1. Newsletter 3. Australia March 2016
Blood Tattoo
Trilogy…
A long term dream is
looking like it’s about to
become reality for this
little black duck. Paul
Zaidman has wanted to
be in the movies for as
long as he can
remember, and now has
been given a golden
opportunity in the form
of a major role as a lead
character in the first
instalment of the Blood
Tattoo book trilogy.
Blood Tattoo is the latest brain child of writer/producer Chrys
Phillips. She has gained worldwide success with several of her
projects, inclusive of her award nominated books in various
genres and her full-scale theatre productions. Chrys is set to
give Australia yet another blockbuster story, picture novel and
movie. Could Paul Zaidman be the next success story to come
out of our humble little country down under? To stay in the
know come to ‘Comic Con, Melbourne, Australia’ June 2016…
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WHERE ARE WE THIS
MONTH…
Australia
Today’s Dance Tip
Muscle memory has been used
synonymously with motor
learning, which is a form of
procedural memory that involves
consolidating a specific motor task
into memory through repetition.
When a movement is repeated
over time, a long-term muscle
memory is created for that task,
eventually allowing it to be
performed without conscious
effort. (Wikipedia)
Now get on the floor and practice
one technique over and over until
you can do it without thinking. It’s
as simple as that.
We all know that doing a step over
and over can very quickly become
tedious. It can take the passion
out of your dance, frustrate you
and your partner which can lead to
arguments.
The fact of the matter is that if you
want anything in life bad enough
then you will work for it. This is a
great test to see if your passion
can shine through your boredom.
Practice makes perfect….Now get
back to practice.
DANCE HOUSE
I N T E R N A T I O N A L
Dancing your inner truth | Blood Tattoo @ Comic Con | Dance tips…

2. Newsletter 3. Australia March 2016
Over time, we have seen the
art of dance transform itself
into many interesting forms
and give birth to many new
styles. However, throughout
all of these changes, there has
been a certain constant that
has kept the world of dance
true and authentic…Until now.
We are seeing more and more
of the “look at me’s” and the
“me too’s” coming out in the
dance world. What we are talking about is the latest trend sweeping
through the dance community which asks the dancer to go further
than the dance requires, and do more than their body’s should in an
effort to be noticed.
On the one side it is a great thing to have outside influences which
push the dancer to become a better performer. On the other hand
how far can one push their limits before the performance loses it’s
original essence? So if we were to mirror this concept in the world of
english literature, then what we are seeing is authors shouting and
using profanities in their writing just to get noticed and sell more
books.
When a dancer moves their body during a performance and holds
true to their principles of communication, you see something not
only courageous but magnificent. You see, dancing is a form of
communication that the dancers have with the audience and this
has nothing to do with a physical fete, but rather the ability to
transfer ideas, intention, emotion and story to the audience. This
has nothing to do with the amount of spins someone does or how
they can contort their body, but rather the courage to open their
souls to the onlooker’s and not be afraid of being judged.
Dancing is a form of communication, much like any art form asks
the artist to add a part of themselves into a bunch of techniques and
methods that have been around for years. These techniques and
methods are rules of movement that have been agreed upon by
masters of movement before us, in a time when truth was held in
the absolute highest regard. These techniques and methods of dance
are nothing without the soul of the practitioner added to them.
2
Paul Zaidman’s…
transformation into
the evil assassin
‘Ranulf’
Dancing The Truth
To purchase the download or
physical copy please click on
the link below:
http://
www.bloodtattootrilogy.c
om/#!graphic-novel/c11

3. Newsletter 3. Australia March 2016
When the performer is courageous enough to give of themselves wholly and completely, then the
truth of their performance shines through and brings scores of audiences to tears. Their performance
has the capacity to touch, move and inspire people into all forms of behaviour least of all sitting on
the edge of their seats in anticipation of the next movement from the performer.
You could say this is the point where, “the dancer becomes the dance”.
3
“Great dancers aren't
great because of their
technique, they are
great because of their
Passion”

4. Newsletter 3. Australia March 2016
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A blast from the past
Anna began her love of dance at the ripe old age of five. She attended ‘Classique School of dance’ in a small
town called Sunbury in Victoria, Australia. There she studied the Cecchetti syllabus for classical ballet and for
ten years continued to pass all of her exams with honours.
After a few years of attending the school, Anna’s interests broadened to other fields of dance and she also took
on the theatrical styles which included Jazz and Tap. Along with these she also took up Contemporary, Folk,
Song & Dance and Hip Hop.
Pictured above is Anna with some of her classmates depicting the story of ‘The angel and the soldier boy’
which they all performed at her dance schools end of year production in December of 1995. Anna managed to
attain a solo role in this production playing the part of the white cat.

5. Newsletter 3. Australia March 2016
So you see the person you would like to dance
with next. You walk over and ask them to dance
and they accept. You are now dancing to the
music and that little voice inside your head
jumps in and starts talking… Oh ow!!
What is it saying to you?
What are you listening to?
The way we see things, is that even though that
voice has decided to conveniently drop in and
rescue you from disaster, you have the choice of
whether to listen to it or not. You see that voice
has been with you your whole life, and will be
there until you die, and its primary role is to
keep you safe no matter what. Its now really up
to you whether you actually do what it says or
simply become aware of it and say “thank you,
but I got this…”
When your voice says, “show her how many
times you can spin her cos girls like to be spun
around a lot” Do you really want to spin her
and ruin her hair do, or make her so dizzy that
she loses her balance. Think carefully about
what happens to the girl during a spin or better
still ask someone to spin you 4 time or more in a
row. See what happens to you.
On the other hand when you girls get spun 8 or
more times and your voice says to you, “Hold on
baby hold on, make sure you show him how
good you are at spinning, don’t let go no matter
what” Is that what you really want? Or can you
simply relax your fingers, drop your hand and
smile and say “no more than 3 spins”
Guys want to know what girls want by nature.
We are people pleasing machines and cannot
read your minds ladies.
Please speak up and tell us how you would like
to be treated. Thats right there you go I said
it. Show people how you like to be treated
and they will oblige.
When we use dance moves on the floor we
are actually talking to our partners. An under
arm tun or ladies turn says “ Show me your
dress. I think you look pretty, lets have a look
at you” A dip can mean all sorts of things but
mainly is taking the flirtation to the next
stage right there on the floor. A cross body
lead is a tactical move which both places the
girl in a new position for the next lead, or can
also be used as a protective element taking
the girl out of danger and moving her to a
safer place on the floor.
Everything you do on the dance floor reflects
on the type of person you are in reality. Not
many people know this or even understand
this concept but when you watch a group of
people social dancing, you really get to see
human behaviour. This will be no different
than what you would expect to see when you
look at a group of people talking at a bar or a
night club.
So next time you ask someone to dance or are
asked to dance, will you become a completely
different person and try to impress with fancy
moves and tricks that are really not what you
normally do? Or will you simply ease into the
dance conversation with style and grace and
be yourself?
So remember, don’t be fake. Don't try to
impress with steps that don't work and are
not you. Be real and you will be dancing all
night.
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What are you really telling your
partner when you dance?