Kate_N

Renato Paroni - he is indeed a master teacher - one of the best I have ever encountered (and I've just come back from a US trip & several NYC ballet classes with very good teachers). He was Tamara Rojo's coach. HIs barre leaves you completely turned out & ready to dance - I find I can turn forever in his class. Unfortunately, at the moment, he's working in Germany, and there are various substitute teachers. Henriett Tunyogi is the main sub, but I find her style of teaching less compelling, although she gives a refreshingly challenging class. It is very different from a standard RAD class - much more like the classes I do when I'm in the US at various studios. There's another thread or set of posts basically complaining about her class - so it's a matter of style & personal taste & your dancing aims, I think - horses for courses there. I can see why someone used to the English style would find Henriett's class unsympathetic and odd. The reason I don't attend her class regularly is that she doesn't do the active hands on corrections that Renato does, nor that Nina Thilas-Mohs does - she's quite a passive teacher. In the summer, Antonia Francheschi was also subbing for Renato - it is quite exciting being taught by a legend - but she's back in New York now.

The Friday night classes I would recommend: Hannah Frost at Danceworks 4:30-6pm. She then dashes across town to Central School, and does a Basic Beginners. The Danceworks one is called Beginners, but if you want a really strong tune up of your alignment and technique, and detailed hands on corrections, her classes are very very good. She is a very good, compassionate (and funny) teacher. At Central Nina Thilas-Mohs' class is really enjoyable, and is at a lowish Intermediate, although a lot of professional dancers take it. Nina teaches a very specific style, based on Cristina Bernal & Maggie Black. So (pace the other thread criticising a class at Central) if you're thinking RAD 'Intermediate' you'll find this a very different class. But I love the technique: it warms you up & turns you out like nothing else (except Renato Paroni's teaching). You do a lot of stuff in 1st at the barre, and a lot of co-ordination of port de bras and feet, but not in the RAD way. Nina's teaching is US-based (hence Bernal), with elements of the speed and placement that Balanchine-style dancers are taught in. And Nina's centre really MOVES - I love it! And the extra added bonus is that she attracts some lovely ex/pre/professionals so they are a joy to watch. She does good hands on corrections, and really teaches. And she's just a lovely warm, enthusiastic teacher, who seems to love doing it. You'll get at least 90 minutes, if not 105 (she generally stops after an hour & three quarters!)

May I contribute my thanks to the Moderators. This is a wonderful forum - moderated moderately to keep conversations free-flowing and robust, but rarely nasty. I know how difficult that can be sometimes, and I really appreciate the discussions and ideas and information here. I learn so much. All the very best for 2018!

Oh, I agree (which is why I'm not particularly in favour of an honours system at all), and I think every year, there is public & private discussion of the rights & wrongs of various awards. 'Twas ever thus. I do know that there have been very strong attempts to give higher honours to women - whose work tends to be overlooked - and to broaden out the kinds of activities & contributions which are recognised and rewarded. And as someone else noted upthread, we'll never know who has been approached to receive an award and has turned it down. I think the whole system is so mixed that it's fairly pointless to lament the "unfairness" of awards or non-awards, recognition and non-recognition. The system itself is fundamentally - well, if not "unfair" - at least flawed and from the outside looks very arbitrary. So any decision could be criticised. Better simply to celebrate those who are recognised, and if one feels strongly, enter into the process of nominating worthy recipients.

I think it's wonderful that Ms Bussell has been recognised, ad it's sad that there are mean-spirited responses to it. I'm a political republican (small 'r' not the US kind!) but I can still appreciate the public recognition that British imperial honours give, and celebrate the way that such honours show how the arts are recognised and appreciated. As for why some people are awarded honours & others not ... when I was working at a very large eminent civic university, there was quite a push on us senior professors to think about honours & awards - seriously! (very ambitious university with a Sir at the helm). What was very clear from the various meetings I attended where this topic came up - at least for the award of honours to academics - was that nominees for awards should be not only be really really excellent at their jobs, but also should be doing a lot of community service to promote their profession/expertise more widely. (Rather controversially, I don't think that such a requirement applies to senior civil servants ... ). So on these grounds, Ms Bussell's extensive work in popularising dance, and ballet especially, is being recognised. Judging Strictly is only part of it. But isn't it wonderful to have a Strictly judge who was such a beautiful dance artist and at the top of her profession? I really hope that Ms Bussell's work on Strictly helps to break down the idea that ballet is elitist.

Indeed. And the speculation is often under-informed. Discussing this with several members of my family who work in the theatre/ballet world as performers/dancers and in other areas as theatre professionals, it's often that performers simply want a change; it's good for their art & development. My actress mother used to change companies every couple of years just to learn more and work with different directors (but in those days jobs were more plentiful). I think it's unreasonable to read anything more into it than that. Shouldn't we be applauding the ENB for investing in & developing such a dancer?

Many congratulations. What a great result!

I think that would look quite fetching on you, Trog. <runs away very fast>

Wonderful!

Congratulations to your DD, RichieN, and thanks to you for taking the time to come back & tell us about it!

That must have been fun in grand allegro! I remember when doing Jonathan Payn's advanced class (does he still teach at DanceXchange?) would often have a couple of lovely male (well older teen boys really) students. And sometimes men from the BRB, who were coming back after injury & doing low level classes, excellently taught.

Gah! I meant "doming" your foot. Darn autocorrect.

Indeed! As is simply learning the technique of coming your foot.

Is it this? Arch Exercise Elgin This is called 'doming' and you can do it without fancy equipment! Also try picking up tea towels from the floor with your feet, and progressively try to pick up heavier or more unwieldy objects.

Agreed, Lin. But I've been in crowded studios everywhere!

Oh gosh <blush> I always worry that I'm too bossy! But I do get frustrated by the blithe ignoring of simple sensible guidelines or principles in the studio. I think it's because adult beginners are rarely taught the kinds of "etiquette" that we learn in children's classes. It's not really etiquette, but common sense, and safety, really. And if you mention it to adult beginners within the class, in my experience beginner dancers can get a bit huffy - such as "If you move a little to the left/up the barre/ step forward then we'll all have more room to dance" - I said this to a beginner once, who put herself far too close to me at the barre - doing a forward port de bras, my arm would have hit her, and my nose was practically on her bottom - and I asked her (quietly & politely, or so I thought) to move up the barre a bit, please, because I was afraid I would hit her in an exercise. After the class she came up to me, quite cross and loudly berated me for embarrassing her. I just said I was afraid of hitting her. But what can you say, really if people don't realise? She thought I was ticking her off, I was just trying to help (and maybe teach a little, as I'm a teacher!). Sticky all round really. I could see why she was upset, even though she was not really justified in being upset. I just wish teachers would attend to this in classes. Just the simple edict: "Those doing the exercise have right of way"

This! In ballet history terms, we could start with Ballet Russe, who took Russian style (which was actually French and Italian!) and deconstructed it then reconstructed it, along with the music. Then Balanchine. William Forsyth as well. But it's not a fixed school or technique. Also, have a look at Twyla Tharp's In the Upper Room (one of my favourite ever pieces) - mixes jazz, contemporary and ballet in what you could call 'neoclassical' style. Women on pointe and in sneakers (cf Sally Banes' wonderful book, Terpsichore in Sneakers).

I think Trog's advice is excellent - about positioning yourself in class so that you gain from the more experienced dancers around you - learn from them, rather than comparing yourself. And I'm a great fan of staying at the front - there's always more space there, particularly in beginner's classes (but I rarely go in the front or in the first group of advanced classes!) The main thing for beginners in the centre practice, in my view, is to keep out of the way of other dancers! It's my main aim in centre practice, to be honest. I was dancing for a while without contact lenses, and can't keep my glasses on when I'm moving or turning, and my main aim was just to keep out of the way. Learning something of the etiquette of a ballet class also helps - there is a kind of hierarchy or set of formal behaviours that help, I think, for people finding their way. But it's rarely taught to adult beginners. My list/advice would be: On the barre: * Unless instructed, exercises start with the left hand on the barre * Don't talk or giggle through the teacher's explanation of an exercise * If you think you're going to kick someone in an exercise, angle yourself away from the barre (eg grande battements devant/in front) or towards the barre (eg grande battements derriere/to the back) * Consider where you are in relation to others on the barre. Try to space evenly In centre practice: * fast turners first * longest legs last * Don't dither in groups to start an exercise from the corner. Either step up to do it, or stand back so it's clear you're not going yet * If you're going across the floor for a second time with another group, be polite about it - look to see if there's anyone else who hasn't had a turn yet. Let everyone have a first go before you go a second time, particularly if there's only one chance to do the combination. * Think about spacing: ideally we should stand in straight lines horizontally (ie people either side of you) and in between the gap between the people in front of you, so everyone can see the mirror. Ideally, a teacher should rotate the front line, but often they don't. * men jump after women (often their music is slower so they can jump higher, & they will have adjustments to the combinations, particularly some pirouette exercises & grande allegro) *if you get lost in centre practice, try to keep going the same way as the rest of the combination (I once had an inexperienced dancer do her own thing during grande jetes, and I only just managed to avoid both kicking her & falling over her - it could have been nasty). And a common-sense rule that I find very frustrating if not observed: dancers doing the combination ALWAYS have right of way. If you've finished a combination, get out of the way. Run forwards out of the centre space, not backwards. Give people turning enough room to turn. I've actually had people get in the way of my pirouette preparation - they get hit by my arms. That can sound aggressive to a beginner, but it's not. It's common sense. Part of what we learn in a group class which is very important, is not just where we are in the space, but where we are in relation to others, and having consideration for other's space as well as our own.

What's that saying: "Comparison is the thief of joy"? That. I was in a lovely class yesterday - one with a real mix from professionals & ex-professionals, to adult hobbyists like me, to quite basic beginners. And the teacher was explaining her specific teaching method about turn out etc. She was stressing very clearly that you work with the body you've got, and the only person you worry about is you. That said, I really enjoy watching other people in class - I learn so much from seeing what other people do and how they negotiate the difficulties. But I've given up comparing myself - my body is my body, and I know its strengths and limitations. Colman's right - adults are not good at learning complex things from scratch. We get very frustrated. BUT - I think there's a huge advantage as well. We KNOW we'll never be professionals. We can relax and just enjoy the learning. How long have you been doing class? Keep a journal - you'll really notice the difference in 6 months. Things that perplexed you then will feel normal in 6 months' time.

I always stay at LSE or University of London residences in the university vacations. Some have rooms available in term-time. I prefer the Bloomsbury/Fitzrovia/Islington ones. The Bankside residence is huge and a bit chaotic. Passfield Hall, Carr Saunders Hall or Rosebery Ave residences are nice. Cheap, quiet, friendly. Try the websites University Rooms and StayCentral (just google those names). These are usually around £45 per night B&B for a single room with a shared bathroom. They usually have basic kitchen facilities as well, so you can microwave meals and store food in a fridge. BTW, Jan, sorry to hear about a bad experience at the County Hotel. I've heard such mixed reports - I found it fine - quiet and clean and it seemed safe. But I could see how one might not feel wholly safe there.

How "budget" do you mean? If you go to Bloomsbury and use the Tube or bus across to the ENBS, you could look at the Tavistock Hotel. It's part of the Imperial Hotel chain which has several hotels in the area. In my experience, the Tavistock is the nicest. It's comfortable & a bit old-fashioned but at £80 for a single room B&B, it's great. It has a lovely foyer area & bar - all very comfortable & quiet, and no yahoo types or stag/hen parties. Don't opt for the Royal National - it is appalling (just seems to have very "low" class guests in my experience, and it's huge and the lifts didn't work the one time (never again) I stayed there). Other hotels in the chain include the Bedford and the County. If you want really budget, the County is £55 B&B (single room), but the rooms aren't en suite. However, there are lots of bathrooms (with baths! not just showers) and all very clean, if old. I had a nice stay there last week. You can't book Imperial Hotels via any 2nd party website - just book directly with them. The Celtic Hotel is also excellent, but again, generally shared bathrooms, and quite old-fashioned. But beautifully clean, run by a family - the matriarch keeps a VERY tight eye on everything, and they greet you like an old friend returning. It's where I stay most often when I'm in London. You can also get some good discounts on Travelodge rooms in London - it's reasonable value, although I don't think the breakfasts are as good as the Premier Inn breakfasts.

My adult ballet class is going to see our local Picturehouse screening of The Red Shoes in November. It's part of their Sunday Classics season - so look out for it in other towns! (and it's only £5 for members). The Classics seasopn generally is great - I saw 42nd Street a couple of months ago.

Viv, that sounded like a good exam! You showed what you could do, and what more could be asked of you? Being on your leg, and getting the turns right is a successful class for anyone, I think. A lovely petit allegro combination - quite straightforward if it had been set in class - but very different under exam conditions, I expect! But really quite simple & logical, so I hope that was a relief not to get something fiendish. Good luck for your results.

We had a quick change area one side of the stage - past the wings - at the recent showcase of my local studio. The quick change area for us was a reasonable space, where children could change away from the view of anyone waiting to go on stage from that side. It had two chaperones, one of whom is a very experienced performer/teacher. The quick change children were mostly pre-pubescent girls, and there wasn't too much pressure on them, as the showcase was pretty low key in terms of costumes - they were mostly the studio uniform., with added accessories or throw on bits of costume (jackets, skirts and so on). However, care was taken there to give them a relatively private space, and I think that was VERY appropriate. It's not prudery from the adults - it's care for the young people and their right to have control over their bodies, particularly girls - those of us who have been girls at that difficult time of pre-pubescence & puberty can remember how agonising one's body can be. If they go on to become professionals, then quick changes down to thongs & less are going to be routine - although at the professional dance company I know well they always have a tented cubicle in the wings on one side for quick changes for male and female dancers - the dressers are there as well. But oh! I wish that our parents had thought about knicker showage for all ages of children! Lots of white underpants showing under leotards of all ages! I'll let our studio director know about this thread, and the options available for children and young people - flesh/nude colour knickers can be used for everyday wear as well, so it's an option for us for the next showcase which wouldn't be onerous for parents (my studio director tries to keep show costs to a minimum for parents ).

Yes, I heard Oscar name-checked! The Ballet Master & repetiteur are very tough with those men - the stamina they have to have, as well as the mental toughness, is extraordinary. I love love love watching Maestro Akimov. Such a beautiful musical dancer, even as a teacher.