BALLET BLACK

History of Ballet Black

2001

Ballet Black was founded by Cassa Pancho. The purpose of the Company was to provide dancers and students of black and Asian descent with inspiring opportunities in classical ballet. Together with founding Ballet Master Denzil Bailey, Ballet Black’s first audition was held at the Royal Academy of Dance in London. After several months of searching, six dancers joined Cassa and Denzil to became the first members of Ballet Black: Frederic Claudel, Celia Grannum, Florence Kollie, Sia Kpakiwa, Gerrard Martin and Jake Nwogu. Ballet Black held its first performance at the Royal Academy of Dance, featuring choreography by Pancho and Bailey, as well as musical performances by Celloman and students from Trinity College of Music.

2002

Ballet Black made its debut at the Cochrane Theatre, London, dancing in ballets by Stephen Sheriff and Patrick Lewis. German dancer, Silvestre Sanchez replaced Gerrard Martin. At the same time, Pancho opened the Ballet Black School for young children in Shepherd’s Bush, and the Ballet Black Associate Programme for teenage and professional dancers.

2003

Raymond Chai took over as Chief Ballet Master, and the Company returned to the Cochrane theatre once more, with new dancers Neil Totton and Jeremiah Tatum. After a meeting with Deborah Bull, Creative Director for ROH2 at the Royal Opera House, Ballet Black moved its weekend classes and rehearsals to the Royal Opera House, Covent Garden.

2004

The Company held a fundraising performance at the Clore Studio at the Royal Opera House, with new addition to the Company, Camille Fitzworme, and also performed at the Global Fusion Festival, Hastings. The Company achieved Registered Charity Status.

2005

Carlos Acosta, Principal Guest Artist with The Royal Ballet Company became the Patron of Ballet Black. The Company, (Damien Johnson, Carl Paris Adams, Denzil Bailey, Celia Grannum and So-Yeon Kim) had its first season at the Linbury Studio Theatre, with choreography by Antonia Franceschi, Stephen Sheriff and Irek Mukhamedov. After a cancelled tour to Poland left the Company in dire financial straits, Ballet Black returned to the Linbury, and sold out a one-off fundraising performance with just one week’s notice. The Associate Programme reached over 100 members.

2007

Ballet Black (now with dancers Hugo Cortes, Richard Glover, Chantelle Gotobed, Damien Johnson, So-Yeon Kim and Monica Stephenson) returned to the Linbury Studio for a brand new, sell-out season, this time featuring choreography by Liam Scarlett, Antonia Franceschi, Bawren Tavaziva, and Company Ballet Master, Raymond Chai. Ballet Black was also featured in a poll of ‘The Best of Black Britain’ in PRIDE Magazine.

2008

Ballet Black returned to the Linbury Theatre in April with a brand new company of dancers: Darrius Gray, Cira Robinson, Jaime Rodney, Nandita Shankardass, Stephanie Williams and Jazmon Voss. The season was made up of world premieres by Shobana Jeyasingh, Liam Scarlett and Richard Alston. The company was also featured in the March edition of British Vogue and made its debut at the Cambridge Arts Theatre and The Big Mission, Swindon. At the start of the new season in November, BB welcomed new British dancers Sarah Kundi and Jade Hale-Christofi into the company, along with returning dancers Chantelle Gotobed and Hugo Cortes (from 2007) and Cira and Jazz from the April season. 2008 also saw the addition of four new classes to the Ballet Black Junior School and the Associate Programme.

2009

For their 2008/9 season, Ballet Black were able to offer year-round contracts for the first time. The Company was made up of BB veterans: American dancers Cira Robinson and Jazmon Voss, Hugo Cortes from Brazil, and British dancers Chantelle Gotobed, Sarah Kundi and Jade Hale-Christofi. BB commissioned brand new ballets from Martin Lawrance, Antonia Franceschi, Christopher Marney and Will Tuckett, and revived their 2007 ballet by Liam Scarlett, Hinterland. In addition to their sell-out season at the Linbury Theatre at the Royal Opera House and the Cambridge Arts Theatre, the Company also made their debut at the Hackney Empire in London, the Latitude Festival in Suffolk and danced at the G20 summit for guests including Sarah Brown, Michelle Obama and J. K Rowling. The Company received its first nomination at the Critics’ Circle National Dance Awards, for Best Classical Dancer for Sarah Kundi, and won the Dance Europe Award for Outstanding Dance Company of 2009.

2010

For the 2009/10 season, American dancer Damien Johnson re-joined the Company and Ballet Black returned to the Royal Opera House with another programme of world premieres, choreographed by Chief Ballet Master, Raymond Chai, hip-hop dance maker Robert Hylton, and award-winning choreographers Christopher Hampson and Henri Oguike. The Ballet Black Junior School added several new classes to its schedule and the Associate programme grew to 250 members. The Company debuted at East London Dance’s Local, International season, Greenwich Dance Agency’s Cabaret, appeared twice at the Bernie Grant Arts Centre and staged a special performance at the Royal Opera House, hosted by Kwame Kwei-Armah with talks from Richard Alston and Christopher Marney.

2011

The start of their 2010/11 season saw the Company hire its first Apprentice dancers, Kanika Carr (Central School of Ballet) and Samuel Chung (Tring Park), taking the Company to eight dancers. The season also marked BB’s ten-year anniversary which was commemorated with their first ever narrative ballet, Orpheus, choreographed by Will Tuckett that premiered at the Royal Opera House in February. The Company also toured to new locations, including Canterbury, Winchester, Bury-St-Edmunds, Watford, Southend and Nottingham. British actor and playwright, Kwame Kwei Armah joined Ballet Black as Patron.

2012

For BB’s 2011/12 season, the Company welcomed two new dancers: First Year Apprentice, Joseph Poulton, graduate of the Central School of Ballet, and Senior Artist, Sayaka Ichikawa. In addition to new tour locations in Lancaster and Newbury, the Company also returned to Canterbury, Winchester and new London venue, the artsdepot in Finchley. The Royal Opera House season grew to include seven performance and in April BB embarked upon its first foreign tour to Modena, Italy, as well as a UK tour of the Theatre Royal, Bury-St-Edmunds, Exeter Northcott Theatre, Brewhouse Arts Centre, The Curve, Leicester, Lakeside Arts Centre in Nottingham and the Cambridge Arts Theatre. The repertoire included new works from Jonathan Watkins (The Royal Ballet), Martin Lawrance (creator of Pendulum for BB in 2009) and Jonathan Goddard (Rambert Dance Company). Christopher Hampson also returned with a new narrative work,Storyville, a dark tale of love, corruption and survival, set in the nightclubs of 1900s New Orleans.

2013

BB welcomed Central School of Ballet graduate, Jacob Wye as a First Year Apprentice, and Brazilian dancer, José Alves as a Junior Artist and Autumn touring took the Company to Harlow, Poole, London, Lincoln and Newbury. The annual Linbury Theatre programme at the Royal Opera House featured new creations by choreographers Robert Binet, Ludovic Ondiviela and Javier de Frutos and a new narrative ballet, War Letters by Christopher Marney. The new programme toured to Cambridge Arts Theatre, Exeter Northcott, Bernie Grant Arts Centre, Southhill Park, Salisbury Playhouse, G-Live, The Brunton, Harlow Playhouse, The Stanley and Audrey Burton Theatre, Leeds and Theatr Brychieniog. The Company also won Best Independent Company of 2012 at the Critics’ Circle National Dance Awards, and Founder and Artistic Director Cassa Pancho received an MBE in the New Year Honours for Services to Ballet.

2014

The Company (Cira, Damien, Jacob, José, Kanika and Sayaka) was joined by two new dancers: Isabela Coracy from Brazil, and Christopher Renfurm from Holland. Touring was extended to include Gorizia, Italy, and the Festival for Performing Arts in Bermuda. The Company created three brand new ballets that opened at the Royal Opera House’s Linbury Studio Theatre, Two Of A Kind by Christopher Marney, Limbo by Martin Lawrance and A Dream Within a Midsummer Night’s Dreamby Arthur Pita, followed by a tour of the UK. Senior Artist Cira Robinson received a nomination for Outstanding Classical Dancer at the Critics’ Circle National Dance Awards, and Arthur Pita’s Dreamreceived nominations for Best New Classical Choreography as well as a nomination for Outstanding Achievement in Dance at the Olivier Awards. The Company created its first ever ballet aimed specifically at children and families, Dogs Don’t Do Ballet, choreographed by Christopher Marney and based on the best-selling book by Anna Kemp. At the end of the year, Artistic Director Cassa Pancho became a Patron of Central School of Ballet.

2015

The Company (Cira, Damien, Jacob, Kanika, José, Isabela and Christopher) were joined by new Junior Artist, Marie-Astrid Mence from France. Two new ballets were created: To Fetch A Pail of Water? by Kit Holder (Birmingham Royal Ballet) and their latest narrative ballet, Second Coming, by award-winning dance maker, Mark Bruce, plus the revival of the critically acclaimed Depouillement originally created by Will Tuckett in 2009. International touring increased to include to Sardinia and Naples and the first ever visit to Germany at the Burghof in Lörrach. BB commissioned a new duet Rhapsody in Blue by Christopher Marney for their debut at the Henley Festival performing to over 3,000 people.  In November 2015, Cira and Damien performed as part of the launch of the Black Power List 2016 event at the prestigious V&A Museum. Ballet Black’s A Dream Within A Midsummer Night’s Dream (choreographed by Arthur Pita) was nominated for a South Bank Sky Arts Award. The Company’s family ballet, Dogs Don’t Do Ballet (Christopher Marney) continued to tour the UK. At the beginning of the 2015/16 season, BB welcomed back Sayaka Ichikawa after a year off to have a baby, and new dancers, Mthuthuzeli November from South Africa and Joshua Harriette from the UK.

LINK

AFRICAN AMERICAN BALLERINA MAKES HISTORY...

Misty Copeland

took her first ballet class at the age of thirteen which is known as a late start in the ballet field, months after that first class, Misty was known as a 'prodigy'.

She was just seventeen when she joined the American Ballet Theatre, due to how she looked she weren't accepted quit easily by the rest of the dancers in her class. Her skin ton was a problem, he breast were to big and she was curvy and very most so muscula, which caused her difficulties especially in a ballet like Swan Lake. 

From now she is the first African American ballerina to make history to be the first black person to be the principal of ballerina at he the American Ballet Theatre.

Unit 28: Storytelling 2nd DRAFT

Blind Victory

Cagla: Did you finish your homework before coming out? you know how mum is"

Ruth: Yeah of course I did"

Cagla: Alright, well lets start with the ball game".

*Ruth and Cagla start off with playing playground games, we can see them running around, laughing, screaming etc*.

Ruth: Pass it over here”.

Cagla: No it’s mine”.

Ruth: We’re playing a game, give it, give it”.

*Cagla tosses the ball at Ruth and they continue playing their game centre stage*.

Cagla: You're throwing it too high".

Ruth: No I'm not".

Cagla: I'm bored of this game, lets play hopskotch".

Ruth: You're doing it wrong, this is how you do it".

Cagla: No, you're doing it wrong. You don't start off with two".

Ruth: Whatever, I'm still better than you".

*After one last round they both stop the game*

Ruth: I'm feeling hungry, do you think mums prepared dinner yet?".

Cagla: I think so lets check the time".

*They both pretend to check their watch/alarm and it makes a noise, they move their heads in the same motion*.

“Tick tock, tick tock, tick tock”.

Cagla: Yeah lets go down".

*They make their way back to their home in slow motion but then speed up again as they turn back around*

Cagla: Pass me the remote, lets watch some TV".

Ruth: Here".

*They start to eat dinner in front of the television. A news report sound effect comes on in the back ground, Cagla stands to her feet while Ruth continues eating in slow motion*.

Cagla: There has yet been another one hundred people found dead from the accidental bombing that happened in Syria, it was unintentionally dispatched into the back of a factory, some people have survived the awful incident but have been left seriously injured. Resulting into some of them loosing legs, arms and even eyesight. Our thoughts go out to the victims and the families victims...."

*Cagla then sits back down and starts eating in slow motion, Ruth stands up and gives a news report*

Ruth: According to provincial Governor Talal al -Barazi, two explosion occurred with a difference of a few minutes in the residential area of Al-Zahra. It was placed in a densely populated quarter. Did this happen because the government and opposition groups gathered in Geneva in a bad to start talks aimed at a political solution to conflict? Was the bombing really an accident?".

*Ruth sits back down and they come out of their transition and start to eat and talk normally*.

Cagla: Do you think that'll happen to us?"

Ruth: What?"

Cagla: The bombings, I mean it seems unrealistic".

Ruth: No, I don't think so. It's never happened before so why should it happen now".

Cagla: Yeah.."

Ruth: We're perfectly safe".

Cagla: Wow you ate your food quick".

Ruth: You need to hurry up so we can go out and play".

Cagla: Let's just go now, I'm full".

*They walk away from each other and walk back upstage, they run around and begin to skip towards each other in slow motion as an explosion happens*

*BANG!*

*Ruth and Cagla fall to the ground after the bombing, they lay on the ground for a few moments before trying to sit up and start feeling their face*.

Ruth: I can't see"

Cagla: I can't see"

Ruth and Cagla: God help me, I can't see!"

Ruth: Mum!"

Cagla: Mum!"

Ruth: I can't feel anything"

Cagla: Why are we cursed".

Ruth: Tasnim where are you? I can't see you".

Cagla: I'm coming to help, wait".

Ruth: My eyes, I can't see".

Cagla: Miriam I'm here look, look!".

*After a few attempts, they stand on their feet unable to see with their knees slightly bent looking out towards the audience*.

*They try to walk forward but they fall to the ground, after a few moments of lying on the ground they stand to their feet*.

Cagla: What's the point of living in a country with no democracy? Where no one listens to anything you have to say, all they do is lift up a gun, point it at you and BANG you're dead. I live in Britain, a country where I can vote, I have a voice and I can choose what I want to do as long as it's not illegal. I get to go to school and have a free education, I have free travel until I'm 18, but most importantly I have rights. The government allows me to pick and choose what I don't like. If you came over to Britain you would get a feel of true democracy, it allows us to be a modern and forward country with no restrictions or threats. Direct democracy gives all people the right to participate regardless of religious beliefs, gender, sexual orientation, and physical well being.

Ruth: It's not safe here, I can't stay here I'll die. I've already lost something so vital to me, my eyesight I'm blind for the rest of my life. I can't lose my life either. Democratic prospects have vanished by the devastation of civil war and the deepening fragmentation of Syrian society. All my sources are limited and there's no way I'll even make it to the age of 18 with the way things are happening here. I don't have a chance to express how I feel without being murdered or assaulted in the easiest case. I'm fed up of not having any freedom, I can't go out to play without being attacked, how can I make my own way to school knowing it's not safe? There's no equality in this country, nobody has a voice yet all the citizens seem to be suffering and having to pay for something we never had an opinion in".

Ruth: It's time to go, we must leave".

*We see Cagla and Ruth packing their bags preparing to leave.

Cagla: It's a long journey but they must leave, they're scared for their lives. They decide to take a risk and make their journey to Britain. It's a dangerous journey but they're willing to risk is".

Jesus Christ Superstar: Audition

Drama Therapist

Job Description

 Drama therapist:

Drama therapy is a creative arts therapy that uses the performance arts to promote psychological, emotional and social change. Drama therapists offer a safe environment for an individual or group to explore, address and deal with personal and social difficulties, e.g. grief, anxiety and personal growth.

Description

•      Drama therapists use a variety of interventions with clients, including stories, puppetry, improvisation, drama and movement to allow clients to explore their past experiences.

•      Clients may be of any age and may include people with psychological and/or mental health issues, physical or mental disabilities or behavioural difficulties. Other clients may be people on probation or in secure settings, or people overcoming an addiction.

•      Drama therapists work with a range of other professionals such as psychologists, social workers, nurses, teachers and other therapist staff.

Responsibilities

•      encouraging and supporting clients in creative drama and theatre work, involving the expressive use of movement and objects, using techniques such as improvisation, storytelling, play, role-play, myth, ritual, script work, and devising and presenting performances;

•      encouraging self-awareness, exploration and reflection on feelings and relationships;

•      providing opportunities for clients to learn new skills;

•      initiating spontaneous exploration of personal issues;

•      enabling clients to experiment with new ways of thinking and behaving;

•      using appropriate equipment, materials and therapeutic 'props', such as puppets and other objects;

•      organising a performance resulting from working with a group (although this is not essential);

•      undertaking assessment visits or appointments;

•      taking referrals from other professional staff;

•      maintaining records of clients and activities;

•      writing reports for your employer on activities undertaken and clients seen;

•      managing marketing and finances, when working on a self-employed basis;

•      Attending regular supervision sessions.

Education

•      Masters qualification in drama therapy recognised by health and care professional council

•      Degree in drama or psychology

Skills/Experience

•      You should be interested in helping people

•      Practical experience of drama

•      Work experience or voluntarily jobs, in helping people with difficulties in all areas of life.

Salary

•      The salary varies widely according to the employer, mode of employment and professional qualifications and experiences.

•      Starting salaries for those working in the (NHS) range from £25,783 to £34,530

•      Or a experienced drama therapist may earn between £30, 764 and £40,558

•      Fees in a private practice  are usually between £35 and £60 for a one hour session 

TASK 1: What are British values?

What are British values?

Image: UK Grunge Flag' by Nicolas Raymond

Flag

According to Ofsted, British values are:

• democracy; 
• the rule of law; 
• individual liberty; 
• mutual respect for and tolerance of those with different faiths and beliefs and for those without faith
.

But what are 'British values'?

According to Ofsted, 'fundamental British values' are:

• democracy
• the rule of law
• individual liberty
• mutual respect for and tolerance of those with different faiths and beliefs and for those without faith.

Link

Unit 28: Storytelling 1st DRAFT – BABBLE VERSION – 1 FEB 16

Blind Victory

*Ruth and Cagla start off with playing playground games, we can see them running around, laughing, screaming etc*.

Ruth: Pass it over here”.

Cagla: No it’s mine”.

Ruth: We’re playing a game, give it, give it”.

*Cagla tosses the ball at Ruth and they continue playing their game centre stage*.

*They both pretend to check their watch/alarm and it makes a noise, they move their heads in the same motion*.

“Tick tock, tick tock, tick tock”.

*They return home skipping, holding hands with big smiles on their faces*.

*They start to eat dinner in front of the television. A news report sound effect comes on in the back ground*.

*They stop what they are doing and stand to their feet centre stage*.

"There has yet been another one hundred people found dead from the accidental bombing that happened in Syria, it was unintentionally dispatched into the back of a factory, some people have survived the awful incident but have been left seriously injured. Resulting into some of them loosing legs, arms and even eyesight. Our thoughts go out to the victims and the families victims...."

*They walk away from each other and walk back upstage, they run around and begin to skip towards each other*

*BANG!*

*Ruth and Cagla fall to the ground after the bombing, they lay on the ground for a few moments before trying to sit up and feeling their face*.

Ruth: I can't see"

Cagla: I can't see"

Ruth and Cagla: God help me, I can't see!"

Ruth: Mum!"

Cagla: Mum!"

Ruth: I can't feel anything"

Cagla: Why are we cursed".

*After a few attempts, they stand on their feet unable to see with their knees slightly bent looking out towards the audience*.

*They try to walk forward but they fall to the ground, after a few moments of lying on the ground they stand to their feet and we see them slowly starting to pack a bag*

Ruth: It's time to leave, I can't stay here anymore. My eyes are gone and so will my life very soon if I don't run".

*We see Cagla exiting the stage first and making her way upstage facing the audience*.

Cagla: It's a long journey but she must leave, she's scared for her and her families life. She decides to take a risk and board a boat which is set out to go to Turkey across the Mediterranean sea, but stops at Greece first to let off some passengers. It's dangerous because there are too many people on the boat, but she has no other option".

*Ruth is seen boarding a boat and Cagla joins her. They spend a few moments sitting down before standing to their feet. Cagla opens a passage way for Ruth".

Cagla: Turkiye'ye hosgeldiniz".

Ruth: This is a new life for me"

Research and Analysis: VTPAMPHLET

Vocal Exercises

1. Posture!

The first step in developing vocal technique is to establish good posture for singing. Your body is your instrument and poor alignment or unnecessary tension can affect how well you sing. Good posture enables good breathing. Think of your body as the engine that drives your voice and your breath as the fuel that drives the engine.

• Stand with your feet hip width apart. Your weight should be evenly distributed. A good exercise is to transfer your weight from right to left foot, forward and backwards and round in a circle and to then move to a centered place. Your knees should be relaxed and your arms should rest by your side. Be wary of your chin and neck: singers often raise their chin in the belief that they are helping the sound come out when really, this places unnecessary strain and tension on the voice.

Once we have established good posture we move to the second step in developing vocal technique: learning to breathe well during singing. Having control over your breathing will not only help to support your voice but will enable healthy singing to take place.

2. Breath!

There are three key breathing skills singers need to learn:

1. The ability to inhale large quantities of air .
2. The ability to snatch a good breath quickly .
3. The ability to control the escape of breath .

Breathing well helps to support your voice. Singing without having any breath left is a very common thing most beginner singers do which results to tiring your voice. 

To help improve your breathing:

1. Breathe deeply from your lower lungs - imagine a rubber ring around your waist (your diaphragm)

1. Breathe in and try to push the ring outwards.

1. Breathe in through your nose and out through your nose and mouth.

1. Avoid raising your shoulders as you breathe in, always keep them relaxed and level with one another.

1. Relax! Tension will prevent you from making a good sound.

A technique that I've always use to help me to breathe well is...

Lie on the floor on your back with your hands on your stomach. 

Breathe in (inhale) and your hands will rise. 

Now breathe out (exhale) and they will lower.

There are two breathing techniques that a singer can take on the responsibility and self teach themselves.

THE HISSING EXERCISE:

Take a deep breath in, then exhale gently in a 'SSSSSS' breathe (hissing like a snake).  Try to keep your exhalation as a steady and constant stream for as long as you are able to.

THE SNATCHED BREATHS EXERCISE:                                                                          Breathing in gradually,thinking of your lungs filling up in fractions, when you count. Focus on the diaphragm, being careful not to hold tension in the throat.

3.Tighten that drum!

As a singer you need to be able to understand how the diaphragm, lungs, chest cavity  play a huge part in effecting the delivery of the sound of your voice. I could use the illustration of a drum, a drum that is tuned loosely creates a flat sound which I will find boring to hear as it will be lacking resonance. Resonance is the vibrations that create the tone through your mouth, throat, and nose. So the technique to do is to be able to expand the rib cage by flexing the muscles that pull your ribs in and out, this will result in better tones in your voice as well as increasing your lung capacity, this will also allow you to take less breathes between verses, resulting in better control. 

Ruth: This exercise will be so beneficial to me because I have problems with breathing while singing, I tend to take too much breathe in-between verses which is unnecessary and wrong as the sentences in a song comes out sounding cut and sometimes sharp however this only happens because I get a feeling I seem to run out of  air too quickly or early. My goal for 2016 as a singer is to be able to increase my lung  and vocal capacity as this will help me to have better control while singing. I do see myself having a career as a singer, I know before all of that I need to give myself a regime that I would follow each week which will include practising the 'tighten that drum' vocal technique a lot more as this is the main issue that holds me back all of the time. I have recently joined a gym to work on my obliques most importantly. I've learnt from successful singers such as Beyonce that using the treadmill and singing at the same time helps the endurance of an performer on stage mainly if your a dancer and a singer combined. Especially for me as I am a student, studying Musical Theatre this technique will be a huge assets to my class.

4.Drink Water

To keep your vocal cords hydrated you should always drink water. Some prefer drinking warm water, claiming that it better refreshes your throat. However I find drinking ice cold water can aid in keeping swelling down, especially after a killer belting performance. Unfortunately last week I was suffering from tonsillitis and I went to see my doctor and I got advised to eat ice cubes as my lungs were bulging red I wasn't quit sure why, however my doctor explained that it helps throat discomfort. Afterwards I got given dissolving 

paracetamol which I had to take three tablets three

times a day and put it in warm water to  to use it to gaggle.

Most importantly you should definitely avoid smoking, 

and foods or liquids that dehydrate the body.

Ruth: Drinking water twice a day is healthy for a singer as it keeps you hydrated and allows your skin to be clear.Water is one of the fundamentals of life which i've learnt at Brit School from the early stages of my life as a performer. The flexibility of your vocal chords and the tone of your singing voice all depend directly on the amount of water in your body. Sipping water throughout the day will ensure that you have enough fluid to keep your body and your voice well irrigated and be prepared to carry out all the processes that we take for granted but are actually so vital to our well-being. Since 2013, when I seriously took it seriously and started drinking water my vocal range expanded and were able to reach the notes that I couldn't before. Th

5.Facial Muscles

As with other vital muscles that support great singing. The neck and facial muscles play an obvious role. Really the goal is to minimize the effort required to sing, so that you may effectively control your tone and your pitch. Warming up can not be avoided. There are mainly 10 groups of muscles in the neck, head, and face. Each consisting of numerous tinier muscles all working in harmony to create the beautiful sound making up your voice. Here is a list in order of the types of movements you can perform on various parts to prepare yourself to sing:

1)  Yawn

 2)  Jaw Stretch

 3)  The Pucker

 4)  Silly Smile

 5)  Eye Brow Lift

 6)   Eye Roll