Here is an email I was just sent for all you adventurous auditioners
FOR IMMEDIATE RELEASE:
So you think you’re the next Nico Archambault? Come out to this year’s auditions for So You Think You Can Dance Canada, starting Saturday, April 4 at the Centre for the Performing Arts in Vancouver, B.C., and prove it!
Auditions for the dance tour are a grueling, intense process, and hopefuls must come prepared for the most important moment of their lives. After all, you wouldn’t expect earning the title of “Canada’s Favourite Dancer” to be easy, would you?
Audition dates and locations
Registration begins at 8 a.m. in each city.
Auditions will be held at the locations and on the dates listed below (subject to change):
Saturday, April 4, Centre for Performing Arts, 777 Homer St.
(CALL BACK AUDITIONS APRIL 5TH and 6TH)
Tuesday, April 7, Winspear Centre, 4 Sir Winston Churchill Square (Corner of 99th Street & 102nd Ave.)
(CALL BACK AUDITIONS APRIL 8TH AND 9TH)
Saint John, N.B.
Tuesday, April 21, Imperial Theatre, 24 King Square S.
(CALL BACK AUDTION APRIL 22ND)
Monday, May 18, Metro Toronto Convention Centre, John Bassett Theatre, 255 Front St. W.
(CALL BACK AUDITIONS MAY 19TH AND 20TH)
Tuesday, May 26, Théâtre St-Denis, 1594 St-Denis St.
(CALL BACK AUDITIONS MAY 27TH AND 28TH)
So You Think You Can Dance Canada is designed to showcase and judge the talent of Canadian dancers.
Rules and regulations
The So You Think You Can Dance Canada Season 2 cross-country auditions are open to all Canadians who, as of April 1, 2009, are of the age of majority in the province/territory in which they reside, and are no older than 30 years of age.
* Competitors must be either a Canadian citizen or permanent resident of Canada.
* All competitors must be legally eligible to work in Canada.
* Competitors must be of the age of majority in the province/territory in which they reside and no older than 30 years of age as of April 1, 2009. The age of majority is as follows: 18 years of age in Alberta, Manitoba, Ontario, Prince Edward Island, Quebec and Saskatchewan; and 19 years of age in British Columbia, New Brunswick, Newfoundland and Labrador, Northwest Territories, Nova Scotia, Nunavut and Yukon.
* All competitors must provide two pieces of identification, including a government-issued photo ID (e.g. driver’s license or passport), at the audition.
* Competitors may bring a non-competing dance partner for purposes of the audition.
* All competitors must bring with them, along with the proper ID, the signed personal release, the completed preliminary questionnaire, and the music sheet. All will be available at the audition site and for download soon at dance.ctv.ca.
* All competitors are asked to bring with them the completed music sheet indicating the music they will use in their audition, along with the CD containing the indicated music.
* All songs must be “original” songs that are commercially available. A song must not be a re-mix of a song, a song downloaded from the Internet, or a competitor-created mix.
* Competitors will not be permitted to audition in any article of clothing with a visible designer, sports or other logo; artwork; name; photo; or other mark which may be subject to protection by copyright or trademark laws.
I just received this email – a really good salsa group you may be interested in!
La Excelencia’s first CD ‘Salsa Con Conciencia’ has sold over 9000 units without major distribution. The entire CD ‘Salsa con Conciencia’ and two singles from the CD “La Salsa y el Guaguanco” and “La Lucha” were chosen to be voted on by the Latin Grammy’s, and, The Grammy’s making it as far as the second round. La Excelencia’s music can be found on countless salsa/world music compilations, motions pictures, instructional DVDs, and can also be heard on radio stations and satellite radio both nationally and internationally.
This CD showcases the versatility of La Excelencia and the many talented artists within the orchestra. In fact there are 13 in the band and the depth and layering adds considerably to the sound.
La Excelencia is a Nuyorcian band, but do not expect pure Mambo, this is Salsa Dua with plenty of hard-core trombones and acoustic piano. They are creating a new mix style with Cuban, Colombian, Puerto Rican and African traditions in a complete and smoothly contiguous manner. Layed on top of each track, the lyrics have a cutting message and underlying story. Soneros Edwin Perez and Gilberto Velazquez certainly do the lyrics justice.
Song titles include:
Solo Sin Amor
El Tiempo en Tus Manos
La Salsa y el Guaguanco
Hijo De Los Rumberos
Boogalu Pa’ Colombia
La Lucha (Remix) Fet: Shanny
Jorge Bringas Bass
Willy Rodríguez Piano
Charles Dilone Bongo, campana, quinto
José Vázquez-Cofresi Congas, shekere
Julián Silva Timbales, maracas, tambora, catá
Ronald Prokopez Trombone
Tokunori Kajiwara Trombone
Jack Davis Trombone
Sam Hoyt Trumpet
Jonathan Powell Trumpet
Willie Oleneck Trumpet
Edwin Pérez Lead vocal, coro
Gilberto Velázquez Lead vocal, coro, guiro
Check it out and I hope to see you on the dance floor.
Supporting local Salsa Bands!
Every student is in a different skill level so I wanted to list some extra areas that students can concentrate on in class should they find they are ahead of the group.
First of all, make sure that you really have mastered what is being taught. Many times I will ask who aced the move I just taught and receive lots of confident yeses but when I walk around I see that there are gaps. So make sure you ask your partner what you can do to improve the lead or follow of the move, the timing of the move and the styling of the move. The person dancing with you can best gauge what areas you can work on and if you develop an honest rapport with your partner or fellow students, you will find the honest feedback is very useful.
If you do have extra time in class focus on the following areas:
1) Timing – really take the time to listen to the songs being played in the class and ensure that you are dancing to the right timing and keeping the consistent “quick, quick, slow” tempo. Count the beats and take the time to slow yourself down on the 4 and 8 to ensure proper rhythm
2) Body movement – are you moving your body while executing the move or are you just stepping? Start with your knees bending in the proper direction. This takes weeks, even months of perfecting to ensure your lower body is moving properly. Once you have the knees working properly which affect hips then you can move on to the rib cage isolation exercises to ensure you upper body moves also. Lastly, add the figure 8 to your rib cage and shoulders to get the final full body movement of the basic.
3) Styling – what can you do to make the move look better? Now that you have the right timing and the right body movement, are there arm or leg movements and additional styling techniques that you can add to the move to take it to a higher level?
With these 3 areas in mind, there should be plenty of work to do in class and when going out. Remember to only concentrate on one area at a time so that you can really hone your skills!