glissade

That's such good news, Arucaria!!! Congrats!!!

@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 ...?

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."

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!

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.

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.

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??

It only takes a couple of pliées .... the rest of the audition is simply confirming initial observations.

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.

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 ....?

Hi Emdancer - I replied to your post on the Elmhurst Young Dancers thread 🙂

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.

Thanks to a very kind friend, I now have all the answers! PM me if you'd like a copy. Happy to share 🙂

Thanks. My daughter's teacher is having time off for health reasons and I don't want to bother her, but at the same time need the info so my daughter can prepare (her exam is a way off yet but she wants to use the hiatus to work on the unseen part of the exam). I was hoping to just order the syllabus from IDTA but I can't find it on the website, so I'm assuming it's only something teachers can access. If anyone could post some more detailed info about the steps required, I'd be really grateful!!

Can anyone help? I'm looking for a list of steps that could be asked for as unseen enchainements in the IDTA Advanced 1 Ballet exam. Thanks 🙂

I can only find this one news item. Not sure what to think. Charged not convicted, so only alleged. https://www.dailymail.co.uk/news/article-6993087/Royal-Ballet-star-61-charged-12-sexual-assaults-three-girls-14.html

Hi - I reported this a couple of times after the upgrade, but wanted to let you know it's still happening and is super irritiating!! Every time I scroll to the bottom of a page, it jumps up again by about 30 lines or so. The second time I scroll down, it stays put - it's only a first-time scrolling problem.

Here's last year's info ... but no guarantees the same criteria will be applied this year. Hope that helps! This year, with the generous support of the Leverhulme Foundation, the J Edward Conway Fund and the Hine’s Fund, we are able to offer all Associate students travel bursaries who travel 151+ miles one way to their Associate classes. Those receiving financial help with their fees may claim a travel bursary if they travel 75+ miles one way to their Associate classes. This is a contribution to your travel expenses and we will not be able to reimburse all travel costs.The award made depends on the distance the student travels and the income level of the family. Distance: students are able to apply if they live at least 75 miles or more from the class. Income: if students receive 50% or more financial assistance for fees then a full award is made. If financial assistance is less than 50% or none at all, then a partial award is made. (Eta sorry, there's some sideways scrolling below - I don't know how to fix it!) Miles from Associate Centre Receive 50% or more Financial Assistance Receive less than 50% Financial Assistance Don’t receive Financial Assistance with Associate fees 0-74 miles 0% 0% 0% 75-150 miles 50% 25% 0% 151+ miles 100% 50% 25% The bursary award will be based on the cheapest advance return train journey for one child and one adult (where accompanied) with the use of a family or other railcard. At least 3 ticket receipts need to be sent with the bursary application. This could be receipts for the train tickets or copies of the train tickets.

It depends on the cut-offs. Funding last year was only available to those already receiving financial assistance. In previous years, funding was available to everyone living over the required distance away.

I understood your point, Kate_N - I was just hoping to emphasise the "without your DD knowing" part of your suggestion to track calories. And also to suggest an alternative tracking of glycaemic index (rather than focusing on calories) in relation to blood sugar levels, which is described brilliantly in the book I referenced.

I can recommend the book, 'Good Mood Food' by Charlotte Watts - https://www.amazon.co.uk/gp/aw/d/1848993609/ It doesn't count calories and looks at the effect of nutrition (especially, maintaining consistent blood sugar levels) on mood, sleep, brain function etc. I would also strongly caution any parent not to enourage their child to start tracking calories, unless on the specific advice of a doctor. Believe me, if your child develops an eating disorder, those hidden calories will be their (and your) friend, not their enemy.

But I do agree that an information campaign is the way ahead ....

To be honest, BeaverElliot, I'm not sure that the programs the RBS have in place for their students have any relevance to the children outside of their school. Especially so when selection for eg. their Summer and Easter intensives relies on photos. I think that a far fairer way of selection would be to include an element of free enchainement in auditions. Professional dancers need to be able to process, learn and produce sequences of dance positions quickly and under pressure. Hours spent perfecting one position or even one dance for a competition do not equate with the requirements of a professional career.

BeaverElliot :"It’s the dance parents’ responsibility to be well informed consumers of education and recreation services for their DD/DS. " You have made many valid points in the course of this thread, BeaverElliot - and thank you for that. However, I'm not convinced that parents have necessarily either the background or expertise to become the ideal "well-informed consumers" that you suggest they should be.

Instagram .... Facebook .... Snapchat: all celebrate the isolated pose with high extensions and maximum flexibility. It is infinitely harder on these platforms to demonstrate musicality and artistry. To show musicality and artistry, a dancer needs space. A fixed camera on a mobile phone does not allow this movement in space to be captured. Therefore, the celebrated image is a position, not a movement. The true art of ballet is an art of movement between positions ... movement in space and time. I strongly believe that social media use among young dancers today is reducing the art of ballet to a 2-dimensional, static representation of gymnastic poses. I am very happy to be persuaded otherwise .... if anyone has stories to tell of how musicality and artistry are recognised above gymnastic flexibility and high extensions.