Pas de Quatre

Following on from the thread about graduate contracts I thought it might be useful to open a more general discussion. Some lucky dancers do find a job on graduation, but many more are left considering their options. There are various "finishing" years, graduate companies and apprenticeships that new graduates can apply for - normally selection is by audition. Once upon a time apprenticeships were paid, and although it was less than a full member of the company, it was still a living wage. These paid apprenticeships appear to be an endangered species though, and most apprenticeships these days are a placement as part of a post-graduate diploma or MA. Not only do you have to pay for the privilege, but student loans are not available, so living costs have to be found somehow. It is a constantly evolving field, so it would be helpful if anyone else has more information to contribute.

I'll second that hfbrew, it is the mums and dads who make it possible for their DKs to follow their crazy dreams! I was once the child with the crazy dream and now am both mum to one & teacher to many!

I would be delighted to be wrong, but I understood Phoenix apprenticeships were under Northern Contemporary Ballet School's post graduate diploma placement, (similar to those through LCDS) and Springs company doesn't pay apprentices.

Congratulations to all. However, just to clarify (please don't think I am contradicting you Tulip), several of those from Central are further training rather than jobs. The ballet schools, universities and the apprenticeships are fee paying (unless on scholarship), not salary earning.

There always seem to be a few, in particular at ENB and Tring, both of whom hold auditions abroad. Also Royal Conservatoire of Scotland has a "foreign" allocation. When they first started in September 2009, as a teacher I enquired, and was told they had 12 places for UK/EU candidates and 8 for the rest of the world. But the numbers may have changed since then.

It is a nice article but nothing new. Basically saying how "sunny" she is, but that she has proved she has a more dramatic side in recent roles. And that now that Alina, Tamara & Leanne have left she is the senior ballerina. Then a bit about the new production of Don Q, which is really the PR purpose of the article I think.

I think it would be an excellent idea for John Neumeier's company to marketed in UK as "The Hamburger Ballet", think of the press coverage. It could also be done for "The Frankfurter Ballet"!

That's just the Scottish establishment being particularly anti the rest of the UK - it is the same for any English/Welsh/Northern Irish student who wishes to go a Scottish University. I don't know how they get away with it!

They are free to all EU students (or were when we looked). Not sure about the rest of the world though.

At audition preparation days they usually recommend that dancers try to wear the same leotard for the photos as they will wear in the audition - and yes a nice flattering colour makes for easy identification.

It is an excellent school. DD applied several years ago. It was the year Rambert School asked for a DVD of the dancer to accompany the application form. So we filmed one. (However with the subsequent outcry, Rambert dropped this requirement.) As we had the DVD already we decided to sent a copy to Stuttgart. The only trouble was, they replied by e-mail saying they couldn't get it to play, and could we send a different format. So if you do go this route, try to find a format that is universal. Anyway, DD had by then accepted a place at a Vocational School in UK, so we didn't take it any further.

In our area, it is considered a matter of professional etiquette among the better teachers not to accept a new pupil unless it has been confirmed that they have given notice correctly to their previous school.

Exams have absolutely no relevance to who will be selected by Vocational schools. It is entirely possible for an able, well trained dancer, to get quite high marks in exams but still not have the physique and potential for being a professional dancer that the schools are looking for.

I was at one of the group showings for teachers, and the general reaction was one of dismay. Although we have only seen excerpts, if the rest is in a similar vein I think it is very disappointing. The solos are very poorly choreographed and I too think it is "everything but the kitchen sink". In ballet as in music or literature there is an internal logic and syntax, even in very modern works. If the RAD wanted challenging solos, then they would have done better to use ones from the established repertoire or else commission good choreographers to produce new ones. This combined with the overbearing CPD requirements will, I am sure lead to many teachers questioning whether it is worth continuing with RAD.

Best wishes for a speedy recovery - injuries are a dancer's occupational hazard - so I hope he doesn't get too frustrated while it is healing.

Legat method teaching generally comes under Russian Style. You could google some of the Russian ballet associations/societies. Ironically, the Legat school is now staffed mainly by teachers who are RAD examiners although I would think their normal classes would be non syllabus. Edited for typo.

Great admirer of Jayne Regan here aswell!

Good luck to all, exciting times ahead! And parents be thankful we live in an electronic world and it is easy to make contact, I am constantly grateful. It is a family joke that DH was at boarding school in the days when parents got a short letter once a week if you were lucky, generally saying "Please send more money." That last bit doesn't change though!

Do have a look through all the different sections, it's not just the home page!

http://tippytappytoesdanceschool.weebly.com/index.html I wonder if any of you are familiar with this establishment. It appears to be based in USA but I am sure there are outposts in UK too.

Thanks - I think I may have met one or two along the way!

The same happens for Opera, big stars lead to higher seat prices at ROH.

So sorry Fiz, hope our community here will help you through.

I agree that even the most accomplished Principal dancer is not necessarily a star. There are only a few worldwide in each generation.

I think RB ought to take a risk with some of its own dancers. You only become a Principal by dancing Principal roles, and not once, but regularly! In the early days of the company, Ninette de Valois groomed Margot Fonteyn who was still very young simply because Alicia Markova had left. Some dancers will rise to the opportunity, others may not, but it is worth trying.