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Flexibility for Dance: for varying ages and abilities CPD Course
Friday 4 April 2025
9am – 4pm HKT
![Online icon](https://www.royalacademyofdance.org/wp-content/themes/royalacademyofdance/assets/images/icons/rad-events-online-icon.png)
Booking Deadline:
Thursday 3 April 2025
Event Date:
Friday 4 April 2025
Event Time:
9am – 4pm HKT
Location:
Available Online?
Yes
Who’s it for?
Members and teachers
Fee:
Members HK$1100 Non-members HK$1420
Contact:
![Online icon](https://www.royalacademyofdance.org/wp-content/themes/royalacademyofdance/assets/images/icons/rad-events-online-icon.png)
This one day workshop will address safe and effective stretching / flexibility training for dancers of varying ages and abilities.
Aims
To develop teachers’ knowledge and understanding of flexibility in dance along with how to evaluate students and modify training according to their needs.
Learning Outcomes
On completion of the course you will have:
- An enhanced understanding of flexibility
- A secure knowledge of the underlying principles of a variety of flexibility training approaches
- An enhanced understanding of the challenges of working with the hypermobile dancer
- Developed skills in assessing and addressing the length / strength balance in dancers.
Recommended Preparation
Please ensure that you wear comfortable clothing that does not restrict movement, as well as appropriate footwear for the studio. Kindly bring a water bottle for the class.
We also recommend bringing pens, pencils, paper, or your preferred materials for taking notes on the day.
Participants are invited to bring example case studies of students for whom they would like guidance in developing flexibility training programmes.
Tutor
Ms Dawnna Wayburne
Dawnna started her ballet training as a 5 year old in Zimbabwe under the tutelage of Dawn Nimr, a contemporary of Merle Park. In 1973, she went to England to further her study of both the RAD and ISTD methods at Stella Mann School of Dance, where she was trained as a teacher in Ballet, National dance and modern dance. She was awarded an Associate in both ISTD Ballet and National Dance and completed all necessary teacher training requirements for the Royal Academy of Dance. Dawnna has also completed Pilates, Gyrotonic and the Feldenkrais Bones for Life certifications to a level of being both an Educator and Master Trainer of these systems.
Dawnna established DMR School of Ballet in HK in 1984 and has only recently handed it over to her next generation of teachers remaining as a consultant to this thriving dance establishment of almost 40 years. During her tenure she was not only a member of the RAD Summer School Committee but also it’s Chairlady for 3 years. She also spent time as functional reeducation teacher to the students of The Hong Kong Academy for Performing Arts for a period of 5 years.
Apart from establishing a thriving ballet school Dawnna is also the Owner and Education Director of Iso Fit HK and Polestar Pilates Asia (PPA). PPA has host sites in most major cities in Asia and until the pandemic Dawnna was traveling to and teaching at all of these venues preparing students to become certified Pilates and Gyrotonic teachers.
During these travels she has also consulted with dance companies like Universal and the National Ballet of South Korea working with their company members to understand the value of somatic support in dance longevity and injury prevention. Dawnna believes that a sound foundation in core mechanics and somatic awareness increases a dancers ability to perform to his or her optimal level allowing them, through self awareness to be more confident performers, essential at a time when dancers strive for greater range of motion and gymnastic prowess over artistry.
Her ballet school and Pilates training programmes have historically adopted a learner and exploration-oriented approach for a fully rounded development of participating students. Dawnna’s motto regarding young dancers, “ thinking bodies, dancing minds” indicates that students can, with the right guidance, be taught to develop creatively and thoughtfully. Her hope is that one can, in this way enhance their self-confidence enabling them through continuous mindful movement to perform with the ease and grace that we recognise in all professional performances without fear of injury or failure.
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