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Anna C

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  1. Also worth considering is the number of students from UK vocational schools who keep their place at RBS US for all three years and graduate at the end of the course. I’m not talking about those who sadly sustain injuries or those who choose to leave, but those who are assessed out before final year. I hope things have improved in this regard but I think it’s an important question to ask if offered a place.
  2. I’m not sure I’m remembering correctly, but in the past, have some international dancers been “sponsored” while at RBS or in the Company?
  3. The thread has been locked while Moderators discuss.
  4. I agree. It seems to me to be promoting inclusivity, not “Gender ideology”. As for arguing that “Gender Critical” people should be represented, from what I’ve seen on Social Media, “Gender Critical” all too often equals Transphobic, so I can quite understand why RBS might not think it appropriate to include GC people in its Pride Month artwork.
  5. I forgot to say, never EVER listen to competitive Dance Mums™️ and/or their offspring (and at auditions, never take any notice of those doing Competitive Stretching/Warmup routines) - they’re the dance equivalent to Trash Talking before a wrestling match; designed to psych you out and make the other person feel better about herself/himself. Every dance student has her own path, her own routine, and the only person your dd should compare herself against is her, and her progress. It’s not a race, there’s no rush - she might change her mind and decide she wants to be an Astronaut! Even if she doesn’t, she’s 11. The only thing she *should* be doing right now is enjoying her dancing.
  6. Absolutely. With dance training, it’s *always* quality over quantity - especially at 11! The only time you really need to think about adding in more hours - purely really for stamina and strength - is if you’re planning to audition for 16+ full-time dance training alongside students who have been at a full-time dance school from years 7-11. But that’s more for those who are aiming for a career as a professional dancer. For someone like your dd though, her first priority going forward should be good local ballet training (the foundation of almost all dance training; even Musical Theatre), then Modern and Tap. RAD Ballet classes also give the opportunity to learn Character dance, which forms part of the RAD Graded exams. I’m not sure if they still do so but when my daughter was an Associate at Central School of Ballet, Character was one of the classes studied, alongside Ballet, Pointework and Contemporary. If Associates are not affordable at the moment, it’s really not a problem. You can look again in a year or two (or three) if necessary. CAT schemes might be more affordable because I think they attract grants - and go up to 18, although I think 16 is the cut off age to apply: https://www.nationaldancecats.co.uk/what-are-cats/funding/
  7. All good advice; I agree that Associates aren’t essential but I don’t agree that they’d be unnecessary or a waste of money - it all depends how good your daughter’s local classes are. A good, selective Associates scheme (or CAT scheme) can be really useful in all sorts of ways, not least to supplement local training and for the reasons SissonneDoublee mentions. Another thing to think about is what academic qualifications might be of use; a GCSE or even A Level in Business Studies could be very useful if running her own school is an eventual aim. The RAD Teaching courses (or ISTD Teaching Courses) are probably what springs to my mind as a good route for a prospective Dance Teacher - the other option being the progression from performing as a professional dancer to the RAD Professional Dancer’s Teaching Diploma or the Royal Ballet School’s Teaching Diploma (https://royalballetschool.org.uk/train/dancer-training/dance-teacher-training/diploma-of-dance-teaching/). What will be important, as others have said, is a really strong grounding in ballet; your dd will need RAD/ISTD or equivalent Intermediate exam at a minimum, but to be honest she will have even more options if she can pass Advanced 1 or even Advanced 2. A pass at Intermediate in Tap and Modern would also incredibly useful if she would like to teach other styles. Acro is probably the least useful and Contemporary really needs a level of maturity so can be started later. And welcome from me too. ☺️
  8. When my dd was there, the uniform changed after Prep 1 and again the year after she left Pre-Seniors (😳££) but if I remember rightly, it was a very nice, very flattering Dans-ez leotard in a different shade/belt for each group, a sheer black dance skirt for Pre-Senior character, and the ballet leotard with black tights over for Contemporary. Most girls wore canvas split soles and their usual pointe shoes for ballet, RAD character shoes for Character and bare feet or foot thongs for Contemporary. More recent parents will correct me if I’m wrong but I think that the leotard is now the same colour for Preps 1-3 but with different belts, only changing to a darker green leo for Pre-Seniors? Leotard, skirt and ?belt were ordered via the school, tights and shoes were from anywhere.
  9. And are you in the UK? Also, is your daughter currently taking classes in-person?
  10. Hi Vanmalc77 and welcome. Can you give us a little more information in terms of age of dancer, and current level being studied?
  11. They are every Saturday with a break for half term. As akh suggests, it’s probably best to email to find out class times - I can remember being up in London for most of the day before dd was old enough to go alone but that was several years ago!
  12. I wish the ROH would hurry up and announce casting for this bill, especially for the live stream on the 9th (?) - it’s less than a month away so I can’t understand why even provisional casting isn’t available. 😕
  13. This is what I found on Friday, Dawnstar - because I was warm, the outside temperature was warm AND it was warm inside the ROH, I didn’t get any fogging at all wearing glasses plus a cotton mask with nose wire. I did have my nose wire tightly moulded to my nose, and at times I had to breathe through my mouth, but on balance it was still better than not having the joy of live ballet. I’m now fully vaccinated but suspect I had COVID in December 2019; the chances of me transmitting it are slim to none. However, my daughter isn’t yet old enough to be vaccinated, and having been coughed on more than once in the past by an ROH audience member not covering his/her mouth, I’m more than happy to wear a mask (and dare I say, I *like* the social distancing measures wrt seating). In fact not having had a cold or tonsilitis since 2019, daughter and I were agreeing that we would continue to wear masks on public transport and in tube stations after any requirement has ended. 🤷🏻‍♀️
  14. 6 years ago now but my daughter had AXA PPP too - we asked for extended Physio cover which is well worth paying for if the school doesn’t have an onsite Physio.
  15. Hi Dancegrad, my daughter had private lessons for a couple of years post-injury (first floor barre, then class) with the wonderful Alice Crawford, ex-English National Ballet. Alice is the most nurturing, caring, gifted Teacher and I cannot recommend her highly enough. She is based in London and is happy for me to message you with her email address, if you’d like to get in touch with her.
  16. Haha! 😆 You should have come and introduced yourself!
  17. I would certainly give it 5 stars; terrific dancing from all, and so wonderful to be back at the ROH. Daughter and I loved the triple (and what a nice bonus to be out of the ROH by 9.45 pm), had a great, if slightly restricted view, and kudos to the ROH staff for being so friendly and keeping us as safe from COVID as possible. Standouts for me were Naghdi and Muntagirov’s beautiful pdd in Apollo (more of these two together, please), Reece Clarke’s ballon and his beautiful soft landings despite those long legs, and the whole DAAG cast but most particularly Bonelli, Nuñez and Morera. I was so moved by Nuñez and Bonelli in their pdd, just heavenly. Due to the socially-distanced orchestra, daughter and I were surprised to find the cymbals, bass drum and snare drum in the box next to us - their volume and proximity gave us a bit of a fright during the Tchaikovsky pdd! 😆 PS many thanks for the brilliant photos, Rob ☺️
  18. These threads might help, Encroix: https://www.balletcoforum.com/topic/20470-insurance-for-dance-pupils/ https://www.balletcoforum.com/topic/18366-private-health-insurance/ https://www.balletcoforum.com/topic/15282-health-insurance-for-dance-students/ Plus some general advice from One Dance UK: https://www.onedanceuk.org/wp-content/uploads/2016/05/Health-cover-for-dancers-and-dance-companies-FAQs.pdf
  19. Well, what a great shame for Ms Stix-Brunell’s many fans, but congratulations to her on her place at Stanford. I’m sure she will have a very bright future indeed. I was really quite indignant that she wasn’t promoted to Principal in the latest round of promotions but this explains why, and I’m glad it wasn’t a question of another wonderful dancer being overlooked. I for one will greatly miss BS-B’s wonderful dancing and acting; hopefully she will keep an online presence so we can enjoy her lovely, funny posts even when she’s no longer shining onstage at the ROH.
  20. Going off at a tangent slightly (sorry), this is precisely how I feel about any version of Romeo and Juliet I have seen that was not choreographed by MacMillan. His choreography matches Prokofiev’s score so perfectly and seamlessly that the two could have been thinking with one mind. Anyone else’s choreo just doesn’t flow for me.
  21. Hyperextension, flat turnout and banana feet are absolutely not requirements at 9 or 10; not only that but they all bring their own disadvantages (propensity to injury, lack of strength, and so on). Potential, love of dance and very good basic technique are more important at this age - it’s only really the Royal Ballet School that places such importance on physical facility, leg to torso proportions etc. A good place to start would be something like English Youth Ballet; they’re not concerned with physical appearance, they look for children who have an appropriate ballet “vocabulary” for their age, with nice technique, who love dancing and enjoy performing. At the moment I believe their auditions are still video submissions which are probably easier for children who may be worried about auditioning. If auditioning for selective associate schemes where the audition takes the form of a class, I always encouraged my dd to just enjoy the experience of taking class with a different teacher in a different studio. Like Raquelle, we always had something nice planned too; shopping, a nice meal, a visit to a museum etc. to make it a nice day out. Don’t put too much importance on the result, if it’s a “yes”, then great, but if it’s a “no”, it doesn’t mean a “never”; it’s usually that there are too many lovely dancers for only a few spaces. Make sure your child has their own warm up routine set by their teacher and definitely ignore any “competitive stretching” done by other children in the waiting room. If your child is hoping for an eventual career in dance, the more auditions they do, the better, to get them used to the process, the yeses and the inevitable “no thank you”s which all dancers face at some point. Even if not, and they just want to pursue dance as a serious hobby, auditions will be good practice for later life; uni interviews and so on.
  22. Precisely what I was hoping for, particularly with O’Sullivan and Sambé. I think we could all do with a lovely run of La Fille this year. 😔
  23. She’s an absolutely wonderful teacher; my dd adored her classes. @Motomum many congratulations to your dc; I hope they thrive at Tring.
  24. I think if your child is academic, Tring 6th form is an excellent option these days, especially if you’re not reliant on MDS/DaDa funding (because Tring has fewer funded places than RBS and Elmhurst and does not attract student finance like Central etc). I do know of people who have gone straight from Tring into classical companies and also those who have gone from Tring into RBS Upper School (incidentally the only school which pretty much guarantees a job in a ballet company for those graduating 3rd year, which is *not* necessarily those who started in 6.1). As with all the other upper schools, more dancers will graduate from Tring than there are jobs for, but the versatility of the dancers and the excellent academic department mean there are more options for employment or even university than at some other schools. Since the former Director of Dance left, I’m not sure whether it’s still the Director’s decision whether a student goes onto the Classical stream or stays on the general Dance stream but that would be a good question to ask the school. Bear in mind that graduate employment from all the upper schools except RB will undoubtedly be much lower for 2020 as Covid forced companies to put a freeze on recruitment. Don’t forget though, graduate employment is only a piece of the puzzle; how happy are the students, what’s the quality of the training, are the dance teachers qualified, what are the chances of making t from 6.1 to graduation without being assessed out, is there a high injury rate, is academic backup available, how is the pastoral care, and so on. Employment is the destination but the journey is equally as important.
  25. I’m actually shocked to hear this. I hope Donnelly is promoted very soon, and doesn’t fall into the group of lovely RB dancers with lots of fans but who seem to be overlooked by management. 😕
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