DASA NEWS D A S A. The Official Newsletter of The Dance Academy of South Africa EDITION 15. DANCE ACADEMY OF SOUTH AFRICA

Transcription

1 DASA NEWS The Official Newsletter of The Dance Academy of South Africa DECEMBER 2014 Excellence in Dance! EDITION 15 designed by Photo: Patricio Melo D A S A DANCE ACADEMY OF SOUTH AFRICA

2 THE DANCE ACADEMY OF SOUTH AFRICA PO Box 90634, Garsfontein West, 0042 Telephone: Fax: DASA OFFICE Building 3 Ground floor Office 26 & 28 Pretoria Atterbury Estates 19 Frikkie de Beer Street Menlyn Financial & Membership Enquiries Irene info@dasa.co.za Teachers Course Elsie: teachersdiploma@dasa.co.za Exam Entries Elsie: admin@dasa.co.za Office Hours: 08h00 to 13h00 DASA DIRECTORS Sharonne van der Vyver Chairperson Nanette Botha Lizette Mattheus Nicolette Erasmus Vida Deminey Lorna Haupt Specialist Director Majors Navarre de Villiers Specialist Director Legal BANKING DETAILS Dance Academy of S.A. ABSA Bank Branch Acc No When making a direct deposit it is essential that proof of payment together with the confirmation of what the payment is for, (FULL DETAILS!) is sent to the Office. Please use your own name as reference (NOT YOUR STUDIO NAME!) Cash payments Please note that no cash will be handled at the Office, Convention or AGM. Freelance teachers The office often receives queries on freelance teachers. Should you be interested to make yourself available for this purpose, please contact the office with your details to be added to the list. ASSISTANT TEACHERS Please motivate your assistant teachers to become members of DASA. MEMBERSHIP FEES 2015 (Payable before 31 December 2014) Fees for 2015: Provisional R595 Associate R595 Full r740 Affiliate R370 Studio levy: Normal membership R595 (Provisional, Associate & Full) Affiliate membership R300 Studio levy is payable annually per studio. DASA Convention will take place on February R900 All membership fees should be paid in full by the 31st of December of the previous year. There will be a R220 levy payable on all late payments (Membership fees as well as Studio levies). Legally, only fully paid members have voting rights. The office will only accept your exam entry once your Membership fee as well as your Studio Levy is paid. DASA OFFICE WILL BE CLOSED FROM 5 DECEMBER 2014 UNTIL 5 JANUARY 2015 CLASSIFIEDS Advertising in DASA Newsletter Advertising space is available to members at the following rates per issue: A5 Full page R 120 A6 ½ page R 60 Classified ads with a Maximum of 50 R 30 words Rates to be supplied on request for coloured adverts or from non members. Advertising on DASA Website Advertising space is available to members/outsiders at the following rates per annum: Type Member Non Members Business card R500 R800 Separate page with link R1000 R1600 Page 2 of 16

3 IMPORTANT NOTICES Associate Membership Level 1-3 and Full Membership Level 1-3 New levels have been added to membership. Kindly refer to the Rules and Regulations. MEDALS Classical National FEES 2015 R95 R95 Post Exam Workshop Teachers should attend this workshop in dancing clothes and shoes. Please bring your syllabus book to the workshop. Major Workshops Please note that it is necessary for the dancers to have a working knowledge of the syllabus they are entered for. The workshops are not the forum to learn exercises but to work on technique. Pre-Grade and Grade ERN Workshop From 2015 the ERN workshop will be linked to the DASA Convention weekend in February. When the ERN workshop is not part of the weekend it will be held on the Thursday prior to the DASA Convention weekend. This coming Convention, it is part of the weekend and you need not attend a separate ERN workshop. Provisional Members: Practical hours Please take note that the Practical hours must be done with your mentor / examiner and not her assistant. Please see that you choose a teacher who has been appointed by DASA as a mentor when selecting the teacher to do the practical hours. CPD Points Please take note that the following point has changed a little: No 6. Ten points will be gained if students (3 or more in at least 3 or more of the DASA medals) are entered for examination. Modern BALLET GRADES Tiny Tots 1 Tiny Tots 2 Pre-Primary Primary Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 MAJOR FEES Intermediate Foundation Intermediate Advanced 1 Advanced 2 Advanced Performance TEACHERS FEES ERN R95 R185 R185 R250 R265 R265 R265 R265 R310 R310 R385 R700 R780 R1000 R1000 R1250 R1360 Teaching Aids and Publications Please download the latest list from the website. Please note that faulty items must be returned to the office within 6 weeks for a full refund. After 6 weeks you will have to pay again! TEACHERS PRACTICAL EXAM Pre-Grades R680 Grades R680 Workshops If anything at all, perfection is not when there is nothing to add, but when there is nothing left to take away. - Maria Tallchief - Intermediate Foundation Intermediate Advanced 1 Advanced 2 Advanced Performance Teachers Fee Levies Late Membership Reregistration Fee EXTRA MEDALS Per Medal R230 R300 R385 R385 R605 R75 R220 R2310 R40 Page 3 of 16

4 In the class room Page 4 of 16

5 BALLET SYNOPSIS Giselle Considered one of the great Romantic ballets, Giselle was first performed in Paris in Originally choreographed by Jean Coralli and Jules Perrot, most of today s versions rely on the revision choreographed by Marius Petipa for the Imperial Ballet. Plot Summary of Giselle: As the ballet begins, a nobleman named Albrecht is busily wooing a young, beautiful peasant girl named Giselle. Albrecht leads the young maiden to believe that he is a farmer named Loys. Giselle falls in love with the man, unaware that he is already betrothed to Bathilde, daughter of the Duke. She agrees to marry the man, despite the romantic advancements of another peasant, Hilarion, who suspects that Albrecht is an imposter. Giselle wants badly to dance, but her mother warns her that she has a weak heart. A Prince and his entourage are soon announced by a hunting horn. When the prince's daughter realizes that she and Giselle are both engaged, she gives her a gold necklace. Hilarion tells Giselle that Albrecht has been deceiving her, that he is actually a nobleman. Bathilde quickly reveals to Giselle that Albrecht is indeed her fiance. Horrified and weak, Giselle goes mad and dies of a broken heart. The second act of the ballet takes place in a forest beside Giselle's grave. The Queen of the ghostly Wilis, virgins who have died of unrequited love, calls upon them to accept Giselle as one of their own. When Hilarion stops by, the Wilis make him dance to his death. But when Albrecht arrives, Giselle (now a Wili herself) dances with him until the Wilis' power is lost, when the clock strikes four. Realising that Giselle has saved him, Albrecht cries at her grave. Page 5 of 16

6 Interesting Facts About Giselle: The role of Giselle is one of the most sought-after in ballet. To win the role, a ballerina must have near perfect technique, outstanding grace, and great dramatic skill. Giselle revolves around the themes of forest spirits, forces of nature, and death. The second act of the ballet, in which everyone is wearing white, is known as the "white act." Act I A small, peaceful village, bathed in sunlight. It is inhabited by simple, artless people. Giselle, a young peasant girl, is rejoicing in the sun, the blue sky, the singing of the birds and, most of all, in the happiness of pure, trusting love which has lit up her life. She is in love and is confident that she is loved. The gamekeeper, who is in love with Giselle, tries in vain to persuade her that Albrecht, her loved one, is not a peasant at all but a nobleman in disguise and that he is deceiving her. The gamekeeper manages to steal into the cottage which Albrecht is renting in the village and here he finds a silver sword with a coat of arms on it. Now the gamekeeper knows for sure that Albrecht is concealing his noble origins. A party of distinguished noblemen, attended by a sumptuous suite, seek rest and refreshment in the village after the hunt. The peasants give their guests a cordial welcome. Albrecht is embarrassed by this unexpected meeting: he tries to hide the fact he knows them for, in their company, is his betrothed, Bathilde. Meanwhile the gamekeeper shows everyone Albrecht s sword and, unmasking him, tells them of the latter s deceit. Giselle is shocked to the core by the perfidy of her loved one. The pure, crystal-clear world of her faith, hopes and dreams has been destroyed. She goes mad and dies. Act II Night-time. The ghostly forms of the Wilis, died brides, appear among the graves of the village church yard which is bathed in moonlight. Dressed in bridal gowns and garlands of flowers... The irresistibly beautiful Wilis dance in the light of the moon. And as they felt the time given them for dancing was running out and that they had again to return to their icy graves, their dancing became more and more impassioned and rapid... (Heinrich Heine). Albrecht too, is unable to forget Giselle. And, at dead of night, he comes to her grave. The Wilis immediately encircle the youth. Albrecht is now threatened by the same horrifying fate as the gamekeeper. But the shadow of Giselle now appears and her eternal and self-sacrificing love protects and saves Albrecht from the anger of the Wilis. The ghostly, white forms of the Wilis vanish with the first rays of the rising sun. And Giselle s ethereal shadow vanishes too, but Giselle will always be alive in Albrecht s memory. Roles Giselle The role of Giselle is one of the most famous Romantic ballet roles, and was created and first performed by Italian ballerina Carlotta Grisi in June The character is a sweet, innocent, beautiful young peasant girl with a great love for dancing, but is forbidden to dance by her mother in fear of Giselle's health for the girl has a weak heart. Giselle finds herself caught up in a love rectangle, which takes a tragic turn after she discovers that her lover 'Loys' is really Duke Albrecht in disguise and is engaged to another woman. Devastated, she goes mad and dies of a broken heart. But even after her death, Giselle's love is undiminished. Summoned from her grave to join the Wilis, Giselle refuses to take revenge on Albrecht and instead, protects him, defending him until dawn and saving his life. Giselle's love has transcended death and she returns to her grave to rest in peace, never to again associate with the Wilis. Albrecht Albrecht is a young Duke and was first performed by French ballet dancer Lucien Petipa, brother of Marius Petipa, in June The character is usually portrayed as unhappy with his life as a nobleman, which also indicates that his engagement to Bathilde was arranged, and is partly motivated to act upon his love for Giselle by the freedom her world seems to offer. Unfortunately, he The Wilis catch sight of the gamekeeper who, suffering from pangs of conscience, has come to visit Giselle s grave. At the command of Myrtha, the unrelenting Queen of the Wilis, the Wilis encircle the gamekeeper and make him dance until he drops lifeless, to the ground. Page 6 of 16

7 is not quite realistic enough to realise that a relationship with Giselle may never be possible, but he allows his heart to think and choose for him. However, his actions lead to tragic consequences that he could never have foreseen when Giselle goes mad after discovering the truth of his identity and dies of a broken heart. Albrecht is left stunned by grief and guilt and visits Giselle's grave so that he may grieve, but she suddenly appears to him as a spirit. Full of remorse, he begs for her forgiveness and she readily forgives him. But Albrecht soon enters a deadly trap set by the Wilis, who sentence him to death and force him into an endless dance. Giselle, however, refuses to let him die, but as the night goes on, Albrecht's strength ebbs away to the point where he collapses of exhaustion. When he reaches the brink of death, hope strikes as the morning bells chime to herald the dawn. Giselle's love has saved Albrecht and despite his pleadings, she returns to her grave and Albrecht is left alone to continue his grieving. Hilarion Hilarion is a gamekeeper, who is also in love with Giselle and was first performed by M. Simon. His is principally a mime role, but he dances very briefly in the second act and is usually presented as a virile, crude and suspicious peasant. He also appears to be quite arrogant and proud as he is very confident that he will marry Giselle and even appears to believe that there is something between them, even though she has clearly shown that she does not reciprocate his feelings. Hilarion's chances of winning her are thwarted for good when Giselle falls in love with Albrecht, making Hilarion bitterly jealous. Despite Giselle's rejection of him, Hilarion discovers Albrecht's true identity and deception and wastes no time in exposing him. In an arrogant attempt to win Giselle and humiliate his rival, Hilarion publicly tells Giselle that Albrecht is really a nobleman in disguise, but the outcome is not what he had hoped for, as Giselle goes mad and dies. After Giselle's death, but he soon pays the price for his role in Giselle's death with his own blood. He crosses the path of the Wilis, who force him into an endless dance and once he is drained of his strength, they drown him in a nearby lake. Berthe Berthe is a mime role. She is Giselle's mother and appears only in Act I. Though not evident in the original libretto, one production (Paris Opéra Ballet, 2006) suggested that Giselle is the illegitimate offspring of the Duke of Courland, making her Bathilde's sister. Giselle has a weak heart, so Berthe hovers about her protecting the child from physical stress such as dancing. Berthe is afraid Giselle will die and become one of the Wilis. Berthe discourages the budding relationship between her Giselle and Albrecht (he is a relatively unknown newcomer to the community), but favors a relationship with the steady and stable, but dull Hilarion and her daughter. Berthe has a long, tense mime solo in Act I in which she describes the Wilis and the dangers they present to young people. This scene is sometimes cut. Bathilde and the Duke of Courland Bathilde is the daughter of the Duke of Courland. She is betrothed to Albrecht. In the original production, Bathilde and her father arrive in the village on horseback. This entrance was cut soon and Bathilde and the Duke enter on foot with the members of the hunting party. Bathilde and her father are mime roles. Bathilde has been variously interpreted: in some instances she is played as a vain, impatient, short tempered woman (making Albrecht's philandering understandable, but not forgivable), and in other instances she is played as a beautiful, gracious and generous young woman (making Albrecht's philandering puzzling, selfish, and cruel). She wears magnificent attire, which attracts Giselle's notice and admiration. ( In one production, it was subtly suggested that Bathilde's father is also Giselle's father. This would mean that Giselle is Bathilde's sister). In the original production, the hunting party remained on stage to witness Giselle's death, but, in later productions, Bathilde, her father, and the members of the hunting party slip away before the heroine's death. In the original production, Bathilde and her entourage appeared at the end of Act II searching for Albrecht, who collapsed in their arms. In modern productions however, Giselle sinks into her grave and Albrecht left alone on the stage alone, dazed and grieving. Myrtha Queen of the Wilis: Vengeful, she holds power over the Wilis. The Wilis Young maidens who has been deserted or deceived by their lovers and had died of grief before their wedding bells had chimed. Beautiful as they were they kept a grudge against any male mortal. Any young man, out alone in the forest at night that happened to come across a group of Wilis dancing would never be seen alive again. The dancing phantoms would surround him and compel him to form an item in their dancing until he dies exhausted or thrown into the pool lake to drown. When dawn arrives the Wilis have to return to their graves. Page 7 of 16

8 NEWS FROM OUR MEMBERS Flying High Kristof Skhosane, who was trained by Mariette Kloppers and Elaine Steffanou, was accepted as a graduate by Joburg Ballet. He received distinction in all his RAD and DASA examinations. Well done Kristof! Workshop with colleen Boote On Saturday, 1 November 2014, Colleen Boote gave a Major Ballet Workshop at the Hexagon Theatre for dancers from Pietermaritzburg, the Bluff, Warner Beach and Uvongo. The twenty dancers were helped and challenged to improve through Mrs. Boote s enthusiastic and expert teaching. Mrs. Boote gave input not only regarding the syllabus but also taught effective and innovative exercises using exercise balls to strengthen core muscles and to improve in the area of batterie. Thank you Mrs Boote for an excellent workshop. Page 8 of 16

9 NEWS FROM OUR MEMBERS Gail Hattingh from Somerset West, presented, Fantasia, with a cast of 100 at the local Playhouse theatre from 17th October to 1st November. Dancers ranged from 4 to 40 years!! Lovely costumes and a stunning set. Fantasia Mary Poppins On 3 and 4 September Jenny Devenish School of Ballet in Newcastle, presented Mary Poppins. Appearing with the dancers was the Senior Choir from a local school who sang all the well known songs from the musical. Page 9 of 16

10 Articles By Lorna Haupt Not only teaching the steps Why anatomy? Generations of teachers have successfully taught dance with no anatomical knowledge at all. However in the last 10 to 15 years or so advances in dance medicine and science has resulted in significant approaches to traditional dance training. We now know that a good warm up helps prepare a student for action. It increases heart rate bringing oxygen and nutrition to working muscles, that nerve impulses travel faster in a warm muscle thus making the body respond more readily. That the movements of a warm up will keep pro-priosception (the body s natural sense of balance). We also know how important it is to stretch muscles slowly with sufficient time for the muscles to relax (no more bounces!) There are many contra-indicated movements for the spine. We know that allowing an arabesque en l air to sink in the centre of the spine by not supporting the movement with the abdominal muscles, will load too much weight on the discs of the spine: Also that good use of the abdominal muscles will secure a strong torso. We realize the importance of maintaining good cardiovascular exercises for stamina and fitness. We know muscles work in pairs that overworking one set often leads to weakness in the opposite set, for example overworking the calf muscle by allowing it to contract only (repeated glissés and jumps) the well-informed teacher will stretch out the calves frequently with lots of foot flexing to work the muscles at the front of the shin. Teachers today know what is happening to the body and how delicate the vulnerable growth plates in long bones are during times of increased activity during the teenage years. It is fundamental good practice to avoid stressing the knees by decreasing the amount of full plies in closed positions. Today "turn-out" is anatomically understood to be largely a pre-determined fact and that no amount of hard work and pushing or forcing will significantly alter the dance student s natural degree of "turn-out". We know why some bodies will have a greater degree of "turn-out" than others and some will always be more flexible than others. Similarly we understand it is important to be able to identify the source of potential injuries. How much anatomy should be brought into class time? All ages of children usually enjoy learning and understanding how things work. Incorporating the use of anatomy into dance teaching gives another way of making dance practice efficient and effective both for pupil and teacher. Each teacher will need to find his/ her own method of bringing their knowledge into their classes that feels comfortable without allowing the class to become an anatomy lesson. It is not necessary to blind the class with science and names of obscure muscles which will soon be forgotten, however students should know the following: Where the hamstrings are and how to stretch them safely About the quads and how important correct use of them is to the health of the knee About the adductor muscles and the use of them when closing the leg from the second position to strengthen them The use of "turn- out" muscles should be understood and how to use them effectively That muscles strengthen when working against resistance and this is provided by gravity or good use of the floor That good use of the arms will be improved if the student is encouraged to lightly engage the broad Latissimus Dorsi muscle from the spine that leads to the upper arm. Due to the origin of this muscle, correct use will enhance good action of the Transverses Abdominal muscle, which is a stabiliser Know the bones of the spine and the main joints, their normal ranges of movement and what structures bind and help them How vital it is to keep alignment of the knee joint in demi plies and fondus and why Each teacher will build and add to this basic list, as well as constantly update their own knowledge in order to give their students the very best information both anatomically and technically. Page 10 of 16

11 Movement Awareness and Creativity Articles By Lorna Haupt The imagination is a powerful drive in a child s life. The child s imaginative world is nourished on feelings and impressions. Children need to express their dreams as well as their fears. Expression within a given and safe framework enriches the experience and enlarges the horizon of a child. The concentration achieved brings self discipline, cooperation, kinaesthetic awareness, tolerance, patience and much more. A child's imaginative world expressed through movement leaves a much livelier and colourful memory than a purely verbal, visual, or audible experience. Imagination and Creativity through movement Three ways to an understanding of movement: 1. Purely physical awareness 2. Movement sequences 3. The creative imagination expressed in a. Themes and stories b. Abstract movement A Profile on Lorna Haupt's Dance Career Rose Adage Lorna Haupt as Aurora in The Sleeping Beauty (1958) Lorna Haupt has been intrinsic to the growth of ballet in South Africa, having held many influential positions. She has been an adjudicator at Festivals and has been on numerous dance award panels. Ms Haupt joined the Festival Ballet Society ( ) dancing in created roles as well as the lead in classics such as Les Sylphides, Giselle, Swan Lake, Coppélia, Le Spectre de la rose, Pas-de-Quatre 1845 and Carnival. International Stars guesting with the company included Dame Margot Fonteyn, Alicia Markova and Nadia Nerina, plus male guests. In 1958 Ms Haupt retired from the company dancing the leading role of Aurora in South Africa's first full length production of The Sleeping Beauty. From 1969 Ms Haupt was ballet examiner for Transvaal Education Department, and was elected Head of Ballet Department at the Pretoria High School for Art, Ballet & Music. She has studied choreology (dance notation) and African ethnic dance, and has choreographed and staged movement for PACT Opera & Drama productions. She was a member of the PACT Ballets Advisory Council since its inception and, in 1979, become Artistic Director of PACT Ballet Company. Prior to the founding of PACT she created works for seasons at the Breytenbach Theatre and The Aula Theatre in Pretoria. Lorna Haupt is the author of 'The Dance Book' which is used as a reference/text book where ballet is offered as a subject. DASA is privileged to have Ms Lorna Haupt as a Specialist Director. Ms Haupt brings her considerable experience and love of the arts to DASA. She has choreographed the beautiful and challenging Major syllabi, given invaluable insights in the Grade syllabi, compiled the new DASA Teacher s Diploma and continues always to instruct and inspire. Ballet Qualifications: Royal Academy of Dancing, London, UK Majors: Pre-Elementary, Elementary, Intermediate, Advanced, Solo Seal Imperial Society of Teachers of Dancing, London, UK Associate, Theory and Demonstration, GD Branch Trinity College of Music, London, UK Pianoforte, Preparatory Division (with honours) Royal Academy of Dance, London, UK Advanced Teachers Diploma 1953 Lorna (left) with Dame Margot Fonteyn (centre) - Swan Lake Act 11. Page 11 of 16

12 AREA COORDINATORS ALL EXAMINATIONS TO BE BOOKED IN GROUPS IN THE DESIGNATED AREAS. PLEASE CONTACT YOUR AREA COORDINATOR. STAND ALONE SESSIONS WILL BE LEVIED. THE AREA REPRESENTATIVE IS RESPONSIBLE FOR THE ORGANISATION OF THE SESSION. IT IS STILL EVERY TEACHER S OWN RESPONSIBILITY TO SEND HER EXAMINATION ENTRY FORM WITH THE MONEY, 6 WEEKS BEFORE THE EXAMINATION DATE, DIRECTLY TO THE OFFICE. BRITS, RUSTENBURG, HARTEBEESPOORT DAM Ané Erasmus ( ) Ané Erasmus (Brits, Mooinooi) Annelle Botha (Rustenburg, Kroondal) Cynthia Rivas (Hartebeespoortdam) Jessica van Schalkwyk (Rustenburg, Kroondal) Liezl Odendaal (Rustenburg) Lize-Mari Möller (Brits) Mariëtte Kloppers (Eastlynn, Hartebeespoortdam) Mercia Bester (Mooinooi) Carla Victor (Non Active) Marietjie Pretorius (Non Active) Reinier du Plessis (Non Active) BRONKHORSTSPRUIT, GROBLERSDAL Suné Coetzee ( ) Elda Meyer (Groblersdal) Nanette Botha (Rayton/Cullinan) Suné Coetzee (Delmas / Bhspruit) CENTURION Leani Gouws ( ) Leani Gouws (Centurion) EAST RAND BOKSBURG & BENONI Dawn Gemmell ( ) Dawn Gemmell (Boksburg) Estelle Dannhauser (Brakpan) Irene Webber (Boksburg) Kitty Dannhauser (Brakpan) Michelle Le Roux (Boksburg) Rika Badenhorst (Germiston) Uysie Kirsten (Benoni) Dianne Finch (Non Active) Joey Calitz (Non Active) Yolanda Williams (Non Active) FREE STATE Marie Snyder ( ) Lizané Els (Kroonstad) Marie Snyder (Odendaalsrus) Elize Esterhuizen (Non Active) HEIDELBERG, NIGEL Vida Deysel ( ) Letisha Nel (Heidelberg) Vida Deysel (Heidelberg) Lelanie de Wet (Non Active) Suanne Stoltz (Non Active) HENDRINA, BELFAST, CAROLINA, ERMELO Janeen Raath ( ) Cynthia Rivas (Witbank) Janeen Raath (Carolina) Marna Strydom (Middelburg) Yolandi Burger (Non Active) Jacoleen Maree (Non Active) JOHANNESBURG Adriana Pino ( ) Adriana Pino (Johannesburg) Marilé van den Berg (Dinwiddie, Alberton, Brackendowns) Racléne Barnard (Non Active) Tshego Masoabi (Non Active) KEMPTON PARK Sharonne van der Vyver ( ) Sharonne van der Vyver (Kempton Park) Bronwyn Fulton (Edenvale/Kempton Park) Jacqui van der Vyver (Non Active) Leanie van der Vyver (Non Active) Penelope Jones (Non Active) KRUGERSDORP Karen van der Westhuizen ( ) Karen van der Westhuizen (Krugersdorp) Monique Ackerman (Krugersdorp) KWAZULU NATAL 1 NEWCASTLE Jenny Devenish ( ) Jacoline Maree (Piet Retief) Jenny Devenish (Newcastle) Juanrè Delport (Newcastle & Volksrust) Marynza de Bruin (Volksrust) Sulindi van Wyk (Dundee) Nanettel Marais (Non Active) KWAZULU NATAL 2 MIDLANDS Joyanne Goddard ( ) Bernadette Naudé (Escort) Caitlin Mostert (Pietermaritsburg) Claire Von Weichardt (Pietermaritzburg) Colleen Boote (Pietermaritzburg) Domaine Keyser (Pietermaritzburg) Joyann Goddard (Pietermaritzburg) Maryna Naudé (Escort) Wendy Kirton (Pietermaritzburg) Esna Marais (Non Active) Leanne Roberts (Non Active) KWAZULU NATAL 3 COASTAL Joyanne Goddard ( ) Alison Rosso (Empangeni) Caryn Harvey (Warner Beach) Desireé Steenkamp (Richards Bay) Elizca Scheepers (Pongola) Kerry Simes (Bluff) Lindsay Osbourne (Uvongo) Anneline Millin (Non Active) Mari Robinson (Non Active) Page 12 of 16

13 AREA COORDINATORS LIMPOPO Marlie Barnard ( ) Cherise Law (Naboomspruit) Marlie Barnard (Louis Trichardt & Polowane) Nanette Botha (Bela-Bela & Nylstroom) Ranya de Wet (Non Active) LIMPOPO 2 PHALABORWA Rozanne Richardson ( ) Marleen Minnaar (Letsitele) Rozanne Richardson (Phalaborwa) Rozanne van Wyk (Hoedspruit) MPUMALANGA NELSPRUIT June de Villiers ( ) Elana Burger (Witrivier) Elsabe Malan (Lydenburg) June de Villiers (Nelspruit) Su-Mari Swart Surané Koch (Nelspruit) Trinette Joubert (Nelspruit/Sabie/Lydenburg) Lynn Edmondson (Non Active) Michelle Germishuys (Non Active) NAMIBIA Ciska Koekemoer ( ) NORTHERN CAPE KIMBERLEY Charlene Bouwer ( ) Carin Theunissen (Hotazel) Charlene Bouwer (Kimberley) Lizanie Wall (Kathu) Marinda van Zyl (Kimberley) Minya Botha (Kimberley) Sureen Evans (Kimberley) Corianca Oosthuizen (Non Active) Nastassia van Heerden (Non Active) POTCHEFSTROOM Mildred Davidson ( ) Adél Peens (Potchefstroom) Laurizél Grimbeek (Potchefstroom) Leonie Swart (Mafikeng) Mildred Davidson (Potchefstroom) PRETORIA EAST Lesta Erasmus ( ) Alètia Stevens (Pierre van Ryneveld) Arlene Juta (Rooihuiskraal) Elsabè van Rooy (Centurion) Ilani Wessels (Olympus, Lyttleton, Monumentpark, Sinovile) Lesta Erasmus (Olympus, Lyttleton, Monumentpark, Sinovile) Mariètte Hanekom (Pretoria Oos) René Boshoff (Centurion) Annika Maré (Non Active) David McLellan (Non Active) Jacquie Du Plessis (Non Active) Ria Raubenheimer (Non Active) PRETORIA MONUMENT PARK Sharon Viljoen ( ) Annarie Botha Debbie Groenewald (Moreletapark) Gisela van Niekerk (Monument Park) Rochelle Viljoen ( Centurion) Sharon Viljoen (Monument Park/Hennopspark) Erika Meyer(Non Active) Jacquelise Venter (Non Active) PRETORIA MOOT Lizette Mattheus ( ) Annemè Duvenage (Gezina & Meyerspark) Hestie Johnson (Pretoria) Leandra Erasmus (Moot) Lizel Kruger (Moot) Lizette Mattheus (Villieria) Lorika Venter (Moot) Nicola Visser (Moot) Sunica Haupt (Riviera) Uda van Oostrum (Pretoria Tuine) Chelain Buss (Non Active) Ignatius van Heerden (Non Active) Nienke Blaauw-Jenkinson (Non Active) PRETORIA NORTH Elaine Stefano ( ) Ané de Wit (Curo Roodeplaat) Elaine Stefanou (Derdepoort Park) Elsie Strydom (Laudium) Lucille Stonlake (Montana) Melody Ralph Ahlers (Montana) Lee van Schalkwyk (Non Active) SECUNDA, STANDERTON Nicolette Brooks ( ) Charlene Botha (Secunda) Elbie de Waal (Standerton) Nicolette Brooks (Secunda) Courtney Henry (Non Active) WESTERN CAPE - EASTERN PART Corlia Lewitton ( ) Corlia Lewitton (Wilderness) Madeleine Basson (Kleinbrakrivier) Melody Ralph Ahlers (Hartenbosch) WESTERN CAPE SOMERSET WEST Corlia Lewitton ( ) Antoinette de Villiers (Strand) Erika Haydricks (Somerset West) Erla Eliot (Somerset West) Gail Hattingh (Somerset West) Juanine Hechter (Kleinmond) Lizanie Koegelenberg (Vredendal) Ronél Brink (Somerset West) Alana van Wyk (Non Active) Katherine Escreet (Non Active) Liesel Trollop (Non Active) Wilmi van Niekerk (Non Active) GERMANY Erica Bentley (Non Active) Page 13 of 16

14 DASA YEAR PLANNER December Office closes 31 December Closing date with payment for DASA Convention - R December There will be a R220 levy payable on all late payments January Office opens Final date for 2015 Membership Fee & Studio Levy Full R740 Associate R595 Provisional R595 Affiliate R370 Studio levy R595 Affiliate members Studio levy R January Closing date with payment for Workshop (13-14 March) Intermediate Foundation R230 Intermediate R300 Advanced 1 R385 Advanced 2 R385 Advanced Performance R605 Teachers Fee R75 19 February Examiner Conference February DASA Convention R900 Friday 20 February :00-10:00 Arrival/Registration/Tea/Snacks 10:30-13:15 Pre Grade & Grade ERN 13:15-14:15 LUNCH 14:15-17:15 Pre Grade & Grade ERN Saturday 21 February :30-09:00 Registration 09:00-10:00 DASA information session and Members Questions Questions to be submitted to the Board two weeks before the meeting. Solo awards Ceta info session Acknowledgement at schools for Dance qualifications Dance levels DASA Rules 10:00-11:00 Grade 6 11:00-12:00 Tea/Coffee break and snacks 12:00-13:00 Introduction and Demonstration new Syllabus 13:00 Johannesburg Ballet February TC Discussion classes 28 February Final date for booking of exams 2nd half of 2015 Accepted from fully paid up members 7 March Closing date with payment for Kimberley Major Exam Session 18 April March Intermediate Foundation, Intermediate and Advanced 1 & 2 Workshop Friday afternoon & Saturday full day. Timetable for workshop will be finalised 6 weeks before the time. Only 20 students per workshop will be accepted. 15 March Home Revision Paper 1 31 March Last day to hand in CPD form for April Closing date with Payment for Pretoria Major Exam Session May 15 April Home Revision Paper 2 18 April Major Exam Session Kimberley 1 May Closing date with Payment for KwaZulu Natal Major Exam Session June 15 May Home Revision Paper May Major Exam Session Pretoria 15 June Home Revision Paper June Major Exam Session KwaZulu Natal 25 July Written Examination #1 23 July Closing date with payment for DASA Teachers' Practical Exam on 3-4 September 31 July Closing date with payment for Mpumalanga Major Exam Session September 7 August Closing date with payment for Workshop (18-19 September) Intermediate Foundation R230 Intermediate R300 Advanced 1 R385 Advanced 2 R385 Advanced Performance R605 Teachers Fee R75 14 August AGM at Serengeti Golf and Wildlife Estate at 10:00 15 August Home Revision Paper September Teachers' Practical Exam 5 September Closing date with payment for Somerset West Major Session October September Major Exam Session Mpumalanga 15 September Home Revision Paper September Intermediate Foundation, Intermediate and Advanced 1 & 2 Workshop Friday afternoon & Saturday full day. Timetable for workshop will be finalised 6 weeks before the time. Only 20 students per workshop will be accepted. 12 October Closing date with Payment for Pretoria Major Exam Session November 15 October Home Revision Paper October Major Exam Session Somerset West 30 October Final date to book preferred examination dates for 1st half of November Written Examination # November Major Exam Session Pretoria 4 December Office Closes 31 December DASA Convention booking and fee 31 December Final date for payment of 2016 Membership Fees & Studio Levy "My hope is to shed light, provoke thought, entertain, and move through dance." - Dwight Rhoden - Page 14 of 16

15 TEACHING AIDS AND PUBLICATIONS ORDER FORM NAME: ADDRESS: DESCRIPTION PRICE QTY AMOUNT PRE-GRADES & GRADES PACKAGES (Includes, syllabus, CD, DVD) Pre-Grades R Grade 1-5 R Grade 6 R SYLLABI Pre-Grades R Grade 1-5 R Grade 6 R CDs Pre-Grades R Grade 1-5 R Grade 6 R DVDs Pre-Grades R Grade 1-5 R Grade 6 R MEDAL DANCES PACKAGES (Includes, syllabus, CD, DVD) Alternative Modern Bronze 3 & Silver 2 R Classical and Demi- R Character (incl Petit Perf) National R Modern R Modern Major Bronze 1/2/3 (Snr) R SYLLABI Alternative Modern Bronze 3 & Silver 2 R Classical and Demi- R Character (incl Petit Perf) National R Modern R Modern Major Bronze 1/2/3 (Snr) R CDs Alternative Modern Bronze 3 & Silver 2 R Classical & Demi-Character R Petit Performer 1 and 2 R National R Modern R Modern Major Bronze 1/2/3 (Snr) R DVDs Alternative Modern Bronze 3 & Silver 2 R Classical & Demi-Character R National R Modern R Modern Major Bronze 1/2/3 (Snr) R DESCRIPTION PRICE QTY AMOUNT PUBLICATIONS The Dance Book - R Lorna Haupt MAJORS PACKAGES (Includes syllabus, CD, DVD) Intermediate Foundation R Intermediate R Advanced 1 R Advanced 2 R Advanced Performance R SYLLABI Intermediate Foundation R Intermediate R Advanced 1 R Advanced 2 R Advanced Performance R CDs Intermediate Foundation R Intermediate R Advanced 1 R Advanced 2 R Advanced Performance R DVDs FOR TEACHERS Intermediate Foundation R Intermediate R Advanced 1 R Advanced 2 R Advanced Performance R DVDs FOR STUDENTS Grade 6 R Intermediate Foundation R Intermediate R Advanced 1 R Advanced 2 R Advanced Performance R POSTAGE R TOTAL Please note that faulty items must be returned to the office within 6 weeks for a full refund. After 6 weeks you will have to pay again!! Page 15 of 16

16 During this season of giving let us take time to slow down and enjoy the simple things. May this wonderful time of year touch your heart in a special way. Wishing you much happiness this Christmas and throughout the New Year. Merry Christmas F R O M the Dance Academy of South Africa Page 17 of 17