher and examiner.
The Janet Cram Awards, first held in 1965, are a tribute to her invaluable contribution to the Modern Theatre Faculty. Over the years the competition has grown, attracting competitors from all over the world to take part. Being a Cram Dancer is something special. Past winners now grace the West End theatres, have become renowned choreographers or teach in some of the best colleges in the world. Even if you were not a winner, you still felt part of an elite group. Those privileged enough to have taken part understand the relevance and they too have enjoyed outstanding careers in the world of dance; some have even become Examiners!
It is because Janet Cram was a teacher with an unwavering interest in the training of dance students that this competition values the ‘class’ as equal to the solo performance of a Dance. In this respect, it is different to a festival competition where the Dance is the only opportunity the competitor has of impressing the adjudicator. The fact that the Cram is judged by a panel of adjudicators is also another factor highlighting greater relevance to the theatricality of the day’s events. Having a panel can be likened to an audition situation where a group of experts confer and discuss elements of the class and the solo before reaching its decision.
The Class
It is here that the dancers’ physical ability, agility, technique and skill to quickly respond to unknown work are assessed. Equally important is the candidates’ performance of Set Work, especially the Amalgamation. Those that can reproduce these stated elements of the class with attention to technical, rhythmic and artistic accuracy along with detailed attention to the quality and style as set out in the syllabus will be the ones that draw the attention of the panel. This is especially true in the Heats where the inclusion of set work is more relevant. The class structure of the ‘Finals’, however, has its emphasis on Free Work where the speed and accuracy of response is vital. Those who pick up the ‘essence’ of the work and throw themselves into the mood and style of the piece will be most successful. The dancer who copes in this ‘audition’ style class with confidence and assurance will stand out.
The Dance
This should ideally be original. A dance that is suitable for the age and ability of the child is most effective. A creative, interpretive arrangement that is suited to the dancer’s personality will enable their individuality to shine.
The choice of music is imperative for innovative choreography – original, sensitive interpretation will enable the child’s musicality to develop and for the emphasis to be on the artistic content. A dance that encourages the child to ‘feel’ the music, becoming ‘one’ with the melody will allow the child to express and project with sincerity and ease.
We all love to gasp with amazement at the brilliance of some of our young dancers, but if they are given tasks that are perhaps beyond their physical, technical and emotional maturity then the quality, musicality and artistry of the performance is likely to suffer.
Unfortunately tension can be the result of overloaded choreography. Just because we can ‘do’ everything, doesn’t mean we need to ‘show’ everything in our Dance – remember, sometimes, less is more!
As a teacher, I realised many years ago that the most difficult skills to teach are to run, walk and most telling of all, stand still! When you can say more with just a breath or a glance, a moment of silence and still hold a captivated audience, then you know you are on the way to becoming a dancer.
As adjudicators, we look for that elusive child who can capture your emotional attention and take you on a journey that you wish would never end!
Simon Cowell might call it the ‘X Factor’; we call it a Janet Cram Winner!
Tereza Theodoulou |
