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  2. I sometimes deliberately focus on the man partnering in a pas de deux- it can be very rewarding and engrossing to just watch him ( in case of a good partner) and many times did I watch Mr Cope with great admiration. Muntagirov reminds me of him in his partnering style. He seems to be fully focused on his ballerina, to be watching her with loving attention, to be poised at all times ready to respond to her in a way that can be very beautiful to see. In a sense, a good partner is trying NOT to be noticed, but that is a great art in itself. Of course, this really only works if you have seen a piece many times.
  3. Sorry, got the date wrong - it's actually tomorrow.
  4. For the love of God! Why can't people just get on and go about their lives, living it the best way they can. Why so much antagonism? This is a ballet forum please stick to ballet and campaign elsewhere!! Sorry Jan posting with you!
  5. David Kierce is one of the best partners I have seen. He now teaches and is involved in the Ballet Retreat but I do not know if he does any specific partnering classes. It would be good if he did!
  6. Can we please stop this now and get back on topic.
  7. It appears the true, 2nd wave, colours of the Academic are coming out. As well as ignoring the suggestion to start another thread. As for 'mansplaining ' that'a a typical 2nd wave and if directed at Sophie or Me and also in this case Trans Exclusionary piece of microaggression.
  8. ENBYouthCo is a great opportunity for anyone thinking about auditioning. Auditions are on Sunday 21st May - you can apply here https://www.ballet.org.uk/blog-detail/just-announced-enbyouthco-auditions/ They meet on Friday evenings at Markova House 6.30-8.30pm and also have some Sunday rehearsals/ workshops. The Summer term is relatively short and finishes before the exam season gets too intense as well. They have a fabulous Artistic Director Jo Meredith who works really hard to get the best from everyone and have wonderful opportunities to meet Company Dancers, work with great choreographers and learn a lot from each other. The standard is high and fast paced and the work has its roots in both ballet(no pointe work though and contemporary dance - They are encouraged to think of themselves as dancers first and foremost rather than ballet, or contemporary dancers and draw on each other's skills. Why not go and audition? You will find them a welcoming group and will get a better feel for whether it's for you, or not then. You can see a bit more of them here if you haven't seen this video on the website https://www.ballet.org.uk/project/enbyouthco/
  9. Im looking forward to this. Going Saturday afternoon
  10. It's really difficult to advise place X over place Y. In my work, the research activity at Roehampton is recognised as making it a very good place fir dance, but I don't know about the daily schedules. Have you gone to Open Days? you can ask about a typical daily schedule at those sorts of events? Have you auditioned for either or both, and you're considering offers? There are often what we call "Offer Holder Visitor Days" where you can go, holding your offer, and look for the things that will help you decide. Things to think about: studio space - is it bookable by students? is it available to students? how many studios? how busy? Course structure: what is the balance between practical studio/creative practice, and theoretical studies? What sorts of modules? Library - what resources are available? Housing & accommodation Student life: student societies - if they're important to you Employability help: what artistic directors visit? are there opportunities to be seen? Current students: talk to them! ask questions about their lives & studies If you can't get to an Offer Holder day, you can also do a fair bit of this research by really digging into each university's website. Get past the UCAS adverts and PR (we all have to have that!) and try to find the department's web pages. There you may be able to see module descriptions, or at least an overall course structure. The thing to realise about both those degree programmes is that they are not conservatoire studies like Laban or London Contemporary (at The Place) or Rambert. So they are Arts degrees first & foremost, and there will be a higher proportion of "contextual" or theoretical studies than at Rambert et al. And you should see this as a good thing! If you have auditioned for both universities & conservatoires, but not reached the standard required bu a conservatoire, your career in dance may be a more mixed career. It doesn't mean you won't dance for a living of course! Or conversely, if you go to a conservatoire, you are not guaranteed to dance for a living! But today's dance artists, in other than the top schools which feed through to companies (eg RBS, Paris Opera etc etc), have much more varied careers, and will need a full range of thinking & writing skills at a high level, as well as dance skills at a high level.
  11. Thank you sarahw Hellokitty, I've added the tag "university" to your thread. If you click on it (just below the thread title), these other threads appear: http://www.balletcoforum.com/index.php?/tags/university/
  12. Today
  13. Sorry Lin, but "cis" is not an official term. It's emerged (transposed from chemistry studies & according to my science colleagues at work, misapplied) from activism around transgender politics. It suggests that biological or born women are compliant in their gender roles; it also suggests that sex is "assigned" at birth. It's not - sex is a matter of biology, genes, chromosomes, etc. You can't really "assign" that, it just is. "Gender identity" is an inaccurate term as well - it confuses socially constructed & imposed gender stereotyped roles with identity. So - according to the gender roles of the 60s & 70s when I was at school, I should have been good at cooking & sewing, and not maths, science, & history. According to those gender roles, I should have married & had children, instead of becoming a senior person in my field. According to these ideas of gender identity, women shouldn't argue back (I think it's interesting how much mansplaining is going on in this thread); they should be being pleasant, nurturing, helping others. And so on ... Frankly "gender" is oppressive rubbish. And in dance - to wrench us back on topic - some of the real pioneers have been those women who have challenged the limitations imposed on women in the dance world, as well as beyond. So let's celebrate Isadora Duncan, who wrote about "The Artist of the Future" or Bronislav Nijinska, the "forgotten" choreographer of Ballets Russe. And so on ... Edited to add: I suppose my overall point is that the terminology and ideas around 'cis' and 'trans' are in debate at the moment. While this thread & this message board are probably not the place to go into detail about the debates, they are quite important, as some of the more radical activists are proposing changes to our laws which impinge directly on hard won women's rights. In this broader context, sitting an exam as a transgender person is not really the thing that is being debated - it's fine, as is the politeness of calling people by their preferred terms and pronouns. So to keep labelling me as 'cis' is as offensive as labelling Sophie "he."
  14. If I read the website correctly, the Almshouses are only open with a tour? Then I'll miss them because there is none on Friday.
  15. With regard to Jonathan Cope, I recall a South Bank documentary about Sylvie Guillem in which she 'sings his praise' followed by some lovely footage of the pair in rehearsal at a studio in the South of France. Darcey has also noted her appreciation of him in various footage, most recently in the documentary at Christmas. The Royal Ballet are fortunate that he, like McLeary, are passing on their experience . Dance autobiographies provide a source of interesting comment about partnering - Gesley Kirkland, who readily admits she could be a nightmare to partner, provides a very frank assessment of her contemporaries and is particularly cutting about Schaufuss with whom she had little rapport. Her summary assessment is an astute one, "Partnering is the heart of each ballet. When the heart is empty, the dance becomes at best a gymnastic exhibition, a sport."
  16. Thanks to 2DancersMum for bringing to my attention that the Hammond School is performing Sir Peter Wright's Production of Giselle as part of its centenary celebrations. The performances are on 09-11 May. I would love to go but unfortunately it clashes with a trip to London. If anyone is going I would love to hear about it. Sketchy details here: http://www.thehammondschool.co.uk/news-events/the-hammond-centenary/
  17. Links - Tuesday 25 April, 2017 Review - Paris Opera Ballet, Walkaround Time, Trio, Herman Schmerman, Paris: Michelle Potter, Blog Review - New York City Ballet, Fancy Free, Moves, The Concert, New York: Christina Pandolfi, Broadway World Review - Ballet Across America, Justin Peck’s programme, Washington: Hilary Stroh, Bachtrack Feature - Wendy Whelan: Lilah Ramzi, Vogue Review - Scottish Ballet, Each Other, Glasgow: Kirsty Morgan, Bachtrack Review - Dance Theatre of Harlem, mixed programme, New York: Mercedes Vizcaino, Zeal NYC News - Sadler’s Wells Autumn/Winter 2017 season announced: Robert Dex, Standard Will Longman, What's on Stage Reviews - Rosie Kay Dance Company, MK Ultra, London: Asterope Tia Chatzinikola, London Dance Maggie Foyer, Seeing Dance Reviews - National Youth Dance Company, Tatantiseismic, London: Graham Watts, DanceTabs Rachel Elderkin, Stage Cinema Review - Australian Ballet, Coppelia: Jo Litson, Limelight Review - JV2, 2017 mixed programme, London: Katja Vaghi, Bachtrack Review - Shanghai Ballet, Swan Lake, Melbourne: Brodie Paparella, Broadway World Reviews - Ballet Ireland, Giselle (Ondiviela), Dublin: Katy Hayes, Irish Independent Christie Seaver, Irish Times Reviews - Neena Prasad, Dancing the Gods Festival, New York: Marina Harss, DanceTabs Mary Cargill, Danceview Times Diary - Coming up around New York: Martha Sherman & Leigh Witchel, Dancelog.nyc DVD Review - Dancer: Jenny Gilbert, Arts Desk Q&A - Toney Wilson, Jazz Dancer: Liza Foreman, London Dance Review - Rocio Molina, Bosque Ardora, Taiwan: David Mead, Seeing Dance Review - Zinzi Minott, What Kind of Slave Would I be?, London: Asterope Tia Cahtzinikola, London Dance Review - Acts of Matter / Dance Aegis, T3thering, Los Angeles: Jeff Slayton, See Dance Play with movement reviews - El Conde de Torrefiel, Guerrilla, Leeds: Mark Smith, British Theatre Guide Catherine Love, Exeunt Play with movement reviews - Simon Stephens, Nuclear War, London: Philip Fisher, British Theatre Guide Paul Taylor, Independent Feature - Leonard Choo, Ballet shopper in NY: Ginger Adams Otis, NY Daily News
  18. That is commendably thorough, my goodness! There is Monday too of course..a BH matinee, usually rather quiet in my experience..and then next week.. I am very intrigued to see how McRae tackles the role.
  19. Wow, what an incredibly hard class! They did extremely well with it but I felt one boy was lacking control on the barre - hardly surprising to be honest, he was probably struggling with the speed. Having centre spot on the barre always draws the eye and he was placed there for a reason. I'm sure your son has a very bright future. Lovely to watch.
  20. Wow CeliB, your son was fabulous. You must be so proud of him. It was enthralling (and exhausting) to watch the athleticism and artistry of the boys. Thank you for posting the video. I wish your son the very best of luck and I'm sure he will have a lot of success in the future.
  21. http://www.balletcoforum.com/index.php?/topic/14826-choosing-a-uni/#comment-204654 I found this by searching for Roehampton. You could search for Middlesex, university, degree and also search for content by the 2 mentioned above. HTH
  22. I I think @Kate_N may be able to help. Have you searched for Roehampton and Middlesex? There has also been a relevant thread by @anondancer_15 who is on another degree course. I'll look for some links.
  23. I don't think they looked bulky at all...
  24. I actually quite enjoy doing both of them together IF let's me drill down into technique and the relative simplicity of the exercises helps me to work on issues that can easily get overlooked in the rush to learn a more complex syllabus. I recently went to an intensive course (honestly nearly killed me!) where the teachers really focused on arms and posture. I hadn't actually realised I was doing them wrong, and this is my fourth year doing ballet (though only second doing syllabus). I've found that I can understand and apply the corrections when I'm told, but when I'm actually dancing I tend to sort of forget and focus on other things instead So the simpler IF syllabus gives me the opportunity to work on utilising corrections while moving, drilling into my body that turnout isn't something that you just do at the barre, that floor pressure isn't just used for a tendu exercise. It sounds simple for most ballet types but it's a bit of a revelation for me haha. Then, in contrast, Grade 6 is floaty and honestly a bit weird. Every exercise seems to start or end in classical pose, even at the barre. But they sort of throw everything at you in one exercise and expect you to not only remember it all but to perform it all. Like you were saying about other styles being a little more free, I feel that the higher grades are RADs compromise. Freedom, movement, artistry and a solid grounding in technique. I just hope that I'm as successful at Grade 6 as Dormouse, who started this thread, was. As for the gold medal oooh I know all about that! I took Grade 5 last year, fell over in the middle of the exam and sprained my ankle. I cried for two days thinking I'd let myself down (didn't help that I was locked in a moonboot and told I wouldn't be well enough to perform in the end of year concert). Funnily enough, before going into the exam, the mark didn't matter to me as long as I'd done my best. Then, when I fell, I knew I hadn't done my best and suddenly the mark mattered like crazy! I needed some outside validation to reassure me that I hadn't let myself down. I managed to scrape 75 and a distinction (I think the examiner felt a bit sorry for me in the second half of the exam, trying to execute a double pirouette on a sprained ankle)! I just about cried in front of the whole studio
  25. Was anyone at the opening night tonight? I am going on Thursday so would be interested to have any views. It was the cast, not the content, that first attracted me to this piece: turning a Bunuel film into an opera must be challenging, to say the least....I hope it has worked?!
  26. I love it during her thanks...."and to my husband, who didn't do much but wasn't in my way". Gotta love her!! 😝
  27. Yes..I will be there Friday and twice on Saturday....yikes!!
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