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  1. Well said @Pups_mum The problem is that we have no steady, secure, and science-based guidance from the government. It seems to me that their policy actually hasn't changed much from 'herd immunity' - it's swayed by public opinion & the influence of commercial & business interests. I compare this with the experience of my family n Germany (one of whom works in the theatre) who've had clear and science-based guidance, and are back at work. And there's been absolute clarity about wearing masks as a way to protect everyone. And Germans do these things properly, not half-heartedly (eg wearing masks but not actually covering nose & mouth).
  2. I'm totally with you, @DeveloppeD If I said what I really think is going on, I suspect my post would be deleted for being too 'political' but I think we need to think back to public statements about "herd immunity" made in February-March, and reflect ... And as for risk: there are peer-reviewed papers emerging that suggest risks for people over 50 are very bad.** So a number of us are right to be very careful & cautious. **If you do Twitter, Mike Otsuka (from the LSE) is worth following for links to this research.
  3. From the link @Peony gives. It seems to refer to after-school & extra-curricular activities are permitted in school/educational settings - so schools, for example. The "Dance studios" in the list cited above maybe for the stand alone studio eg Danceworks or Pineapple.
  4. That's not happening now. I think it behoves us all to travel as little as possible, unless it's necessary to earn our livings. Scotland will still be there next year! A lot of people have died (something like two & a half times the normal number of deaths each week, according to a scientist on the Today programme this morning) - personally, I don't think anyone should put pressure on our systems unless it's absolutely necessary for health or earning a living.
  5. Indeed - as we see in the work of many contemporary choreographers, where they use both male & female athleticism, grace, and flexibility.
  6. I had a female ballet teacher who loved allegro - she was tiny, but could jump! She taught us all the male jumps. But we could never jump as high as our male peers, even (drat it!) those with less ballet training than us. This is because there are fundamental physiological differences between male and female bodies starting from puberty when the male body’s much higher production of testosterone enables the bone, muscle, and lung/ heart development which form the stronger musculature and bigger capacity of heart and lungs in male bodies. this doesn’t mean that female bodies at elite levels don’t have high capacities, strength etc. But there are fundamental physiological differences which enable some of the spectacular differences in the romantic & classical ballet repertoire. More contemporary work - especially post-WWII - makes use of the extraordinary capacities of both male and female bodies in elite dance.
  7. Thanks for this, Alison. I understood that face masks protect others from the wearer, rather than the wearer herself. Of course, if we all wore Face masks, then we’d all protect each other. My family in Germany wear them out in public - the German practice is for everyone to wear something in any public enclosed space (eg shops). We get so little secure or coherent guidance here - just look at the problems over school provision.
  8. And as I understand it, from teacher friends, they are very busy also managing the children of key workers, checking in on the welfare of those children at home, and preparing and feeding back on work from children at home. I can quite see how they can’t add in live lessons as well. To compare the demands on teachers in our schools with private dance teachers is verging on unfair. I think schools and teachers are managing under extraordinary conditions, and dealing also with sometimes contradictory, and certainly unpredictable government advice, as well as hugely restricted budgets.
  9. I think there are a number of explanations in this thread about the difference between providing full-time online education for classes of 30+ pupils, for 6 hours per day 5 days a week. Some of those children will e unmotivated, will not have a quiet place for participation, nor even their own computer. And many many more reasons. At my university we were given a day's notice of the university closing - around 16-17th of March. A week later the whole country was in lockdown. Next week I'm being allowed, for the first time, to go back to my office for 30 minutes to pick up anything else I might need. Although I'm not permitted to take my big fast two monitor computer set up. I've not been given headset, or upgraded laptop, or office chair ... So there are real and multiple issues. Compared with dance teachers teaching maybe 15 at most in a class of children who want to be there, for maybe 2 -4 hours, three or 4 times a week.
  10. Tell me about it! I'm considering teaching outside in September/October. I can't be sure about my safety if I teach indoors - I'm a shade over 60 & asthmatic - I'm at risk in a way my 20 year old students are not. But teaching online is really frustrating & difficult.
  11. Viv, yes, your post makes sense - but I think the oversplit is a consequence (a by-product) of the training rather than a goal in itself. I suppose that was the point I was trying to make. What an interesting discussion!
  12. Oh that's really useful & points out the artistry in all of this @Dance*is*life I should think that trying to learn to show the difference in feel & look of those two different kinds of grand jetes is more important than split or oversplit.
  13. Experts such as @Pas de Quatre can confirm, but in some national systems, isn't there a difference in name to distinguish between the grande jeté that starts with a grand battement, and a grand jeté that starts with a developpé? I seem to recall that the Vaganova system and the French system both distinguish between these by name ...
  14. As @Jan McNulty says, it is possible. But why would you want to do it? There is an extraordinary repertoire of male dancers' steps - huge virtuoso jumps, amazing turns - men tend to do a lot more pirouettes from second, for example, and tours en lair - lots of stuff to learn to do well, rather than pointe work done badly. And it can damage your feet - for women & men - if you'e not taught correctly, and in the right kind of shoes.
  15. Hello @olver3501 As others have said, splits are not really necessary for ballet - they should come through your training, not as a training aim or goal. You say you 'train at home' - have you ever been to a ballet class? Ballet isn't something you can really train at by yourself, unless you've had many years of expert teaching. And even then, professional dancers do class 6 days a week, in company with their peers, and class led by ballet masters/mistresses who keep a sharp eye out for dancers' technique. All dancers have things they need to keep working on throughout their lives. It's hard in pandemic conditions, but as soon as things restart, you need to get to a good class, and develop your technique by a watchful teacher guiding you. Don't worry about the splits. Flexibility in ballet is important for how you are able to use it, not as an end in itself.
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