Thecatsmother

After I danced, I completed the old style RAD teaching certificate. It gave me a good basis but as the years went by I decided to move away from teaching purely syllabus and have enjoyed the diversity which other projects have brought me in terms of my own learning and teaching experience. I do agree that in the UK it is probably a good place to start in terms of getting some form of recognised teaching certificate but some have become rather academic based or so short that it allows v little time for practical teaching experience which if I am honest is where I have learnt the most. It is interesting to hear that the RBS will be starting a teachers training course again.

The start at any ballet school will be gradual anyway and they will build up. If she can get going on some pilates to get core etc strengthened and get to a few classes she should be fine. Might be worth 'reacquainting' herself with pointe shoes as after a long summer break the skin on feet will have softened so will be more prone to blisters or bruised toenails especially if pointe load is greater than she is used to. Best of luck to your daughter.

Good for getting ready to returning to classes after the summer maybe?

I think Crystal Ballet is all booked now as there has been a class where the professionals teaching made a decision as to which level each dancer would benefit from most. I personally think this is a good format as I am sure the teachers involved are best placed to make this assessment. All credit to Crystal Ballet for their forward thinking approach around an issue which often holds dancers back by pushing them too hard in a class they are not ready for or by not pushing them enough which is usually a lack of confidence issue amongst adults. I wish them well with their new venture.

You do not want to mess around with Achilles pain. I would get it checked out by a dance physio or a physio if you do not have access to a dance one nearby. In the meantime, icing will help reduce inflammation plus I would avoid jumping and anything that makes it feel like it is pulling too much which may include depth of plié. Most symptoms like this are usually easily treated if caught early but best to be proactive and get it assessed by a professional before it becomes a chronic problem. It will also be important to look at what caused this in case it's a technical fault or result of a growth spurt that needs to be kept an eye on in class. It's great that your teacher is alerting you to her concerns. I would also check whether wearing certain shoes during the day make it worse or better. Sometimes shoes with a v small heel can take the pressure off it temporarily.

I always feel a little concerned when these sort of dynamics emerge without a justifiable explanation being given by a dance school. Is it possible to have a face to face discussion re your concerns with teacher? I guess I would recommend stepping back and looking at the bigger picture in terms of what your daughter wants to do with her dance. If there is the possibility that she might want to try to pursue this as a career then any decisions should be planned around this. Although they provide performing experience, dance festivals are not essential and most schools offer some kind of performing experience in one form or another. If a reasonable explanation can be given by the teacher then it might help resolve the issue but if not then it might also be worth going to observe classes at other local schools to see what they can offer. I would be wanting to know why your daughter is not allowed to do the additional class you requested and the rationale from the teacher. 45 mins ballet at 10 is quite a limited time at her age if wanting to pursue a dance career. Another thought and I don't ask you to name the other program your daughter attends but have you checked out how it is viewed by other dance teachers or professionals?

I have a lot of admiration for Kathryn as from what I have read she has been through a lot in the USA with thyroid issues etc which impacted her professional career.

Here's a little light barre Fiz if it helps to have something you can do at home.

All the suggestions are very useful food for thought. For me, I think that the key word which I would link with musicality is interpretation. Just as an interpreter might use different words in another language to relay what is being communicated by another, a dancer uses their body to communicate the essence of a story or emotion. It's something which inherently must come from within. Reflecting upon this caused me to think about some of the dancers and students whom I would consider highly musical. It's almost as if they dance within the music rather than with the music. I guess most dancers will be able to relay how they could perform a very simple exercise such as plies in so many different ways based upon what they might be feeling at the time. For me, there is something about connecting with the music on an emotional level which is key as opposed to just being able to hear the rhythm although this is also interlinked. It is not so common in classical ballet training now but there was a time in one syllabus style when v young dancers would be played a piece of music not known to them and asked to improvise. You could try experimenting with this and also looking at how you could take a very simple set of steps and perform them in different ways to communicate an emotion and interpret a range of different styles of music. It's like you and the music have to become one rather than two separate entities. I guess the word musicality can mean so many different things. Watching contemporary dancers perform pieces without music perhaps broadens the definition a bit further as I would still say that these pieces have the essence of musicality but it is communicated by the essence of the movement and a host of other things such as connection with other dancers, the audience and emotion from within.

Pleased to hear it.

Some things to think about for pirouettes and practice exercises.

http://youtu.be/MmVpPKWo42o

I am so pleased for you Fiz. Finding the right class for the individual is so important. What works well for one person is often totally wrong for another. Sounds like you have found the right teacher for you and I hope some nice new ballet friends in the making????

Here is another barre just released for core and balance. The dancer's history in USA is interesting.

Wherever you choose I would recommend asking to watch a class before you start. This should tell you a lot but if you need to know what are the kinds of things to look out for I am sure many can offer advice. I personally would also want to know that the teachers were CRB checked (most should be if members of main teaching bodies). Some schools also have a safeguarding policy but not all as they may refer the exam board which the teachers are registered with who are likely to have one.

You can go online and look at her website 'the ballet blog' and perfect form physio. There is quite a bit of free information there without purchasing products which will be of interest to many.

You could look at Julie Sianne Theatre Arts in Byfleet as they have a number of classes on a Sat.

I did Lisa's Perfect Pointe teachers training whilst she was in the UK and would say it would be great for students starting or soon to start pointe work or students struggling with strength on pointe or looking to strengthen feet in general. It's a good guide for teachers starting pupils off on pointe as well in my opinion.

Given the content of solo seal it might be worth considering trying the RAD Advanced 2 as a new experience and then assessing. I think a lot can be learnt from trying different syllabuses. You would also need someone who knows solo seal well to actually learn it as the syllabus is challenging and detailed.

Homebase and I believe Ryman do some good sets of mini containers with lids in a larger box that open like little draws intended for small items of stationary. I think they do plastic cases as well in homebase with their plastic storage boxes. Might want to give them a try as lids would not come off if wanted to transport.

I believe you can now buy a lot of her products as e books and resources straight off her website.

That's great news. I did Lisa Howell's training when she came to UK and it was fascinating. I have used it with adults and adolescents who seem to have benefitted. Once your daughter can work out which areas result in greatest changes in flexibilty you do not have to do the whole program to get results.

Here is one for improving extensions. Will not post any more from the ballet blog just alert dancers it has a number of free resources if you want to take a look. I have no affiliation with Lisa Howell. http://www.theballetblog.com/article/how-to-get-your-legs-higher-with-a-developpe/

Here is one on improving tendus http://www.theballetblog.com/article/how-to-perform-the-perfect-tendu/

I came across this newly released free ballet barre. Thought it might be a nice idea to have some online resources which dancers could use to augment training during the summer for those unable to afford or access summer classes. Here's one to start it off.