Simply Adult Ballet: the progress of one adult dancer who took up ballet later in life

[LinMM]

Wow Michelle don’t understand a word about your new camera set up but sounds amazing.

Glad you’ve got your classes sorted out finally 

[Michelle_Richer]

Wow how things have changed, in the past I have always looked forward to the holiday break from a fairly intensive weekly schedule mainly of rep, for me it has felt the equivalent of work.

I think now I have lost my rep coach together with the Christmas break compounded with a future which is a lot less certain, I’m foundering a bit.

I have approached one person for coaching that I have felt a real connection with, but that has sadly fallen through, there are a couple of others but there are compromises which I don’t really want to make at least not at the moment.

 

For the moment I’ve tried to keep busy with a few workshops over the Christmas period, and upgrading my studio. As the days go by, it seams very much like a series of Saturdays, it’s very uncanny.

 

The tracking camera system was a bit of a challenge as it took much longer to sort out than I had anticipated; as a result I lost 4 days working around that. That in itself had an impact on my pointe prep program which I try and dedicate at least 5 days a week to (2 days at 3 hours, the remainder just over an hour) with no more that a single days break at any one time.

 

I’m glad to say the tracking camera system is finally sorted out and fully functional. Its now on to the integrated lighting system, but that has come to a bit of a halt as the lamp assemblies I need to check out, are on back order.

 

I guess the only thing that is keeping me going for the moment is the focus on pointe prep from the program that my rep coach and I developed, prior to her leaving.

So for the moment I’m on my own, however I’m adding to the mix Lisa Howell’s Beginner pointe program as I already have a physio and a masseur as part of my team helping me with this initiative. Ultimately I know my Cecchetti teacher also teaches pointe and I will most likely will engage her on a one-to-one basis.

 

After Christmas I must start to re-familiarise myself with the Cecchetti Advanced 2 Syllabus I was taught last term, especially as I will be doing one-to-one with my teacher next term and a second class with her on alternate weeks while I’m not rehearsing my Silver Swans.

I contacted Catherine Hutchon Chair of the Cecchetti Society Classical Ballet Faculty at the ISTD for an update on the revised Advanced 2 Syllabus: It will be on the Cecchetti pages of the next issue of ISTD Dance magazine that is about to published.  The Advanced 2 Technical notes and Manuscript are now available from the ISTD shop.  The CD is due to be available in January, but the DVD is not ready yet and teachers will be notified when it is, so essentially no real help there.

As suggested by my good friends on this forum, I’ve now invested in the Enrico Cecchetti Diploma DVD from the Royal Opera House shop, I think it was the only one they had, it’s a single DVD but the pack also contains a Blu-Ray disk too, quite expensive at £99.95, but hopefully it will be a good reference I can draw upon. Sadly I haven’t had a chance to look through it as yet.

 

My BBT performance group sadly still has no teacher for the New Year. I do hope we still get to do a performance in June again.

 

My one-to-one Intensive at Ballet West is already booked for August 2020 as is the accommodation in that part of the World for Arian and my self, at least that part of my schedule is still there.

[SwanFlake]

Michelle, I'm completely envious of the amount of ballet that you do!  

[Michelle_Richer]

On ‎20‎/‎12‎/‎2019 at 11:45, SwanFlake said:

Michelle, I'm completely envious of the amount of ballet that you do!  

Thank you SwanFlake, but in reality as time goes on I’m trying to do less in terms of classes, as that’s not really effective for my learning. I’m trying to leave sufficient time for analysis correction and preparation, rather than hoovering up all available classes, which I once did.

 

I think my special thanks must go to Peony and the other members of the forum tat tried to point me in the direction of the Enrico Cecchetti Dipolma DVD. Unfortunately I’ve only just started to look at it. Its absolutely brilliant, there is so much commonality between that and Advanced 2, in many cases even the music is the same. Sadly I’ve only had time to look at the first 3 sections on the dvd, there is no Barre section on the dvd. These are  2 Port de Bras, Traditional centre practice, 3 Adage and 4  Centre Pirouettes. I guess the only significantly big difference is with the pirouettes which are 4 turns instead of doubles with Advanced 2.

For me one of the things I like about the way this dvd has been put together, it less like a demonstration and more like a ballet class with a teacher  Diane van Schoor. She corrects a small number of dancers, even though those dancers are all professional, 3 from the Royal Ballet and 4 from Birmingham royal ballet. The studios used in the pieces I’ve seen, look like those in the Royal Opera House as I recognise the Macmillan studio in some scenes. I would certainly like to do class with that teacher.

 

As it is I will be starting my one-to-one Cecchetti on  Wednesday the 8^th of Jan, I know its not going to be easy by any means, as every little bodily movement will be scrutinised until it conforms to Mr Cecchetti methodology.

 

Rehearsing the Swans is sorted for Tuesdays, at least I know where I’m going with that one. Finish the Swan Lake act2 Coda we started, Summer its extracts from Don Quixote as this will be an easy one to costume, then Nutcracker extracts for Christmas, assuming I can keep our ladies suitably inspired.

 

Rep for Ballet West looks like Mondays now, although I was hoping for Fridays after attending a New Ballet Fit class close by, I’m now just waiting conformation with my new rep coach for Monday mornings.

 

As regards classes for pointe, for the moment I'm going to wing it, I have the plan that me and my previous coach set up, plus I’ve ordered Lisa Howell’s beginners pointe DVD to help fill any gaps in the short term. However I know my Cecchetti teacher also teaches pointework and she is aware I will be calling on her in the near future.

 

 

[Michelle_Richer]

Murphy's law is a popular adage that states  "Anything that can go wrong will go wrong". Or so it seams.

 

1) The day before Christmas ever our economy 7 supply to night storage heaters stopped working, its down to a faulty time switch which is part of the sealed tag electricity meter installation. I reported it to British Gas, our supplier, the day after boxing day, we cant have anyone out to fix it until the 10^th Feb, I’ve also raised a complain email with them too.

 

2) Adrian my partner fell sick with a really nasty cold and hasn’t shaken it off and sadly wasn’t able to accompany me to ENB Le Corsaire performance at the Coliseum yesterday.

 

3) I ordered a DVD pointe course from Australia and tracked it back to the UK, found when it had arrived at my local Post Office sorting office that duty was due and could be paid on line, I called in that Saturday morning but was told it hadn’t been processed on their system yet, but I could pay the duty on-line. Needless to say I paid it that day on line expecting it to be delivered Monday morning. Monday morning the Postman bought a bill for the duty, I told him I had paid it, showed him the on-line receipt. He said I should be OK for me to collect it.

At the sorting office they wouldn’t allow me to have as it had been put out for delivery the next day, however If I hadn’t paid the duty, but brought the card in to pay, and paid the duty to them then, they would have given it to me there and then Grrr.

 

4) A new year phone call from my Silver Swans teacher and dance school owner advised me someone from RAD had forbidden them to allow me to teach the Silver Swans rep, as I hadn’t been trained by RAD for Silver Swans, also I wouldn’t be covered by their insurance. To be fair that was a real shock, especially as the request to be included in my rep during their class brake came from the Silver Swans themselves. But never the less I have always seeked the permission of the teacher and discussed everything before hand with her and it had always been a really wonderful and supportive relationship .

I guess it all started when I allowed one of the ladies to accompany me as the Queen in the Fairy of the Crystal Fountain Variation. The roll was largely passive but contained a lot of mime gestures between us through the choreography; I also took in a royal robe and crown for her costume.  I think the thing she loved the most, was at the end of the piece, when I took her hand and we both took our curtseys together, I know she really loved it and it gave me such joy to see her pleasure. Since then I have had several of the ladies express an interest in doing something with me.

At the end of the last half term before Christmas I approached the teacher about coaching volunteers from the Silver wan ladies during the break between the Ballet and Tap classes, she was very supportive and at the end of the class that day told all her dancers I had an announcement to make. I announced what I had proposed for volunteers after the half term break, I also indicated my method of coaching, and for those that attend rehearsal to the final video showcase there would be a “Certificate of Achievement” in recognition of voluntary participation etc. This would be signed by me as the “Choreographer and Repertoire Coach”, and not the teacher. As I explained to the ladies their teacher teaches the ballet steps and movements between them, I create the dance and how its to be performed, I know some will think I’m splitting hairs but that my perspective, I’m as careful as I can be without knowingly treading on anyone’s toes . By signing as “Choreographer and Repertoire Coach” I’ve also included on the signature line Member of the International Dance Council – CID and the crest of the International Dance Council, both of which are on the signature line which I am perfectly allowed to do under the membership rules.

This last Tuesday I went in to say my “goodbyes”, I felt really awful that I had let the ladies down, however the ladies and their teachers have made me promise to come back periodically and do class with them and perform more of my solo’s for them as I have been doing over the past year or so. I think everyone of the ladies gave me a hug before I left, it was so sad and I felt quite choked.  

 

5) Pointework: Although I have been strengthen for pointe since just after Ballet West in August with the help of my rep coach, I lost her at the end of November, however just before she left I took a foot stretcher in as I was getting frustrated with progress even though I had physio working on my feet and ankles too. What we did find using a foot stretcher with my old broken bloch point shoes, it did allow me to create a reasonable line without a huge amount of pain, afterwards I was starting to see some meaningful improvement. I was hoping by December I would at least be doing some relatively basic exercises on pointe but that wasn’t to be and I extended it to Christmas day. I think it was the day after boxing day that I first put my new Freed pointe shoes on, I had attached the ribbons with the help of my teacher/coach back in August when I was first had them fitted. I remember her advising I should walk around in them first and do basic rises well before attempting to physically break them in by hand. Well that hasn’t been that successful and quite uncomfortable even though I’m using gel pointe shoe pads. So I have invoked plan B, last Monday I bought some of my original Bloch Serenade pointe shoes, I didn’t even bother getting the fitted as I have had them before and my old ones fit like carpet slippers, they are really comfortable other than I have broken the backs on them. I checked before hand I had both tread and ribbons, collected them on Monday only to find the ribbons were too narrow, however I did find some of the original, just about enough to do one shoe. As I was I Sleaford on Friday for a fitness class, I would call in to the ballet store and get the ribbons then, which I did.  In the mean time I have followed the pointe shoe preparation guide on the DVD by Lisa Howells  and Vicky Attard, as far as I have gone is to locate the arch at the beginning of heal and start to massage the shank there, its much tougher than I expected,  Lisa suggests massaging it in increments which is as far as I have got, already it’s a really nice and comfortable fit to stand on pointe, I’m still to do the softening for the semi-pointe break and sew the ribbons on, but that’s all work in progress. I’ve also booked a beginners pointework workshop with Franziska at Holistic Ballet at the end of February.   

 

6) I have finally have a rep coach for the future but unfortunately for her first week she has had to cancel, oh poo I really wanted to get started on La Bayadere for our intensive week with Ballet West in August, I'm doing less there this year as I'm effectively on a war footing for dancing on pointe, as I’m throwing everything in to it, I even suggested at one time my physio use a steak tenderiser to bash my feet to soften them to increase the arch in his foot stretching. However most of rep for Ballet West will not be on pointe, only one PDD if all goes well.

 

7) Rail Disruption:  Yesterday was another on-stage workshop at the Coliseum with English National Ballet learning a piece of rep from my favourite Ballet “Le Corsaire” and then I planned to seen the afternoon performance with Adrian my partner. Sadly Adrian was ill from a nasty cold and was too ill to make it. The day before I checked train times as it’s usually an early start for me. Oh shock the normal 50 minute train journey from Peterborough to Kings Cross was going to take 2 hours including a change at Ely, to do this I was up at 3am, if I hadn’t booked to see the performance  I think I would have cancelled the workshop, but I made it and really enjoyed it.

 

8) When I arrived home Adrian had the presents of mid to check rail disruptions for the following weekend as I planned to be with Enavant Ballet doing a Pirouette Master-class. Things were even worse, the 50 minute trip was going to take around three and a half hours with 4 changes each way most with replacement buses, needless to say I cancelled the Pirouette Master-class.

 

9) So I think Mr Murphy has really had a hand in all these things going wrong and finally to top it all, I had a ballet mug with two pointe shoes on it and my name, I have had it since around 2013/14 and Adrian bless him broke it last week. Do you really have to be this tough to survive with Mr Murphy around in ballet?

 

[LinMM]

Well hope the rest of 2020 goes better than the start of it has done. The post office fiasco ....which looks a bit like one department doesn’t know what the other is doing ...and Gas people are a joke! Feb 10th! The winter could be over by then! 
Travelling at weekends can be a real pain in the winter time when they are usually working on the lines. I’ve got the half bus journey half train thing on next Saturday as going to ENB gala.....just hope can make it by 2pm. 

There are always very strict protocols about teaching others where any organisations are concerned. Because the class you were teaching came under the Silver Swans and was in a public studio etc then the RAD would feel responsible for anything being taught in their name. I know it was technically in the break so bit of a grey area ....I think it was because you were formalising it more ...rather than running through a piece with friends who wanted to learn it sort of thing. If your teacher has let this go for so long now it could be because she saw the break as technically out of her supervision. 
Perhaps  it was the certificates idea which she needed to check out I’m not sure ...as she appears to have gone along with it until now. 
You will just have to go and get the Silver Swans qualification to teach Michelle! 
I find it quite interesting that this new ballet exercise with the big ball thingy ...can’t remember the name offhand ....seems to only require a weekend of training before you can teach it ...unless I’ve misunderstood that. 
Still at least you are free to do the Cechetti course as that is pretty demanding anyway.  

 

[Michelle_Richer]

Hi LinMM

The Ballet Exercise with the big ball thingy is called Progressing Ballet Technique, I think there is also a large franchise behind it. I used to attend PBT classes at one time until they were dropped do to lack of numbers. My former rep coach used to add in periodically those types of exercises in  her Monday morning body conditioning class but would never call it PBT. Similarly my Wednesday body conditioning class run by my Cecchetti teacher uses the large Swiss balls in the same way.

 

Ok about your comments about my escapades with RAD:

The comment : ....I think it was because you were formalising it more:

 This wasn’t something that just happened or developed, it was planned. At the beginning of the half term before Christmas, I laid the plan out complete with full documentation of the Corps de ballet rep, a sample template of the Certificate of Achievement, at the end of the previous term I had discussed it too.

 

For me this was always intended to be formal and presented as professionally as I could make it. The plan was 3 such sessions over the year, each resulting in a video showcase  performance to be presented to their patron Anglia Rippon. The first which we were working on, was inspired by the Coda from Act2 of Swan lake, I would kick it off with Odettes solo (me). Costumes for my Swans, I was providing  in he form of romantic tutu skirts and feathered head-dresses, they would provide white T shirts.

 

The Summer piece was to be inspired by Don Q, with he Market place scene, followed by the Entrance of Kitri (me), then my lovely villages would dance an adapted  Seguidilla (fan dance), I would close it with Kitri’s solo from Act 3.

Costumes for this one is quite easy with colourful gypsy skirts and tops., I have a plentiful supply of fans and roses for their hair.

 

Christmas piece was to be inspired by the Nutcracker, with my lovely ladies dancing an adapted version of Waltze of Flowers, Sugar Plum Fairy solo (me), Grand PDD if I could persuade my Adrian to partner me. All would dance an adapted version of the Finale.

 

As for “If your teacher has let this go for so long now it could be because she saw the break as technically out of her supervision.” I really don’t  think that applied and to be fare she was usually in the studio watching with the ladies who were not dancing (our audience), and I certainly remember here passing the comment to me, “they did really well didn’t they”

 

As for “You will just have to go and get the Silver Swans qualification to teach Michelle!” “ No I have no wish to be a BALLET TEACHER”, I see coaching rep as being somewhat different. In any case if I were on a course with RAD being taught how to teach its likely to result in a big of clash of cultures, I’m talking now specifically about teaching rep.

 

I have fallen out many times with RAD, particularly at Elmhurst when the only information they would release, was the name of a ballet for a rep workshop, for me that’s  unacceptable,  it seams totally unstructured and down to what that particular teacher feels like teaching on the day, the focus is on her, not her dancers who are paying for a service and represents extremely poor value.

 

The thing that sets me apart from RADs style, I have the rep documented  before we start coaching any rep, which includes pictures of all significant poses etc, every dancer has a copy, I always give the schools teacher a copy out of courtesy too

Dancers will follow my demonstration which would be much the same as any other class. However before I close the session, I dance through the next week’s work so my dancers know what to expect, rather than being freighted of the unknown for the following week.

 

Hi FlexyNexy

 

Just coming back to your original question about what Adult Dancers wear, if I can take my Swans first of all. When I first joined them, it was either dark mostly black leggings or thick tights, but always ballet slippers, again I think at that time they were all black but I may be wrong, it was like being at Saint Trinians. As time as gone on and possibly because I wear traditional ballet class wear, several of the ladies have now wear colourful wrap round skirts and a few leotards too. No one has copied me yet with a tutu, as for about the past year, every other week, I have danced a solo in full costume during their break, but never at class.

Basically go in ballet slippers, that’s a must and comfortable clothing and see what everyone else is wearing.

 

 

Hi Meadowblythe

Thank you for the link, sadly I see Saturday the 29thh Feb is affected when I have a Pointe-work workshop. I think my only solution is to drive down to Cockfosters then pickup the Piccadilly line into London Grrrrr, another early morning start

[Anna C]

To teach RAD Silver Swans you have to take part in Silver Swans Licensee Training.  To be eligible to attend the training you must be an RAD Registered Teacher or have passed RAD Intermediate (or the equivalent thereof) AND a Level 4 ballet teaching qualification.   Quite strict criteria which can only be a good thing as those attending Silver Swans or any licensed RAD classes know that the quality of teaching will be of a good standard, delivered by a qualified teacher (who has the appropriate insurance).   

 

Unfortunately, anyone can refer to themselves as a “Coach” yet take no responsibility for injury or accident during a “coaching” session.  It’s one thing dancing a solo for your classmates during the break but quite another to start “teaching” your fellow students - especially when it’s the RAD teacher who has paid to hire the studio, paid her public liability insurance, paid in time and money to do the teaching qualifications and licensee training and - most importantly - would be responsible if anything untoward happened in class.   

[youngatheart]

Yes I think that the issue was that you were branding it as "coaching the Silver Swans" rather than "coaching a group of ladies who I first met at a Silver Swans Class". The RAD are being ultra-vigilant with the use of their Silver Swans brand, and they will immediately be all over anyone who is not specifically licensed to teach it, &/or teaching content that is not part of the programme.

[Tom dance]

Leotard over footed tights is the best combination 

[Michelle_Richer]

On ‎16‎/‎01‎/‎2020 at 11:56, Anna C said:

To teach RAD Silver Swans you have to take part in Silver Swans Licensee Training.  To be eligible to attend the training you must be an RAD Registered Teacher or have passed RAD Intermediate (or the equivalent thereof) AND a Level 4 ballet teaching qualification.   Quite strict criteria which can only be a good thing as those attending Silver Swans or any licensed RAD classes know that the quality of teaching will be of a good standard, delivered by a qualified teacher (who has the appropriate insurance).   

 

Unfortunately, anyone can refer to themselves as a “Coach” yet take no responsibility for injury or accident during a “coaching” session.  It’s one thing dancing a solo for your classmates during the break but quite another to start “teaching” your fellow students - especially when it’s the RAD teacher who has paid to hire the studio, paid her public liability insurance, paid in time and money to do the teaching qualifications and licensee training and - most importantly - would be responsible if anything untoward happened in class.   

 

I know I have been a bit late coming back on the reply’s, various things have happed, but I guess the most significant for me is my new rep coach never came through after 6 weeks, which has left me swimming through treacle to make progress against my previous coach and priority has been with that and my Cecchetti classes.

 

At least I have the half term break to give me a little breathing space although we have the recent storm damage to catch up on.

 

From the tone of Anna C response, it feels like it has been perceived that I am stealing something away from this RAD school and its teachers.

 

Nothing could be further from the truth, I have been associated with that school and the Mother and daughter teachers that run that school. I first met the a few years ago when I hired their studio for a couple of hours a week, as a thank you, I would add my support by attending there adult ballet class each week.

 

I had incurred an injury while Adrian and I were building the foundations of my new studio, which brought my ballet to a very abrupt end for a while, in the case of this school, about 2 years.

 

By this time I had my own studio, however the Alive Ballet Company that I performed with in London had finished, which freed of Tuesday’s our rehearsal day. I enquired about the old Adult classes, they had finished as they alternate Adult Ballet with one of the RAD graded classes during exam years, the other year which is their performance year two grades are combined, as the school only has a single studio. The only thing they could offer me was “The Silver Swans” on Tuesday morning, my first thought was, “this really isn’t me”. But I guess curiosity got the better of me.

 

It turn out that they were a really lovely bunch of ladies, and I guess I was a bit of a misfit as I was still attending rehearsals for performance, and of course was the only one attending class in regular ballet attire.

 

During my first class, they were learning a little rep to the opening music of Swan Lake choreographed by the teacher, several were struggling remembering the sequence, a couple mentioned this again in the changing room before leaving, so I asked if they would like me to write it down for them, this was only done to help and not steal anyone’s thunder. In any case I regard both teachers as very good friends of mine. Before I left I ask our teacher if it would be ok to bring my Odette and Black Swan tutu’s in complete with headdresses to show the ladies before class as I thought it would be of general interest, she was all for it, which I duly did the following week.

 

A few weeks later, there were questions coming up regarding the meaning of different ballet terms, it was clear that many of the ladies were unfamiliar with them. I couldn’t let the situation pass without offering to help so I offered to bring in a copy of a Glossary of Ballet Terms and of course it was well received by the teacher and our ladies.

 

A few weeks beyond that, again in the changing I was ask by a couple of the ladies if I would dance one of my performance pieces for them. Needless to say I took this request to the teacher and said if she agreed for me to do it, I would do it in the 15minute break between classes, I would be happy to dance it and in full costume. She thought it was a brilliant idea and said some to the effect, it would allow the ladies to see where the steps and exercises in there ballet class ultimately leads.

 

I initially agreed to perform one piece a month for them, but that soon wasn’t enough for them and I was performing a different solo in costume for them every other week. Just one point of clarification “Dancing a solo for your classmates”, our teacher was always there, sometimes her daughter too.

 

Lets make no mistake about it, these ladies became inspired by the solo’s I’ve been dancing for them for many months, I guess one of the early indicator, I was the only dancer during class in traditional class wear, first we had one change and then a few more followed. The lady that first came in traditional ballet wear ask if she could join me with something simple, after thinking about the pieces I had planned to show them, I allowed her to play the part of the Queen in the Variation of the Crystal Fairy, she simply sat through my solo and we exchanged mime gestures, she loved it.

 

I wonder what Anne C would make of that so far, would she disallow it?

 

 

Following that others asked if they could do something too. Finding something for one is not too taxing, but finding something for a small group is a whole new ball game and does require a good deal of planning.

 

That is basically where it all started. It was always my intention of doing all that I did to fully support that school and its teachers and presenting our shared performance piece of our volunteers, as not everyone wanted to perform in a video showcase to the Silver Swans patron.

 

Anna C your first paragraph on the face of sounds quite impressive, you mentioned the teachers have passed RAD intermediate, to be fair I’m not sure what that standard consists of or its relevance to a level appropriate to the Silver Swans.

 

At the end of the day the teachers objective must be to impart their knowledge and dance skills efficiently in an enjoyable way, and not try to impress the students with how well qualified and clever the teachers are.

 

My observation of RAD has been from many rep workshops I’ve attended around the country and including Edinburgh too. Originally we were given info of the dance we were to learn prior to attending the workshop, although sometimes this was changed. Later the only info was only the name of the ballet.

For me I don’t know if it would be a piece I would normally chose to dance, I really don’t know what I’m paying for, also I’ve had no time to prepare for it, I also suspicious as to if the teacher has properly prepared for the class. That really doesn’t look like a professional delivery too me.

 

If I can just contrast that to my most recent rep workshop at BBT with Sarah Lamb of the Royal Ballet, we were at least issued with the fact we would be learning Juliet’s Solo and a video clip of the rep.

 

This was a two day event with the usual barre and centre for the morning and learning the rep in the afternoon. The last day finished where we had to perform this piece in front of Sarah in groups of no more than 3, the dancers standard in that workshop were high, certainly a few pre-professionals from Elmhurst, and a few from my performing group at BBT too. At least with being able to prepare, it gave me the confidence to go first and go on my own in front of Sarah and above all to really enjoy it.

 

I will now contrast my teaching / coaching methods, firstly before the half term break at the end of class my teacher made the announcement that I had something to say to the ladies, I described what was proposed on a voluntary and the piece we would be dancing,  The first week back the dancer had the documentation covering the rep including pictures of all significant poses, furthermore I would dance the next week piece to let them see what they would be doing, rather than worry about the unknown, I have never seen these types of training technique used by RAD to under pin the confidence of its dancers, which is especially important with growing short term memory loss of its  Silver Swans dancers.

 

As for Anna C statement “any licensed RAD classes know that the quality of teaching will be of a good standard”, specifically in the case of adult repertoire workshop I completely disagree, that culture simply isn’t there, the focus is on the teacher and how what the teacher wants to teach, rather than delivering a properly specified piece of rep. In the days when there were a little advance info on what RAD was to teach I distinctly remember signing up for Swan Lakes Big Swan dance only to find on the day we did Waltz of the Swans, a similar thing happened with one of Cinderella’s solos was substituted for something else and what I had prepared for was wasted. These days I positively discriminate against attended RAD rep workshops, as there are other ballet organisations that do deliver properly defined rep.

 

As for RAD general classes I don’t have too much a problem with them as I have spent many happy hours as a RAD Adult Associate at Elmhurst.

 

You also made the point that one needs a Level 4 ballet teaching qualification, even though on my previous posting I highlighted “I have no wish to be a BALLET TEACHER”, however that doesn’t mean I don’t have the skills to teach.

 

Firstly I originally qualified as an instructor, then Chief instructor able to qualify Instructors for the appropriate industrial training board, then qualified as an Industrial Training Officer, again able to qualify other to the levels mentioned previously, then all the way up to Master Degree, so training has always been a large part of my career. The main part of my career was as head of a design department for a ground to air communications manufacturer, it was very much a safety critical industry. Everything we did had to be documented in precise detail, verified and approved and placed under strict configuration control, as a result I was also several review boards too. Hence my interest in the need to document rep in precise detail and use that as training aid for others.

 

I note your craft skill level of as “RAD Intermediate or equivalent”, not sure how that fits in with the Silver Swans, so perhaps you can enlighten me how it fits into your grading structure. The only experience I have of RAD was from the adult associates which was from absolute beginners through to Grade 8.

 

You make the point “anyone can refer to themselves as a “coach” yet take no responsibility for injury or accident during a “coaching” session”.

I can’t help but feel that the real point you are trying to make is, I haven’t got a clue as to what I’m doing and the ladies are in immanent danger of injury from me.

 

Firstly I use the word coach in the context that I am not teaching basic ballet steps, but a connected sequence of ballet movements that they already know. If I were to use te word teach you could also make the same argument.

 

I guess I use the word coaching to reflect the majority of my own repertoire training which is carried out on a private one-to-one basis. The Ballet teacher does not tech me the rep, firstly the overhead on that for her to learn it prior to our session would be prohibitive expensive, secondly the rep itself is mostly a hybrid which I have created from a number of different versions. Practically at the beginning we swap rolls until she is familiar with what I am trying to perform, then she takes over by tidying up my technique, musicality and audience engagement. Similarly, it receive another level of polishing at Ballet West for its final showcasing there .

 

Second part “yet take no responsibility for injury or accident” I really don’t know how you can make that assumption, in any case whatever provision was in place before their break why would one assume it would not continue to be in place, unless it was directly attributable to my gross negligence. Do you not think these teachers would have said no in the first place when I ask for there permission to run such an even, rather than let it run for a full half term and be very supportive too.

 

In any case we all know accidents do happy even with the best practices in place and of course we always support each other in summoning the appropriate medical help, I would certainly never walk away from an injured dancer whether it was my responsibility or not and say not my problem. Just as an aside I do always carry Biofreeze and Ice-eeze instant cooling packs, mainly for myself but they are always available for anyone else that needs them.

 

Some time ago I ran a ballet rep group of 7 dancers at a dance studio in Sleaford, for that I had a document in place that contained amongst other things a disclaimer which each of the dancers would have to sign signed to be part of that group, that did not mean if they hurt themselves I would walk away and take no responsibility, Adrian my partner was a trained first aider but that was all.

The document also contained the Dancer’s Emergency Contact Details, A Medical Questionnaire including GP’s contact details.

The only stipulation I had from that school was, I wouldn’t compete with them.

 

Disclaimer are not uncommon in Amateur Performing Companies or Organisations running Rep Workshops, it doesn’t follow that where they are used, its dancers are at an elevated risk.

 

Similarly having a Trained Ballet Teacher with Public Liability Insurance doesn’t necessarily guarantee safe practice. I wonder what provision were in place where a 6-year-old Chinese girl was left paralysed after dance teacher forced her into splits?

 

 

There is one thing that is really puzzling me “It’s one thing dancing a solo for your classmates during the break”, it’s a bit more than class mates it’s the teachers too. I’m sure if I can dance a solo on my own in front of Sarah Lamb of the Royal Ballet, then I wont be too shy to dance solo’s in front of my teachers. The thing that is puzzling me most, if I’m not allowed to dance with the ladies in the break, should I really be allowed to dance on my own through fear of hurting myself, surly that must follow. Oh god what it is to be old, I hope I never get there.

 

 

I know it may look as if I am constantly knocking RAD, both they are not the only ones I have issues with. As mentioned in previous post of mine, getting information out of the Faculty of Cecchetti at the ISTD for the release of the Advance 2 DVD’s has also been problematic. Yes we do have documentation covering the Syllabus but its cross referred between 4 different document which has its own level of ambiguity, I’ve managed to add into the mix Cecchetti Australia Inc’s video’s of that standard which are generally quite close, but never the less has some differences, plus with the help from some of this forum’s members I’ve added in the video’s from the Cecchetti Diploma but of course much more challenging. But alas I have finally go a useful contact inside the faculty that is willing to help with queries.

 

For the loss of coaching/teaching these lovely ladies is no great loss  for me, although I had bought a number of Romatic Tutus and material for more to be made, but its like most things, you don’t get anything out unless your prepared to put it in. I am sad for them , they are the real looser's. I have always been heavily engaged its part of my culture, I guess that why when I was with the Alive Ballet Company, I became Head of Costume, Music Editor and Production Manager, I was always there to help.

[Kate_N]

I'm sure @Anna C can speak for herself, but reading her post, and your response, I don't think anyone is saying you are "stealing." That is strong language to use.

 

But it's important to point out that in the professional ballet world (as I've experienced it, anyway) there is a concern about unqualified people teaching/coaching in a very specialised field, which generally takes a lifetime of  training and performing to be recognised as a qualified teacher. That's why the RAD requires those who teach its material to be qualified in a way that they recognise (and indeed, have some control over).

 

In my life as a perpetual ballet student (I was totting it up - it's been about 40 years!), I have been very fortunate to be taught by master teachers, who teach adult beginners and working professionals. And I don't think adult dancers, of whatever age, should be offered anything less. And those who have this combination of training, experience, and ability as pedagogues should be respected - I am so lucky that I've had several extraordinary master teachers, including my current regular teacher. We should respect these people.

[Anna C]

Thank you, Kate; I agree wholeheartedly.  

 

Michelle, you have misunderstood me on several points and I have no idea where your perception of “stealing” has come from.  I won’t respond to all the points in your long post but I will say this:   Just because you disagree with ballet teachers does not make those teachers wrong, underprepared or unprofessional.  

 

Unless an attendee has Special Educational Needs, most people can pick up steps and sequences at a repertoire workshop providing they are attending the appropriate level class.  I don’t know about Adult Repertoire workshops but in the numerous workshops, masterclasses and auditions my daughter has attended over the years, there is always some guidance given as to the level of the class.  This could be last exam passed, current level being studied, years en pointe or even just how long you’ve been dancing.  From this information, the Teacher will target the repertoire accordingly and adapt it to fit the standard of the attendees.  

 

Unless the class is aimed at Advanced students with solid pointework, the repertoire will always be adapted and altered to fit the class level, which is why it’s not worth sending videos out in advance for people to memorise.  If you are attending the correct level class then you will have the appropriate ballet vocabulary and technique to pick up the steps during the workshop, albeit with demonstration from the Teacher where necessary.   If someone cannot do this then I’d simply suggest they go down a level as it’s surely better to perfect your technique at a slightly lower level first.  

 

Your qualifications may be impressive but they do not mean you are qualified to teach or coach ballet.  A Pilot may be extremely competent flying a Boeing 747 but does that mean they can or should instruct someone on how to drive a car?  Of course not.  To safely and effectively teach ballet, one needs to have reached a good technical standard to begin with (in the RAD’s case, as I’ve said, this is a Pass at RAD Intermediate*), only then can they begin the teacher training course.   This is several years’ long unless you are an ex Professional ballet dancer and covers safe practice, risk assessment, safeguarding as well as dance pedagogy and numerous other modules.  I know you have your own studio and a large collection of costumes but with no exams or qualifications, you have no evidence of good, solid classical ballet technique - which may be why your Silver Swans Teacher has drawn a line under your “coaching” sessions.

 

Speaking of Silver Swans, these seemed to be aimed at the over 55s and attract dancers of all levels, including those who reached very high standards in their youth, so I rather think you’re doing them a disservice by assuming they all have short term memory loss.

 

*RAD Intermediate is one of the RAD’s Vocational Graded Exams, originally designed for aspiring professionals as they are more difficult and more technical than the Graded exams and include pointework.  Young students usually take Intermediate at around 13 when their pointework is established.  They work alongside the Grades, which are more “dancey”.  

 

Several times in your last post alone, you have been disrespectful and on occasion downright insulting towards ballet teachers and the RAD.  This is not acceptable here.   

 

 

 

 

 

[LinMM]

Regards Adult Ballet workshops I have to say I’m not very good at learning a variation from videos🙄 ....that is if I have never danced it before. 
I seem to learn best by doing it ... then the steps stick in my memory more. 
Ive done a few RAD adult Rep workshops now and I’ve always really enjoyed them ( usually not long enough at 2 hrs!!) and realised with a general mixed adult group of course things have to be adapted. I don’t always enjoy learning the ‘big’ ballet solos either that are offered on some workshops. With those it’s more of a struggle than a dance experience for me 😩
One of the RAD ones did a version of the Ugly sisters ( Ashton based one) from Cinderella and had such fun doing that ...one of my favourite ones...we also did a bit from the solo with the broom and were given some old fashioned brooms to dance with! 

On another we learned an adapted version of the Garland dance from Beauty and the teacher had her work cut out trying to organise the number of people there into the shapes etc but it was like being in a real corps de ballet... a bit of trial and error but it worked wonderfully in the end and got a real sense of achievement at the end of the session. 

I’d love to do a workshop based on the second Act of Coppelia with Swanilda and friends in the dolls workshop because that would involve a bit of acting and interacting which I enjoy ....so here’s hoping!!!... ..
Obviously if I was a dancer with terrific and reliable Advanced skills and good on pointe etc I might want a more Advanced workshop based on Odiles Black solo from Swan Lake but most Adults attracted to Rep workshops are usually around Grade 5 to Intermediate level with just a few more Advanced level dancers. 
The ENB workshops are similarly run ( though they do some aimed at 14-18 year olds who may have higher level skills am not sure) and they usually teach group dances like Snowflakes from Nutcracker always fun to do...especially on the Colisseum stage! 
If you ever had to work with a choreographer they are not going to give you a video and say I’ve created this now go off and learn it!!

Ideas come as they create WITH the dancers in front of them so you have to be able to learn on the spot( and get used to them changing it next time you meet!!) But be able to respond and contribute ideas as a dancer to the process. This is not something you have prepared beforehand but as a result of being in the moment of a Dance creative process. 

Its absolutely understandable that the RAD a huge worldwide organisation has to be protective of its standards and be sure anyone teaching any type of course in their name has the relevant qualifications. 
Im sure this would be true of any large organisation involved in the teaching of others not just in the Dance world. 

 

 

[youngatheart]

Michelle,

 

The "Silver Swans" brand is a registered trademark of the RAD, and as such they have the absolute right to impose whatever conditions they want on who can or cannot teach the classes, whether you agree with them or not.

 

One of the terms and conditions states "Only teachers that have completed the Silver Swans Licensee Training sessions are able to lead Silver Swans classes. The License is non-transferable and does not apply to a Dance School as an entity."

 

Another states that "Silver Swans Licensees are not permitted to create merchandise using the Silver Swans Logo."

 

So in a nutshell, by not only allowing you to coach a group of "Silver Swans", culminating with having them perform as such in front of a Silver Swans examiner, and then actually issue them Silver Swans branded certificates, she would be in clear contravention of her licence and the Code of Conduct she would have signed up to. If someone from the RAD has pointed this out to her, (perhaps after she approached them to move forward with the idea) she would have had absolutely no choice but to pull the plug on you if she wanted to be able to continue as a Silver Swans licencee.

 

So what you actually did wrong was attempting to do what you were doing under the Silver Swans brand. If you had dropped the Silver Swans aspects completely and just held independent repertoire sessions (not that I would personally be in favour of you doing that, for the reasons already explained by Kate N & Anna C) or - far preferably - had the teacher teach them using your arrangements and choreography (so your role would be limited to that of choreographer/artistic director rather than coach) the outcome may well have been different.

 

Please do not take this post as a personal attack Michelle - it is not meant in that way at all - I am just trying to explain the probable reasons to you of why this has happened, because from your post you seem to be reading all kinds of horrible things into the situation that simply weren't there, and getting upset by them.

 

Just try and see things from the teacher's point of view - she initially let you do it in good faith, probably getting swept up in your tremendous enthusiasm for repertoire - which is one thing that comes through loud and clear in all your posts on here - and then found herself in a very sticky situation with the RAD. At the end of the day she had to put her career and her school's standing with the RAD first - that does not mean that she would have taken any pleasure in stopping you from doing your sessions, and indeed she is probably very sorry that she has been put in a position where she had to upset you so much.

 

 

Edited February 21, 2020 by youngatheart

[2dancersmum]

I agree wholeheartedly with Anna on this. Disagreeing with ballet teachers (or their organisations) does not make the teachers wrong, unprepared or unprofessional and it is very disrespectful to suggest that it does.  

At the end of the day here we are talking about a difference in views between an enthusiastic dancer who has never danced professionally and only took up ballet in recent years and professional teachers and organisations that have many years of experience and training. This is not meant to be insulting to Michelle either or her standard of dance but it is just unrealistic to assume that any large organisation of any kind would approve an unqualified person going in to represent them. I dont think stopping Michelle coaching the silver swans was done personally but as said above the teacher cannot be in breach of the terms and conditions of her own school's position.

I also find the tone towards Anna rather unpleasant - it comes accross as rather mocking with comments like:"I wonder what Anne C would make of that so far, would she disallow it". 

Anna simply explained the silver swan's licensing/entry and training requirements. It was not personal

[balletgremlin]

I've enjoyed several rep workshops with the RAD and no matter what level they suggest it is suitable for, there are always teachers/advanced students at one end of the scale and those who haven't danced in 30 years/can't do a balancé so the instructor has to change the choreography on the fly to adapt to everyone's skill levels and how quickly people can pick steps up. My favourite part is working with a different teacher, in lovely studios and a live pianist. I'm not too bothered by what we're actually being taught.

 

Northern Ballet are doing a Cinderella workshop in Milton Keynes in April. Has anyone any experience of them before? I did a La Corsaire workshop last year with ENB and that was very basic even for beginners' standards.

[Peony]

If a workshop is well planned I don’t think it’s unreasonable to expect the piece of rep to be advertised. Some people won’t care but others might like to watch the piece and get a feel for style beforehand, some might not want to attempt a solo, or a group piece, or a character dance etc. I wouldn’t expect an exact replica  as it’s up to the teacher’s skill to adapt and make the choreography suitable for those present. That part needs to be done on the day!

[Bellini Pointe]

I took part in the ENB Swan Lake workshop a couple of years ago at the Colosseum which was very interesting and enjoyable to take part in.

Based on the level of Dancers attending the Class and Rep were geared more to Intermediate level of attainment.

The Workshop ended with the perhaps one and only (ever) demise of Rothbart in Act Two surrounded by a group of rebellious Swans !

I am reminded after the ending of an ENB Dress rehearsal of Swan Lake in Manchester when,costumed as Odette the Ballerina decided to practice Odile's 32 Fouettes.An interesting sight to see !

[Bellini Pointe]

To clarify the extract chosen was the Swans Waltz from Act 2 ( number 13 in the Score).

[Bellini Pointe]

There was no notification given of the exact chosen repertoire n advance of the event.

[Jan McNulty]

I expect there is an element of teachers having to think on their feet in any workshop or masterclass as many things on the day can affect how things are done.  I recently went to a sketching class - it turned out we were all absolute beginners and the teacher had to start from scratch, which she hadn't planned on.

[Anna C]

5 hours ago, Peony said:

If a workshop is well planned I don’t think it’s unreasonable to expect the piece of rep to be advertised. Some people won’t care but others might like to watch the piece and get a feel for style beforehand, some might not want to attempt a solo, or a group piece, or a character dance etc. I wouldn’t expect an exact replica  as it’s up to the teacher’s skill to adapt and make the choreography suitable for those present. That part needs to be done on the day!

 

I agree, Peony, and I think on the whole that the ballet the workshop is based on is advertised, especially by ENB when they run workshops linked to performances (e.g. you know you’ll be learning rep from The Nutcracker).  Of course that is reasonable.  What isn’t always possible - or reasonable - is to expect to be sent a video of the exact variation so each attendee can memorise it in advance.  Mainly because the repertoire will almost always be adapted, and as you quite rightly say, sometimes on the fly, but also, things can change; Repetiteurs can be ill or unavailable so another teacher has to be found who may have to teach another piece of repertoire.   These things happen but hopefully everyone involved can still have fun and learn something.  ☺️

[Kate_N]

Yes. I think the thing I enjoy about repertoire classes & workshops is that you learn a lot about technique as well as learning the choreography. It's what we do class for - to put the technique into practice. I've been lucky in my home studio in that my teacher - an ex-professional and really well-trained as a dancer and dance pedagogue - knows much of the great classical repertoire, and gives us bits in class as part of our centre work. We spent most of 2019, for example, in doing centre practice derived from Giselle. This wasn't repertoire as such, but integrated into the barre and centre practice of regular class.

Edited February 22, 2020 by Kate_N

[LinMM]

That sounds like a nice class Kate_N 

[Alexander]

8 hours ago, Jan McNulty said:

Hello Alexander and welcome to the Forum!

 

Thanks! Er, Sunday morning and.. I want to dance!! Waaaa!

[NJH]

On 22/02/2020 at 13:24, Kate_N said:

Yes. I think the thing I enjoy about repertoire classes & workshops is that you learn a lot about technique as well as learning the choreography. It's what we do class for - to put the technique into practice. I've been lucky in my home studio in that my teacher - an ex-professional and really well-trained as a dancer and dance pedagogue - knows much of the great classical repertoire, and gives us bits in class as part of our centre work. We spent most of 2019, for example, in doing centre practice derived from Giselle. This wasn't repertoire as such, but integrated into the barre and centre practice of regular class.

exactly this 

if i were to wish to learn a solo for  my own purposes, (  e.g.  to perform as a solo in a show or to take to a competition that allows  adult  amateurs to  compete ) i would be studying and practicing in my own time  and working  with  a teacher  / pro  i knew and trusted  to  get it nailed and not relying on  any  rep workshops or retreats   ( unless and until   TBR ' a ballet in a week'  happens  - which has been mooted as an idea for H to  explore given the number of award  winning choreographers in 'tTam TBR') ...  i suppose i maight  draw inspiration from having done  a piece  at  one of these sorts of events , but  equally   that same inspiration could come from seeing  the piece performed by someone else  live  or on video  ...  

[Michelle_Richer]

Sorry for the big long post, but I feel it’s necessary to clarify many misconception contained in some of the comments.

 

Firstly I must apologise if some of my comment appear disrespectful, that was not the intention.

However I did become disillusioned with RAD as it felt to me with the way they used to operate by giving advanced info of the rep being taught and then some time later taking that away.

Furthermore there was another change I experience with RAD which was deeply disappointing. Some years ago I joined RAD Adult Associates at Elmhurst, at first things were brilliant, although I only booked for body conditioning and Improvers 2 (Equivalent to Grades 6 to 8), I was offered absolute beginners free, if I booked for Improvers 1 (Grades 3 to 5), as I had time on my hands between classes it made perfect sense. The lady in charge of that region made the comment, this would help them with the beginners if they had more experienced dancer to follow, which was fine by me, about 6 of us joined the beginners.

During class changeover breaks and lunch time, the Adult Associates used to share the common room with the teachers; it seamed a really nice close knit group.  When I first started, I asked if I could use one of the studios during the lunch break to run through some of my own rep, they were extremely supportive, I even used the studio theatre one time when it wasn’t being used.

The same lady was very supportive in getting me permission to join some of the CPD workshops, but sadly I never took that option up.

This very conducive relationship that lasted for around 18 month to 2 years, then thing changed. Firstly I was asked to pay for the beginners class, which was no big issue in itself, as I was at Elmhurst all day, the 6 of us that helped the beginners dropped initially to two of us, then finally I was the only one from the higher classes.

We were also stopped from using the common room for our breaks and told to use the studios for our lunch break, for me that was down right wrong to bring food and drink into a studio, especially wrong as RAD was guests at BRB’s training school, in any case I do not allow or do that with my own studio. The best I could do there was to go behind a screened area in our studio, where chairs and other bits were stored. For me the 100mile plus car journey to Elmhurst was spoilt, although I did continue to go for a further year to 18 months.

 

Then there was  another substantial change took place, both improver 1 and improver 2 classes were combined. The Adult Associates was effectively for mornings only with Body Conditioning, then a choice of either Absolute Beginners or Improvers, the afternoon was for a Rep Workshops. Although I had paid for the next term and enquired about the rep that was being taught, this was never fourth coming, before my first session of that term commenced I sustained a serious injury so that relationship with RAD ended on a very disappointing note.

 

I think from various peoples comments I need to clear up several misconceptions;

 

There seams to be some suggestion to my motives of asking about the rep to be taught and suggesting it contains a video clip of that rep, as it implies I need to go down a level to something that’s more appropriate to me.

 

Firstly I ask about the rep as I am very discerning as to what I particularly want to develop, it must be of interest, in any case I’m usually working on a number of pieces at any one time, mostly towards my work with Gillian Barton, but other stuff to.

 

For example over and above what I am working on for Gillian Barton, Ive booked :

 

Swan Lake Day Retreat: RB Black Swan solo, and the mime scene

 

Giselle Dublin Mini Retreat: RB Giselle solo Act 1 and Entrance of the willies Act 2

 

I see there is a London Ballet Masterclass on Le Corsaire (Grand Pas de Six), although it’s quite a pretty piece, I can’t use it at the moment, so consequently Im giving it a miss.

 

The video clip as far as I’m concerned is an effective learning aid, it’s used extensively for other forms of dance, it’s always been used for rehearsals in all the amateur ballet companies I’ve belong to.

 

The comments that reflect teachers adapt the level to fit the standard of attendees, that makes it totally unsuitable for me, not that I need to go down, but the opposite. This is why when I showcase rep on our last day with Gillian Barton, the rep as far as I am able is a combination of compatible phrases from different companies representing the best of the best, that why I have been using a private rep coach for the past 6 years, sadly I lost her at the end of November.

 

If I were hesitant in any way in learning rep, I would hardly have the confidence to dance a different solo every other week in front of the teachers and lovely ladies of the Silver Swans, however I does allow me to be critical of the shortcoming of some of the professional companies too, non of us are perfect.

 

Also I have been fortunate to have teachers like Sander Blommhaert ex Royal Ballet as our artistic director, teaching us rep that is seldom watered down with adaptation and in some instances enhanced which really works for me.

 

I see in one of the comments, pointe work was mentioned, I have to concede this one. This is not an important one for me for solo’s, however from a conversation I had 2 weeks ago in Edinburgh with Gillian Barton, I’m planning on dancing a Pas de Deux this year with Adrian my partner en pointe, providing I’m sufficiently ready, but I still have a long way to go for that one as yet, but its just a matter of time.

 

I raised the issue of short term memory loss as it was something that was spoken about very frequently in the changing room after the Silver Swans class, hence the reason I documented the teachers Swan Lake enchainment on my first week for the Swans,  it was only them to help them.

 

One term used in a couple of post that I’m not familiar with “pedagogue” so I looked it up:

a) If you describe someone as a pedagogue, you mean that they like to teach people things in a firm way as if they know more than anyone else.

b) A teacher who gives too much attention to formal rules and is not interesting.

 

I cant help but liken this description to the old fashioned headmaster who would gives you a clip round the ear, or banishes you to the corner of the room with a dunces hat on, in sheer humiliation for minor issues like spelling something wrong or not singing in assembly but just moving your lips.

 

That really doesn’t work for me. I have had a few good teacher, and some really poor ones too. The thing I’m always looking for in a good teacher is one with boundless enthusiasm and willingness to really want to help, the little things often make a big difference. I guess my most notable teacher were Tom Linecar-Boulton founder of LAB and my teacher at ENB, Sander Blommaert of my BBT performing group and Rejane Garcia founder of our Alive Ballet Company and teacher at City academy.

 

For one-to-one rep the relationship is somewhat different, it becomes more of a close partnership, for me that was Emma my former twice a week rep coach and prep for pointe, the other is Gillian Barton for her endless support, invaluable feedback and encouragement over the years for my self and Adrian my partner.

 

I also have a developing relationship with my Cecchetti Advanced 2 teacher now we have started an additional one-to-one sessions on unset work.

 

My philosophy is simple; we are on this earth to help each other, whether we are formally qualified to do so or not, just listen to your own judgement.

Edited March 2, 2020 by Anna C
Edited by Moderator

[balletgremlin]

The RAD combining the Improvers 1 & 2 associates is why I stopped attending as well. I know the numbers weren't high but it was still a shame to lose the second class.

[Anna C]

Hello Michelle,

 

May I draw your attention to this post:  https://www.balletcoforum.com/topic/22271-from-the-moderators-topics-that-are-off-limits/?tab=comments#comment-312066

 

I have therefore edited your post to remove mention of one of the schools in the aforementioned post.

 

Kind regards,

 

Anna C on behalf of Balletcoforum Moderators

 

 

 

[The_Red_Shoes]

7 hours ago, Michelle_Richer said:

One term used in a couple of post that I’m not familiar with “pedagogue” so I looked it up:

a) If you describe someone as a pedagogue, you mean that they like to teach people things in a firm way as if they know more than anyone else.

b) A teacher who gives too much attention to formal rules and is not interesting.

Well, no. Pedogogy  means the theory, philosophy and methodologies of  teaching. A pedagogue is simply a teacher, following whatever philosophy and methodology that particular teacher follows. That might mean that they are formal and structured in their approach or equally, if such is their philosophy, learner-centred, experimental, collaborative...

[Michelle_Richer]

Dear The_Red_Shoes

Thank you for your help with the definition of Pedagogy/Pedagogue.

The definitions I quoted for Pedagogue came from (a) CollinsDictionary.com and (b) Dictoinary.Cambridge.Org.

I see in my copy of the The Collins Oxford Dictionary Pedagogy is described as the “Science of Teaching”, so I guess we are all on the same page.

 

However I did come across a very informative extract from an article of the Royal Ballet school which contrasts Content vs Pedagogy

 

“There is more to a dance education than passing exams.

Over the years, there have been an increasing number of teacher training courses available for private dance teachers focusing on content knowledge (the steps of classical ballet) rather than pedagogical knowledge (the science of teaching). Content knowledge courses, offered by many dance societies, often focus on assessment content and training exercises for a particular graded exam.

 

The concern with such courses is the implication of a hierarchy of ‘what to teach’, over ‘how to teach’. Teachers can falsely presume that the syllabus content is a training programme. A narrow focus on syllabus settings will not develop diverse and skilled dancers. The exercises, steps and variations within a syllabus are the tools for an assessment-not the recipe for a dance training.”

 

General 1

For me that make an awful lot of sense, from what has been said in previous post both relating to Repertoire workshops and the Silver Swans students, the focus is on the students picking up and remembering the dance steps etc when its demonstrated to them by the teacher, if they fail to or have difficulty, its perceived that its down to the student being unsuitable who is has failed.

When I put my teaching/coaching hat on, when this happens, I see that as a failure in the methods I’ve used to deliver that task, the error has been mine.

In my own Instructional Techniques training, the “demonstrate and copy” method was probably the most basic technique used, in fact we had a slang term to describe it “Sitting next to Nelly” to copy her in some basic task.

For me one of the basic elements that’s grossly underused is study, hence my preference for video examples, it allows those that want to, to pre-study the work in advance and be properly prepared. In my case with the Swans their whole piece was fully documented with illustration of all significant pose’s prior to the work starting. Even then the following weeks work would be demonstrated so as it would not be unknown to them as additional reassurance. My take on this is simple, it needs to be  enjoyable and efficient learning.

 

Having said that, it’s no good telling me that some ballet teachers cover Pedagogy (Science of teaching) as part of their teacher training, if they don’t apply it.

 

General 2

I still have no rep coach, which I’m starting to see the effect of; everything seems to be taking so much longer. My Adrian said some time ago that this would be his last year dancing PDD’s with me, fortunately I’ve persuaded him to do another two. A couple of weeks ago he found one of my Swiss balls in the studio and ask what it was for, so I gave him a couple of very basic exercises where he found balance quite difficult. Since then I have started doing an hour session each week for us both on basic PBT to get him started, especially as I want to see the range of his arm since his last injury, for that I’ve adapted part of the Cecchetti Advanced 2 Port de Bras for sitting on the ball. I’ve also bought both the Senior and Advanced PBT programs as a resource that I can cherry pick from. At least the range of his arms are looking promising for our La Bayadere PDD.

I’m just hoping I’m ready to go en pointe for that one with a bit of a set back with a developing sore little toe on the right foot.  Although I’m still on the barre, I’m doing about an hours warm-up and about 10 to 15 mins en pointe at the barre mainly for strengthening and straitening, that is coming along ok. I’m trying to do a session in the studio every day with no more than a days break between them. I’m using an American product called PerfectFit pointe shoe inserts, which is a self moulding system, it certainly does what is says on the tin although I have found I would have liked a little more of the two part moulding material for my Bloch Serenade pointe shoes. They certainly felt comfortable on both feet when I first moulded them, however when looking at the end process after the material had cured, the area between the little toe and the side of the box, the moulding material looks quite thin, however for the first few days my feet were fine . Now the left is absolutely fine, the right become sore the more I use it and it’s also difficult to determine just where it’s sore. I can stand full weight on the right foot without too much of a problem, it appears to aggravate it on slow rises at the demi level where the ball of the foot is flat, ¾ and full pointe no real problem. I’ve tried various silicon tubes over my little toe and the one next to it, but as the agitation has already been created its difficult to see any real improvement. I had a chat to one of the pointe shoe fitters at Starlite Direct on Friday, she has suggested my right foot may be wider than my left, I may well go down the option of using two width fittings as I can still get two pairs of shoes out of that combination.   

 

Moderators 1

I see the name of this thread has been changed with the addition of “the progress of one adult dancer who took up ballet later in life” even those I did specify on the first paragraph of the very first post that “I’m setting up this thread up for everyone concerned with adult ballet, all are welcome, dancers, teachers, physio’s everyone. I claim no ownership to it what so ever, however I will continue to report about my journey on it, I hope others will too.” Furthermore there was no notification of this.

Firstly it was never intended to be just me as stated although I’m aware that I am the major contributor.

 

Secondly I really hate the term “Later in Life”, as if I need to take it easy and just take gentle exercise, thank goodness my Cecchetti Advanced 2 teacher doesn’t see me that way, I just love the way she pushes me for even higher extensions etc, I guess Lisa Howell will help me with that one with one of her courses.

It reminds me some years ago when I fell over doing a pirouette at ENB and the teacher said “Do be careful dear” Grrrrr, I hate those sort of expressions. I know the teacher also stopped me doing double turn pirouettes which I was really comfortable with, I allowed singles to become the norm, sadly it took me along time to regain doubles and it wasn’t until I changed teachers at ENB. I will never be held back like that again.

 

In any case if I needed to take it easy, I would hardly have spent close on £50,000 developing my own ballet studio, for me its about making the overall learning  process more efficient, it always there and available and better equipped that most.

 

Moderators 2

I’m sorry but I cannot let this one pass without comment.

I note that my previous post had been edited to remove the name of a ballet school I attend for a one-to-one intensive each year, I find it difficult to understand why?

I understand the legal logic behind the thread that had been locked which featured that school, but I really don’t understand logic behind deigning its very existence as this raises no legal or controversial issues in my case what so ever, do explain.   

 

Edited March 8, 2020 by Michelle_Richer

[Peony]

I Think the mods will decline to comment on your last point Michelle. I will put my personal viewpoint as I’m not involved with any discussions with any of the schools! There are many schools freely discussed on here, both positive and negative. If a school have Complained regarding negative comments and asked to have them removed that’s fair enough but it would be unfair to only delete negative comments and leave the positive as that’s not a balanced view. It’s unfair to the other schools who are freely discussed. It’s also not going to be possible for one of the moderators to screen every comment to see if it’s acceptable to the school or not! You can’t have your cake and eat it....!

as regards your pointe shoes, has anyone had a look in person? Dancique in Birmingham are excellent and used to adult dancers too. I find a box liner in the narrower foot works well.

Your studio must be amazing, I find with a proper, sprung, floor the potential for injury is much less, also doesn’t really hurt if you fall on your behind!