Picture the scene. I am stood in a tarpaulin tent with rain lashing down outside and the hurricane winds lifting the sides up and letting the hellish conditions pollute my temporary dance studio. One child is attempting to hug the stranded, flea-ridden mut that is known as '
Dead Dog'. Another is stamping against the temporary flooring letting in a flood of muddy water. The rest are looking towards their councillor for inspiration. The councillor in question was me, and I was trying to conjure up a dance routine that would suitably pass as a 'punk-rock' edition of
Hakuna Matata.
Welcome to camp.
|
'Team Jack' about to perform the
Circle of Life set with my
'choreography' |
This was my last group out of four, having already worked me and three other groups of 11 year olds through
Circle of Life (Jazz style),
Just Can't Wait To Be King (Hip-Hop) and
Can You Feel The Love Tonight (Opera). In case you hadn't already noticed we were preparing for a production of
The Lion King, which would uniquely incorporate a variety of dancing styles. In charge of this was a man with only two years of dancing experience in a 'street dance' group called
'Dance Dudes' between the ages of 8 and 10. If we add this to years of drunken nightclub dancing then we have quite a resumé - but that didn't quite suffice to 35 eleven year old Argentinean kids.
I was one of six councillors working on the
Lights, Camera, Action English immersion camp with a theme of musicals. As you can imagine I wasn't necessarily picked for my suitability to the theme, but pretty much at random in the line of poor sods that had to spend 3/4 days entertaining a group of school-kids. In this case it was an epic four-dayer, the longest camp provided by the company, and with a theme that had never been done before. If being called for a camp was like jury-duty, I'd been handed a complicated fraud case.