Balletdude

They are out there, didn't mean it to sound like they aren't, Finis Jhung, San Francisco Ballet and Hawkers Ballet of New York, does an excellent series on DVD, for those already on pointe with strengthening exercises etc. I think it's probably down to having the confidence to teach out side their comfort zone. It's mainly going to come down to flexibility of the ankle. The straighter the line between the shin and top of the foot make it easier to go on to pointe. Pointe magazine did a brief article on it http://pointemagazine.com/issues/aprilmay-2011/your-best-body-bad-feet Not to say it can't be proved its just that at a pointe (see what I did there ) it becomes harder because of the bone plates as the above article mentions. On theming working in othapedics taught me was the importance of landing in a plié. This one patient jumped off a wall, and landed with he's legs straight. The resulting shockwave sent up his body cause two vertebrae in his back to shatter into 4 pieces. Now obviously we don't jump high enough for that to happen but you can imagine the damage it would do to our knees and shins and shins etc if we didn't cushion this blow. Totally agree it needs to be pitched at a level that is suitable for all, the terms beginner and advanced are very broad, so everyone gets enjoyment from the class. If the teacher sees during the classes before the rep class starts that all students have a certain level of technical ability then they can make adjustments to the level of choreography that they were going to teach, that ability to think on their feet and change and adapt is what turns a good teacher (or dancer) in to a great one in my opinion.I think in the world of late starters adult ballet, (I know I do and a Lot of my friends agree), opportunities like these intensives offer us the opportunity to learn choreography, have a chance to perform for friends and family. Basically do what we wouldn't otherwise be able to do. I know some people may not think this is taking it seriously but for the majority of us I'm guessing we do it for that experience "to see for a few days what it's like to be a dancer" (blinking hard work!!!) "for a peep into that world we love so much before returning to our daily lives" (that reminds me of the ABBA song Nina pretty Ballerina, about a woman who goes to work every day then at the weekend dances ballet) I'm rambling again, insomnia and the portability of my iPad are a bad combination, think I'll sign off for tonight, make myself a warm drink and try for sleep again. Simon

I thought I'd introduce myself, since I've been reading this post with interest over the last day or so. I'm another KNT regular, so much so the reception staff at Northern Ballet school know me by name, we joke that I'll probably get invited to staff dinners if I'm there any more. I attended the Swan Lake intensive, but lack of funds and some personal issues, precluded me from coming to the Giselle one. As you are talking about planning for adult intensives (ie non professional/former dancers) I thought I'd way in with a quick point. As you can tell from my username and my picture if it will ever let me upload it.....grrrrrr, I'm a guy. Now all of a sudden something else has come into the mix, selecting choreography for both men and women, it would be a little unfair if they had selected for the choreography, all male variations and/or male heavy pieces (depending on the ballet obviously). If at the last moment, the male students had to drop out (like I had to reduce the amount I could do be cause of the problems mentioned above) then having a group of all girls learn a male variation, may be fun but I'm sure all of them would rather learn a female one instead, so last minute changes to the program would be acceptable in order for it to more enjoyable or suitable for the students. During the Swan Lake intensive we did Sigfried's variation from act 3, and this was left untouched and followed the original choreography of this (particular) version. Some pieces in any adult intensive are going to have to be changed, and for reasons other than the students level of technical ability. 1. Not that is much of a change but doing a piece on demi-pointe in stead of full pointe. Not every adult student is able to go on pointe, even in the advanced classes some people just haven't got the correct anatomy for it (I'm an ICU and trauma orthopaedics nurse so I have experience of this, I've included this as non technical ability as it is not the students fault if their body says no to pointe work). Now if the teacher had decided to do a pas-de-deux, where the lady is on pointe and then the man promenades her around, this would be near impossible to achieve if they were on Demi pointe. 2. Something else to consider is the sex of the instructor. In our case Jane was marvellous and there wasn't an issue. But some teachers may be uncomfortable or struggle teaching a part they haven't danced, or is intended for the opposite sex, e.g. A male dancer teaching a pointe work routine. Whilst all of them will know technically the steps, teaching it is a different matter. A lot of male variations include lots of jumps and tours, whilst the female dancer may be quite competent at teaching them, they would not come second nature to her. Most dance training would separate the boys from the girls, the girls would do pointe work while the boys did the more, for want of a better word, "masculine" steps. If the intensive is run by a large enough company, with the resources to have x-number of teachers available, a full week to work on the pieces, without any changes, to the choreography. I hesitate to use the word simplify, because there is nothing simple about any of the steps in ballet. We have had men come to classes who obviously take part in sports and the gym, sweating when being shown how to do a pilé correctly. I've got to say Karen and Jane and all involved with these did an amazing job at organising these intensives and they can only get better and better as more people hear of KNT in a positive light. KNT is an amazing place full of passionate dancers, (there's a reason we were featured in Marie Claire as one of the best places to dance in the country). The two things Karen doesn't have the luxury of are 1. Large numbers of admin staff to deal with students questions and concerns (unlike LAB etc) 2. Control over when the intensives can take place. The Dance house is a working ballet school, so intensives are reduced to outside term time or weekends. The dance house is also a theatre and cinema showcasing lots of talent from around the country and showing classic and indie films. So again intensives would have to work around these. Right I've gone on far too long, hope you all have a fab day doing what ever your doing, and dance dance dance