Ruby Foo

You could maybe call beforehand and ask which days Beth is in. She is such an excellent pointe shoe fitter and fits the vocational schools.

I’m really not sure, as I’m not on the judging panel! 😂 But from what I’ve read on here there’s certainly been some no’s that have suddenly turned to yes’s, so you can never be sure. Going in with caution is probably the best plan.

Definitely worth applying. There are always a few JA’s, Mids and Seniors given places especially at Easter, but fewer in Summer, which has a distinctly international feel - at least, that is our experience. This maybe different at the younger end of the scale. Don’t worry too much about how many hours she is doing because, at 10 yrs, they will be putting much more emphasis on her physical potential than anything else and will already know a little about her dance ability through associates.

Royal start with physical attributes. All the usual stuff - body proportions, leg length, good feet, long neck, sway backs etc. You would be surprised how much you can tell from a photo even down to good training and turn out. But realistically there’s so much you can’t too! They are always interested in dancers they haven’t seen before, who are not in their associate scheme or haven’t been to an audition. I guess they are willing to take a chance, in case someone with the perfect physique turns up who has everything else too! The level you are working at will matter at the upper levels as the classes are demanding.

I would say 12yrs is a great age to start. Firstly, the ballet technique has to be firmly in place and understood, as contemporary requires a solid classical technique as it’s base. Secondly, the dancer has to be able to broaden this technique into other dance influences and abstract form which takes a certain maturity.

I think it’s fair to say that most girls who want a classical career leave Tring at 16, as the above medalist has done. They tend to go to ENB, Royal, Central. That’s not to say you couldn’t have a classical career if you are there from 16 onwards, but most are there for MT or contemporary by that stage.

If your fees are being met then I would definitely look at Moorland as being a great starting point. From what I’ve heard from other parents, who have left top end vocational schools because they felt the training was lacking, Moorland provides excellent training and is more tailored to the individual. Parents have also commented on the nurturing environment. We do not have experience ourselves so relaying only what I have heard. I think many more people would keen if funding was available.

This is a very challenging issue that probably can only be overcome with time. Firstly, the characterisation and ‘ feeling’ only happens when people feel passion and a connection to what they are trying to express whether it be through the music or through the drama and characters they are trying to portray. Secondly, your Dd May feel that passion and connection but not be able to overcome her fears in portraying it to an audience. In other words her fears will totally shut it off. If she can feel it and show it in her bedroom then that is an excellent first step because at least she is HAVING some feelings, which not everyone does! Can you talk to her ( or get her talking - even better) about what subconscious fears there may be surrounding ‘letting go’ in the studio. Girls of this age are so self conscious of their peers and pretty much everything, that it may be this, and, as she matures she will grow out of it. I have seen this happen and it is wonderful. Did she express when she was younger? I think trust is an issue, and having privates with a teacher she loves who understands her issues and is prepared to be patient with her could be fruitful. Can you tell us if she does any jazz or commercial dance? Sometimes dancers don’t feel anything in classical but are totally fired up in other styles and vice versa. Finding her strong passion in anything - hip hop / pop music, films, books, clothes and for her to express how she feels when she thinks about those things will help because she can then translate it into performance. Not easy to do with teenagers! If she’s naturally quite a reticent person then expressing herself may take some practice, even with ordinary things. There is nothing more frustrating for her than if she feels it but can’t show it, and putting pressure on her will only make it harder, so building her confidence in all other areas and letting this develop over the long haul is the way to go. Sorry I can’t be more help.

Linda Lowry School of Ballet - teaches to a high standard. Royal Conservatoire of Scotland also does the RAD grades I believe, for children.

It might be useful to know how she uses her dance classes from an emotional point of view. Is it a form of self expression? Physical exertion? Social? Does it fulfil a perfectionist streak? Or presumably a mixture of them all? Understanding why it made her tick for so long might help to replace it with other activities or keep going a little longer.

When your son is auditioning for companies, it will not matter one jot that he took his intermediate exam 6 / 9 months later than he could of. What will matter is that he has achieved the technique and strength required to make a decent performer. In fact, it is only in the UK that we are so fixated by exams. Everywhere else in the world seem to manage perfectly well without them. The challenge is, for him to understand the bigger picture, so his motivation and confidence remain intact, despite some of his classmates moving on.

Pre- primary and primary are lovely for developing musicality, sense of poise, performance and fun. They are not necessary though. It’s gr 1 that’s THE most important beginning of building the foundations of good ballet technique - correct posture, use of turn out, correct use of feet and arms. Wherever she goes, try to ensure that she has plenty time in Grade 1

Danielle at the Fairlee Chemist Battersea ( top of Queenstown Road). The treatment rooms are under the chemist and are basic but the sports massage is anything but! She has been treating my Dd for over 9 months now through lots of minor injuries and is fantastic! My Dd, who seems to have never ending lower leg problems, says she makes a huge difference.

Lucky, lucky you! Good Luck!

You do not have to show any splits in the audition. There are some simple hamstring flexibility exercises sitting on the floor with the legs stretched out in front but generally the audition is very simple - around gr2 standard. Showing confidence, musicality and a sense of performance is very high on the list of qualities SB look for.

Most of the JA / MA teachers are very approachable via email and as long as you are communicating the issues as they arise they will not be concerned. Obviously if you miss too many lessons in a row without good reason and without proper communication then questions may be asked.

There is Dar danse Morocco Summer School which I have heard is frequented by many British vocational students especially younger ones. We haven’t been ourselves but from what I’ve heard, it seems lovely and nurturing. There is a thread about it on this forum.

Not residential or in England - so probably not much use to you but Royal Conservatoire of Scotland in Glasgow do a v. good summer school with a high standard of contemporary/ jazz and ballet. The year my Dd attended, they had a dancer from Hairspray teaching the jazz plus contemporary and ballet and conditioning each day. It comes under the confusing heading of ‘ modern ballet ‘ on the website and takes place early July due to the schools breaking up in June in Scotland. My Dd still rates it as one of her favourite summer schools despite doing many much higher profile ones, mainly because she’s never experienced such good contemporary anywhere else! There is also some of the worlds most breathtaking scenery 30 mins from Glasgow!

Sarah Toner, North London, right beside Arsenal tube station. Excellent and detailed tuition.

I totally agree with this. My Dd was at a 3 day holiday course at Easter. The teacher, a principal with the Royal Ballet, who taught them for one day only, asked the class to do fouettes en pointe... 16 to be precise. My Dd age 13 at the time, the youngest in her set, has never done fouettes en pointe, only on Demi pointe. The teacher did not ask the students for any pointe work history and did not try to break the fouettes down.... for example by putting some students on to the barre and giving a simplified version. My daughter did not attempt to do them, only the pirouette preparation. The teacher apparently did not notice and did not ask her why she was not attempting them. The class had varying ages of mostly vocational students and had been vetted on the first day by the organiser who had taken the ballet class. When I spoke to the organiser about my concerns, they told me they thought my Dd was in the right class for her standard. My Dd agreed that she felt more than comfortable with the ballet class but the pointe work was well out of her reach. Dancers, no matter how famous or proficient, who are not trained teachers can really miss some very important issues as this incident highlights, and which could lead to some nasty injuries.

Sad news. Thinking of all who knew and loved him. Although I didn’t know him personally, he once helped me out of a right mess I had made trying to sign in and, as others have said, his patience and kindness shone through his words.

Would definitely second Centerpointe Manchester. Fabulous, high quality teaching!

Most days have been a 9.30 start with one day 10 am and one day 11.30! Finish times have mostly been 4 or 4.15pm and some 5.30 if they started late. Quite a bit of variation from day to day. Class wise there is also a fair bit of variation from day to day with some days a heavy schedule and others light. All of this probably dependant on age and which group you are in.

I would definitely be cautious about trying out many different shops in the Glasgow/ Edinburgh area unless you have had a recommendation. From experience, there are some less than desirable fitters around. Best to stick with ones recommended.

Have heard from a student who has recently been at the school’s open day classes that Peter Schaufuss has a remarkably different approach to teaching and that treating dancers as individuals is a high priority. As it’s a new school it’s hard to comment any further.