Ruby Foo

My daughter is 3rd family generation of dancers/ teachers. I didn't want any of my offspring to dance knowing what I do about this profession but sadly she fell through the net and, as it's her passion, I didn't feel I had the right to interfere. It has been tricky but interesting being firstly, a mother to a dancer but also a daughter to a teacher, a dancer and teacher myself. We have all experienced so much in terms of training and training others. Many, many vocational schools. Many of these issues are inherent in Classical Ballet and go right through the training and into the companies. None of it necessarily stops when you get a contract. This is why having a forum like this is so helpful. You can see how much support IN EVERY AREA you need to give your children.... just don't stop. Keep it coming, even if they are silent and things appear to be going well. Bring the professionals in if you can, if you need to, and if you can afford it. Counsellors, physios, sports massage, nutritionists and other teachers ( for confidence) can all help when the training is letting you down. But you know your child better than them all, so you will be the most important source of support. You will be able to balance the books.As another poster said, don't leave it down to the school, no matter how solid it appears to be. The most frustrating thing about a classical ballet training is that many is that many of the issues which are so mentally damaging could be so easily be ever so slightly tweaked by the establishment to make them less so, but they just don't do it!

The point of a good ballet school is to ' train' the best dancers. A student was assessed out at age 12. She arrived at my vocational school where she trained for 4 years. She was then accepted back to the original school in US. She declined the place. My vocational school did the work the other was supposed to do. All that heartache for nothing. She went elsewhere and gained a Classical contract. Maybe this will give confidence to the OP

Realistically RBS don't have any other choice but to help with audition videos seeing as the students are at boarding school and wouldn't be able to do them anywhere else. Although that is helpful, this is not really what I mean when I use the word support. Support is asking the students how they're managing to continue in their day to day life ( ballet, academics, weekends, knowing that they will be leaving while many of their friends will be moving further up the school. Support for the end of the year when their friends are choosing who to share rooms with the following term. Someone to talk to when they are worried about uprooting once again and having to start all over in a new, unfamiliar territory. The first week back, standing on the barre in a school you love, knowing you can't stay. That's tough for some kids.... because that's what they are, just kids. The ballet training may or may not be great, but it won't change the natural feelings that arise in youngsters when there's uncertainty and worry. A cold email helping to find another school doesn't help when you need someone to talk to and listen. I disagree with all the posters, who say they have gone in with their eyes wide open. The adults may have their eyes wide open ( you haven't experienced it till it happens) but no child of ten, which is what many are when they audition, can tell you how they're going to feel 3 years down the line because they're still developing as people throughout the process. Plan b c and x is great and sensible but it doesn't take away the pain of breaking the bonds kids make when a boarding school becomes their 2nd home, and their friends and houseparents become their 2nd family.

I'm sure that no one is in any doubt that from a dancing perspective, being assessed out ( or not being successful in continuing in the training) can lead to a renewed energy and momentum and in turn, lead to greater happiness, fulfilment and success, possibly more than if the student had remained in the same environment. Many students who arrived at my vocational school, having been assessed out of another school, went on to have very successful dance careers, many in renowned classical ballet and contemporary companies. But let's not forget that having to change schools after 3 years, no matter how prepared you may be (how mentally prepared can you be at such a young age?) can be anything from a small trauma to something much more traumatic. You are having to deal with great disappointment, a period of low self esteem, uncertainty about where you will go next, will you be accepted, and what will the future look like? While saying goodbye to friends who have almost become brothers and sisters, knowing you have to start friendships all over again somewhere else. There will also be students who feel they have let everyone down, even if they don't verbalise it. I just felt I should mention this, as there is much more to it than statistics and success and having a great deal of support will surely help students with a smooth transition.

Any student who completes a single year of vocational ballet/ dance school should be extremely proud of themselves! But it doesn't alter the fact that it's the same process as it always was, but in a slightly more clever/positive framework, which will eradicate much of the criticism. However, It will take a while for the students to think about this in a different light, if at all.

Yes. She made all sorts of adjustments. I would advise you to leave a long time for the fitting ( much longer than Leanne says) because she is a complete perfectionist and has many, many different shoes to try for starters, even before she starts making adjustments. Her fittings get booked up months ahead, but there's always cancellations. Then there's the issue of Grishko supply....

I'm sorry, I can't give you all those details at present! My daughter will know and I can pm you later. Basically Leanne seems to be able adjust them to exactly how you need them to be! I believe it was a strong but slightly flexible shank to stop them dying. The first set were bending too low but that was adjusted. The second set were perfect.

I'm not sure where you're based, but a fitting with Leanne from Straight to the Pointe helped my daughter enormously. My daughter was getting through a pair of pointe shoes a day in yr 11 and after a 2.5 hour fitting with Leanne and an eight week wait for special order Grishkos, this problem was solved. She has very high arches and insteps plus doing many full ballet classes en pointe. Her Freeds ( which she loves) were dead every day. Leanne is based near Southend but travels about. Anyone who knows Leanne will tell you that she is an expert, extremely knowledgeable and takes great care. Sadly though, the factory she was ordering from was closing and there was no special orders being taken. I'm hoping that may have changed but it didn't look promising.

I was thinking that maybe a leotard like Gaynor Minden cap sleeve would be nice. It's expensive, but you could look for similar style in cheaper model. Medium coverage below but the style on the shoulder line would balance hips. A cap sleeve might work too, like the Just Ballet burgundy cap sleeve leotard. Something that draws the eye upwards and balances hipline. Again, very pricey, but the Bullet Point velvet trim would give a nice balance. A high neck and front zip would be good for a more mature dancer( Dansez) do a nice one) or a two tone like the Jule Luster where the bottom half is darker than the top. Personally, I would steer clear of thin, strappy leotards unless she loves them.

This definitely happens, yes.

Maybe not quite what you're looking for but Raw talent coaching ( Kerry Birkett and Jose Martin) are doing a one off Balanchine workshop in April at the Arts Depot in Finchley.

Just thinking, you could actually take her to a pool and see if doing some of her dances in the water might be a fun way to stimulate some sensitivity in her hands and fingers.

It sounds like your daughter tries very, very hard in her performances and, as a result, all that trying is coming out in tension in her hands. Have you noticed tension appearing in other upper parts such as her neck, shoulders and her face? Particularly her mouth? Has her teacher commented on these hands? Or has it been noticed in exam reports? The reason I am asking is because in different parts of the world, ballet hands do appear slightly differently. French and Russian styles do have a slightly different approach to hands than that in the U.K. So what might appear slightly different for us in UK, would be acceptable in other parts of the world. Is it possible that her hands might show tension all the time, even in class work, it's just not so easy to spot because class work is more formulaic? Could your daughter be hyperextended? Often it's really tricky to control hypertension and the weight of the body is often in the wrong place leading to the student to cling on and take tension in the wrong places. Often, when you tell young students to pull up, grow very tall, try very hard etc, you get an adverse reaction in that they suck themselves up so much that all the tension rises into the upper body and they pull peculiar faces, shoulders go up and the arms and hands become very stiff and taught. Many young students are trying to identify with the fantasy of being this beautiful ballet dancer rather than an understanding of breath and freedom of movement without forcing or it being an effort, which is obviously preferable. I would ask her teacher if there's an issue and if there is, maybe keep her dances simple so she can fully focus on breathing through movements and an understanding of how those arms and hands are a sensitive vessel for the positive energy within oneself. The tension needs to focused in the core muscles which support and stabilise the dancer, leaving the upper body free and completely at ease. So, to correct this unwanted tension, we are looking internally, to the central core, rather than simply fixing the hands, which would lead to the hands being statically pretty but not really being the living, guiding energy which propels the dancer through space and into lines which extend forever.... out through the studio walls and beyond. So the arms and hands are the vessel of expression which starts at the core and extends and extends, constantly flowing and moving, even when completely still. I always find analogies with arms/ hands and water very helpful. You can try simple movements like figure of eight with the arms in front of the body. What would it feel like to move these arms through the resistance of water? How would these arms and hands be if they were passive seaweed being rocked by the waves? With her hands by her side, ask her to lift her arms up out of the water, elbows picked up first, back of hands on top, letting the water droplets run off the backs of the hands and down the fingers. Make the fingers shapely. You can do this by holding the hand softly downwards ( curved with water droplets running off) and placing a straw under the index finger, over the long 2nd finger, under the 3rd and over 4th. The hand is curved and softly drooping but still breathing energy. Also the comparisons to breathing and the feeling of cool air grazing the arms and hands as they sensitively lead the dancer through space. Hope this helps. Sorry it's so long! It's hard to know, without seeing your daughter dancing. Its great that you've noticed though because tension in the upper body can be very hard to get rid of once it becomes habitual.

Thanks for sharing this balletbean. A little chink of hope and joy amongst the trauma.

It is extremely rare for students to be assessed out. It does happen occasionally, but I think it's usually because a student hasn't been able to attend classes for whatever reason, maybe illness or injury or discipline issues, rather than they are not meeting the standards generally. Cant remember how we heard, but I think it was a couple of lines in an email. Nothing detailed.

Can you tell me please approximate age of your daughter?

Exactly my thoughts too balletbean. It is reduction of a beautiful, quality solo (which requires maturity and depth) to a collection of cold steps, rehearsed to death. It doesn't impress me one bit, no matter how impressive the steps are presented.

Couldn't agree more. As they are not generally taking in more students for 3rd year, then why not keep all of them and let them get their degree.

Some students are assessed out after 2 years and therefore do not go on to obtain the full degree. They are not usually replaced for the third year.

Since starting the 3 yr degree course, RBS don't accept anyone new in 3rd year.

It sounds like you are doing your research 👍and I'm sure if you continue, you'll find more places worldwide who will take someone exceptionally talented at 18. And more dancers who did it! You sound as though you are taking your current tuition seriously too by checking your teacher's credentials.

If you were exceptional enough, (phenomenal world class dancer) to be accepted by a renowned ballet school at 18, then you would probably be on track to find a career in dance. I personally don't know any top schools who take ballet dancers at 18.

I can understand your concerns about moving across the world to train but realistically I think going away to vocational training at 18 is unusual for someone who wants to pursue a classical ballet career. There are students who have already reached a professional standard, who want to 'finish' or 'polish' at a certain school or with a certain renowned teacher, for their last year, who may go at 18 for that purpose. But they would have already attained a professional standard and be looking for that something extra. For contemporary, however, it would be perfectly acceptable to be thinking of starting somewhere at 18. Places like Rambert, Alvin Ailey, London Contemporary etc all prefer mature students who have reached a very high standard of dance. You don't mention your age, but if you are worried about living abroad at 16 then you could try for schools that offer accommodation as part of the package. You would be living in accommodation as part of the school, with houseparents to keep an eye on you and your food provided. Places like RBS, Elmhurst, SAB, etc There are lots and lots of international ballet students here in the UK training from 16, some who don't speak a word of English, so plenty of support from others in same position. There are other schools like ENB, NBS, Central School,and European schools where you stay in student accommodation independently from the school but sharing with your fellow students. You usually shop and cook your own food in accommodation like this. If you don't have a Guardian in your country of choice then the schools will help you. A Guardian is helpful for halfterm holidays or to stay in the event of illness. You could look at some other posts on this forum about the pluses and minuses of waiting until 16 to start full time training. It will be about the quality and quantity of training you can find where you are right now, plus the financial means.

Living in Scotland, our nearest Center was Newcastle ( Dundee was not an option in those days). A round trip 250 miles and much more for those living in the North of Scotland. We have fond memories of those early morning train trips!

This must be very distressing for you to watch Flexy Nexy. One of my daughters has been trying to get her friend back to Turkey on a repatriation flight for the last 2 days. It's proving impossible. The friend is very, very frightened. Sad that some things never seem to change 😢