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  1. My daughter has very thick hair. The plaits were always a nightmare. I called it the "hammerhead shark look"!!
  2. The second movement of Berlioz's Symphonie Fantastique?
  3. glissade

    EYB dates

    I'm similarly confused - would be good to have some clarification, if anyone can help ....?
  4. glissade

    MDS funding

    That's such good news, Arucaria!!! Congrats!!!
  5. @FlexyNexy How did you manage the acceptance deadlines? ... did you accept and then forfeit a deposit (or even a term's fees ...?), or were the schools flexible for you, or did you decline ...?
  6. It sounds like a wide topic of discussion! - http://www.ballet-dance.com/forum/viewtopic.php?t=21860 "There is more than one correct version of the Mazurka but the one you describe is the one that I remember one of my first, serious ballet teachers giving us. I personally like the one that steps on 1 (sometimes into a low arabesque), hop and heel tap on & 2, and then brush on 3. I recall learning at least three versions over the years but could not replicate what they are exactly now."
  7. Being perfectly honest, Vonrothbart, I have no idea why you're apologising to me as, from my point of view, we're both saying the same thing. Confused. But never mind!
  8. We're arguing the same point. The RBS can tell in a matter of minutes who "has it" according to their own criteria. However, RBS criteria can't be taken as the definitive assessment of who, in reality, will or will not succeed as a dancer.
  9. From their perspective, they probably don't get it wrong. If their aim is to select the best-fit bodies and they end up with a JA class of best-fit bodies, then they have been successful. They then reassess over successive years and gradually whittle down their original selection to include only the best-fit bodies that have all the other attributes needed by a dancer. If other best-fit bodies happen to turn up to auditions in that time, then they have a chance of replacing the best-fit bodies that failed to develop into their best-fit potential.
  10. Just curious - will the "situation" ever change on those two schools, or is their mention forbidden in perpetuity? I have no vested interest in either place, but wondering what would need to change for their discussion to be allowed again??
  11. It only takes a couple of pliées .... the rest of the audition is simply confirming initial observations.
  12. At JA level, it's more about body proportions than about either height or weight per se. If your child has long legs, short body, long neck, small head plus a bit of hypermobility in the legs and feet then they will probably be offered a place (if numbers allow - classes don't tend to have more than 16 in them, often split across year groups). At JA level, they don't have to have much dancing experience to be selected - it's all about their body. When the RBS say a JA has to "show potential", they don't mean talent - they mean that the body type shows the potential to develop into the body type that is a pre-requisite for their older dancers. It's really important for parents and children to understand this as it saves so much heartache when the RBS say "no" - a "no" at this stage says absolutely nothing at all about how well or otherwise a child can dance.
  13. My #1 suggestion is to ask your daughter's ballet teacher for an honest assessment of her suitability for the training offered by the various schools. For example, RBS select their JAs largely on the basis of a few highly-desired physical attributes (body proportions, feet, extent of possible turnout, extent of hypermobility etc). If your daughter doesn't have these attributes, then she is unlikely to be offered a place on their JA scheme. At MA level upwards, children need to have both the physical attributes plus the ability to use them (eg it's no use having beautiful feet, swaybacks and turnout if you can't coordinate your body and dance with intelligence and musicality). It really is very important to remember that not having the RBS-desired physical attributes has absolutely no bearing at all on a child's ability to dance - many children who don't have the physical attributes are beautiful dancers, win many festivals, get good grades in exams and go on to have careers in dance with other schools and companies. Perhaps your daughter's teacher could help guide you here ....?
  14. Hi Emdancer - I replied to your post on the Elmhurst Young Dancers thread 🙂
  15. Hi Emdancer - it all depends on what you regard as being a worthwhile outcome. If it's only in terms of being offered a place following the audition, then the vast majority of auditions aren't worth it for the vast majority of applicants (simply because there are so many children auditioning for so few places). However, if you go into the process from the point of view of gaining worthwhile audition experience, then applying for the schemes and schools you mention is definitely worthwhile - each audition is a ballet class in itself with excellent teachers and an opportunity to dance with a live piano accompaniment. Your daughter should feel very proud of herself for her bravery in taking part in a class with unfamiliar students, and her confidence should grow as a result. I really think that auditions at this stage can be a valuable experience for children if they are framed in these terms from the outset. Gaining a place would then be the cherry on the cake rather than the only desired outcome of an audition.
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