Nicola H

Herbal hill - would likely be Central School of Ballet, not aware of any other studio premises near by , which is close to Farringdon tube / thameslink ( and when it is finished Cross rail / Elizabeth Line ) , however i'm unsure when CSB is meant to be moving to Paris Gardens ...

Looks like post i made last night trying to reference the other thread meta referenced this thread...

@taxi4ballet raised an interesting question and one which arguably is deserving of it's own thread ... so i made a thread for that question, which us mere mortals can comment upon ...

there's another Apology i Need to make Publicly as well as by PM @DD Driver sorry for turning your thread into a trainwreck

the the RBS international auditions thread, which became a bit of a train wreck and yes mea culpa in contributing to it becoming a train wreck @taxi4ballet asked a question ... "How many of the current Principals and Soloists in British companies were vocationally trained solely in the UK from the age of 11? " i quickly looked at the Northern Ballet site and posted the follwing Northern - and bearing in Mind that David Nixon isn't British by Birth and has no skin the UK vocational schools game ... Premier Dancers Pippa Moore - Hammond and the RBS Javier Torres - trained in Cuba so 1 - 1 Leading and First Soloists Hannah Bateman - didn't go to a vocational lower School , Upper School -Central Anoinette Brooks -Daw - RBS Lower and Upper schools Ashley Dixon - lower school not stated Upper School Central Mlindi Kulashe - Lower school in S Africa, Upper School at least partly ENBS Ayami Miyata - lower School in Japan, Upper School Académie de Danse Classique Princesse Grace (Monaco) Abigail Prudames - RBS Lower, Elmhurst Upper 4 -2 I make that 5 -3 to the British schools and note that of those 8 only 1 trained entirely outside Europe ... - Javier T , both Mlindi and Ayami had European upper School time (Ayami's biog suggests here entire upper school time was in Monaco) If anyone else feels like doing a similar analysis of other Big 5 companies, and other significant Uk companies ( e.g. New adventures, Ballet Cymru, Ballet Black etc etc ) that would be appreciated ... @bangorballetboy also posted a quick answer with regard to the Royal Ballet "6 of the RB's current principals: Ball, Cuthbertson, Hayward, Morera, Naghdi and Watson."

I think an Awful lot of this will depend on the Glandular Fortitude of the Headteacher and possibly the attitude of the Governors ... see also attitudes of the made titled vastly expensive so called Leaders of a Chain Academy is involved ... there is the educated offsite coding available , it;s just whether the school is willing to use it ...

it looks like i have some apologies to make .... Firstly to @ArucariaBallerina my Dunning -Kruger comment was out of line and I Apologise to you for saying that. I agree that you have little if anything to apologise for in your comments or conduct in this thread. If you wish to find out a little more about learning and development associated topics i'd be happy to point you in the direction of relevant resources, this applies to any and all other readers of the thread . Secondly to the readership in general for making a post to the thread that took it off course. Thirdly for having to go to work on a Saturday afternoon and not being able to make the the first apology until nearly midnight. However the thread has raised some other issues , I do not especially wish to drag this out, but it takes an awful lot of DALOG to equal the 4600 hours of my primary HE qualification and Not currently active Professional Registration, ditto with the various training and assessing awards I have held or currently hold. nor am i going to labour the point about the CPD i had to do in former professional roles which is directly relevant certain issues of physiology. I find the tone of certain posters to be rather close to the edge and especially distressing from the way in which it has been phrased in this thread.

Northern - and bearing in Mind that David Nixon isn't British by Birth and has no skin the UK vocational schools game ... Premier Dancers Pippa Moore - Hammond and the RBS Javier Torres - trained in Cuba so 1 - 1 Leading and First Soloists Hannah Bateman - didn't go to a vocational lower School , Upper School -Central Anoinette Brooks -Daw - RBS Lower and Upper schools Ashley Dixon - lower school not stated Upper School Central Mlindi Kulashe - Lower school in S Africa, Upper School at least partly ENBS Ayami Miyata - lower School in Japan, Upper School Académie de Danse Classique Princesse Grace (Monaco) Abigail Prudames - RBS Lower, Elmhurst Upper 4 -2 I make that 5 -3 to the British schools and note that of those 8 only 1 trained entirely outside Europe ... - Javier T , both Mlindi and Ayami had European upper School time (Ayami's biog suggests here entire upper school time was in Monaco) If anyone else feels like doing a similar analysis of other Big 5 comoanies, and other significant Uk companies ( e.g. New adventures, Ballet Cymru, Ballet Black etc etc ) that would be appreciated ...

how many people offered first contracts , keep them ? how many of those promotions are substantive promotions rather than iterative ones , also any discussion of promotion and grades has to be considered in the face of a company's structure ( e.g. the number of dancers with Principal status at RB vs another of the big 5 companies who only ever has one Male and one female principal , but has 4 grades of Soloist as well as coryphees - even then has corps dancers dancing named roles in some pieces )

that seems to be predicated on the assumption that there should be an automatic progression Lower school > Upper school > Company within the same silo ... rather than acknowledging that someone who has great potential at 11 and at that stage looks like thy might have the 'body type' and particularly balance of technician and artist for company A hasn't changed and developed by 16 to be someone and something different and more suited to a different Upper school or different company ... O'Hare, Rojo, Bintley (or his replacement) , Nixon, Hampson, Bourne, Pancho all look for different things in the dancers who they want for their company ... every dancer that they may consider will have a high level of technical skill and artistry ... but it;s do they fit with what the company does ?

being a 'phenom' might work for tennis , but it won;t produce dancers who can dance in a company and have a career performing a wide range of differing pieces, and start creating their own ... there is also a who extra level of stuff being put on the fact that WL and RBS Upper school share the RB branding ... meanwhile other organisations are not as explicitly linked , yet if you look at their links they are closer than the links between WL /RBS Upper school /RB company ...

and how many of these Phenoms are in companies and earning a living vs those who have trained properly and have technical competence not just the ability to reproduce a piece of choreography ... be interesting to see how many of the phenoms can 'sight read' a piece and what their standards of delivery would be like compared to the senior pupils in the conventional vocational training settings ?

10 year olds shouldn't be en pointe for one very good reason and it's a clinical one. i.e. the bones of the foot are not sufficiently ossified at that age. The UK hasn't gone down the route that seems to be common in Australia of asking tweens to get a Medical and Physio report, but perhaps in part this is due to the fact it would be a chargeable activity for GPs and the UK public really doesn't get the contractural arrangements regarding general practice combined with the way in which the CDMT (ne CDET) accredited awarding bodies train their teachers ... Please put your Dunning-Kruger card down for a moment, as all you are doing is embarassing yourself and demonstrating where your knowledge is dangerously weak. from a dance point of view we've also seen the 'phenoms' come and go through injury, of the fact that their skill and talent runs out when they get to a company and become a little fish in a very big pond and suddenly they are in an environment where everyone is *that* good ...

I can't comment on Leanne as a fitter as she has not fitted me, but I have chatted at length to her about ballet and other stuff . She's a lovely person and does know her stuff

there was a previous discussion where ' grink' ness came up and tricks to facilitate ( i.e de pin) or correct (mole pink) it

the right colour is the colour the choreographer / director / ballet master wants ! as for flattering that will depend on the build and colouring of ones legs , as identical pairs of tights from the same batch of the same model will look different on milk bottle white celtic legs vs typical ' white person' colouring vs a tending to the mediterrean colouring vs the legs of a Dancer who is a PoC...

CAT is designed to be an alternative to residential vocational training ... It's 10 hours a week to start with increasing with time to 18 -20 hours a week ... I doubt many CAT students would have the time and energy to continue with their 'local' classes ( not sure what CAT does or thinks with regard to grades and VGEs as being Northern the training itself is Ichino ) https://northernballet.com/academy/training-programmes/centre-for-advanced-training/course-content https://northernballet.com/academy/funding

kitty ears , a tail and a pas de chat heavy Pas De Deux with Puss in Boots ...

there's a number of UK based sellers on Ebay and Etsy 'Just Jess' / flicflac / flourishdancewear - whomi have purchased items from at various times ... and a friend of certain forum and TBR usual suspects who has just graduated from Huddersfield's costumery degree is in the process of setting up to do do bespoke stuff ( those of you who read Terpischore will be fully aware of the young lady lady in question )

wow , thread resuscitation or what ... quite a lot has changed in the two and a bit years since that article in dance gazette , including one of the dancers featured in that article joining this 'ere community < waves @sophie_rebecca > in that time we've seen - Sophie do her Int Foundation , - Chase Johnsey leave the Trocks and get a Fixed Term contract with with ENB and dance female presenting roles in a 'straight' company - Sean Dorsey's projects go from strength to strength - as well as becoming aware of Jay we've also seen a number of out trans people becoming regular posters on the board and a continued increasing profile of trans dancers in adult 'recreational ' ballet, with continued support from the RAD as well as Open support from BRB ( Chookas to those involved with Emotion Pictures - and their shows tonight and saturday) as well as certain faces becoming becoming 'usual suspects ' at The Ballet Retreat ... we've also seen some work in the contemporary dance world the EU funded 'performing gender' project and it;s associated none professional project with Yorkshire dance 'Gender Moves ' again which certain contributors are involved with ...

Congratulations to both !

for black there is a Sharpie that is sold as a fabric Specific marker ( presumably for writing on name labels etc ) the shoes in my avatar are a pari of a freed demis which were sharpie-coloured-in primarily as an experiment ... the sharpie option is 'cold' and relatively mess free , and unlikely to impact on the function of the shoe. I 'd suspect that ribbons are best put on as black and if it;s new pair of shoes darning / toe patches best done in black from the outset

there's tricks any organisation can use there and i wouldn;t be suprised if RB don;t use them e.g. sending people out on 'loan' using other budgets within the organisation to pay for people in blended roles between departments

feet can and do change shape if the intrinsic muscles are exercised ! i have dropped a width and a bit in length compared to before starting taking class and that is without a great deal of specific foot exercising, i expect to possibly drop another width due to both medicatio neffects and takign moire classes and starting to do more foot focused exercises @sophie_rebecca has experienced similar with her ballet journey ..

that's an interesting question could also be to do with the resilience of the school to staff absence and their ability to increase the numbers of classes they offer ( teachers and /or spaces - space is interesting simply because of space - and not just becasue the older / taller people need more linear metres of barre for the same number of students / travel more )