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The information below is commonly requested or found useful for specific product use or performance applications.

This design is offered for anyone desiring a "nearly indestructible", semi-permanent dance barre. It is made using all steel pipe and matching fittings. The first units were installed in 1965 and continue in use with several additional units periodically later added at various studio locations; as well as, use as a maintenance bench rack for stage lighting fixtures. Thus far one floor flange required replacement (stripped threads) and one barre weld required rewelding (fractured during relocation transport). They have been used by students ages four through adult, including men during self-supporting battu training and women to learn seating placement for pas de deux shoulder sitting. The listed dimensions were initially cooperatively determined with the assistance of a structural engineer and proved so functional that they have been consistently duplicated; however, they are easily modified should your needs require. The longest units were planned to be hauled sloping from a pickup truck bed to above the truck cab; but, by coupling barre pipes, any length is possible with pipe or vinyl end caps covering end pipe threads. Cleaning the pipe is essential, painting optional.
The supports are ¾" pipe shaped (using a pipe bender) through approximately 20" forming a 90º continuous bend and secured to the wall and floor with 3" diameter, 4-hole pipe flanges. Wood lag screws or masonry lag bolts/anchors are usually satisfactory; however, bolting through light partitions may require a strip of 1" thick reinforcing lumber and pressure distribution washers on the partition wall opposite the barres. There have been no problems with support spacing of 6' to 10'.
The barres are 1½" pipe welded to the supports. The top barre is centered 13" from the wall, the bottom barre 17". The barre centers are approximately 10" apart along the support bend. Barre ends extend about 10" beyond nearest support. Barres have been constructed off sight and later installed; but, although requiring a portable welder, any major out-of-square wall/floor alignment problems are avoided by installing the supports then clamping and welding the barres. The ¾" supports are sufficiently flexible to accommodate minor room misalignment.
Over the decades this design has been offered in response to dozens of requests for durable barres; however, if, at any stage or with any element, you are in doubt regarding structural or safety efficacy, consult an appropriate constructor or engineer.
For information about stock wall and free-standing barres, see DANCE BARRES.

Ultraviolet (UV) lighting permits performance effects in the dark or near dark by using non-visible radiation to activate UV responsive pigments. Fluorescent (UV responsive pigments, as opposed to phosphorescent pigments) require persistent UV illumination - no UV, no "glow-in-the-dark". Fluorescent pigments are available in a wide variety of vivid visible (bright under non-UV lighting) and more subdued invisible (transparent under non-UV lighting) colors. Many colors may be available in various mediums (water, latex, oil), as well as, materials (paint, dye, makeup, fabrics, trims, papers, etc.) permitting nearly any set, prop, costume, or makeup application.
Ultraviolet light is available from UV lamp sources or the use of UV filters with other light sources. Because filters attempt to remove all unwanted light frequencies, sources not dominantly near or immediately above the limit of the human visible spectrum produce very little output. For very large venues, mercury-vapor lamps provide high output, wide throw, and long throw coverage but are expensive and require substantial amperage. For most applications fluorescent lamps are a more functional source. Because the phosphors in fluorescent lamps are activated by UV radiation, the traditional performance lamp is the 4' medium bi-pin F40T12/BLB blacklight blue which, when not lit, appears nearly black, and when lit, produces virtually invisible dark violet. Blacklight blue lamps are available in several sizes from a few inches to 8 feet. The very economical F40T12/BL (blacklight) is the same lamp without the BLB internal blue-black visible light filter. When not illuminated it looks like a cool white lamp but when lit emits a mild visible lavender, as well as, largely UV output.
As with most performance lighting applications, UV should be mounted overhead for best performance area coverage. More importantly it should be understood that ultraviolet radiation is harmful to the eyes and therefore should never be put in the performers' or audience sight lines. While this does not prohibit the up stage use of floor units behind ground rows to light backgrounds or sets, UV footlights or side lights should be avoided.

Children on stage during a blackout may prove problematic. If complete performer invisibility is not required, using BL (unfiltered) lamps permit the children to more safely navigate their surroundings.
For a vibrant background consider low lit upstage with fluorescent slit-drape and perform down stage.
UV set pieces to open a scene in blackout are not only striking, but can provide a limited introduction to a scene which, when generally lit, includes a more complex array of non-UV pieces. This is an excellent technique to introduce a fantasy theme.
Visualize abstract animations under BLB. Consider ribbon wands, capes, lengths of chiffon, "disconnected" hats, hands, shoes.
Need fluorescent gloves or other "white" fabric? Rinse them in bluing, which is fluorescent dye.
IN PASSING: Because shorter (higher frequency) waves are more easily redirected, the atmospheric dispersion of the violet and ultraviolet waves produces the blue sky.

A few commercial UV fixtures are listed with SPECIAL EFFECTS - ULTRA-VIOLET. For occasional personal use, an inexpensive alternative are 4' fluorescent shop lights with UV lamps. 4' fluorescent lamps provide only 40 watts output, encouraging the use of several dual lamp fixtures to provide a reasonable effect across the width of a stage. Common, inexpensive fluorescent ballasts should not be powered by a dimmed circuit; so, if the available dimmers cannot be converted to "switch" (non-dimming on/off) mode, a stage wall outlet may be used. To facilitate easy simultaneous multi-fixtures control, the shop lights may be rewired with male and female power cords, allowing series connection of several fixtures controlled at a single power source. Although the above graphics are of one brand of single lamp fixtures, anyone with functional electrical capability should be able to accommodate the design concept to other dual lamp fixtures. If in doubt, consult an electrician. Sorry for the poor graphics quality. When time permits they will be improved. Until then, if assistance is desired, contact GTS.
The above design uses 15 amp 3-wire electrical cable and 5-15 PBG (15 amp parallel blade grounded household type) in-line male plug and female receptacle, but twist-lock or other connectors may be substituted. The fixture end plates include "knock-outs" for electrical conduit or strain reliefs, the latter here securing the cables. The male cable in this design is cut to 5'6" with a 3' "pigtail" outside the fixture. The female lead is 3' with 1' exposed. This spaces in-use fixtures about 3' to 3½' apart after looping joined cables around batten.
The internal connections are:
Wire nut the 2 cable white wires to the white lead from the ballast.
Wire nut the 2 cable black wires to the black ballast lead.
Drill an adjacent small bolt hole through the back of the fixture, sand off any enamel around inside of hole, attach ring terminals to the 2 green cable wires, (from the exterior) push a bolt through the fixture, place the ring terminals on the bolt, cover them with a washer, then lock down with a nut.
The external connections are:
Install strain reliefs in knock-out holes, place cables through the knock-outs, and secure cables, with strain reliefs.
Attach in-line plug and socket.
Use a volt/ohm/milliamp meter or multi-meter to test continuities and for shorts. Install lamps and test.
Also, if desired:
NOTE: Drilling holes near the ends of the back of the fixture allows mounting C-clamps (use washer inside fixture). Because 40 watt illuminated fluorescent lamps remain warm (not hot), a mesh screen or two or more loops of synthetic cord or insulated wire may be gently wrapped around the body and lamps, serving as safety lamp retainers should a lamp be shaken loose while being used on a fly system.
As always, if in doubt, hire an electrician.

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Updated 8/6/07