What is the ELQ policy?
Equivalent or lower qualifications (ELQ) was a policy brought in by the previous government (Labour) in 2008. It means that if you have already completed a degree programme, any further equivalent or lower qualification you apply for is not supported by the government, so the insitution you applied to do the course at would have to charge up to the full international student fee rate rather the the home student rate.

The first this made me think was that the government were trying to stop people from changing careers since that’d be what most people would be trying to do through studying a second degree. But why on earth would you start limiting access to study for a career change at the time of recession when people were losing their jobs and trying to find new ways of being employable. Apparently “the thinking behind ELQs was that there would be more funds for those who want to do first degrees” (Second degrees: there’s no going back, Anne Wollenberg for The Guardian, 2009). Hmph! So you could only do another degree if you had lots of money? Looks suspiciously elitist to me.

Back to the diploma. I searched online about ELQs and found information from different specific academic institutions execpt Goldsmiths. I had been preparing a funding application for the course fee of £850 as advertised in the Goldsmiths prospectus and online. There was no information about “international fees”. But based on what had happened to another student trying to enrol I was likely to fall under “ELQ status” – I not only had a BSc (Hons) but I also an MA from the same university – amd it was likely that the course was going to cost around £5000, nearly 6 times more than I was expecting! That’s quite a difference.

The idea of doing the diploma started to wane and I could not find the rationale to look for funding of a £5000 diploma. I shelved my funding research, which had been focused on grants under £1000. Other potential students in the same boat had already began the process of investigating this “ELQ” business along with tutors and other staff at Goldsmiths. It wasn’t the university’s fault – this had been brought in by the government. Finally, I began to hear that some courses were exempt from applying the ELQ status and after a couple of weeks of uncertainty I finally received an email that confirmed that the diploma was one of them. Phew!

It turned out that the diploma had been missed off the original exemption list back in 2008/9 because it had not run for a while. It’s fortunate that this was discovered otherwise several of us wouldn’t have been able to afford the course which, subsequently might have meant there wouldn’t be enough students to run the course. Smiles all round then!

Back on track
So I’ve picked up my funding research and application with relieved that the course fee is £850 and with the hope of raising the funds. It might be the last year this diploma runs at Goldsmiths because the department that manages it, Professional and Community Education (PACE), has an uncertain future and I’ve watched as many great, long-time music tutors have been made redundant.

Onwards
Last year I signed up as a pianist and tap dancer on the Performance Ensemble 2: Jazz & Pop course and ended up doing some vocal and drumming as well. This year I hope to continue developing as a musician (including tap) by gaining more experience in arranging, composing, directing and playing in an ensemble.

Diploma in Jazz and Popular Music at Goldsmiths College, London, UK

Course day/time: Saturday/Sunday 10.00-5.00
Dates: every third weekend, October 2011-June 2012
Fees: £850 (ELQ exempt, hooray!)
Accreditation: College Diploma
Where: Goldsmiths, University of London, New Cross, London, SE14 6NW, UK. Telephone: + 44 (0)20 7919 7171

This one-year part-time programme offers more advanced study in jazz and popular music styles and their practical application. It is a natural progression from the Certificate in Music Studies. You should have playing skills and skills in reading, arranging, scoring and transcription at least equivalent to those provided by the Certificate.

The programme is also suitable for musicians working in a professional and semi-professional capacity who want to develop their musicianship and performing skills and theoretical knowledge.

The programme emphasises learning by doing, and welcomes musicians from a wide variety of jazz and pop backgrounds. The study of arranging and composition in a variety of styles is included, along with development of advanced skills in playing, improvisation and musical direction and production. Classes are spread over 11 weekends, and include workshops and lectures from professional musicians working in the jazz, pop and world music genres.

What you study

General Musicianship involving lectures and practical work on: advanced jazz and popular music harmony, counterpoint and instrumentation, preparation of scores and parts, and rehearsal techniques.

Performance Ensembles involving practical aspects of the realisation of musical ideas with a band or ensemble. The emphasis is on learning by doing, including: the role of instruments in jazz and popular music, the production and direction of arrangements and compositions, and rehearsal and interpersonal skills.

For more details see Diploma in Jazz & Popular Music Studies on the Goldsmiths College website »

Archive information on ELQs
» ELQs: equivalent or lower qualifications, Higher Education Funding Council for England (HEFCE)
» Students taking second degrees withdrawn from recruitment limits, Times Higher Education, Feb 2010
» Second degrees: there’s no going back, Anne Wollenberg for The Guardian, 2009

Tap is music AND dance

• Tim Richards
  Tim was my mentor throughout my professional development project and provided the support and encouragement to help me to the next level in both my understanding of jazz music for tap and my piano playing. Tim was also my tutor for Blues Piano at Goldsmiths College 2009-2010.
• Jeanette Bain at the Association of Dance of the African Diaspora
• Lisa Ullmann Travelling Scholarship Fund
• Michele Drees Trio
  The trio’s great musicality and encouragement are great support and inspiration for jazz and tap dance.

The jazz piano and tap dance journey is just beginning…

Download PDF of the full report (from LUTSF website)

The project outline
The Lisa Ullmann Travelling Scholarship Award enabled me to undertake the international travel element of my Trailblazer Fellowship (Sept 2009- Nov 2010), which was awarded by The Association of Dance of the African Diaspora (ADAD). My Trailblazer Fellowship project involved professional development in my career as a tap dancer. The aim was to develop skills and experience to work more closely with musicians in order to fully integrate tap into a jazz band. As well as ongoing tap training I was also developing my musicianship by training as a musician and had begun working more closely with a jazz trio for tap dance performances prior to the project. Travelling to New York was a key element of research in the relationship between jazz and tap, and training in tap dance.

Dates of travel to New York USA, July 1st – August 6th 2010

Planned activities
• Attend Heather Cornell’s Manhattan Tap New York City intensive, 12th–23rd July 2010
• Research archives at The Lincoln Center: New York Library for the Performing Arts

Additional activities
My previous experience of travelling to New York City enabled me to be prepared for the many opportunities that appear in a short space of time. Below is an outline of tap and jazz related events that were either recommended or I find out about whilst in the city. There were also many other events and social activities related to dance and music that contributed to the purpose of my trip.

• The World of Tap Dance: A two-day celebration, 6th – 7th July 2010 (Conference)
• Tap City: The New York City Tap Festival Awards ceremony, screening, show, 8th-9th July 2010 (Festival)
• Savion Glover’s SoLE PoWER, 8th July 2010 (Tap/Dance theatre)
• Tap Jam at Smalls, 4th & 25th July 2010 (Tap/live jazz show)
• Heather Cornell’s BBQ & jam, 17th July (Tap/live music show and jam)
• Barry Harris Trio at the Village Vanguard (Live jazz show)
• Malika Zarra at Bar 55 (Live jazz show)
• Roxane Butterfly’s tap performance, 31st July 2010 (Tap/live jazz show)
• Cotton Club Swing Dance Night, 2nd August (Live entertainment: tap, big band and social swing dance)
• Lafayette Harris Jr Quartet at Zinc Bar, 4th August 2010 (Live jazz show)
• Choro Ensemble at Zinc Bar, 4th August 2010 (Live jazz show)

How far the purpose of the project was achieved
As far as the trip to New York it matched my expectations and provided the grounding and experience I was aiming for. The two-week tap intensive was challenging but in very supportive environment that helped ensure it was an enjoyable experience. It was particularly grounding to be amongst other professionals and share knowledge and experience of tap and jazz. When I returned to London I was pleased to find musicians relating to me as a musician as well as a dancer since this was one of the purposed of the project.

As indicated by the list of additional activities above, I was able to attend numerous events and jams in New York. The only element of my trip that could have improved was to have more time for research at the Lincoln Center although I managed to see some archived footage of tap dance and live music theatre shows as I had planned.

Highlights

Dinner with tappers @Cleopatra's Needle

There were so many interesting events happening while I was in NY but some great moments have to be the impromptu dinners and informal discussions with an eclectic mix of people from the international tap dance community. I made good connections with other international professional tap dancers and New York-based musicians. Working with musicians during the intensive was a great experience as it enabled me to realise my existing skills and build confidence as a tap dancing musician.

Another highlight was my surprise to see AboutTime included in the World of Tap Dance conference during the segment of tap dance in Britain/ Ireland.

Suggestions for future Awardees
It helps to allow for flexibility within a planned schedule. I had tentatively planned to attend a tap dance festival during my first week in New York. It turned out I was too unwell to do the festival classes during the first few days but I was able to attend tap conferences, screenings and shows, which turned out well, if not better than planned.

Always plan rest time. I was fortunate to able to extend my trip in order to cover further research elements since I was so exhausted after the intensive!

A Trailblazer’s journey: Thinking, planning and doing
Included in the report was my article that featured in ADAD’s Hotfoot magazine, Special edition, Sept 2010

To order a copy email hotfoot@adad.org.uk

Links
• Trip photo album
• Lisa Ullmann Travelling Scholarship Fund Award Winners List 2010-2011
• Download PDF of the full report (from LUTSF website)

On Thursday 1st July I fly to the Big Apple for a month of all things tap related. Although I’m not signed up for any TAP CITY classes I’ve been browsing the website and thinking about doing one of the 4-day intensives. But I’ll have to wait and see how it goes. I’ve noted down the events that are happening and plan to attend talks, films and perhaps a performance. There are so many things to do in NYC so I know I’ll have to pace myself in order to make the most of it.

The real focus of my trip to New York is to attend Heather Cornell’s 20th Anniversary NYC Rhythm Tap Intensive Workshop with live music and do research at the Lincoln Centre for the Performing Arts. With two solid weeks of “Back to our roots – Jazz” the intensive is just what I’ve been looking for. And being in New York it is also the perfect opportunity catch up with friends and relatives, and put some faces to those Facebook tap acquaintances!

Research and professional development supported by LUTSF and ADAD

Michèle and I continuously exchange ideas on tunes to listen to, and occassionally get together to try out new ideas. We have also been able to run through ideas at general tap sessions such as jams. I am currently building a working relationship with all three musicians through professional performances. One of these engagements was at Ronnie Scott’s in March 2010 as part of the Women in Jazz Week 8-13 March 2010. Michèle invited me as a special guest hoofer to work with her and her band alongside several other fabulous, special guest female musicians (Michèle’s line up). It was my first opportunity to work with a six-piece jazz band and it was particularly exciting to perform for the first time at Ronnie Scott’s Jazz Club in London.

Benefits
Mentor
It is proving to be beneficial to have a mentor as part of the Trailblazer Fellowship, particularly for identifying and gaining advice on specific goals. I have had two sessions with my mentor, Tim Richards that have included doing practical music tasks, as well as suggestions on jazz music to listen to for ideas and inspiration. As I hoped, the sessions also tie in nicely with the Blues Piano course I’m enrolled on (with Tim), which helps to develop my musicality and arranging skills for working with musicians.

Tap dance equipment
Another positive achievement has been my research into a suitable tap dance floor. I’m currently awaiting details of when I can try out a new tap board. When it is completed I’ll be able to make a bulk order on behalf of other interested tap dancers in the UK (and so reduce costs).

Research trip – July 2010
With the support of the ADAD Trailblazer Fellowship I’m fully signed up for a two week workshop in July 2010 – Heather Cornell’s 20th Anniversary NYC Rhythm Tap Intensive Workshop: Back to our roots – Jazz intensive. This 20th Anniversary Celebration will be the last one and is limited to only twenty participants. As the title suggests, it will be rooted in jazz and there will be musicians to work with. It will be a great opportunity to learn new material, brush up on technique and develop ways to work with musicians, all of which work towards my project goals. www.manhattantap.org

I am grateful to be a winner of the Lisa Ullman Travelling Scholarship Fund 2010-2011 for the research trip of my ADAD Trailblazer project.

The LUTSF supports travel to attend a conference, to pursue a research project or undertake a short course of study in the field of movement or dance. For further details of how and when to apply go to www.lutsf.org.uk

It’s certainly proving to be good year so far when it comes to my professional development project in tap dance.

Photo by Vicky Annand

On 17th February 2010 I posted the following on my Facebook status:

Why does it seem dance studios are becoming more selective than inclusive of dance styles? Why is it so difficult to find affordable studio space for tap dance in London? Sprung WOODEN floors please, not vinyl/marley etc. Grrrrr!

Over the next day I received a number of comments from tap dance friends and associates from different cities around the world who have the same issue. Whilst this post is focused on floors specific for tap dance it may also apply to other percussive dance styles.

The issue is that many new/rennovated dance studios lean towards vinyl-type covered dance floors which are not suitable for tap dance. And where they install sprung, wooden floors they are not durable for outdoor shoe wear let alone the battering of metal-plated shoes!

As part of my Trailblazer project I’m conducting research into acquiring a decent, portable, tap dance floor to practice on and for performances. This is partly because I’ve had to turn down gigs due to lack of suitable floor to tap on.

Requirements for tap dance floor

The National Tap Ensemble, an American tap dance company, had provided a useful link on their website entitled Appropriate Flooring For Tap Dance (link no longer available).

As they had stated on their website, the minimum standards required for tap dance floors are:

1 – A TOP LAYER MADE OF HARD WOOD – e.g. oak or maple but not painted, varnished or waxed
2 – HIGH RESILIENCY – i.e. sprung floor (a.k.a. floating or suspended floor)
3 – RESONANCE – at least two inches or five centimeters underneath the top layer of the floor
4 – A CRACK-FREE SURFACE – i.e. no space between boards or any nails, tape or sticky tape residue etc
www.usatap.org/aft.htm, 2010

As well as an exhaustive list on surfaces that shouldn’t be tap danced on they also state:

TAP DANCE IN PARTICULAR, SHOULD NEVER BE STUDIED, PRACTICED OR PERFORMED/TAUGHT ON BALLET/MODERN/JAZZ FLOORS
www.usatap.org/aft.htm, 2010

This is because the needs and requirements of ballet/jazz/modern flooring are DRASTICALLY different from those of tap/clogging/flamenco and all other percussive dance traditions (Ibid.) So dance floors advertised as being suitable for all styles are dance are merely a marketing strategy that does not reflect the differing requirements for dance styles. Dance professionals need to be aware of their responsibilities to themselves and students to make informed decisions about different dance floors for different dance styles.

Injury

People who tap dance on unsuitable floors may not experience any immediate repercussions beyond the poor resonance of taps, but are at high risk from micro-injuries to their joints. These are small injuries that can build up to major issues over time. I recently caught up with a tap acquaintance who had to retire from tap dancing due to arthritis caused by many years of dancing on “bad” floors, mainly flooring that was too hard. Although the tap dancer used a wood surface it was not sprung and was often laid on very hard surfaces such as marble and concrete. He indicated that he felt pressured to dance on “bad” floors in order to further his career, but now regrets that he hadn’t been more aware of the consequences since he would have been more selective about what surfaces to dance on. He has lived many years in pain, at first dancing through it (not recommended), but it built up to a point where it became so severe it limited his ability to walk. After finally consulting a doctor, the condition of his joints were found to be very serious and surgery was needed to correct some of the damage.

The Dance Floor “Specialists”

So why are many dance studios installing floors that exclude persussive dance styles? I suspect it’s partly due to demand as well as cost. Classic dance halls often had sprung, hardwood floors (good for tap dance, ballroom styles and classic jazz dance style). When cheaper materials became more readily available floor specialists moved away from the old flooring systems which were more expensive to build and maintain.

These days many dance floor specialists provide sprung floor systems that require a vinyl-type layer on top, or soft wood surfaces, all of which are geared towards ballet and contemporary. They are also cheaper to maintain. Percussive dance – tap, flamenco, clogging etc – are not prominent styles in typical dance studios so are not catered for. Hence why there is a lack of dance studio spaces for tap dance.

Common pratice

Many tap dance professionals, companies and enthusiasts find that the only way to ensure they have suitable flooring is build it themselves. Obviously this can be considerably expensive since it often requires a bespoke design and specific materials (real wood is expensive in comparison to soft wood, plywood or masonite). Maple and oak (particularly white oak) seem to be top hardwood choices amongst tap professionals. Portable stages are required for touring companies since they cannot rely on venues having suitable floors to dance on. Tap dance companies can spend thousands of American dollars to ensure they have a well-built tap dance floor, a luxury many individuals, or small companies cannot afford.

Tap dance at large dance events, festivals etc

Dance events aimed at being inclusive of styles often have floors unsuitable to tap dance on. Besides the organisers typically being ignorant towards the requirements of percussive styles, the companies that supply “specialist dance floors” are also just as unknowledgable. Tap dance is often an after-thought in the programming, by which stage the technical requirements cannot be met. Plus even if tap dancers could supply their own floor at dance events it’s not practical if set up time is needed, since each act typically has only 5-15min on stage.

Towards a portable tap dance floor

Whether an occasional or regular tap dancer, any tap dance floor should be more than a piece of MDF board or plywood since these are not hard wood and do not provide a sprung floor system. Practicing on such surface will lead to injuries.

The tap floor should pass the resiliency test – You can easily test this by jumping on the floor or stage while wearing hard soled shoes (note that sneakers won’t work as they will absorb shock and give you the false impression that the floor is resilient) (www.usatap.org/aft.htm, 2010)

At dance fairs, I’ve approached dance floor specialist companies for information on their products suitable for tap floors. I’ve also searched online for floors and those that look as if they have potential are often based in the USA (shipping costs to UK could be quite high).

Undesirable options

1) “Tap tiles”, a vinyl surface even though it’s recommended for tap dance practice. The individual tiles don’t provide a sprung floor system

2) Roll out wooden mat
Although this provides a wood surface it does not specify what type of wood (only that it has a Maple like finish) and would require a sprung subfloor.

UPDATE
The follow up to this post can be read on Portable Tap Dance Floor/

ADAD brought expert Sinead Macmanus on board to lend us Trailblazer’s a helping hand. Sinead began with a virtual meeting (online) to plan for the actual day. It turned out that there were many subjects related to running a dance business that we wanted to cover.

The online meeting proved to be key in setting up the schedule for the day and although the list of subjects for Sinead to cover seemed a bit ambitious, she successfully covered planning, strategy, budgeting and financial management, funding, touring and venues in the session, and allowed time to discuss things at the end. And since the day was rather information intensive Sinead also provided additional resources that would be useful for us mull over in our own time. I still have a few things to chase myself up on but it’s good to know there’s a support system pointing me in the right direction when the time comes.

Now all I need to do is set myself up with a workable system I can maintain to stay on top of the management of projects.

Well now with the support of the Trailblazer Fellowship I’m able to budget and plan for professional development. So when I read the schedule for Heather Cornell’s 20th Anniversary NYC Rhythm Tap Intensive Workshop with live music I was excited that it matches the focus of my project. But then again my project has been inspired by tap dancers I’ve seen on numerous occasions, such as Heather Cornell, Roxane Butterfly and Max Pollak, who have worked closely with musicians for many years. What’s more Heather’s Back to our roots – Jazz intensive is her last and The 20th Anniversary Celebration is for 20 Students only.

Heather Cornell’s Rhythm Tap Intensive you will get the same individual attention that Heather offered her company members and dancers in her professional training program for two decades.

From Manhattan Tap Intensive with Heather Cornell on www.manhattantap.org

Of course I’m now fully signed up for the two weeks in July. And whilst in New York I’ll be using the opportunity to check out the Lincoln Center for the Performing Arts for tap and jazz research. It will also be great to catch up with old tap buddies and make new contacts, particularly since there’s likely to be a lot of tap visitors in town for the Tap City festival the first week of July. And budget permitting, I might be able to squeeze in a master class or two at Tap City as well!

When I first put my Trailblazer Fellowship proposal together I was a bit concerned about finding musicians I could work with. However late last year, whilst I was wondering about the best way to approach musicians an opportunity came my way.

Michèle Drees began attending the London Tap Jam last summer for tap dance. As it turns out she’s an amazing drummer. And Michele’s so enthusiatic about playing for tap dancer’s she had put together her own trio for that purpose. So when Michèle and I first began to talk we realised we were aiming for very similar goals. Needless to say we’ve teamed up and are currently working on ideas. Watch this space!
To see how we’re getting along come see

Michèle Dress Trio at Women in Jazz Week at Ronnie Scott’s on March 13th.

Ronnie Scott’s
47 Frith Street
Soho
London
W1D 4HT
UK
Reservations: +44 (0)20 7439 0747