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youngatheart

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  1. Not sure where the studios opening for 1:1 or small group coaching comes from - the rules are that only OUTDOOR exercise of this nature is permitted apart from elite sports training (eg Premier League football, Olympic athletes etc). So these types of studios & venues should definitely not be operating in this manner.
  2. Managed to do the Port de Bras in a very confined space the other day too....
  3. Discovering Repertoire Level 2 Class unit or Intermediate Foundation
  4. www.basingstokeacademy.co.uk There are also several schools in the Alton area
  5. Michelle, The "Silver Swans" brand is a registered trademark of the RAD, and as such they have the absolute right to impose whatever conditions they want on who can or cannot teach the classes, whether you agree with them or not. One of the terms and conditions states "Only teachers that have completed the Silver Swans Licensee Training sessions are able to lead Silver Swans classes. The License is non-transferable and does not apply to a Dance School as an entity." Another states that "Silver Swans Licensees are not permitted to create merchandise using the Silver Swans Logo." So in a nutshell, by not only allowing you to coach a group of "Silver Swans", culminating with having them perform as such in front of a Silver Swans examiner, and then actually issue them Silver Swans branded certificates, she would be in clear contravention of her licence and the Code of Conduct she would have signed up to. If someone from the RAD has pointed this out to her, (perhaps after she approached them to move forward with the idea) she would have had absolutely no choice but to pull the plug on you if she wanted to be able to continue as a Silver Swans licencee. So what you actually did wrong was attempting to do what you were doing under the Silver Swans brand. If you had dropped the Silver Swans aspects completely and just held independent repertoire sessions (not that I would personally be in favour of you doing that, for the reasons already explained by Kate N & Anna C) or - far preferably - had the teacher teach them using your arrangements and choreography (so your role would be limited to that of choreographer/artistic director rather than coach) the outcome may well have been different. Please do not take this post as a personal attack Michelle - it is not meant in that way at all - I am just trying to explain the probable reasons to you of why this has happened, because from your post you seem to be reading all kinds of horrible things into the situation that simply weren't there, and getting upset by them. Just try and see things from the teacher's point of view - she initially let you do it in good faith, probably getting swept up in your tremendous enthusiasm for repertoire - which is one thing that comes through loud and clear in all your posts on here - and then found herself in a very sticky situation with the RAD. At the end of the day she had to put her career and her school's standing with the RAD first - that does not mean that she would have taken any pleasure in stopping you from doing your sessions, and indeed she is probably very sorry that she has been put in a position where she had to upset you so much.
  6. Just been randomly surfing the web & come across this website for a new adult BBO syllabus school in Leeds - check it out if you're still interested! https://www.balleticleeds.com/ (I'm not connected with them in any way)
  7. It also depends on how bony your knees are and any previous knee injuries. There are three aspects - actually putting weight on the knee against the hard floor, having enough control to lower onto the knee without the risk of banging it on the floor when you go down, and having the strength and control to rise up again gracefully afterwards. Many older adults would struggle with at least one of these, and some of us with all three....!
  8. Yes 100% you could lunge Caroline - I have pm'd you. It is absolutely staggering to me that they put so much compulsory kneeling into syllabi commonly taken by adults - the Higher Grades, BOTH dance options at Intermediate Foundation and now Discovering Repertoire which is actually AIMED at adults. Do they really not get it????
  9. Yes I think that the issue was that you were branding it as "coaching the Silver Swans" rather than "coaching a group of ladies who I first met at a Silver Swans Class". The RAD are being ultra-vigilant with the use of their Silver Swans brand, and they will immediately be all over anyone who is not specifically licensed to teach it, &/or teaching content that is not part of the programme.
  10. try Ballet For You https://www.balletforyou.co.uk - a few spaces still left on the Monday night Beginners 1 course which is exactly what you are looking for - but you'll have to be quick as booking closes tomorrow! For the benefit of any others looking at this thread: ENB https//www.ballet.org.uk/whats-on/classes (Absolute Beginners) RAD Dance School https://www.royalacademyofdance.org/classes/our-dance-school-in-london/adult-dance-classes (Beginners) Are also course-based classes of the sort you are looking for
  11. Sounds to me like you prefer a very structured learning style, and the "unstructuredness" of being asked to attempt complex combinations in the centre before you understand the constituent parts properly is scaring you off somewhat. It's a shame you're not based in London or the South East as I know of several teachers down here who do offer Absolute Beginners classes of the exact type you are looking for. (You do need to be looking for "Absolute Beginner" or "Beginners 1" classes, not just "Beginners" as many so-called "beginner" classes have people in them who have been attending that same class for years and the level of the class has moved on with them, but it has not been renamed to reflect that. I would recommend you go on Youtube and look at some of the ballet teaching videos on there. e.g. the ones by Finis Jhung aimed at absolute beginners. If you like them you can buy the full DVDs or downloads from Amazon, but unfortunately he no longer ships them directly to the UK himself from his website.
  12. Hi Viv, Yes this definitely looks like she is trying to annoy you so much that you will eventually just get fed up and leave. I assume that your lovely ballet teacher is the one teaching the Advanced Foundation class that got rescheduled? If so, you could use this as an opening, i.e. "Sorry that I won't be coming any more, it's not that I don't want to, but unfortunately there is just no way I can make that time. Is there any alternative that you can suggest as I really would like to continue with that syllabus or start on Advanced 1"? or someting like that, and see what she says. That way you are not slagging off the SO to her, just trying to resolve your own situation.
  13. Yes, I totally agree with you re the (lack of) wrist actions - I made the reverse journey from Cecchetti to other styles and it was like: "What? You mean not only is it OK for me to waft now, but you actually WANT me to? Joy!!!". Re the lack of port de bras at the barre - the point is that to Cecchetti, barre exercise were not regarded as choreography, but as technique, flexibility and strength drills, sort of like scales and arpeggios to a pianist, or situps and press-ups to an athlete. So the main point would be for example, how much faster and how many more perfect battements degages (aka glisses) can you do before starting to lose your technique. Nowadays the barre is used to train everything, including aspects of prformance, not just foot strength, turnout and endurance!
  14. Michelle, the "traditional" exercises as Peony says are the ones exactly as described in the first Cecchetti manual. The "additional" ones are modern choreography brought in in order to update the syllabus to prepare dancers better for present day performance careers. Enrico Cecchetti himself greatly disliked things such as adding ports de bras to barre exercises, as he believed it deflected the dancer's full focus from the primary purpose of the exercise. (He also wanted dancers to bend their knees while in the air during sautes - but obviously that is no longer done in ballet, so clearly the "pure" Cecchetti technique has already had to evolve with the times in some ways prior to the additional barre exercises being added. One of his other pet hates was petits battements being done "too high" with the toes off the floor - he insisted that it was the heel, not the toe, of the working foot that should be on the cou-de-pied, and the toes should be in contact with the floor throughout.) As someone posted above, the new Diploma DVD will contain many of the movements and exercises used in Advanced 2 as well as give a fuller explanation of the Cecchetti technique. Sorry, I don't have an actual reference for what I have said here, but I do remember this explanation being given, possibly in the ISTD Dance magazine, when the Advanced 2 syllabus was first changed. The other details about Cecchetti were from an old article I read in the Dancing Times many years ago - it could have been written by Richard Glasstone but I can't be certain of that now, as it was many years ago when I read that!
  15. It doesn't sound to me like you're in an absolute beginner's class, FlowerPower. So the problem is not with you (trust me, it's absolutely normal for a beginner to struggle with all those things!), but with the level of the class being higher than you're ready for at present. In no way would I expect there to be any "lengthy sequences" with both arm and leg movements given to a true beginners class. The answer to your question in the final paragraph is that, while there are certain defined positions of the body such as ecarte, efface, arabesque, attitude etc, the teacher is free to set whatever they like in a class situation, either incorporating those positions or not. Especially at the barre, there are many different arm movements, or none, that could be set. (In a beginners class, however, normally the arm would be held in second throughout, or even kept on the hip, in exercises like tendus, glisses etc., to allow the correct technique to be developed in the feet, which is the whole purpose of those exercises.) If this is the only class available to you and there are no absolute beginner classes that you could join, either instead of or in addition to this one, I would certainly think it would be fine for you to ask the teacher if it would be ok for you to forget the arm movements and just focus on the feet, especially at the barre and in allegro - EXCEPT for in the port de bras, where the reverse is the case, i.e. the focus needs to be on the arms rather than the feet because that is the purpose of that exercise.
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