Breaking in to Show Business

Do you have a passion for performing? Do the bright lights of the stage get you excited? If so then maybe a career in show business is calling. Fun, challenging, never dull and always full of surprises working as an actor, director, stage manager or singer has plenty of rewards but getting into the industry is no walk in the park. It takes a lot of patience, years of practice, keen networking and thick skin to make it in show business and if you plan on making entertainment your career get ready to sacrifice in order to make your dream a reality.

Every performer has their own story when it comes to breaking in to the show business industry but a few common denominators can be found that will help you as you get started on a career in film, television or theater. Almost everyone will agree that it takes a lot of patience to make it as a performer. Yes, there are stars who seem to shine overnight and get handed huge roles with little or no experience but these cases are rare and it's almost a proven fact that the younger you are when you make it big the less chance you have of sustaining a career as you get older. Hollywood is full of one-hit wonders who made a big splash at a young age only to be forgotten when they reached adulthood. If you are serious about a long career in acting, singing or other jobs in performing arts make sure it is a legitimate passion and not just a desire to be seen on TV.

Another tip for aspiring actors, singers and performers is to learn some humility. Everyone is reaching for the top but it takes quite some time to get there and in the meantime you may have to work plenty of odd side jobs to pay the rent and bills. Don't let your pride get in the way of a job that pays. Waiting tables, bar tending, construction and temporary staffing positions are great ways to make enough money while you hone your craft and attend casting calls and auditions. You will also want jobs that are flexible since a call back can come at any time and you may need a friend to cover a shift or two so you can attend the auditions.

To be successful as an actor or singer you also need to know how to handle rejection. If you think you can become a star with one acting audition you're simply fooling yourself. Many well known performers had to struggle through years of rejection before getting the chance to shine and it helps to know early on that being told no is simply part of the game. Try your best to learn from each rejection and apply the lessons to your next audition. If a casting director is nice enough to tell you why you didn't get the part be sure to listen because more often than not they simply say thanks and leave it at that.

Lastly, if breaking in to show business is really what you want then take it seriously. Reality TV has made stars overnight but these personalities are usually forgotten after a few months and then become nothing more than trivia. This is not to say you can't use a reality show as a springboard to a career in show business but there is a difference between a professional actor and someone who just got lucky. Practice your craft as much as possible so you can avoid being one-time TMZ fodder.

For a great selection of resources and first-hand accounts of how others have made it in show business and the performing arts visit Audition Art where you'll fine helpful information on auditioning, casting calls and what it takes to make it in entertainment.

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Audio Books, What Was Old Are New Again!

The telling of stories is a staple for man and has been since the beginning of human history. The ability to tell a great story was a prized attribute which gave the teller much respect and awe from the listeners who eagerly lapped up every word. The images they formed in their minds is personal, different from the person next to them.

As time progressed, the stories told to the entire village around a roaring fire gave way to families gathered around the radio after dinner. The early radio days (the 1930s) were quite spectacular for story lovers everywhere. They took their cue from the Golden Age of Pulp Fiction magazines which were avidly lapped up stories in various genres such as, science fiction and fantasy, mysteries, sea and air adventures, tales from the orient, westerns and even horror stories.

The progression of a single story teller to radio was like comparing stone tools to a multi-functional machine. In the radio days you often had multiple characters involved in the presentation along with several people creating realistic sound effects from all sorts of materials. It was a match made in heaven and the receiving audience eagerly awaited the next story.

By the 1930s and 40s vinyl records made its way to the entertainment scene and was another outlet for story telling. In the 1950s actors such as the legendary Jimmy Stewart were recording stories on vinyl records, his most famous being the voice in the "Winnie-The-Pooh" series. Danny Kaye, another beloved actor, tells "6 Stories from Far Away Places." Music would soon find a home on records and cornered the market up until the 1980s.

The advent of the television was a natural progression from the successful radio shows and soon became the way stories were told. The visual presentation of a story that one could turn on at their convenience would prove to be one of the most popular forms of entertainment of all time.

There is however something intrinsically nostalgic about those radio days of old and is experiencing a comeback in the form of audio books. They have become so popular in the last decade that there is an award ceremony called "The Audies." The Audies are to audio books like the Oscars are to movies. The awards are bestowed annually to out-standing fiction or non fiction in all genres and are followed by a sumptuous gala banquet.

Some nominated and recipients of the prestigious Audie Awards are: Harper Lee for his novel, "To Kill a Mocking Bird," John Steinbeck for his novel, "The Grapes of Wrath" and L. Ron Hubbard for his novel, "A Matter of Matter." These and many more novels turned audio book stories are a breath of fresh air and can be enjoyed anywhere; on a morning commute, a long road trip or just a quiet moment to wind down from a long day.

Because of the rise in audio books popularity, theaters, such as the "Golden Age Theater" in Holly wood, has taken pulp fiction audio books and created theater performances that have been wildly successful.

What was old is new again!

Fred Duckworth is a passionate advocate of lifelong learning through audiobooks on cd collections from http://www.goldenagestories.com/. Galaxy Press Publishing, publisher of "The Golden Age Stories" and all genres of pulp fiction stories and novels, offers a convenient subscription service, so you never have to miss an issue. It's a pulp fiction lover's dream!

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How to Dance

If you are searching how to dance online, then you want to learn how you can improve your dancing right away. And while the truth is that a class or a DVD is your best bet if you really want to learn how to be a great dancer - there are things you can do right now to start learning how to dance right away.

Learn moves instead of choreography or routines. Most beginners make the mistake of trying to learn long and complicated strings of steps. It takes a great deal of effort to learn a dance routine, and more often than not, one learned routine is restricted only to the song it was learned to. Try focusing on isolated moves instead. You only need two or three great looking moves to be a great dancer.

Learn to move your hips. Try experimenting with basic steps and rock your hips side to side. When you master your hips, every other dance moves will look natural as well. To learn how to move your hips, check out salsa clips especially.

Listen to the music you would like to dance to. By becoming familiar with the tunes you are moving to, you'll be more at ease with the beat. You might even find yourself dancing without even realizing it. Practice moving in front of a mirror. Professional dancers are surrounded by mirrors inside of dance studios. Mirrors allow you to pick up on mistakes that you can improve on.

Get your family and friends involved. Dancing is much more fun when you are doing it with a partner. Set goals and get a weekly routine. If you are committed to a partner, you are that much more likely to stick to learning how to dance.

Research the kinds of dance moves you would like to learn on the internet and on YouTube. Don't be afraid to ask your friends for help too. One of the best things to do is to mimic the motions of other great dancers.

Finally, just have fun with it. Dancing is all about letting loose and letting go. Try not to care what others might think about you and just have a good time!

With just a little bit of practice, everyone has it in them selves to learn how to dance. The key to learning how to dance as a beginner is to start slow and learn the most crucial components of dance first. Learn the basic steps such as how to use your hips and how to hold your hands and arms. Practice in front of the mirror to music you know you will be dancing to and get your friends involved. You'll see how you'll be dancing in no time at all!

http://www.learnclubdance.com/ - Learn to dance to today's hottest dance music from the backup dancers to the stars

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Jazz, Tap and Hip Hop Ruin Your Posture and Your Chances

Perhaps the most disingenuous and misleading idea - an idea that I personally think is nothing more than a pure attempt at taking your money regardless of any results or consequences - is the notion that children can learn multiple forms of dance at the same time or worse still, that students can spend a year or two dabbling with jazz, a year or two doing hip hop, and a year or two doing tap, and then attempt ballet and have any chance at keeping up with even a basic ballet class. This may seem like a very strong and opinionated statement, but I can back it up with twenty years of direct experience. I am writing this article to save you time and money by avoiding this mistake.

Reasons to avoid jazz, tap and hip hop multi-classes or combo classes as a child:

1) No center and no centering of the body.

Students who "study" these dance forms and then attempt ballet are always confronted with the hard reality that they have no idea where their balance center is. Hip hop, jazz and tap are always in motion or are in poses not requiring anything but basic pedestrian balance - no better than what a 4 year old can do naturally. Ballet trains and teaches to a very specific balance center that will let the dancer suspend themselves over the ball of the foot for extended periods of time whether spinning around or in a pose. This suspended balance also makes the ballet dancer have that "floating" or "etherial" look whereas the hip hop, jazz or tap dancer always looks released, heavy into the floor, or drifting around and vague. I have seen so many jazz and hip hop students try ballet at 10 or 11 or 12 years of age after years of combo class training and they have no idea where their bodies are, they cannot hold still in any of the standard positions of ballet, and they are inevitably extremely frustrated at this. I would be very upset if I spent good money and a lot of time on something and got that type of result.

2) Extremely poor posture.

The child's body does not want to naturally pull up and stand in a straight, heightened position - hence all those colloquialisms of a grandmother or nanny always reminding their children to stand up straight from yesteryear. Hip hop, jazz and tap do absolutely nothing to teach or train how to pull up the posture, these dance forms simply do not have a method or system to do this - instead they are only interested in rhythmic motions that are essentially pedestrian or found in the normal, random sorts of motions a human body might do in day-to-day life. When students who have learned this type of non-pulled up or vague positioning attempt ballet, they not only fight the bad habits of being released and slumped in the spine but many times they cannot find the muscles with which to make any pull up happen because they simply never used them before in that way.

3) Vague, heavy arms.

Use of the arms in a smooth, light and effortless way that draws the line of the body out through the hands must be learned, it is not something that can be figured out at home. Hip hop, jazz and tap let the arms move in very basic ways or just hang off the body letting the hands do whatever - which means the student has no idea where their arms are. Upon the very first attempt at anything like ballet it becomes immediately apparent that the dancer has no idea what to do with their arms and their arms are just in the way of the motion being done which further adds to the hampered, off-balance look being caused by reasons 1 and 2 above.

4) Zero articulation of the feet.

The absolute, most critical thing a ballet dancer has to be able to do - and which benefits all other dance forms and even athletics to a very great extent - is control what the feet are doing and learn how to extend power through the ends of the toes for pushing off the ground, shaping the foot in the air, and also keeping the foot angled correctly. The wrong angle of the foot leads directly to sprained or broken ankles and improperly training the foot builds up all the wrong muscle memory and makes the entire lower leg solidify to where it becomes nearly impossible to bend or extend in the correct way. For any young dancer this is a non-starter for ballet and for girls in particular this sort of bad, sloppy "anti-training", if you will, makes it impossible for them to attempt pointe work. If you set about sabotaging someone so that they'd never be able to do anything else, training the feet in the wrong way is the perfect way to go about this. I have seen so many students come to a ballet class as a pre-teen or teenager with "years and years" of previous combo-class training and they simply cannot make their feet do anything. The teenage students in particular recognize this and then see what sort of tremendous road blocks they are facing to undo all this useless training and bad habits and usually decide to stop dancing altogether - and for that result, after years of time and money and effort at the combo class or competition dance approach, the student and parent end up with zero. What a shame and what a waste.

Conclusion:

Train incorrectly as a young dancer and the ability to dance well - to say nothing of attempting ballet - is severely impaired unless you are fortunate enough to have access to a very good ballet program nearby and take full advantage of it to fix the damage. This means you will have spent twice the money and wasted years of your time, but all is not lost in the end; learn ballet correctly in the first place and you will dance anything beautifully plus not waste your time and money learning bad habits and, it must be said, learning things you can figure out on your own at home in front of the TV. Take virtually any professional ballet dancer or fully trained pre-professional ballet dancer and just look at how they move, then compare that to the lumbering, sloppy dancing and mute upper body of the combo-class or competition dance trained student of any age or level and the difference is profound. You cannot learn or figure out ballet by yourself at home which is why it is worth spending money and time to learn; hip hop, jazz and tap can be made into video games because they do not have a specific technique in them. Avoid wasting your money and time, have your child learn ballet first so that problems 1 through 4 do not plague them for the rest of their lives, then let them try whatever dance fascinates them after that.

Matthew Reinschmidt
Ballet Master,
Ballet North Inc
On the web: http://www.balletnorth.com/

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A Brief History Of Modern Dance

Modern dance is frequently seen as the "arty" and "fashionable" stem of dance, but this is because many people don't really understand why and when modern dance came about. It is now frequently taught along side of performing arts and theatre studies as the expression and power to connect with the audience is a strong and potent possibility for aspiring dancers and actors.

In the early 1900s, dancers were feeling restricted by the formality and restrictions that they felt were being placed on them within the world of ballet.

In ballet, facial expressions and the expression of emotions are portrayed through steps that have been done a thousand times before. Although ballet was, and still is, terribly beautiful, to remain within this world offers no way for a dancer to freely express themselves.

Modern dance is a direct assault against the restrictions of this type of dance. It became more widely known in the early 1900s possibly as a reaction to the turmoil's that the world was facing.

It takes the grace of ballet and adds the freedom of emotion. This is meant to allow the audience to engage with the emotion of the piece with much more ease than the traditional dance.

There are three main women that have been accredited with the success of modern dance as we know it today. These women are:

Mary Wigman. Born in Germany, Mary taught schools during the second world war, renowned for her use of masks and ended her career teaching in the United States.
Ruth St. Denis, who founded one of the first dance departments in an American university. Heavily influenced by spirituality she brought the 'solo' to the forefront of dance.
Most importantly, Isadora Duncan, considered the founder of the modern dance movement. Born in the USA she married a Russian man and worked all over the world. Rejecting traditional dance steps in favor of improvisation, Isadora inspired artists throughout the early 20th century. Uninterested in the commercial use of dance she dedicated herself to educating young girls in the art of dance, founding schools in Germany, Russia and the United States. Killed in a freak accident related to her love of flamboyant, flowing scarves, Isadora Duncan's contribution to modern dance cannot be overestimated.

These women were among the masses of dancers who were tired of being so heavily restricted through the classical dance.

This art form has become increasingly popular as it offers endless possibilities. Modern dance has infiltrated the movies and Broadway most notably from the 1950s. The reason why modern dance has thrived is because of the energy and vitality it can express.

One of the most influential choreographers is Bob Fosse. This is because he incorporated modern dance with energetic Broadway performances such as Cabaret. Winning an Academy Award, a Tony and an Emmy, Bob brought innovative dance and choreography to society at large. His semi-autobiographical movie, All That Jazz has become the standard against which all other serious dance movies are judged.

In just about any musical produced, whether on screen or stage, it is likely to have a solid core of contemporary dance to help get the message and the plot across.

Modern dance is an act of rebellion against ballet, but despite this, much of the form and positioning still resemble that of ballet. Modern dance will continue to develop, unlike ballet, as it is open to a whole world of possibilities.

To personally learn more about this fascinating art form and become a star in your own right, The American Academy is one of the finest drama schools in London.

Featuring tuition in dance, singing and acting right in the heart of London, the cream of England's performing arts schools.

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Butley - Simon Gray's Classic Re-Imagined

It's been 40 years since Butley was first written by Simon Gray back in the early 1970's and it is safe to say that it's probably his best known play to date. As a testament to that fact, an anniversary production of the award-winning play is now showing at the Duchess Theatre in London, directed by Lindsay Posner and designed by Peter McKintosh. It's a thoroughly excellent and darkly humorous play with a fresh insight into the modern academic.

Dominic West, famed for his role in HBO's The Wire fills Butley's shoes with the same dark humour and vile tongue as his predecessors - delivering sharp one-liners and snide put-downs just as Simon Gray intended with the original character. It's always nice to see such a well-known star in the West End and it is no different this time. Some critics have said that West's performance is lacking and he plays too much on the one-line quips, but he certainly adds his own personal touch to the Butley character. Those that remember West from The Wire, will no doubt appreciate his acting skill, changing role so simply to create a believable character that you both love and hate.

For those not familiar with Butley, the story centres on Ben Butley - an alcoholic English University lecturer with problems; A rocky marriage, broken friendships and a never-ending disgust for his students. Butley is in full self-destruct mode and he's taking everyone with him. The story essentially follows Butley as he spirals into the abyss - losing everything and everyone he loves on the same day. Yet he is a thoroughly intelligent man and it is very rare that you'll see such a character lose it all. Which is where the magic of Butley lies.

"The extraordinary thing about Butley, it still seems to me, is that the play gives us a character who hurls himself towards the destruction while living, in the fever of his intellectual hell, with a vitality and brilliance known too few of us." (Harold Pinter)

Butley is a clever, witty, black comedy which the majority of people will enjoy, but academics and students will revel in. Dominic West adds his own spin to the character, adding a new edge and welcome style. You'll both love and hate Butley and in all likelihood will leave the theatre feeling doubtful whether he'll ever get his life in order or might these demons become the weapons of Butley's own self-destruction? After all, with all the alcohol, his estranged wife having taken up with the most boring man in London and his friend leaving him, there's not much left in Butley's life.

The supporting cast gel well and the whole play comes together magnificently - a homage to Simon Gray's original work. Yet another thoroughly enjoyable night out at the theatre. Butley is a typically British work, very dark in its humour and clever in its wit.

Find out more about Butley on Simon Gray's website, see the official Butley site or follow the play on Twitter - @ ButleyLondon. Butley is only showing for a strictly limited season at the Duchess Theatre in London between 31 May - 27 August so be sure to book your tickets now so you don't miss out! You won't be disappointed

To save money on Butley tickets visit the UKs leading theatre ticket comparison site where you could save up to 50% on the ticket price.

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A Brief History of the Commedia Dell'Arte

Commedia Dell'Arte is loosely translated as comedy through art. The term originated in Italy sometime in the 1500s. Performers of the time did not have many of the luxuries of today's performers, and masks were used to display various character faces. This actual term was made to distinguish what today would be known as "improv" from learned comedy.

This form of performing is noted throughout history. As it does today, much of the comedy of the time was used to poke fun at local governments or a situation that was occurring at the time. During local fairs or festivals, these performers would often be paid by the local town to keep attendees entertained in the streets. In most cases, these performances took place on makeshift stages.

One of the common props for performers of this time was the masks they used to take on the personality of the character which they were playing. These masks were similar to the more elaborate masquerade masks that people have as collectibles today. Of course, more common versions of them are still used for Mardi Gras and masquerade parties.

Some of the more famous troupes that performed during the origination of the art were the Accessi, Confidenti, and Gelosi. While these troupes were revered and citizens would flock to see them perform upon their arrival, not everyone in town, more specifically the clergy, were always happy to see them. The very nature of a traveling group of entertainers brought the fear of disease and other bad behavior to mind. During this time, the term vagabond was originally coined, a term that obviously holds a negative connotation.

While some of the performances and themes were controversial, there is little doubt in the influence this form of entertainment had on history. Some of the most famous artworks of the time are centered on depicting these troupes perform their shows. In addition to artwork, these early performances made quite an impact on the future of theater. Even William Shakespeare shows influences of Commedia Dell'Arte in some of his plays.

Performers have been around since ancient times, but the Commedia Dell'Arte is often given credit for the actual serious beginnings of public performances. While the methods have obviously changed, some of these early influences remain true today. In fact, some of the traditions of these "street performers" are kept alive today at various festivals and shows around the world.

The Commedia Dell'Arte relied on fancy masquerade masks to hide the faces of the performers and relay the "comic mood" to the audience. Today, we use masquerade masks as a party prop, but its roots are distinguished and noted throughout history. For more information on these types of masks, visit PartyOasis.com today!

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Create the Perfect Christmas Dance Recital Costume For Your Dance Group

Winter wonderland dance recital audiences love to see winter in all its glory portrayed by dance students. For dance recital planners, this can be managed in a variety of ways. Students may already have some of the accessories and trims needed. The favorite of the perfect Christmas dance recital costume for your should include snowy white leotards and filmy white romantic tutus. Add them to a red, green or white accessories and it is an instant start to a Christmas Dance recital costume.

For the ballet students, try going toward a traditional English Christmas color scheme with the use of dark forest greens and lavender pink leotards and tutus. With just a bit of trim or sequins in contrasting colors, this has all the earmarks of a traditional Christmas ballet in the Dickensian style.

Nothing makes a Christmas dance recital like bright costumes bought online. The basics of a truly stunning Christmas dance recital come alive with metallic leotards and catsuits. Go for the gold with a heavenly golden scene. Choose a metallic gold leotard, hot pants and tights or leggings in metallic gold for jazz dance routines. Spritz golden glitter on the face and hair and the costume is complete. Be sure to use contemporary Christmas music for added interest.

Audiences will be thrilled by a Christmas dance recital that uses great Christmas Night Sky accents in silver and deep sapphire blue costumes. This works well for tap, ballet, and jazz and even acrobatic dance routines. Focus on a good lighting schedule for the stage or performance area. It's only a matter of starting with a leotard or catsuit and adding color coordinated tutus or accessories. Choreograph the dance routines to suit the theme of the Christmas Night sky using music that is not predictable. For tap and jazz students this might be blues music and for ballet something from Berlioz or Shostakovich.

If the audience has a special desire for a complete Nutcracker Suite Christmas recital, vary the costumes so that each dance routine appears in a variety of colors in alternating dance sequences within the ballet. Much of Nutcracker Suite costuming is little more than a classic or romantic tutu, white or pink tights and a basic leotard. For the sequences like the Chinese Dance or the Czardas scene, Dance Clothes UK offers a complete line of accessories dance wands and tiara headbands to complete the dance costume.

Do you have a passion for dance? We at Dance Clothes UK share that passion too! For all your dancewear needs whether it be Ballet, Tap, Jazz, Hip Hop, Street, Contemporary, or just for fun - we can supply cool, modern and long lasting dancewear and dance kit. Visit http://www.danceclothesuk.com/ for more information.

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Performing International or Global Voice Overs

All hail the Interweb! (tee-hee!) With its global reach, the Internet gives us voiceover gurus the opportunity to branch out and communicate on a level never seen before in history. It's amazing to think that just 20 years ago, no one even knew what the Internet was or what it would mean to society. And now look at us. What would we do without it? Well, one of the things we voice talents wouldn't be able to do is promote ourselves internationally.

This technology allows us to show our voiceover skills to potential clients around the world, but be warned It can be tricky and it isn't something you'll want to dive into unarmed. One of the things to consider upfront is, can you crank out voice over projects in different languages? If so, you have a big edge over the rest. Advertising for voice services in multiple languages to multiple countries can expand your profits exponentially.

If standard American English is all you speak, however, there's a good chance you can snag a well-paying international voice over client. The reason is that English is spoken so widely, many companies outside the United States regularly seek voiceover talents with American accents. That's great news, but how do you get to them?

Simple -- consult the Interweb! Use the Internet to fish around for foreign businesses that may be looking or have use for an American accent. Think about it... there are tons of Americans and English-speaking folks living or working in different places around the world. Whoever they're working for needs to reach out to them in mass communication style every so often. Retail and service outlets in these foreign lands need to reach them as well. Get the picture? There's money to be made outside the U.S. for the courageous voiceover talent.

Once you find these companies, try this. Send your voice demo via e-mail and follow up with them to find out if they can use you. If they don't right then, you will have at least put the bug in their ear and when they do have a need for an American voice talent, guess who they'll call? Create websites for your international voice over services and optimize them accordingly. When you send them your demo, provide a link to your voiceover site so they know you're serious and professional (not just an amateur looking for more money).

One thing to watch out for, however, is that you must be careful and do your homework. Though English is widely known and recognized, the same words can carry totally different meanings in other countries. As an example, where in America a talent might use the phrase, "voice over," a customer in another sovereign country might say "voice actor" and "voice over" may not have much meaning to them. So, it's important to find out the proper industry terminology in that country, otherwise you may not get any clients... just confusion when they see your website. So as not to offend, you may also want to do a small amount of reading on the country you're aiming for. Simple things like a wave "hello" in America could be offensive to someone from another part of the world (be sensitive). Another task you'll need to complete is finding out what the going rate is for voiceover services in that region. Look up other voice talents and research their rates. You won't want to frighten prospective clients away by charging more than the home-grown talent. It's also a good idea to learn about the country's accepted technical specs, so you'll be familiar with the most prevalent audio file formats in that region.

The Internet is a vast and wonderful tool but like any other, research, cunning and patience are key to being profitable, particularly for voice over talents.

http://www.americanvoiceover.net/ has been in business for over 10 years and is your top source for global voice over, voice talent, announcer and narrator services.

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Lunch Anyone?

The entertainment extravaganza enjoyed in 2009 and 2010 will again take place this summer in the Out to Lunch series held on the Worcester Common from 11 a.m. to 2 p.m. for ten consecutive Fridays beginning on July 1. Artisans happily display their wares, fresh produce will be available in the farmers' market, delectable food prepared by area restaurants undoubtedly serve to satiate the palate, and live music wraps up the entire experience into a more than pleasing package.

So, who's performing? Here's the scheduled list.

Heavy Horses-July 1. Like rock & roll? Then you're sure to love Heavy Horses. This band epitomizes archetypal rock like The Nutcracker embodies ballet.Grupo Fantasia-July 8. Caribbean music whisks us to sunny skies, perfect weather, sandy beaches, and sheer bliss: take heart, Grupo Fantasia will do the same. Latin America, here we come!The Diamond Connection-July 15. Okay, hopefully love is not on the rocks (Love on the Rocks), you and Shilo will always feel young (Shilo), Magdalene is still a lady (Lady Magdalene), and Caroline will remain sweet forever (Sweet Caroline). Tunes such as these live on, and The Diamond Connection brings them to you live.Decades by DeZyne-July 22. Imagine being wowed by a collection of artists who have worked in partnership with legendary greats like Chuck Berry and Bon Jovi? Then check out Decades by DeZyne; they'll leave you mesmerized.Dale LePage and the Bobby Gadoury Trio-July 29. Entertainment? These artists personify the word. You'll be serenaded with dreamy classics like "Cry Me a River" and "My Funny Valentine."Sun Parade-August 5. Talk about a youthful performer going places: Chris Jennings is a must-see act!Dell Smart and Exit/In-August 12. Naturally, we must visit the islands at least twice during the summer. This band transports the senses to blue/green oceans and a tropical paradise.Bees Knees-August 19. Who likes a little bit of this and a little bit of that? Then you're sure to love Bees Knees. American music never sounded so good.Reprobates Blues Band-August 26. Do you want to hear that funky music? Then don't miss this phenomenal group. Gosh, the blues can melt even the hardest of hearts.Drunken Uncles-Sept 2. Love guitar? The captivating tunes of these two musicians will enthrall even beyond the show.

Worcester is brimming with remarkable energy, fine food, and diverse culture, and the Out to Lunch summer series on the Worcester Common serves to reinforce the city's commitment to the arts.

Hmm, lunch anyone?

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Flamenco Dancewear - What Will You Need For Your Dancewear Wardrobe

Flamenco is a very emotionally powerful Spanish dance. The dancers face may not show the emotion. It comes across through the dramatic arm movements and the stomping and tapping of the feet. The dancer and musician need to keep a rhythm going together. There are not many difficult steps to learn, but the dancer has to be able to improvise. The end result is a very sensual dance.

The flamenco dancewear should reflect the sensual side of the dance. Women dancers wear very bright and colorful clothing. The dresses are long. They come to the ankle. Many frills and ruffles are added for a more dramatic look. As she does the stomps in the dance, the dress can help accentuate the movements. The top should be tight fitting to show off the body's motion. In modern Flamenco dancing, women wear long jersey dresses. They tend to be clingy. This really helps to show off the body line. Men can wear suits, or more casual pants and shirts. They should be loose enough to allow free movement of the body. With Nuevo Flamenco dancewear, men are bare chested.

Beginners who are just starting out in Flamenco dance classes can follow a few simple tips to help make the class more enjoyable. Shirts for both men and women should allow the arms to move freely. The dancer's arms make wide sweeping movements as a part of the expression of the dance. Pants are fine for beginners. Make sure they have a proper hem length. The teacher will be listening for the stomping and tapping of the feet. This is an important part of Flamenco dancing. If the bottom of your pants reaches under your foot, it will muffle the stomping sound. Women should wear close fitting tops with either skirts or pants. Men can wear regular shirts and jeans.

What a dancer wears on their feet is very important. Sneakers are not a good choice. They will give you plenty of support, but they won't make a good stomping noise. Choose a pair of solid shoes. Avoid rubber soles. A smooth sole works best because of the turning done whilst dancing. Professional Flamenco dancers can buy character shoes. These are similar to tap shoes. They have a metal plate on the heel and toe to help produce the correct sound when stomping.

Most of all Flamenco dancewear should be comfortable and look sensual.

Do you have a passion for dance? We at Dance Clothes UK share that passion too! For all your dancewear needs whether it be Ballet, Tap, Jazz, Hip Hop, Street, Contemporary, or just for fun - we can supply cool, modern and long lasting dancewear and dance kit. Visit http://www.danceclothesuk.com/ for more information.

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Grab That Voice Over Job And Keep It!

Okay!, So you've gotten to the point where you've secured yourself an audition for a gig and now, you're faced with competing against other voice over talents for the same project. How can you make sure that it's you the prospective client picks? There are a number of pretty simple things a voice talent can do to bolster the chances of landing a gig. In this rough economy, it's extremely important that the talent put their best foot forward and perform well in order to win a bid for a job. At this point in the game, slacking off kills. Below are a few suggestions that, believe it or not, can be easily overlooked.

1.) Promptness counts and counts big! If you arrive late for an audition, despite whether your fault or not, don't even bother with showing up. Customers expect results, not excuses. The best and wisest practice is to schedule an extra half-hour (or more) to your travel time to create a buffer for unforeseen circumstances, such as a flat tire or an accident on the freeway. If nothing happens, you have that extra time to practice you voice over. Win-win.

2.) Dress like it matters. More and more people these days (mostly the younger crowd) seem to have lost the art of dressing for the occasion. They do a voiceover audition, perhaps performing relatively well, but then can't understand why they didn't get the job. Arriving to an audition looking disheveled or like you've just woken up sends a terrible message. As they say, first impressions are everything. You need to have an appearance that says, "I really want this voice-over job," instead of one that says, "I couldn't care less." Now that doesn't mean you need to wear a suit and tie. Dress appropriately. If you're going for an audition where the client and/or the project has more of a "rock-n-roll" feel, then clean black jeans, sunglasses and a snazzy clean shirt might be the ticket... get the picture? Try and project the image you might think the client is expecting.

3.) Be the professional and always smile. One of the quickest ways to kill your chances at an audition is to be uncooperative. Put a muzzle on your frustration. Whatever direction the client gives you, no matter how silly it may seem, take it with sincerity. Be ready for criticisms and meet them with a smile. Don't let it anger you or knock you off track. Criticism is just another way of making suggestions so the client gets a voice over that's as close to what they want as possible. If you want to look at it this way, kiss the client's tushy and give them whatever they want (within reason, of course). There are always those "lines in the sand" where you must eventually put your foot down, but being as flexible as possible shows the client you're willing to work with them and do almost whatever it takes to give them what they need. That goes a long way. And remember... always smile!

4.) Be relaxed and have a good time with it! Customers (and people in general, for that matter) will definitely notice if you're calm and confident, just as much as they would if you're nervous and jittery. Even the top voice over specialists will experience a measure of nervousness during an audition -- believe it, it happens to me all the time. Throwing fright to the wind and convincing yourself to just have fun with it is the single best way to overcome the human body's natural fear response. Joke around some and try to make light of things if they go wrong. Just don't go overboard and make yourself look ridiculous in the process.

5.) Be grateful and bring extra stuff. Customers do love courtesy. Before and after the audition, make sure you thank the client(s) for their time. If they feel you appreciate being put on the roster, it goes that much further toward making the client feel good about you and let's face it -- when selling yourself, emotions are a big part of the game. It's also good advice to bring some extra copies of resumes, demos, head shots script, etc. Doing so will give you that professional look, and you'll always be prepared for the unexpected.

Voiceoverla.net is your #1 source for quality voiceovers and voice talent services in the LA area!

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Create The Perfect Easter Recital Costumes For Your Kids

Creating a great recital costume for your kids is easy. When creating a dance costume for your kids it can be fun for both you and your child. Letting your children help in the process of making their dance recital costume teaches them a range of skills and allows them to express creativity and imagination.

One idea to start off when creating a dance recital costume is to choose a leotard as the basis. The leotard should be a plain solid color and for an Easter costume yellow, orange and white would be the obvious choice. You may have to use the color and style already decided on by the producer of the recital.

Then it is a matter of using your imagination to get creative with decorating the leotard. Get creative with what you add onto the leotard. A simple sparkling fringe can look great across the leotard. Adding rhinestones and even gluing lace to the sleeves of the leotard can make the leotard look extravagant.

A simple way to make an Easter tutu for your child is to measure their waist, cut a piece of elastic and then sew it together. Cut long strips of tulle making them twice as long as the length you want. Generally about 4 yards of tulle net will be enough but this can depend on how tall your child is and how full you want the tutu to be. You will then tie the strips to the elastic circle you have sewn using a regular knot. Use as many strips as you want to and make them vary in sizes to give a larger or smaller puff. Afterwards make sure the knots are aligned. Add ribbons, bows or glitter onto the tutu to give it more style. You can add things such as a feather boa sewn around the waist of the leotard to give it more of a fancy look. You can then consider accessories: things such as hats, gloves, tiaras, and sparkling tights. Give it much thought and let your child join in on the fun of choosing what she wants to add to the costume.

When you have finished, all that's left to do is try it on and take those memorable photos of your dance recital costume. When the time for the show comes around be proud of the hard work that you and your child put into making the costume and enjoy the show.

Do you have a passion for dance? We at Dance Clothes UK share that passion too! For all your dancewear needs whether it be Ballet, Tap, Jazz, Hip Hop, Street, Contemporary, or just for fun - we can supply cool, modern and long lasting dancewear and dance kit. Visit http://www.danceclothesuk.com/ for more information.

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Jeff McBride: Master of Illusion

Like many magicians, Jeff McBride found magic fascinating at a very young age. While most kids just enjoy watching magic, Jeff decided right then and there that this was going to be his career. He performed his first trick at the ripe old age of eight and continued to perfect his form. Jeff was eventually discovered and at the age of sixteen, he found himself opening for the Fania Allstars.

Performing in Japan opened Jeff's eyes to many new things. One thing that fascinated Jeff was Kabuki Theater. This fascination led him to incorporate this art form into his magic act, giving it a truly unique quality that few if any of the magic acts at the time could offer. It did not take long before the world started to notice this very unique and very young magician.

After moving to New York, Jeff took on a full-time position at a local magic shop while attending the American Mime School. During this time, Jeff was also working the local club circuit. It was at one of these performances that Billy Barnes, an agent to many stars at the time, noticed him and got his name on the dotted line. This would be the start of a huge career for Jeff.

In no time at all, Jeff found himself opening for such legendary stars as Tina Turner and Diana Ross. Before long, Jeff was being sought after as the main headliner for his own show. Eventually, he was given his own show in Las Vegas at the Hilton. At the age of 25, Jeff had officially made it to the big time. By this time, his shows were incorporating everything he had learned over the years to create a true magical spectacle.

While many famous magicians are stuck in the limelight, Jeff has made sure that he passes on the skills that he has learned over the years to the next generation of magicians. He is just as famous for his lectures and teaching as he is for his on-stage performances. Individuals are just as likely to see Jeff doing a magic workshop at The Disney Institute as they are to see him giving a lecture at McDonald's Hamburger University. His ability to relate to everyone has made him a success regardless of the venue in which he speaks. Jeff has introduced magic in a way that few performers have been able to and has shown many people that a little magic goes a long way in life.

If you would like to learn magic just like the tricks Jeff performs, visit the online magic shop, MagicTrickStore.com today! This online magic trick store features lots of great kits and tricks for all ages to enjoy. You never know, you just might be the world's next great magician!

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Determining Tony Award Nominees and Winners

Since the Tony Awards intend to honor and encourage excellence within the theatre industry, as well as the advancement of its arts, the American Theatre Wing needed to develop eligibility rules and a voting process that would be mindful in serving those ends.

Therefore, based on the idea that it would yield an unfair advantage to allow the more frequently produced plays and musicals to be considered eligible for the most highly prized Tony awards - since they would have benefited from more development time and more familiarity among voters than newer or less frequently produced plays and musicals - in order to be eligible for a Tony Award, it was determined that the Administration Committee must determine that a play or musical is one that:

• has not appeared on Broadway before
• has not yet been determined as a classic
• is not considered to be in the historical or popular repertoire

These eligible plays include those recently transferred to Broadway from Off-Broadway or West End, as well as plays that are based on films. Occasionally, the decisions of the Administration Committee are controversial, as shows ruled ineligible within the new categories are unable to have their authors have any chance at winning the most highly coveted awards of Best Play, Best Musical, Best Score, or Best Book.

To be considered as Broadway theatre, the theatre must house at least 500 seats and be located within or in proximity to New York's Time Square locale. The Tony Awards Administration Committee makes the final call regarding each theatre's eligibility.

The Administration Committee, responsible for determining eligibility for each nomination as well as fulfilling other duties, consists of twenty-four total members:

• Ten from the American Theatre Wing
• Ten from the Broadway League
• One from the Daramatists Guild
• One from the Actors' Equity Association
• One from United Scenic Artists
• One from the Society of Stage Directors and Choreographers

The Nominating Committee, which determines who to nominate in each category, is comprised of a rotating group of theatre professionals, each of whom is selected by the Administration Committee, serves for three years, and is obligated to see every new Broadway production during their time on the committee, then meet after the deadline for Tony eligibility to vote on that year's nominations.

In 1947, when the Tonys began, the American Theatre Wing determined that eligible voters would include the members of its board, as well as representing management and entertainment union members. In 1954, eligibility was also extended to theater professionals who were not members of the American Theatre Wing, and has since been extended even further. Today, the 700-plus Tony Awards voters consist of:

• the board of directors of the American Theatre Wing
• the Advisory Board of the American Theatre Wing
• voting members of The Broadway League
• members of the Theatrical Council of the Casting Society of America
• governing board members of Actors' Equity Association
• governing board members of the Dramatists Guild
• governing board members of the Society of Stage Directors and Choreographers
• governing board members of United Scenic Artists
• governing board members of the Association of Theatrical Press Agents and Managers

The nomination and voting process is supervised by Lutz & Carr, an accounting firm popular for handling various crystal awards ceremonies. They keep the results completely secret until they are announced at the ceremony during the television broadcast.

Since only plays and musicals from one of only 40 large Broadway theatres are eligible for nominations, as decided by the Management Committee of the Tony Awards - and only a fraction of the plays at these locations can be considered as new each season - critics of the awards view the Tonys as a promotional event for just a few of New York's largest producers and theatre owners. Since there are 27 awards categories, and only a few eligible plays to choose from, most shows that are deemed as new by the Committee are bound to receive at least one nomination.

The author of this article is 10 year veteran in the crystal awards and recognition gifts industry.

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How to Get Into Acting With Out Slamming Your Head On The Wall

If you are wondering how to get into acting without losing your mind you're not alone. Many actors want the life of fame and fortune. Yet, very few aspiring actors know what it takes to be a working actor. Listed below are the acting tips I'd personally abide by if I had to start all over again.

The Acting Foundation
Acting training is essential when you start as an actor. You first step is to develop the basic fundamentals in a university or college program or individual acting class. When starting out you want to select the program which will match your specific goals. There are many colleges and universities offering reliable acting training. You can choose a 2 yr or 4 year program. The type of diploma you end up with is not as important as the level of training you get along with the opportunity to meet industry agents and casting directors.

An Industry Showcase
Which ever program you decide, be sure they have an industry showcase. Usually, this is the final production that you will perform for casting directors and agents. This is exactly how I acquired my initial agent. You have a great opportunity to hit the ground running right out of the gate. I believe if the program does not offer this then I will not spend invest my time or money. Acting without an agent will certainly make building an acting career very difficult.

Networking With The Right Community
In this business it's who you know. Yet, numerous actors struggle to get to know the right individuals. Primarily simply because they get lost in mixing with the wrong people. Other actors, merely do not know how to correctly network. As soon as your out making brand-new contacts show much more interest in the other individual. Avoid being a desperate actor. We are all looking for ways to get the next job. In this industry, I have picked up jobs via other buddies simply because I maintained a continuous rapport.

Look for a network of like minded people. The very first place to consider is other acting communities on the internet. There are lots of groups that help each other. You should encircle yourself with individuals which are moving in the same direction as you. You can also find organizations by signing up for a nearby acting class.

Nasty Dream Stealers
When you are creating your career as an actor it's very important you do an "inventory check" with your network. Your association of friends should be a supportive team. If you have anyone that doesn't believe in your acting goals cut them out loose! This industry is extremely cut-throat and it is loaded with up's and down's. The last thing you need is someone getting in your mind talking you out of the dream.

Decide in your mind that you will be a successful actor. Then takes daily actions to get you closer to your acting dream!

Rey Valentin is a working actor in Hollywood, CA. He has appeared in national TV shows and major films for over 7 years. To learn more about his latest projects visit Rey Valentin For more acting tips be sure to visit How to get started as an actor.

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Low Budget Sets For Your Low Budget Plays

Many playwrights and directors like their plays to be as realistic looking as possible. Writers who grew up watching movies and television forget that a stage play is different and requires effort and planning when designing a set. A stage play rarely has the same resources and budget available that a Hollywood film has. Therefore, it is necessary that everyone have the same vision and goals prior to beginning a project.

Traditional stage sets involve scenery painted on wood and canvas flats. Some sets are more complex with detailed structures on various levels. One famous play has an elaborate set that shows the stage from the front in one-act and from the back side in the second act. And one play involves a real helicopter landing on the stage.

Those spectacular effects are fun and they can bring in crowds of people willing to pay big bucks for tickets. But they also cost staggering amounts of money to create. Your local church or school auditorium probably does not have a big enough hole in the roof to let a hovering helicopter in any way. For community theater it's better if everyone puts their creative minds to work thinking of ways to do more with less.

In a stage play the sets just have to suggest the location and maybe the mood of the scene. A single table and chair can be a cafe. The same table and a few more chairs can be a dining room, the scene of a poker game, an office or the cock pit of a time travel machine.

You can use indoor privacy screens for walls. You see them in old movies a lot, those things that have several panels that fold like an accordion. They are easy to move, you can hang pictures and other significant items on them and you can have different scenery on the front and back sides. You don't even need real furniture. Amazing things can be done with sturdy wooden boxes. They can be arranged and stacked to represent chairs, tables, cars, beds, Doric columns or castle ramparts.

One clever set designer stacked and secured large appliance boxes on top of each other. She then painted a different bit of scenery on each of the four sides. A member of the cast or crew just had to turn the boxes around to show the audience whether they were in the castle, the forest, the cottage or the witch's house.

A recent production used one very large wooden box to represent the hospital bed, the mountain, the desk and the row of sinks in the men's room where the men washed their hands. The only other set pieces were two chairs that stood beside the bed or the desk or became the waiting room. The audience had no trouble knowing where the action was taking place because the action and the dialogue told them.

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Quoting for Voice Over Work

Quoting for voiceover work has become more and more tricky for voice artists due to the influx of many weird and wonderful media types. Here are some simple steps to help you quote for VO gigs, and rope them in:

STEP 1: GETTING THE ENQUIRY

Often you'll receive an enquiry via email. The most important thing is to get back to people immediately. Don't try to "stall" them.

Don't email back - phone them. You will double your chances of getting the gig.
Give them something to work with - even though you might need more information to give a proper quote, at the very least you can tell them your usual hourly rates for non-broadcast work

STEP 2: THE QUOTE:

If the ad is for broadcast (i.e. on the radio, telly or cinema), it's pretty simple, you can just follow the standard equity rate card.

If the script is a "narrative", i.e non-broadcast, the standard equity rates are about ?142 per hour
Web usage tends to be around ?220 (and if you charge a studio fee of ?104 you can also).

If it's a weird job that you're not sure what to charge (that is not-for-broadcast, or for a small usage), it's easiest to quote an hourly rate. Normally, the 1st hour would be higher, and then a lower hourly rate after that. E.g. 130/175 pounds per hour for the first hour and then 90/130 per hour after that.

And if you still don't know what to charge - charge what you like. Think about what would make the job worthwhile to you, and quote that. Don't overthink it.

STEP 3: CYA

CYA stands for "cover your **s". In 99% of enquiries, the client wouldn't have given you enough information to do a proper quote. (I.e. they don't tell you how many hours of studio time, length of the script, what's the usage, what media etc etc etc). The worst thing you can do is respond with a long email with 20 questions, asking all these things. I'm not saying, don't ask those questions. But when you get back to people, try to give them something to work with. (Only email them if you have no phone contact number, it's much better to phone).

Tell them your usual hourly rate for non-broadcast. CYA by saying that the quote is subject to seeing the final script, and that a usage fee might be applicable depending on which media the work will be broadcast in. In this way, you've given them something to work with, and at the same time covered yourself for any eventuality.

STEP 4: DOES THE CLIENT HAVE A STUDIO BOOKED?

It's happening more often that clients want VOs to provide finished mp3s (i.e. they don't have their own studio booked). Many VOs have their own home studios, so would just include it in the price of their voiceover quote. But if you don't have a home studio, you are still able to pitch on these jobs:

Just be sure to add another ?130 per hour studio time into your quote. If the job ends up going ahead, make sure to take a ?130 deposit upfront to cover any studio expenses, I'd recommend using Paypal.

Priscilla G.
http://www.piehole.co.uk/
The UK's quality controlled voice over directory

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Stage Lighting Systems: Symbolism

The aim of the theatrical team is to put on the best show possible for the audience. This is achieved by creating the right atmosphere and positioning the audience correctly right from the start and then maintaining this grip over them throughout the entire performance.

Working in a theatrical team means considering all aspects of the performance and the venue, including technical aspects such as lighting and audio.

Stage lighting systems involve items such as spotlights, lighting bars and grids, lighting filters and special effects. The purpose of having such lighting is to create ambiance, dramatic impact and symbolism.

Symbolism is very important in dramatic performances because it can convey a lot of information to the viewer. Firstly, it can suggest a time of day for when a scene is meant to be taking place. For example, at a performance where it is meant to be sunset, filters can be used to help create a dusky effect with a red glow to help the audience visualize the scene more clearly.

A theater group specializing in stage lighting, Manchester based, commented "Spotlights are very popular in theaters because they create great dramatic impact. It can help with monologues in theatrical performances to ensure the viewer is focused on only the actor and nothing else on stage."

Using filters in theatrical performances is also a popular choice as it can create a colorful glow on stage. This can aid a performance in the absence of a set. Some minimalistic performances benefit a great deal from a creative lighting technician who can aid the show with special effects and other lighting solutions.

One theater in Stoke commented, "We put a great deal of effort into our lighting systems because we know how important it is to light the set both practically and dramatically. We also place a great deal of emphasis on our audio systems because again this is very important.

We had a PA system installed to help us practically with announcement calls in the theater, and then we had special speakers installed so that each actor could have a microphone on stage and the sound could be heard by everyone in the auditorium, even the people right at the back. We have in fact created a type of surround sound to make the performance even more effective and to give our viewers the best experience possible."

So to create a mesmerizing show, all aspects need to be present. The stage lighting, sound, equipment such as drapes, props and of course the actors and actresses. Don't sell yourself short by neglecting one of these important factors.

http://www.pgstage.co.uk/ supply, design and install high quality stage lighting and stage sound systems for almost any type and style of venue you can imagine.

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Concert Review of "A Night of New Music With Christian Wolff"

In many of the pieces played during the concert entitled, "A Night of New Music with Christian Wolff," a large amount of small sounds were used to make up the overall experience, similar to a live version of granular synthesis. For example, in the piece entitled "Stones" the musicians used stones to make small noises, which when added to each other created a large sound scape. The piece, "Play," was similar to "Stones" in this aspect in that many different mediums were used to create layers and texture in the music.

A fair number of the pieces were also similar in that traditional instruments were used in nontraditional ways. For example, the musician playing the vibraphone in the piece "For Morty" hit notes using the wood sides of the instrument in addition to playing the normal conventional sounds the instrument makes. In "Play," traditional and unconventional instruments were used usual and unusual ways. For example, the bow from a wind instrument was strung through its cords in order to create a different sound when the strings were plucked. An example of an unconventional medium used was a spinning top, which was started at a certain point, but was left to move on its own. This use of conventional and unconventional mediums is reminiscent of music concrete in that the music was not limited to sounds made by traditional music instruments and voices.

Indeterminacy, which was used in Jonathan Zorn's piece "Bass and Electronics 2" and some of John Cage's pieces, runs throughout some of the works presented in the concert. "Stones" by Christian Wolff incorporates much indeterminacy strictly due to the medium that is being used. Some of the mediums used in "Play," such as the spinning top, also produce indeterminacy due to their nature. Even though these pieces have some amount of indeterminacy, the musicians still remain coordinated and thus maintain a rhythm throughout the piece.

Although there were some similarities between the pieces in the concert, there were some drastic differences between them. The mediums used did vary between the pieces. In some of the pieces, strictly seemingly natural sounds were used, whereas a mix of natural and synthesized sounds was used in others. There was also a wide variation in the density of the sound that was in the sound space during each of the pieces. Some had a large amount of overlapping sounds, whereas others contained a rather sparse amount of notes.

Additionally, the presentation of each of the pieces to the audience varied. In many of the pieces the instruments could be seen by all of the audience, but in others some of the mediums being used could only be seen by select sections of the audience due to the position in which the musicians were playing. For example, in "Play" audience members sitting on either side of the stage could not see the exact methods by which all of the musicians were producing the sounds heard.

This, added to the fact that many of the sounds were very quiet in this piece, cause audience's experience of this piece to not be purely auditory. Therefore, an audience member has to not only listen with their ears, but also with their eyes. Many of the similarities and differences between the pieces detailed in this review contribute to overall music making in that traditional modes of music production were manipulated in traditional and nontraditional means in order to create interesting and complex music.

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Michael Feinstein's Great American Songbook Has a Home

Michael Feinstein, the Great American Songbook troubadour and archivist, has topped his contributions to musical history with the Center for Performing Arts in Carmel, Indiana. The multi-million dollar complex holding a museum and library with interactive displays and online access around the world is located in America's heartland where great composers Cole Porter and Hoagy Carmichael grew up before making their way to Broadway and Hollywood.

Its 1,600-seat Palladium Theater that opened in February 2011 is an acoustically ideal venue for guest artists and Feinstein himself. He anticipates that the museum and library will be completed in about two years. They will grow incrementally as he transfers the many orchestrations, original sheet music and art work in his possession to the facility.

Carmel, Indiana, with its Porter and Carmichael connections, is the perfect spot for the complex because it is just across the border and a short drive from Columbus, Ohio where Feinstein grew up. Enamored by the popular music he played in local piano bars, he dared to make his way to Los Angeles when he was only 20 years old. He was not there long before meeting pianist Oscar Levant who soon introduced him to Ira Gershwin. Once the personable Feinstein made his interest and talents known, Gershwin invited him to become his assistant. For the next six years, he archived the published and unpublished songs of Ira and George. Along the way, he met and became caretaker of music by their friends Harry Warren, Burt Lane, and other major composers.

Today Feinstein serves on the Library of Congress' National Recording Preservation Board. When he is not concertizing around the country, recording or performing at the keyboard of his Manhattan nightclub, Feinstein's at Loews Regency, he spends evenings poring through his enormous collection of musical manuscripts and memorabilia stashed in his three homes. In the meantime, he continues sifting through his collection and occasionally makes important discoveries. During his research several years ago, he found a lost song by Cole Porter written for "The Gay Divorcee." Last year, he found an unknown Johnny Mercer song.

Along with launching his Center for Performing Arts, Feinstein has made waves and received kudos already this year for the duo CD recorded live at his nightclub with Tony Award winner and Broadway legend Barbara Cook Entitled "Cheek To Cheek," it alternates their harmonious duets with solo interpretations of timeless pop standards like "Without A Song," "I've Got You Under My Skin" and "There'll Be Some Changes Made."

Never one to stand still, Feinstein has projects aplenty underway, including writing the score for "The Gold Room," a musical about the heiress Barbara Hutton set during the period of her life in the 1950s when she gave up her residence to the U.S. government. He is also composing the score for a musical based on MGM's "The Thomas Crown Affair."

He loves composing, performing and sharing the Great American Songbook with his audiences. In looking back at all he has managed to accomplish and ahead to future opportunities, he feels very lucky.

Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.

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Historical Recreation - Experimental Archeology

When we look at historical re-creation what are we really trying to do? What are the objectives and how do we go about achieving them? I can only answer for myself, but I have spent the last 18 years participating in various historical reenacting groups and have come to some conclusions based on my experience and outlook.

Historical re-creation, to me, entails striving to re-create and understand the trappings, motives, stresses and environment of another time and place for the dual purpose of my own personal enrichment and, since I work with historical societies, for educational purposes. I believe that before we can move ahead that we must first know where we've been.

Fewer people these days take the time to really look at our collective experiences and history as a species. At every moment we are urged to move faster and faster and, like a car going down the highway, the faster you go the more you miss. Historical re-creation is an attempt to get to know that past on a deeper level, to slow the car down as it were. By using multiple sensory stimulation we are better able to assimilate and comprehend history so much further beyond a collection of relatively meaningless dates.

To me, historical re-creation and what is called experimental archaeology go hand in hand. Experimental archaeology entails not just using some of the tools and equipment of a bygone era, but by actually living and surviving using only what would have existed in shape, material and construction to gain a deeper understanding of the conditions and lifestyle. You can't gain this understanding by putting on an outfit and parading around for a day or two at a rendezvous or similar event. For better or for worse, we generally can't just decide to ignore the modern world and choose to live in the 15th century. What we can do is isolate ourselves from it for a little while and get a feel for the 15th century or 18th century.

Through careful and scholarly research it is possible to learn a great number of details about daily life in earlier times. From these small pieces we begin to put together the larger picture. Experience and research can allow some reasonable and carefully considered theories to be constructed to fill in the blanks, at least until further investigation fills those blanks with reality. By eschewing the trappings and attitudes of the modern world we can get an inkling of what it was like to live in a world before cell phones, video games, combustion engines and electric lights. I have found that there is a profound peace to be had once free of the various electromagnetic fields that surround us every day.

As a historical re-creator and interpreter that works with historical societies, I have found that by taking those opportunities to "live" the life of ages gone by, even for a weekend, that my understanding of history and the period I am portraying is that much clearer. It allows me to bring a level of clarity from experience to my presentations and workshops. It facilitates an accurate and educational interpretation for my audience. In my opinion this allows me to reach my goal of providing an enriching and more meaningful experience. But this requires a dedicated and constant search for the most accurate and up-to-date information.

This article is courtesy of Ben Rial and Forged in Time - Handmade Knives.

Forged in Time is dedicated to the crafting of high quality medieval swords, daggers, armor, and historical reproductions as well as providing education on bladesmithing and medieval history.

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L Young Composes to Bring About Change

Songwriter/vocalist/producer L. Young spends considerable thought in putting together his albums. Although he ventures into rock, funk and hip-hop for variety, his greatest care is spent developing ballads he believes will re-kindle audience craving for the kind of melodic, romantic numbers penned and performed by Marvin Gaye and Stevie Wonder.

He composes and performs in between writing and producing for such major pop singers as Patti Labelle, Gladys Knight, Toni Braxton and his late close friend Teena Marie. He is also a veteran composer of soundtracks for film and television shows. The primary components of each song he writes are an infectious melody and sensitive lyrics expressing his concern about humanity and the world in which we live. One of his recurring themes is the plight of today's children.

L. Young frequently presents music workshops and programs in Los Angeles schools. Each appearance makes him sadder than the previous one; he is especially dismayed by his recent discovery that many students cannot identify the most common band and orchestra instruments. At their age, he and his peers throughout the country were immersed in band, orchestra and vocal programs from the elementary grades upward. He laments the terrible disconnect in today's younger generation because music has always been a driving force behind change and major events in history and has spearheaded the development of the arts for centuries.

L. Young grew up in a musical, church-going family and sang before he could talk. After graduating from the Youth Performing Arts School in Louisville, Kentucky, he headed to Wright State University in Dayton, Ohio as an acting major. One of his high school classmates, Nicole Sherzinger, is best known today as a member of the Pussycat Dolls. The two worked together often during their early years and he is the one who encouraged her to take her talent to the West Coast. They are still close friends.

He credits the launching of his own career to Michael Carter, tour manager for Mary Blige. Carter urged Young to move to L.A. and focus on writing and producing, but once he began singing at live shows, the positive audience reaction convinced him to record his own songs.

His writing process varies and occasionally surprises him. Sometimes while taking a shower, he gets an idea for both lyrics and melody. Or he may simply sit down at the piano and strike a particular chord that sends him in a new direction. Once a song presents itself, it never leaves his subconscious. Regardless of the style, tempo or melody, L. Young's foremost goal is to write lyrics with deep meanings that evoke change in people.

Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.

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How to Do Fabulous Dance Recital Makeup

This guide will help you create a successful dance recital makeup look. It can be simple and straightforward! Focus on the five areas listed below and a beautiful look can be achieved for all ages of dancers.

Skin: Your dance recital makeup should be applied to a fresh base. Begin with a clean, dry, moisturized face. Dual Mineral Powder Foundation is applied first with a sponge over your entire face blend it into your neck. Here is a tip, if you apply the foundation with a wet sponge you will get a more opaque look, dry and you will have a more sheer coverage.

Eyebrows: Prepare your eyebrows by using a brow brush to shape them. Then use a thin eyeliner brush and draw a line down the very center of your eyebrow. You can use your brow brush to even out and disperse the color to the through out of your brow.

If the dance recital makeup is for a younger dancer make these easy adjustments, an eye shadow slightly darker than the dancer's hair color will give a less severe look then if you use an eyebrow pencil. Young dancers should have a thicker eyebrow; a thinner severe line at the eyebrow creates an older more dramatic look.

Eyes: When applying dance recital makeup to your eyes it takes a couple steps to complete the look. First start with an eye shadow brush to highlight the brow bone and inner corner of your eye. Use a shimmery white shadow to create a this highlight. If you want to create a more dramatic highlight apply the shadow with a damp brush.

Next use a brown eyes shadow at your lash line, bring the color up to your highlighted brow. The color should be deepest at your lash line and fade as it travels toward your brow. Apply this same shadow under your lower lashes very lightly. To apply the shadow to your lower lash begin in the middle of the lash and pull the color out past the corner of your eye. Do NOT begin your make up line in the corner of your eye. For in between you upper and lower lash line use a white highlighter eye pencil. Finish your eye with black water-resistant mascara.

Always remember ADDING color is much easier than REMOVING color once you've already applied it to your eye. Begin with light eye color and add more if you need it.

Cheeks: A blush brush should be used to apply your cheek color. Draw the blush from the hairline toward the apples of your cheeks. A large powder brush is best to use to blend your cheek color. Do so by applying Dual Mineral Powder Foundation over your cheeks and face. DON'T create "clown circles" on your face and never let your blush dip below the lip line.

When applying makeup to a young dancer create a soft blended blush line. Creating a severe blush line will make ANY dancer's face appear older it is particularly on a younger dancer.

Lips: Use Warm Brandy Lip Liner to line and fill your lips. Then use a red lipstick to finish your dramatic look.

Lip color is often a matter of artistic preference for me bold reds aren't meant for younger dancers. Instead line lips and fill lips with a pink mauve lip liner and use a rose-colored lipstick to create a perfect look for a young dancer. The goal is to help highlight a young dancer's mouth so they can communicate emotion from the stage. A mauve color accomplishes this without adding age to the young dancer.

Complete your entire dance recital makeup look by following these steps. Look beautiful on stage with this look. To make this look fitting for young dancers remember make simple changes at the eyebrows, cheeks, and lips. These changes create a youthful soft look perfect for a recital.

Jessica Dupont is a former Professional NYC Dancer and Makeup Artist. She owns JAM cosmetics, which is a line of ULTIMATE makeup for dance and cheer. Find out 4 secrets the pro's use AND 3 things you NEED TO KNOW to look gorgeous and stand out from the crowd, by getting Jessica's free dance makeup e-Guide at http://www.jamcosmetics.net/.

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Secrets Behind Bon Jovi's Longevity

Huge venues have cemented the fame and fortune of Bon Jovi, arguably America's greatest rock band. Since first cracking Billboard's Top 40 way back in the 1980s, Bon Jovi has captured fans worldwide, cutting a swath around the globe with packed stadium shows.

Defying the odds, the 1983 lineup is still in tact. Lead singer/guitarist Jon Bon Jovi, guitarist Richie Sambora, percussionist Tico Torres and David Bryan on keyboard welcomed bass guitarist Hugh McDonald to the fold when Alec Such left. Their camaraderie and the composing skills of Sambora and Bon Jovi have propelled them across three decades into 2011 and the honor of being named the past year's # 1 worldwide tour.

Sambora explains that the writing of the music and the quality of the band are the foundation of their business. This is the key to the success the band has enjoyed since they were youngsters playing in small clubs around their native New Jersey.

Along with writing songs that people adopt as their own, putting on a great show every time they come out is essential. Over the years, their foremost aim has been to give good stadium. Realizing that it is impossible to fill up a stadium with a single demographic, they always include songs that transcend generations, an invitation to parents to expose their kids to music they like that both can enjoy.

Torres always welcomes the sight of new faces in the audience along with the two or three generations of fans who have been faithful followers for years. From the beginning, Bon Jovi has made a point of touring as many continents as possible, giving longevity and a constant stream of new fans. Wherever they go, friends abound.

Both Sambora and Torres love the energy they pick up from the crowd filling each stadium. At the same time, Bon Jovi makes a stadium intimate with the use of giant screens that bring everyone in, even those in the back seats. A half-circle goes out into the audience where they play acoustic music together to make everybody sing so the huge place seems like a living room. To prepare for each tour, the band pulls out 70 or 80 older songs. The goal is to make everyone happy as they sing along to a favorite number.

"The fans are the ones who count," Torres says. "If they like it, they'll clap. If they don't they'll let you know about it.

Sambora concurs, emphasizing that the band's success comes from the joy of playing with colleagues they respect. "When we walk on stage we know what we have to do. People leaving a Bon Jovi show have smiles on their faces. They got their money's worth."

Emily Cary is a prize-winning teacher and novelist whose articles about entertainers appear regularly in the DC Examiner. She is a genealogist, an avid traveler, and a researcher who incorporates landscapes, cultures and the power of music in her books and articles.

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Ricky Jay: The Card Master

Ricky Jay is a master magician, known for his sleight of hand illusions. However, there is more to this man than magic as he is also an actor, consultant, author, and historian. Born Richard Jay Potash in Brooklyn, NY, in 1948, he was introduced to the world of magic by his grandfather, Max Katz, who was an amateur magician. Ricky Jay, as he is now known, is now one of the most famous card tricksters.

The one-man show Ricky Jay & His 52 Assistants earned him the Lucille Lortel and Obie Awards for Outstanding Achievement. Ricky Jay: On the Stem recently ended a critically acclaimed seven-month run in New York City. David Mamet directed both of these shows and A Rogue's Gallery. Mr. Jay was cast in several films directed by Mr. Mamet, including Heist and House of Games. He also appeared in other films, including Tomorrow Never Dies, Magnolia, and Boogie Nights.

On the small screen, Mr. Jay starred in the X-Files episode entitled, "The Great Maleeni." He was both a writer and guest star during the 2004 season of the HBO western drama, Deadwood. A stage debut occurred at the New York Shakespeare Festival for the Joseph Papp production of Midsummer Night's Dream.

In the realm of magic, Mr. Jay landed himself in the Guinness Book of Records by throwing a playing card a total of 190 feet at the rate of 90 miles per hour. This record stood until recently, when Rick Smith, Jr. broke it by throwing a card 216 feet. Mr. Jay can throw a card into a rind of watermelon from a distance of ten paces. In addition to card throwing, he is famous for his memory feats, card tricks, and stage speeches.

This illusionist takes his art seriously and collects manuscripts, art, artifacts, and rare books regarding the history of magic, confidence games, frauds, and gambling. He is known to spend more than $5,000 on single books. As a historian, he once served a curator of the Mulholland Library of Conjuring and the Allied Arts and authored an illustrated history regarding early trick conjuring books, called The Magic Magic Book.

As the owner of the consulting firm Deceptive Practices, Mr. Jay has been able to provide expertise for Broadway productions, films like Forrest Gump, and several museum exhibitions. His firm provides clients with what he terms "arcane knowledge." However, Mr. Jay will always be most well-known for his impressive card tricks.

Magic tricks have always been a great way to catch the look of a beautiful woman, entertain children, and to impress friends. If you would like to follow in the footsteps of Rick Jay and learn magic tricks that will mesmerize, visit MagicTrickStore.com today!

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An American Contemporary Thanksgiving Psalm

The LORD is our generous provider and giver of all
peace, education, security, prosperity, and wealth
What else can we ask for?
The LORD has supplied all our deepest longings of the American heart
From our constitutional rights of Freedom of Speech to access to education

The LORD is our philanthropy CEO
He administers our business affairs to produce the highest Gross Domestic Product (GDP)
Making the United States of America still the number one humanitarian Nation in the entire world
and in fact in the entire human history
There is no nation that has give so much to the world and humanity like the USA does under its motto In God We Trust

The LORD is our special best friend of all of us as Americans;
He watches over us and protect us from any weapons from the enemy
Our sense of loyalty to God must be restored and give Him praises everyday
From the Statue of Liberty of New York City all the way to the White House in Washington, D.C.

The LORD is our Perfect Defender
He defended us from the hands of terrorists who want to harms us with their threats and malice intents
He never slumbers to say "I am for the United States of America and nothing can stand against it"
The grandest of these ideals is an unfolding promise that everyone belongs, that everyone deserves a chance, and that no insignificant person was ever born
Our Nation is still blessed and the flag of the United States of America will still bright the world with His Light

The LORD is our Founder of our Nation
From the founding documents of the Founding Fathers
to the divined mind of Benjamin Franklin in using The Book of Torah
and Psalm 127 stating that our Nation was build not in vain.
"That God governs in the affairs of men. And if a sparrow cannot fall to the ground without his notice, is it probable that an empire can rise without his aid? We have been assured, Sir, in the sacred writings that "except the Lord build they labor in vain that build it." I firmly believe this"

The LORD is and will continued to be our true Hero
in the years of the Great Depression, He lifted U.S. from crisis
In the years of division, He lifted U.S. from violence
in the years of Civil Rights Movements, He lifted U.S. to be victorious
From the inspiring words of Dr. Martin Luther King, Jr. to the struggles of The Southern Christian Leadership Conference

The LORD loves U.S. so much that He has enlightened the future leaders of this Blessed Nation
from the MTV Generation to the brights minds who are still in college preparing to build the next chapter
in history of the United States of America
My Fellow Americans, we must uphold these Godly principles, and every new citizen, by embracing these ideals, makes our country more, not less, AMERICAN

Jose Angel Manaiza, Jr. is a Mathematician

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How to Get a Great Actor Headshot

Few things seem to strike more fear into an actor than the dreaded headshot.

If you have been acting for some time, you've probably been less than satisfied with at least one set of headshots or the photographer who took them. Perhaps the lighting was a bit too dramatic. Maybe your makeup was too heavy or too light or your outfit just wasn't right for the types of roles you'd like. Maybe the images were OK back when only black-and-white headshots were acceptable. But now they look really dated. Maybe you continue to use them anyway because you had 500 printed. "Oh, well, they'll just have to do," you tell yourself. Sound familiar?

Or, you're just starting your career and you've heard all the headshot horror stories from friends in your acting class. You've been told the only way to get a professional headshot is to go to New York or LA and spend a small fortune. You don't have a small fortune. So you decide you'll have your sister's boyfriend take your "professional" headshot. After all, he took some really good pictures of the family's Grand Canyon trip last year. How hard could it be? The pictures will be fine, you say. Guess what? They probably won't.

Here are a few tips for getting your actor headshot right the first time and feeling good about the experience.

Finding the right photographer.

One of the best ways to research a headshot photographer is-you guessed it-browsing their website! Answering the following questions before you book your session will easily narrow down your choices.
Does the photographer even do headshots? If so, how long has he or she been working with actors?Are there headshot examples on the website? Are all the images similar, or is there a variety of poses and styles? Do the actors look comfortable and approachable?What is a typical photo session like? How long does it last? What are the actor's responsibilities?How much is a session and what do you get? Actor headshot costs vary widely, from $100 to over $800. The old adage that you get what you pay for certainly applies here. But there's no reason to break the bank either. It's more important to consider what you can afford and your ability to work with the photographer to get exactly what you want.

Assuming all your questions have been answered, it's now time to pick up the phone or send a detailed email. Note how long it takes for the photographer to call back or send a personal email response. You should get your potential photographer's attention within about 24 hours.

Now that all your basic questions have been answered, be sure to tell the photographer about yourself and your acting plans. Ideally, the guy or gal would have already asked you, thus demonstrating interest in your career and knowledge of the industry.

Do some soul-searching, if you haven't already, about the kinds of roles you really want and what you've already been cast in. Are you great at playing the young ingenue or the troubled bad girl? Do you enjoy being Gordon Gekko or the all-around funny guy next door? Ask the photographer how you might portray those characters in your headshots. Does he or she have any thoughts on this? The answer may give you exactly what you'll need to make your determination.

OK. The price is right. You've booked your session. Now what?

What should I wear?

There's only one rule that should never be broken when it comes to your headshot session wardrobe. You must keep it simple! Your clothing should be understated. For guys, that means jeans or other casual pants, crew-neck tees or turtleneck shirts and a light jacket or sweater. A business suit with dress shirt and tie is also a safe bet. The idea is to keep your wardrobe from competing with your unique look. No stripes, no patterns, and never any logos. (I once turned a client's shirt inside out and backwards, so as to hide the logo of a local brewery!)

My approach is to suggest, depending on their complexion, that clients wear muted colors like gray, navy, or brown. If you're fair, you'll probably look great in navy or another darker hue. Dark-skinned complexions look vibrant in lighter tones, dissimilar to skin tone and hair color. Unless you're really buff and going for a cop or tough-guy role, stick with long sleeves.

For women, simple boatneck or v-neck shirt styles convey a polished look on everyone, no matter your size or shape. Jeans never go out of style; however, bring along a daytime outfit like a business suit or jacket that you'd wear to impress! The idea is to be comfortable with yourself and the way you look. By bringing 3-5 outfits, you and your photographer will have plenty of looks to choose from. Color rules are the same for women, muted and complementary to your complexion. Again, avoid loud patterns, stripes, logos, or "messages." You are the message, not your outfit!

Should I hire a makeup artist?

That depends. I have many beautiful images of clients that didn't use a makeup artist. I would consider them quite skilled at makeup application. If, however, you're like me and wear what takes under five minutes to apply, know nothing about foundation, and have been wearing the same lipstick color for 15 years, I would recommend a professional! Men should also consider a makeup pro if plagued with uneven skin tone or dark undereye circles. A good makeup artist will charge a minimum of $125 per session. For an additional fee, some pros will even assist with hair styling.

Success includes thinking ahead!

Throughout your long and successful acting career, you'll need headshots more than once, so establishing a solid, trusting, long-term relationship with a photographer will be an absolute bonus. Your actor headshot is far too important to leave to chance. A great headshot doesn't guarantee that you'll get the part, but it sure gets you in the door.

Bonnie Johnson has been photographing actors in the DC, Virginia, and Maryland area for almost 10 years and has loved every minute of it. She strongly believes in sharing acting resources and working closely with her clients to achieve their professional acting dreams. http://www.bonniejohnsonphotography.com/

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Sanctuary - The Divine Dance

Dance when you're broken open.
Dance if you've torn the bandage off
Dance in the middle of fighting.
Dance in your blood.
Dance, when you're perfectly free.

Jelaluddin Rumi - 13th century

Rumi understood the power of dance as a catalyst for transformation. Last year we celebrated Rumi's 800th birthday and Yalla celebrated 10 years of bringing their love of Middle Eastern music and dance to Australia. Yalla has another incarnation which is called The Sanctuary Ensemble. It was formed in 2003 to celebrate the Spirit of Rumi, playing traditional and inspired Sufi music, reading his words and to dance. Yalla's focus has been to bring upbeat Middle Eastern music and dance to its audiences, The Sanctuary Ensemble is a way that we can express the deeper connection and to embody the contemplative transcendental side of this music and dance that resonates so deeply in our hearts.

The traditional aspect of what we play in Sanctuary is called a "Zirk" which means remembrance of Allah. It is the music of submission and surrender that bonds humans to God and transcends all religious boundaries. The whirling which is a part of the Zirk is the dance of turning like the earth spinning on its axis. There is also the Zaar which is a dance of release done by rhythmically swaying side to side and then releasing the head, the neck and allowing it to roll vigorously round and round until the dancer falls to the ground. This is one aspect of Sanctuary. The other aspect is the improvisational pieces that accompany the poetry and some original compositions all interpreted through dance.

I have always been drawn to expressing the unity of poetry and music. When the three become one the dancer is no longer the soloist, she becomes the element that weaves the music and the words. The dancer is not a distraction, she is the embodiment - you can still hear the word and the music as the dancer weaves them together.

I asked Harb Gill one of our readers why Sanctuary is important for her; she said "it takes me straight to the heart, because, like any meaningful art, that is where it comes from. The mesmerising music, moving ancient songs, Rumi's words and wave upon wave of whirling dance all combine to open the heart and still the mind. I come out of it refreshed, harmonious and invigorated."

This is true for all of us, this is why we chose to embrace the art and spiritual practice from another culture that is essentially a Muslim practice when none of us are Muslim.

The most important instrument in this Sufi practice is the Ney. The Ney is a flute, made from a reed cut from a river bed that is hollowed out in the middle. It has nine holes that are said to represent the nine orifices of the body. The Ney makes hauntingly beautiful sounds and it is said to represent the yearning the lament the wanting to return to source. As the Soul also yearns to be united and to return to the source. When I dance the sound of the Ney moves through my spine and as the notes move so does my spine travelling through me carrying the words. Each time the same poem is read the words take on a deeper meaning that in turn deepens my dance.

The Chants called Illahi's are also accompanied by percussion. The chants are played in various Macams which are like musical scales, each with a different meaning stirring a different emotions, used for different reasons, and at different times of the days and on different occasions. We are all involved in singing Illahi's. I asked Ngame Grzisik our principal vocalist and composer what the dance meant to her in Sanctuary, she said, " In this Sufi music, the dance expresses the flow of thought, feeling and spirit. The dancer responds deeply and intuitively to the poetry the music and sounds and whole experience of the group."

While the sound of the Ney flute symbolises the lamenting and longing for the Beloved, the constant rhythmic beat of the Daf is the heart beat the driving pulse. The Daf is a frame drum of which the circle symbolises the circle of love and each of the rings inside it is each one of us.

Mik our percussionist said that performing in The Sanctuary Ensemble is a unique experience. He said, "drumming, entrancing, witnessing connection between word, music and dance. Learning about self and the nature of all things. Realising this connection also has taught me a lot about what prayer actually is. The wisdom of the text of Rumi is universal and not of one religion. That each religion fundamentally is universal. That each method of prayer to his/her own is equal in outcome. The expression of the dancer is from the heart - their prayer".

The Sanctuary Ensemble celebrates the connection to this music and dance that has helped to bridge the cultural gap between Australian and Middle Eastern cultural and religions beliefs. Art, Music and Dance can transcend these boundaries.

As an artist I have the privilege to share the beauty of another culture with the community at large.

"As waves upon my head the circling curl,
So in the sacred dance weave ye and whirl.
Dance then, O heart, a whirling circle be.
Burn in this flame - is not the candle He? "
Rumi

Rumi Translations by Colman Barks

Maria Sangiorgi, is a Teacher, Dancer, Dance Movement Therapist and Healer.
She works internationally and is based in Australia and Italy
She is available for workshops in Embodied Bellydance?, Dance Journeys for the Awakening Heart and Dance Movement Therapy for people with special needs.
She can be contacted via her website http://www.dancingisis.com/ or http://www.embodiedbellydance.com/

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