Thecatsmother

Can I ask which Uni? Is it based at UCL?

Hops on Demi pointe are doable but I would suggest not trying these without the supervision of a teacher as there are too many things which could get injured or overused. It also puts a great deal of strain on the calf muscle so I would hold off on trying on Demi pointe alone. On pointe has its challenges too due to the strength needed to do this towards end of solo. Much more difficult for a hyper mobile foot. To use the phrase "don't try this at home" if an adult learner is probably the safest advice.

I think the teacher's input in these situations is crucial as in a way they need to mentor students through the process. Sometimes too much weight is placed on the importance of these competitions within schools to the extent that the dancers lose out on other things. Dance competitions will always be there, the challenge is how can these be used by students and schools to enhance experience and learning. The motive and approach of the teacher and sometimes parent seem to me to be key contributing factors to making this an enhancing and enriching experience.

I tend to do my foot exercises in front of the TV. A bit more private and attracts less attention even though I do get caught out sometimes for standing with my feet turned out in the 'normal world'. I blame my mother of course for taking me to ballet at 2.5-I had no interest in this area of course????

http://www.nytimes.com/2013/08/18/arts/dance/designated-cheering-spectators-thrive-at-the-bolshoi-theater.html?pagewanted=all Hope I have posted in right part of forum.

I have turned pas de chats and battement frappes on their head before when brain dead-chat de pas and frappement bappe. I also remember in the days when 6 year olds did polka asking in a slightly frustrated tone 'what does a polka start with?' Was expecting the response "a hop" but I did ask for it when one child turned to me a confidently said "a p". They always make you smile????

Thanks for that. Very useful????

As an ex dancer I am not mad keen on going into dancewear shops as too many memories. Can any ex dancers or adults who have returned to ballet recommend any good online shops. I tend to use dance direct who are excellent but not sure what else is out there and good for adults who are no longer professionals. I especially looking for warm up clothes suitable for long legged dancers. I have the ballet shoe area covered.

2015 is too long to stay in one level in my opinion. She can make use of spare moments in class by doing strengthening exercises. I am wondering if she could attend another class elsewhere as it is always good to be pushed a little. Not sure where you are based but RAD do classes often on Saturdays which might give her a chance to be around dancers of a similar standard. I think we can all learn from watching others but if she is contemplating a professional career she needs to be in an environment where she continues to learn rather than teach others as the competition is tough.

PM message me and I can give some suggestions.

It also depends upon the mobility of your feet. Those who have limited range on pointe or at the other end of the spectrum and have highly mobile feet may take longer. Perhaps you could ask teacher's rationale and what you can do in the interim to prepare yourself for pointe. There is so much that can be and should be done in terms of strengthening prior to starting pointe. This will give you a better start regardless of when you start.

I have been at the receiving end of both schools of thought. I thank the teachers who got to know me and treated me as a human as well as a dancer. I also thank the ones that did not as they have taught me so much about how not to teach.

My thoughts are that every parent/student has the right to raise concerns regarding teaching style or aspects of training which are not conducive to learning. It is all too easy to fall back on the 'this is how it is mantra'. Learning and teaching is a dynamic process. Sometimes there may be a clear rationale for an approach or a decision and this just needs to explored and understood. It is not in a student's best interests if a teacher just ignores things in order to appear encouraging. I agree that blanket statements with no further feedback as to how to improve and change are not helpful. Teacher's should challenge but in a way that inspires or leads to an enhanced understanding. Time has moved on and with the introduction of performance psychology etc this generation of dancers should be supported to be the best they can be on physical, psychological and artistic fronts. I think honesty is important and sometimes hard to hear but ultimately it is necessary and appropriate if delivered from the mindset of helping students.

Can I suggest that regardless of amount of classes that your daughter does foot strengthening exercises. This will enable her to get the most out of pointe classes as you can do less providing you are building the right muscles and strengthening. I have seen so many students who I have actually wanted to stop doing pointe work with and go back to basics. Without that a million classes will not provide solid progression. It may be that this is not relevant but foot strengthening can only enhance class work. The work of Lisa Howell around pointe work is excellent for those new to pointe work or several months away from beginning pointe work.

There is a step which has a range of names in ballet terminology which can be called a 'Balanchine' pas de chat?

I think the question came more from comparing what used to happen historically versus what may have changed.

I am interested to hear how orthopaedic assessments for vocational schools have changed over the years. What is different now to what dancers experienced say in 1980's and 1990's. What measures are in place to safeguard young people?

I see teaching as a bit like the art of a good gardener. Having expectations of creating a garden whilst treating each plant as an individual. Finding out where they grow best, positioning them in the right environment in order to grow, nurturing, acknowledging growth/attributes but also pruning things which inhibit growth. I don't talk to plants but I do get to know students and how they learn best. There are so many components to the art of teaching dance other than just steps and I continue to learn from my students who also bring many gifts to the teacher in terms of learning. Maybe a bit deep thinking but it is a Saturday....

Does anyone have any experience of attending an adult ballet summer intensive in the USA or Canada? If so, what was this like and how was the issue of ensuring medical insurance was covered manage in the event of an injury?

I guess it depends upon what the agent is used for. Some young people have agents due to castings and musical theatre work. Sylvia Young to name one school seems to have a good system of acting for their dancers but this seems to be due to the nature of the work that the young people do. If a young person is looking more to go a tv, musical theatre or advertising route then I can see why this might be important. Post training this may also be something if looking to go a musical theatre, acting, modelling route but my sense is that if it becomes apparent that one is needed it will be available.

Absolutely LinMM. It's so hard as a teacher to know where to start if the basic foundations are not there. My heart sinks when I am faced with students who it is clear have been pushed too fast. It is far easier to help students if they have good basic technique as then it is a case of building rather than trying to demolish and rebuild. It's a really tough issue as a teacher in terms of wanting to instill confidence but at the same time ensuring that students are working at the right level for them. If it's too hard and the technique is not there; dancers put themselves at greater risk of injury and can end up acquiring more and more bad habits often due to lack of understanding. I am of the opinion that it is good for all dancers to sometimes take an easier class so the focus can shift back to basic technique and not get distracted by the complexity of exercises. I do this myself as it gives me space and time to focus on the basics. I still have much to learn despite dancing since 2.5 years.

A few random ideas-insomnia, the artist, the girl in the mirror, something maybe adapted using ideas from a musical like the lion king, something interesting could be created from the concept of an injured dancer going through the physical and emotional process of starting to dance again? Maybe the loss, the dreams, the fantasy, the struggles etc or a dancer's final performance. Just a few ideas to stimulate thought.

My sense is that these are fundamental technique questions which many adult beginners might ask. By going back to the basics and thinking about what is the purpose of each exercise at the barre I believe this will be helpful. A house cannot be built without firm foundations. It's the same with learning ballet. There needs to be a period of acquiring good basic understanding of technique and correct usage of muscles. If this is not integrated and understood fully before progression to more advanced steps then there is a greater risk of acquiring bad technical habits or risking injury.

That's very interesting Anjuli. I have no doubt that the silence provoked a process where the students projected their feelings about self upon you as the teacher. This is something I shall reflect upon and attempt to integrate by teaching students about the psychological concept of extrinsic and intrinsic motivation.

Many thanks. All feedback is valuable in itself and provokes room for reflection. The ability to really listen and hear what is being communicated provides the potential for great learning. Sometime there is room for talking with students about how they perceive feedback. Some can perceive this as criticism, others relish it and some appear to not engage as there seems to be a sense that this does not apply to them. I think this is an additional issue which I might address as personality differences, past experiences and low self esteem seem to be key factors in terms of how feedback is received. My sense is that this is key to enhancing the lives of future young dancers.