The British Dance Council was formed in 1929 as the Official Board of Ballroom Dancing (OBBD). The name was subsequently changed in 1985 to the British Council of Ballroom Dancing and in 1996, the name was changed to British Dance Council. The BDC is the recognised governing body for Ballroom, Latin, Sequence dancing & Freestle/Disco dance in the United Kingdom.
The BDC was originally formed to establish uniformity in the teaching of Ballroom Dance nationwide, although its responsibility are now extensive, both in the UK and abroad. The primary function of the BDC is to devise and oversee the rules for competitive dancing. All dance competitions in the UK, both amateur and professional are governed by BDC rules. The BDC is also the national awarding body for championship titles in the UK.
Standardisation is also the other key function of the BDC. There are a number of leading dance organisations in the UK, and each of these organisations have slight differences in technique and vocabulary. The BDC works to ensure that where possible, teachers from any organisation, will be teaching dance the same way. This is particularly important competitively, to make sure that all dancers can understand and perform their dances within the BDC rules, regardless of which dance organisation they trained with.
Read more about British Dance Council: Members
Famous quotes containing the words british, dance and/or council:
“Its simple: either you have discipline or you havent.”
—Edmund H. North, British screenwriter, and Lewis Gilbert. Captain Shepard (Kenneth More)
“Pike, three inches long, perfect
Pike in all parts, green tigering the gold.
Killers from the egg: the malevolent aged grin.
They dance on the surface among the flies.”
—Ted Hughes (b. 1930)
“I havent seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the companys behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)