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valentina

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  1. Not all the students at WL have flat turn out - fact! Some do, but some have to really make the most of what they have by using the correct muscles. It’s about a balance of all the components and who scores highly overall. Don’t let it put your Dd off.
  2. Dealing appropriately with injuries, both physically and mentally, is as much part of the training, as class itself. Restraint and patience when necessary and determination and mental strength. It sounds as though you are well on the way 😊 so going slowly and steady and taking a day at a time is the way to go. I would focus on being completely physically well first, before focusing on your auditions ( easy to say!) because healing properly will mean less chance of your injuries reoccurring. You could look to Andy Murray for inspiration. He’s finally winning again after months of rehab, patience and hard graft and believing it’s possible!
  3. We do not have any personal experience of sixth form which is what you are looking for - only lower school - happy experience! Even someone who is training at Tring may not be able to give you the whole picture as it is comparisons of training between the establishments and most importantly the hours of classical training, including pointe work, partnering work, repertoire, Character, Pilates, conditioning etc. Also, need to take into consideration the gym and physio facilities - how do they compare? Obviously Tring rates highly in the contemporary sphere which is so important nowadays even for classical dancers, but the number of hours given to other fields of dance will possibly take away from the hours of intensive classical training she would need. Our own experience was that lessons were great until showtimes/ Christmas celebrations etc, when classes became haphazard and pointework completely disappeared from the timetable for weeks on end. Character never featured in the first place. However, as the previous poster mentioned, there are dancers from Tring who have made it straight to classical companies (we personally know one who went to BRB) and if your daughter has the talent and determination then I would imagine she will be given every opportunity. Why not ask the school for a timetable? This will give you an idea?
  4. Your Dd is still extremely young and there’s loads of time yet for her to progress and enjoy. Just because she isn’t doing a load of associate classes doesn’t mean she won’t develop and fulfill her potential. My Dd had only danced for a yr at the same age and has gradually caught up and been given chances. If she is still very impatient, then I think it’s about asking some questions re the training she is getting, her physical potential - some of which will change over time and some that won’t, her musicality, and lastly confidence in audition situations. If she loves her school then it might be tricky and detrimental to go elsewhere, even if you do decide the training would be better. That’s a lot of questions which might be difficult for a non dancer parent to answer and maybe some of the teachers suggested above might give you more of an idea, but personally, at such a young age, let her enjoy what she is doing and see where it goes. She might just need time to mature and blossom. Anna C is so right when she says that the enjoyment of the everyday journey, classes and shows etc is what it’s all about and not this perpetual striving for something which is fairly unachievable even for those at the top schools worldwide
  5. Agree with the above. Programme of rehab by a dance physio followed by floorbarre.
  6. From what I remember of my Dds MA class, ( a small centre with one class of English academic yrs 7,8 and 9) only 1 girl, out of the 4 yr 9s, got a place in SA’s.
  7. Yes, Katia05. That’s right.
  8. All the MA’s have to re- audition along with everyone else. There is a significant drop in places for SA’s in comparison to MA’s and as there is for MA’s in comparison to JA’s.
  9. Not sure how much you get to watch your Dd in class or performing? Building on what Kate_N has mentioned, re ‘the spectators feeling something’, then feedback from yourself, as her most avid audience will be super important as a starting point. I’m sure you already do it and I don’t want to sound patronising, but feeding back something like - ‘ I felt very ? when I watched you today, will give her a starting point to how she is affecting people in a range of emotions when she dances. Of course, it needs to be honest and genuine because everyone knows when someone is commenting and it’s fake!
  10. Showing her passion for dance, most important, but they will always be interested that she can perform other styles other than ballet ( which is the predominant part of the audition). Something leaning towards contemporary/ lyrical/ jazz goes down well, but only if she loves doing it!
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
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