Anjuli_Bai

I would suggest that she not put her nose to her knee. Pain is a signal to stop. I don't think that stopping this particular exerose would have any negative impact on her dancing.

Just as ballet can be an isolating experience for the student - so, too, can it become such for a teacher. Even if affiliated with other teachers...a teacher's thought process can become rutted. Not only how the rest of the world is changing but how the student in front of her is changing. This is why it is good to get other opinions and other teachers. It not only broadens the student it also broadens the teacher and broadens the possibilities.

One of the hard things to cope with as a parent is that the auditioning entity - in this case the RBS - usually doesn't care if the applicant "comes into his/her own" in the realm of ethereal qualities at a later date. They judge what they see before them then and there. Why? because they can. There are so many applicants...they don't have to wait to see who might become what.

Well, having taken ballet class myself for over 40 yrs and taught for almost as long.....I've seen just about everything...done by teachers and classmates. There is little that would surprise me. What horrifies me is that it still goes on and that people put up with it as if ballet teachers were gods of some kind. Ballet class can be a very toxic place. If, as a parent, one is aware of this stuff and the child remains at the school, even if there is no other school around...then the parent is enabling the problem. This is child abuse. Better no ballet class than this abuse. The parent is the guardian of the child. That means taking responsibility for the child's welfare and that includes emotional welfare as well as physical.

The world may not stop for one child....but that child is all the world. Frankly - if that's what the teacher told you "the world does not stop for one child" - I find that disgusting.

So, as experienced as they are - they, too, don't always guess right. And, even with the greatest assets in the world, the dancer will only succeed if the "heart" is there. I've seen that ......a male student with EVERYTHING - given full scholarship plus stipend to one of the world's top three schools.....didn't do well his first year (age 15-16) but had such great potentials he was given the scholarship and stipend the second year.....and flunked out....he didn't have the "heart" - he didn't have the discipline. Even with his assets it takes work....and he wasn't willing to discipline himself. He never understood this...and he had no idea even when encouraged by teachers and friends, spoken to plainly, told of the consequences...he still had no idea why he wasn't automatically a star - let alone flunking out of the school. I saw his lack of discipline and attack in the first class I shared with him. It was evident in the second pirouette he did. But his potentials were so great that if the teachers at the audition saw it - they set it aside. When I saw him after flunking out the second year I was sad - but not surprised. It's not all physique.

Sometimes on a busy day I check the links by reading the e-mail prompt rather than actually on the board - so I don't know if that counts in your statistical summary.

Generally speaking a "normal" ballet class is 90 minutes long. However, a class for the very young (4-5 yrs) is usually 30 min. A class for beginners (6-7-8) is usually 60 min. But that's just a generalization. It also depends upon the intensity of the class - how demanding - how fast it moves.. (I've taken some 60 min. classes which had me bent over gasping for air while there were some at two hs which barely warmed me up.) And, also, the rest of the dancer's schedule must be considered. If the rest of the day is spent in rehearsals and performance at night - then the class in the morning should be less intense. So, there are lots of variables. For the very young child, a dance class is not about technique (especially something like turnout in ballet) - it is more about learning to move to music and to move along with other people. To become used to identifying with instructions. For the mid-childhood years - then it depends upon the goal of the student. I think the student's interest should be the guiding line - with input from parents and teachers. The child always reserves the right to say "no." Often when parents sacrifice with time and money - the student begins to feel obligated. So, it should always be possible for the student to change his/her mind as time goes by. We all experience change in goals and interests. This is especially true of girls as they are much more reluctant to "disappoint" the adults around them. But, all that being said....assuming all else is in place...(for ballet) .the child beginner ballet student from 6-7 yrs should do one 60 min. class a week. If that is successful....then 7-8 yrs. two 60 min. classes per week. Then starting at 8-10 yrs - three 60 min. classes. Frequency, I think, is more important than going to a longer class at this point. After that, class length can increase to one hr and 15 min. and/or 90 min. At 12 yrs old - pointe begins which means that several minutes are lost in putting on pointe shoes - which is ok - it gives them a little break. Class is not about working the body - but working the body intelligently. This means that both the body and mind should not get exhausted. Class should end BEFORE that happens. A tired body/mind don't learn. And, always, the child reserves the right to say "no." On the other hand, the child might want to overdo (girls especially) and the parents and teachers have to monitor that, too. Life must be lived in balance. Ballet can be a very insulating and isolating experience. The child should always have friends and activities that have nothing to do with dance. I hope I've said something that helps.

For a professional career in the ballet turnout from the hips is essential. No one (or very, very few) have perfect turnout - so it is a matter of degree. You do have the option of getting a second opinion on that aspect of your daughter's possibilities.

Your best guide is your daughter's teacher. At her young age, assuming she is now doing one lesson per week (judging by your question), I would give her two lessons - and see what happens. If she's happy with that and the teacher agrees....in a few months - three lessons - but no more than that at this age.

Nimbus: It's really a shame that your child's teacher is teaching only syllabus and no free work. This is a big problem. It is also a problem that there are no other options in your area. You mentioned that your daughter is doing "home practice." Unfortunately, this is not a good idea. Dance has to be learned under the supervision of a teacher. Even professional level dancers do not practice outside a classroom. Without this supervison the body learns incorrectly and then it takes even more effort to unlearn and relearn. I wish it were not so - but it is. There really is no substitute for a good teacher who is willing to take the time and effort to choreograph for her class. To put down her syllabus book - and forward he progress and solve the problems she sees in front of her through her own efforts. The same is true for stretching - it should not be done without knowledgeable supervision.

A groveller and beggar, I.

Auditioning for various opportunities is always good practice - and the dancer/student should be encouraged to look at it in that way. I, too, would encourage taking open classes. This accustoms the student to hear a different voice, different dance patterns and different music. A dancer must learn to quickly internalize new patterns and be able to perform them in short order. That takes practice just as technque does. Memory is (for most of us) an acquired ability. Help her to see that this experience is a good thing - it has shown her where she needs to work. And, also, auditioning for various opportunities is good experience even when the opportunity is denied. The dancer needs to learn from the experience and then move on.

Maybe another way to look at this...... Why do girls dance? Because they want to. Why do boys dance? Because they want to. If boys are given free schooling does that really mean there will be more male dancers? Or - does it mean that dance will be seen as not valuable - something not worth paying to learn? I wonder how many boys would go to learn to dance just because its free for them? I'm not sure that anyone - boy or girl - would endure what it takes to be a dancer simply because the schooling is free. Free tuition would enable a talented boy with no financial means to study - but that's true for girls, too. So, if there was a school with 30 tuition free places available - 15 should be for girls and 15 for boys. Yes, the waiting line for girls would be longer - but that can't be helped. At least 15 girls would also have a chance who might not otherwise - along with 15 boys. Thus, everyone would see it as "valuable" rather than a way to simply get a boy to walk in through the door.

...and who would pay for a free dance school for girls when the families will do almost anything to pay for them as it is now? There are an overabundance of girls struggling and striving...but for each little girl she is a world of dreams unto herself. The same is true for a little girl who is attracted to the sciences like engineering, physics, mathematics, etc. Is there a "safe" place for her - to be among her female peers, not bullied by others.....or thought odd.....taught by women as well as men....I don't see that. I think this is a situation in which the cart needs to come before the horse. Build a school and perhaps they will come...out of the closet so to speak....and we'll all be richer for it. Signed: A dreamer

The overall effect is certainly worthy. It just seemed to me as I looked around the ballet class and realized that (usually) all the boys were paying nothing while the girls' families were struggling so hard to come up with tuition. And, I couldn't ever think of a situation in which the reverse happens. In the various vocations/professions in which women had to break through barriers - there was precious little welcoming help. I look at the many families in the Doing Dance Forum who are sacrificing so much for their daughters to go to dance school. Oh well, I should know that life isn't fair -but I keep hoping.

So, this school is privately run - not government? I wonder if a school based on color or ethnicity is legal if privately run? It just seems to me that in a vocation with a paucity of males - such as ballet - free classes are given to encourage boys. But, in a vocation in which there is a paucity of girls - like an engineering school or one based on the sciences - are free classes ever considered to encourage girls?

Is it legal to have free classes based on gender?

In the United States, though one can certainly find syllabus classes, they are not the norm. Here classes are taught in what you would call freestyle - but that doesn't mean - at all - in no way - a lesser standard. San Diego has always had a roster of very fine teachers (including from the Royal Ballet: Elaine Thomas, Keith Martin, John Hart) - none of whom are syllabus teachers. I expect the teacher (including myself) to choreograph every class - barre and centre - to the needs of the students - not to the dictates of a syllabus. That takes work, thought and time. I also expect - and expected from myself - to throw out my preconceived class work if events warranted to teach to the needs of that day. I took three years of Cecchetti syllabus classes from a renowned Cecchettti examiner. I soon realized that though I could execute the set work very well - when I took a class from a non-syllabus teacher, I was lost. I had the strength and technique but could not accommodate quickly to thinking "out of the box." When this teacher offered to mentor me into the Cecchetti Council for teachers, I was grateful for her confidence but refused. I couldn't imagine teaching these set exercises to set music. Yes, I know there is "freework" but that's not the same as having to think - and absorb quickly -- day after day. And teaching or dancing to the same music would drive me batty. I love the inspiration of music that challenges. So, why did I take those three yrs of Cecchetti? At first it was because I didn't know the downside - seemed like a good idea. Then, it was a class within walking distance, fit into a very tight schedule (motherhood and working) and the teacher was knowledgeable and welcoming. However, after only one year I realized the problems and only continued the two yrs more as an addition to a non-syllabus schedule of daily classes.

I agree with Primrose. I have never agreed with the syllabus based classes even when labeled "vocational." It's not about grades or exams or distinctions and I certainly would never agree with cancelling or cutting down on class work while getting ready for any kind of show or recital. I have always felt that syllabus work readies the student for just that and no more. It can never replace the constant introduction - in every class - with every exercise - with new ways of putting steps together to new music. This is what dancers have to learn to do - incorporate new thought/movement patterns - all the time. Yes, of course, barre work begins with pliés, tendues, etc. - but the pattern should always be different. Keeps the dancer thinking - keeps the body thinking. I know that classes in Britain are overwhelmingly syllabus based - but I see that as a problem. Teaching a syllabus is a crutch for the teacher and a huge money maker - almost guaranteeing the continued participation of the student (customer) as they get caught up in the exam process. Just my old lady opinion.

Todays Links is the first place I click into in the morning. I am really really going to miss it. I have always felt most grateful to everyone who has done this painstaking and timeconsuming task. Thank you ! Thank you !

Thank you, Ian. My question was specifically about reviews because when I accept media tickets from a company I feel beholden to give value for those tickets which includes being able to post the review here - in some fashion. The plus side of a magazine format is the overall quality of the look as well as including pictures. However, I certainly understand that all this is in a state of change...and I shall certainly be happy to post my work in What's Happening. As for participating further in that forum - I find it difficult in the last couple of years because the subject matter has become (so it seems to me) much more locale specific...such as comparing one cast of an RB production with another cast. While that is certainly legitimate - and interesting to the participants - conversation, it's not something someone far from the scene has a chance in which to participate. But, certainly, when opportunity arises, I am happy to contribute whenever it seems relevant to the conversation.

Perhaps the "exquisite - hovering - perfumed" creature Nijinsky presented was seen differently in its time. Perhaps it was seen as the essence of the romantic. Sometimes when we see old films of say, Valentino, they seem over the top to us. And, Nijinsky in that particular ballet was not human - he was a rose. He was certainly the superstar of his day. Nureyev, when he danced the Rose, remarked that he could tell how strong Nijinsky was by the exhausting choreography. Another thing to consider, in Le Spectre de la Rose, while the male dancer does partner the ballerina, he also has quite a bit of solo dancing which began to expand the role of the male. He could shine on the stage while the ballerina slept.

While all this sorts out....and my question may be premature...please forgive me ......where does someone like me who (because of health issues) only critiques professional dance taking place in the San Diego area, post up the critique? Do I post it into "What's Happening" as with the old Ballet.co forum - and then it is formatted into a magazine? Or do I send it directly to Bruce...or someone else?

I have sometimes wondered just how legal it is to set up rules that say a student (customer) can't take classes (shop) at another school (store)? Just as it is illegal to deny someone from taking class based on race/ethnicity/religion, etc., - I don't see how a school can say that if you take class somewhere else is forbidden. I'd love to see this contested. A storekeeper can't keep you out of a store if you've shopped somewhere else.