From Tauranga to the top

In just four short years, Tauranga’s hip hop dance studio Space has made a big splash on the international scene. Founders Summer Tyson and Cameron Smith tell us they’re just getting started.

words KARL PUSCHMANN | photos NINAG PHOTOGRAPHY

Space Dance Studios may have only opened its doors five years ago, but time is running out. They only have 12 months left on the clock to hit their goal, Cameron Smith tells UNO. The goal is a simple one: become the best hip hop dance studio in the world.

Easy, right?

“There’s a Tall Poppy Syndrome in New Zealand, where it sounds super outrageous to say we want to be the best in the world,” Cameron says, before smiling and adding, “We’re currently third.”

After speaking with Cameron and partner Summer Tyson, their wildly ambitious target seems not just doable, but entirely feasible. They are determined and focused, they are putting the work in and then putting in some more work, and they are achingly close to hitting it. “We’re proud, but not satisfied,” Cameron says. “There’s a deadline. It’s really important for us to cram and work hard to make things happen.”

Opening their own dance studio was their dream. When that became a reality, they simply added to the dream.

“It was like a script to a movie. Just boom! Let’s make this happen. We always say that it not working wasn’t an option,” Cameron says. “Failure was not an option. It’s the only thing in life that we do. It’s the only thing in life that we’re good at. It had to work. There was no way it couldn’t work.”

The pair worked hard to ensure Space launched successfully. They offered anybody who wanted to dance, regardless of skill or ability, free classes for an entire term, and worked seven days a week in the studio.

“When you’re building something from the ground up, it’s important,” Cameron says. “Summer and I love it. We weren’t looking at the clock or time watching, like, ‘Oh, it’s five o’clock, I’m off now’. We were doing it from a place of passion and a place of fire.”

Their arrival didn’t go unnoticed. Their unorthodox approach influenced every decision. While everyone was zigging, they zagged.

“Everybody else’s studio was white, so we said, ‘let’s paint ours black’. Everybody else was doing exam work, we said, ‘let’s not do exam work, and run open classes’. Everybody was competing locally, we said, ‘No, we’re going to compete internationally’. We tried to do something that didn't follow that formula. It was either going to work or it wasn’t. But we were going to make sure it did.”

And it has. Last year’s third place at the World of Dance Competition was the greatest endorsement of their unique methods. Which also extends to their teaching.

“We do treat our dancers like athletes. From what they eat, to how they sleep, to their training regime. Some of these dancers are sometimes training up to 14 to 16 hours a day,” Cameron says. “It is unbelievable for dancers who are sometimes aged 11 and 12. We’re super fortunate to have an incredible community of parents who support these kids. Their parents are the grounding and the roots of what makes these kids successful. It is very normal for Space to train until sometimes 2am. The next morning, they go to school at 9am, so it is a wild, wild, wild world that Space lives in.”

And while it is extremely full on, competition for one of the 40 spots on the Space Pro Team is fierce, with people flying from all over Aotearoa to audition. Needless to say, even getting into the team is gruelling.

“It’s a relentless audition. They come in and they train for a weekend, and we select the top 40 dancers.

This kind of training regime is simply what it takes to reach the international standard. At the Worlds, which can be considered the Olympics of dance, there are 53 countries, with over 100 teams and 500 dancers all competing in brutal knockout rounds. Just the document that tells you what the judges are looking for runs 200 pages. This provides the necessary context for their approach.

“We consider dancing a sport,” Summer says. “Someone’s got to win at the event and someone’s going to lose.”

“Our job is to pour gasoline on the fire,” Cameron adds. “These kids come in with this raw fire, and our job is to make it go crazy.”

The pair are straight-up in saying a place on the Pro Team isn’t for everyone. They tell hopefuls what’s in store and the physical and mental pressure involved. “If people can survive a year in Space, they can survive a year anywhere,” Cameron grins. “We try to create an environment that pushes life skills, learning and that work ethic. We feel so grateful that people believe in what we do and trust us with their kids and with their growth. It’s a big responsibility to not just train good dancers but to train good humans as well. Dance is purely the form that we use to teach life skills.”

“We always say hard work always pays off, and that luck doesn’t exist to us. The hardest-working team will win.”

With only 12 months remaining for the pair to achieve their goal of winning the World’s, their international rivals better be working bloody hard. Because Summer and Cameron certainly are. And they have every intention of making sure the competition has their work cut out for them.

SPACESTUDIOS.CO.NZ

Dancing with destiny

From early performances in family “cuzzie shows” at the Mount, to cruise ships and Disney film sets, Georgia Brokenshire’s career is taking off in leaps and bounds.

words PIP CROMBIE | photos GARTH BADGER,

BELINDA STRODDER, TRANSIT DANCE

Growing up with her petite feet firmly planted, readied professional dancer Georgia Brokenshire for the plot twists that arise in what at face value appears to be a glamorous and glittering world of dance – costumes, lights and music, travel and notoriety. Behind the scenes is vastly different to what most would perceive. But for this determined 24-year-old, the various speed bumps have not dulled her desire to dance – something she has done since age two and continues to do now on the high seas, as she follows her dream to Los Angeles.

“Honestly, I never expected all of this to happen so quickly. But every step of the journey – from Melbourne to the cruise ships to working with Disney – has been like a stepping stone to something bigger,” Georgia says.

Georgia grew up in Auckland with three sporty brothers. Her grandparents, Brian and Melva Lynch, had bought a Mount Maunganui beachside bach in the 1960s with the intention their own six children (one of whom is Georgiaʼs mother) would gather at the beach location, a place to connect and come together as family.

Through the years, Georgia, her brothers and nine cousins spent every spare weekend and summer holiday they could at this beach home, with Georgia even scooping ice-cream for a summer at iconic local institution, Copenhagen Cones. She recalls the road trips down to the Mount, the six of them singing raucously, daily climbs of Mauao, fitness sessions with her brothers, surfing and skating, the “cuzzie shows” where all 13 of them would dance and act for their audience of parents, aunts and uncles, older siblings on ticket sales, ‘spotlightsʼ courtesy of torches from the overhead balcony.

With a background of early ballet classes, jazz, hip-hop, musical theatre and contemporary dance, Georgia also took up gymnastics with a passion, eventually having to choose between it and dance. She describes the disciplines as being complementary to each other, including the physical strength required.

At around 14 years old, she began to realise that there was nothing else that lit a fire in her soul like performing did.

“The whole process of training, grinding, committing to something bigger than myself and then getting onstage and performing for an audience was a feeling that I just couldnʼt match anywhere else in life. It is still unmatched.”

Deciding to make a career out of dancing, in 2019 Georgia headed to Transit Dance School (Melbourne), where she gained teaching and performance qualifications and a whole lot of grit.

“Moving overseas aged 17 to pursue your passion should really be terrifying, but I never looked back. I was just too excited to finally get to dance every day for the rest of my life!”

Five days a week, seven hours a day in a wide range of disciplines including acrobatics and singing, end of term performances...and Covid. The pandemic disrupted and prohibited a lot of the planned studio training, so they pivoted to dance videos and commercial projects.

“The year 2020 consisted of 27 weeks of hard lockdown for me in an unlucky stint between Melbourne and Auckland. I completed the 14-day hotel quarantine twice in a desperate attempt to continue my dance training. Much of my second year was done on Zoom in a small shared Melbourne apartment – a challenge to say the least! However, I graduated and am grateful for the tools gained and lessons learned.”

The cruise industry had its own challenges in the wake of the pandemic, but for Georgia, it was a chance to perform on stage every night, work with seasoned dancers, and see the world. As a dancer, finding “longer-term” stable income is very difficult, so she saw cruises as a great source of income, a fun way to save money and travel the world, albeit while sharing a tiny cabin with fellow performers and working long hours. She has sailed the North Pacific Ocean, the Caribbean Sea, the East China Sea, the Mediterranean Sea, the North Atlantic Ocean and visited over 40 countries over the past three years dancing on cruise ships and is currently with Oceania Cruise Lines on a luxury ship in the Caribbean.

Between cruises in mid-2024 Georgia was hired as the dance and acting double for British teen singer/songwriter and actor, Freya Skye, in the Disney movie musical Zombies 4, shot on location in New Zealand (release date mid-2025). For the multi-talented dancer, this was a “pinch-me moment” and something that makes her ultimate dreams of performing at the Super Bowl, being a backup dancer for major artists and more film work become a step more real.

“I learned Freya’s entire script and dance choreography for the film, was on set daily, stepping into her place whenever she needed to clock school hours or change her wardrobe.”

The Disney vibe is aspirational for Georgia. “I love the way Disney has always seamlessly combined both dancing and acting with such joy in their films, so more work with them is a goal. I have loved all the stage productions I have performed in my career so far, but I am ready to move on to bigger projects with bigger audiences and more impact”.

As we exit stage left for now, I ask Georgia to share words of wisdom for aspiring career dancers. “The truth is, being a professional dancer always felt more than a pipe dream to me. Long stints spent at the Mount, and in my dance school in Auckland, I felt like I had bigger dreams than anyone I’d ever met. People would sometimes even laugh when I told them that I wanted to be a dancer. My dreams keep getting bigger and more terrifying, but if I had to tell young dancers something now, I would say keep those big dreams alive. Don’t shy away from what makes you different, lean into that, that’s going to be your superpower. Dance is a superpower. I’ve seen dance breakdown language barriers and unite people; it brings such joy! So, keep dreaming, nothing is too big or too out of reach, even from our small corner of the world.”

Georgia closes our chat with home and what it means.

“I think the real question is ‘what doesn’t it mean?’” she responds, candidly. Whenever I go home after all my travels, the Mount is the first place I go. To ground my feet in the sand, for family time and for the reset I always need after travelling the world. In a life of such inconsistency, living out of a suitcase and constantly being on the move, I only really have two constants. My family and Mount Maunganui.”