Ruby Foo

As far as I remember, it was a standard ballet class - barre, centre work / adage,  pirouettes and allegro. Nothing else. It was slightly more challenging than the first audition. Some people were sent for physio afterwards.

The recall is at the end of the 2nd day of the final audition when they ask some dancers to stay and do more.

Very well done!! Fabulous news😀. Hope you can source the funding. Sorry I can’t be more help.

As far as I know, if it’s a definitive ‘yes’, then no recall necessary. If they are still deciding, then a recall. Certainly know of girls getting a yes with no recall.

Mary Goodhew in Wimbledon would also be excellent. She has been mentioned before on this forum. Probably too far for you though.

If you can find a nurturing school like this, then your Dd could do associates at the weekend?

Would definitely second Sarah Toner. Close to you too.

9 hours ago, Dancing Kitty said:

 

This was for RBS as far as I recall as that was what the thread was referring to at the time.  She has recently told me that she in aware that a number from Years 7, 8 and 9 have unfortunately been unsuccessful in this year's assessments.  Sad times for a number of families.  Hoping that places can be found at other schools for those who wish to continue with vocation training.

Think it’s important to report correctly about such sensitive issues. Yr 7 White Lodge do an assessment but are not  ‘assessed out’.  No yr 7’s were assessed out this year as in previous years. There may be occasional pupils who leave in Yr 7 due to unforeseen circumstances but it is not to do with assessments.

Sorry, yes, it was a bit off topic! Apologies Polik.

It was all the talk of exams, exams, exams. Sending me crazy 😜 

From a technical aspect, then I agree ballet has to be aesthetically pleasing but I’m afraid I can’t agree with ‘expressing yourself but in a way that is pleasing to the audience’. It’s every artists job to present a truthful and authentic performance/ art work/ music/ literature etc, and if that doesn’t please the audience then so be it. One can never please everyone, and artists must always push the boundaries ( though not for the sake of it) even in ballet, and be honest  and integral to themselves. I am not in any way trying to disregard the relevance of perfect technical prowess and totally agree that in having that, allows freedom for artistic performance but I felt the thread was a little oversightful in why we dance in the first place. 

I have found this thread interesting and most of the points have been awesomely  articulate, detailed and correct. However, I feel a little depressed reading through it because overly intellectualising ballet in this way really kills the spirit and magic. Amazing dancers are the ones that that can connect to their inner being and passion and bring forth an honesty and sincerity that produces an authentic and tangible performance. So, the question for me, which of the many syllabi’s nurture that most in a dancer and which suffocate it, in an endeavour to be the most distinct and historically correct in style.

We have experience of Tring. Very positive and happy experience.

We have, so far, managed to avoid the dreaded video. Know it will catch up with us soon though and having nightmares already. Like you say, such a lot of effort, time, money for studio hire etc. So many of the schools requiring this now and as Dd gets older and wants more international experience, there’s no escape.

But you’ve got to be in it to win it, as the saying goes and although all these international auditions sound daunting and your mind can run wild, thinking you’ve no chance, it’s simply not true. Fingers crossed for your Dd.

Good Luck to your friends DC!

There are always only a small amount of MDS’s available and have to be spread between yrs7 - 10. The number of MDS’s varies from year to year. They usually tell the parents at the audition, how many are available. I guess it would depend on who they feel is more deserving. They may have a space in yr 9 but give the scholarships to yrs7 or 10. There are usually more spaces than beds.

You may be disappointed with your mark but the audition panel will only care about what they see on the day of the auditions. So as Kat 09 has said, keep working and improving and use your exam experience to help you do things differently next time.

Tring have a fabulous reputation with successful boys training and have a long list of  male performers gaining professional contracts.

Its a good ‘all round training’  with boys going to into classical as well as MT. You would need to choose between the dancers course or MT course. Easy to swap to MT from dancers but not the other way about. 

Think you’ve missed the boat for this year, but why not phone and tell them your circumstances and your DS’s dance history?

You never know.

You don’t say which method your Dd is doing at the moment, RAD? ISTD? Or other?

The russian method is a little different and personally, I wouldn’t mix them at her young age. Later, when she has learned the correct use of turn out from the hip ( not the feet!) and correct posture, then maybe. 

Just going to another reputable class with a different teacher and different children will give her a boost of extra confidence, even if it’s not an associate class at this stage.

Providing her own teacher gives permission of course.

I would agree with LinMM. RAD Battersea would be perfect. She would be in safe hands and her own teacher probably wouldn’t object.

Whatever you decide to do you will find Glasgow to be a very forward thinking city with loads happening on the arts front and plenty dance workshops.

Also, might be worth looking at Royal Conservatoire. They do adult contemporary classes.

There are very few ISTD ballet teachers in Scotland, if any. There are plenty of schools who do ISTD modern and tap and RAD ballet.

The RAD grades do not put so much emphasis on knowing the meaning of the French terminology and do not have so many ‘ free enchainments ‘ ( on the spot unseen work given by the examiner). That’s a simplified comparison I’m afraid,  but otherwise they follow similar criteria and you should easily be able to switch. Scottish Ballet do adult ballet classes - they are very popular and you need to book early.

2 hours ago, Kate_N said:

The received wisdom about ballet training at a young age is that it is far better for a child to be in a group class. There are all sorts of advantages:

• learning from others
• learning how to learn with others
• hearing teacher's corrections for others and applying them
• learning spatial awareness in a group
• learning consideration for others
• learning how to dance with other people (a dance career is rarely just solos!)

I'm sure others more experienced than I am with 9 year olds can add to this list.

 

At 9,  and just starting the formal study of ballet, your daughter would need a year of basic grounding with children aged between 7 and 9. Serious ballet learning starts at around 7 or 8, and at that age, it's simple but foundational. Not tricks, turns or high extensions, but learning to locate and use the rotator muscles to keep the turn out working (turn out is an action not a position). Learning how to activate the back and abdominal muscles to develop the pulled up, extended deportment and carriage of the arms (port de bras) required for ballet. Learning how to mobilise and work the ankles, feet and toes. Learning the names and actions of the basic building blocks of ballet (plié, tendu, fondu, jeté and so on). 

 

Private lessons are usually for children a little older, who need some specific coaching (after injury say, or for a piece of repertoire for a ballet competition). 

 

A couple of private ballet lessons for a child who's trained in other dance forms won't do this, and ballet isn't a quick fix. A group class once a week will start to help in the way you want it to, but ballet is ballet, not a remedial form to create "arches" or leg extensions. Those come after several years of careful, focused, slow work..

Totally agree with the above. Private lessons are valuable for those who want to improve a certain aspect of their technique. A set of 4 or 6 can allow the teacher to fully assess the student and focus in on the particular element that needs improvement, giving support and strength exercises to compliment the tuition. If your Dd has not had any ballet training, then you may be wasting your money. 

However, good posture, is universal for all dance genres, and having some basic private tuition and support exercises for this,  will not do any harm although it would be much cheaper and more fun for your Dd  to find a reputable teacher who will incorporate this naturally into a general class.

23 minutes ago, Picturesinthefirelight said:

A multiple champion in what?

 

Ballet is often seen as the core/foundation of all dance and most serious dancers take ballet even if they specialise in other genres.  A good teacher will work on correct technique and alignment but these are not necessarily the things that win competitions.  Its slow and steady towards an end goal of excellent technique and musicality that can be sustained over a period of time.  For example it is preferred that a dancer has a lower leg but correct hip placement rather than the leg up by the ears which looks good.

 

I'm a lot further North but we paid around £30 an hour for private lessons for my daughter (plus the cost of studio hire) who was in a vocational school.  For my son who is a recreational dancer but a late starter I pay £20 per hourat his usual dance school.  But I would advise trying to find at least a weekly or twice weekly ballet class if possible.

You would expect to pay at least double this in London for an hour of expert tuition.

I would definitely recommend Sarah Toner in North London. She is superb at stripping things back to basics and works slowly and thoroughly. Especially good if you can afford one one/ private lessons. She is also lovely and instils confidence at the same time.

2 hours ago, Lisa O`Brien said:

If your shin splints are mostly gone, why don't you just buy The Stage every week, see what auditions are out there and turn up to some of them? You'll soon know if you are of the required standard or not. Good luck.

Have you thought about auditioning for cabaret  /entertainment acts at holiday destinations both UK and abroad? Not sure how you go about it but know someone who was 2nd year at a small theatre school who did this last year, in Greece, and found it valuable experience as well as having an amazing time. Easier to get into than the big cruise auditions and once you’re there you may meet people with other contacts. If you don’t have a whole load of finance, then more training is possibly not an option, and you feel physically able then why not get out there and give it a go!  You may need to find a one off coach to give you direction for the auditions though.