Lusodancer

12 hours ago, balletbean said:

I’ve been fortunate enough to watch Antonio over the years and even at the tender age of 11 it wasn’t difficult to realise that he was one to follow. Whilst my DD crossed paths with him on several occasions over the years at competitors, she’s always said he was always so genuine and humble. Amazing young man and do so talented, I’m not surprised he was awarded Gold. Such a down to earth and genuine character who enjoys a laugh like the next teenager  🤩

He is exactly that Balletbean! Always giving of his time to anyone who wants to talk , have a selfie, and quick to congratulate others, and as big as team player in group choreographies as he is as a soloist. He is inspirational to many young bys starting, and has had an important infIuence on the Portuguese parents who don't understand bys dancing  He will be an asset to any company in the truest sense of the word.He doesn't seek the spotlight , it finds him. Really lovely young man whose feet are on the ground when not flying through the air.  

And Abdel's responses to his prizes showed him to be built in the same mould, Fiona, didn't you think? Certainly a lovely dancer with a great future and I agree it is difficult to be objective sometimes. 

Well , it was no surprise to us that Antonio Casalinho won. He has been marked at as  I said since 7 or 8 as one of the greats. He has won DWC and is their ambassador, YAGP and virtually everything across Europe that he can fit in round his school studies, Beijing, Varna... Prix was just another. All that remains is Moscow and the Rudolf Nureyev. It is a shame that Kiko 219 did not make the final prizes, but he, Guilio 216 and so many of the others will have attracted attention regardless. 

But it should be said that Antonio Casalinho and Francisco  Gomes have been dancing together since they were 6 or 7 and there has been very little to choose between them for all that time. Antonio if you would ask me , always had the edge in Classical, but Kiko could definitely hold his own in contemporary so this healthy competition was the glue that held them together as friends constantly driving each other forwards , and their teachers were smart in keeping them on different projects and yet centrered in class and group work. They had excellent company from some older young men who have entered companies directly and pupils like Guilio who arrived a few years ago, and they all benefitted from superb partners in the girls, too many to number but Laura Viola( Prix) and Maia Rose are just two, and of course Matilde Rodrigues who was accepted directly for the BRB  this last season.  Watch this space for more pupils at Prix from this school in the future.

Back to the others, gosh that must have been hard for the judges. So glad Luca picked up his prizes, and the Brazilian lad. I wanted the other there too. Yes I too liked Ashley Coupal, but I still thought IMHO that the contrast between Esmeralda and the contemporary moves of Jooyoung had the edge over her colleague  Seojeong, but just by a hair's breadth, but I am not a  teacher, dancer nor judge, so its just a feeling, my feeling. I reassessed my opinion of Rain upon seeing the boys do it.I think the girls made it too delicate, too classical. Could be me. A Variation for Diogo I loved with its elements of character, which is another area of important concern in the Portuguese school. They have the most fabulous Russian character/ folklore teacher who is adored by my DD, since they first met, and all her pupils. Check out YAGP or DWC films to see her work. This is an area still highly valued in Portuguese vocational schools and adds to the curriculum for company jobs. And Grinding the Teeth , well as a dentist, I will have to check Antonio's now , so well and thoroughly did he perform it.

My DD commented that she did not like the format compared to normal as in her words' it is easier to do rerecord' if not perfect , and I would have preferred to see the finalists perform live at least one of the choreographies if not both, not a rerun of the original recording for greater accuracy in performance technique.  My DD had had many friends go for the competition and the choreogrpahic project so she has followed it for years. We did get to see the usual habitat of the dancers, some with considerably better facilities than others, especially where certain countries are completely shut out of studios and theatre spaces and therefore working in less safe environments or smaller spaces, but never-the -less I am sure the judges took this into account. Let's hope its back to normal next year.

It just remains to be seen the offers that these youngsters now receive, and back to encouraging our DC's and supporting our teachers.

Okay, 

Well 216, 218 and 219 did not come as any surprise for me, nor the fact that there are so many young men in the final too  as it is a particularly strong cohort of 'boys' this year.

These young dancers from Portugal have been important pathfinders for other young boys across the Iberian pennisular and have had the benefit of driving each other on in friendly and supportive competition in class since the beginning of their training. Likewise the young ladies of the Conservatorio have had the benefit of partnered dance and pas de deux work since ten years old or younger. So I would have liked to have seen Laura and Maia Rose pass to the finals too, but hey ho, they performed very well in a very very strong field and I am sure offers will follow regardless. 

As an aside, I would sincerely recomend the summer intensives at this school to anyone, travel bans depending. It is really accessible. Local families can and will  accomodate for a few weeks, even months if someone wants to spend a term or a year there. It is an international crowd studying, teaching and coaching, with masses of stage practice and full classical ballets professionally prepared and performed, and an accomodating state school used to students passing through.

But back to Prix, will be watching Luca and Liya and I think it was Jooyoung who caught my eye in her contemporay, though I was  trying to concentrate on something else at the time, so I got a bit lost. 

Loved the contemporary variations, though Time got a bit monotonous. Can't wait till tomorrow. Well done to all the competitors, their teachers and long suffering families. Bring on the boys. Let's celebrate these young men and let them lead the way for more to enter this art and yes I will be sitting there, sniffing, watching through teary eyes, pretending its just an eyelash.

Will say later. For now I am just enjoying the performances, but as I say , it has been an honour and a priviledge that my D's and I have been able to accompany, perform with and appreciate the artistic growth of these youngsters, albeit that DD was in a different school and met them many times over the years in different competitions, summer schools and events. 

Being part of an organisation that arranges competitions, I understand the requirements of impartiality, and prefer to be working behind the scenes and occupied with making it happen, because being a dancing mum, I turn into a very emotional 'everybody's mum' if I have to sit in the audience , teary-eyed and sniffing in the dark auditorium. 

The standard  of each year of Prix is excellent and though this year is arranged differently, hats off to the organisors, teachers and candidates for all the preparation and execution. 

Well I am taking particular interest this year as I know three of the dancers very well and two more by reputation. The three dancers I have known for 7 plus years and to see them flourish as they have was predicted if you could have seen them dance at just 10 years old. There was never any doubt of their talent, hard work, patience and humility. Such a pleasure to watch them  develop as artists every step of the way. It will be exciting to see what opportunities come their way in the future. 

On 03/02/2021 at 12:09, Farawaydancer said:

Might be worth contacting NIDMS and asking their advice about next steps?

18 hours ago, Balletforever said:

If you are willing or able to travel the Institute of Sports Exercise and Health (London) is very good and treats elite athletes and dancers. I know that they offer diagnostics and a dance injury clinic.

 Both of these institutions are worth asking and just knowing about. 

Hopefully they may have a list of local useful specialist practitioners for dance, Diagnostic services, Physios,orthopods, ostepaths, etc.... 

On 31/01/2021 at 12:00, Spamcat said:

Hi, does anyone know whether late August born children are allowed to apply

Hello,

I have every sympathy with you as this problem is set to stay with your DC as they progress.

I know because mine is always the youngest being a late August baby too, IF she is allowed, and now that she is completing her 8th year of vocational training and is ready, has been ready for a year, to join a company for the next season, she is too young to apply to most as she is still only 17. She is routinely taken for 21,22 yrs amongst her peers in professional classes for her skill set and artistic confidence, but can't even apply. She is resorting to leaving her date of birth off the form or curriculum if she can.  

It is much better to express development in terms of years of classes and how many per week, when it comes to younger activities, as children develop at different rates, but within reason... say a two year age range, not 3 or 4. It is fairer in my opinion. 

The system of vocational education in our country links music or dance education to the academic year, which is dependent upon the age up to December, not August. As children can be retained back a year, two even, if they fail to progess to the yearly academic  fixed targets in each subjec( continuous assessment plus national exams), we can have quite an age range in a class by say year 8 in normal schools( English year 9). However failure to reach standards artistically  as well really messes up the system and  government funding in vocational schools, so usually only academically secure students are even considered for the artistic route at the start or entering part way, and if students fall behind other suggestions are made. On the other hand , the government is paying for a super opportunity and both have mine have benefitted though we did not know at aged 9/10 that they would finish up completing the full cicle and pursue their chosen art. 

Good luck everyone. It's a rollercoaster ride for parents, dancers and don't forget the  non D siblings. I wish I had known of this forum years ago.There is so much useful information and encouragement to be fund in the contributions.

Don't worry if DD's don't make it this year or next. As one door doesn't open,don't force it, just try the next door along. We have too many unknown variables and obstacles this year. Just keep them all motivated and their time will come.

On 14/01/2021 at 10:56, Oakley said:

The school is in the EU and I can try again in another few months

On 14/01/2021 at 11:02, balletbean said:

There could always be an opportunity to reconsider the EU in another year or two

I am sorry you were disappointed in this way,Oakley and I would second Balletbean. If you wait a little and continue with your training in the UK and expand your experience in different ways to strenthen you technique, knowledge and portfolio there will be opportunities to study in the EU later I am sure.

Even boards of institutions will be a little jittery right now with Covid restrictions and the impact of travel, lockdowns, continuity of training and the financial implications on businesses, nevermind arranging student visas for UK students, that extreme caution will probably a driving force.

Patience.

My DD is constantly changing her expectations, her plans and direction to fit in with circumstances. My musical D is now marooned with us at home and can't return to college, even if it reopens, because of the latest flight ban news.  

So keep positive and focused and your day will come.

Presently, some colleagues are looking at designing a new international course specifically to facilitate mobility as well as provide good training. Just wait and keep working towards your goals. 

I would second that all  the contributions here of experiences and the combined knowledge of all active and retired BM's and BD's are very useful for the newbies. So keep your contributions and participation coming, retired or n

3 hours ago, Anna C said:

I’m an avid ballet-goer and Royal Ballet fan so spend a lot of time reading reviews and discussions over in “Performances seen”

ot.

18 hours ago, Tulip said:

My daughter is now a professional dancer and no longer thankfully requires my support in the dancing world. Yup been there and worn the T-shirt xx

And I look forward to being in the same boat soon. Or Like below, as my DD shows promise in this field too.  DD has just passed her first  ballet teaching qualification with a high distincton to add to the Pilates.

18 hours ago, Pups_mum said:

my DD is teaching now

Whatever road we follow, our lives and our DC's are richer for it, well probably poorer in the pocket  but richer culturally, as I am sure you would agree. Certainly Anna would agree.

3 hours ago, Anna C said:

I’m an avid ballet-goer and Royal Ballet fan so spend a lot of time reading reviews and discussions over in “Performances seen”

1 hour ago, meadowblythe said:

I am, however, expert on the new regulations for Brits residing in Europe ..

Interesting, and I can also give some European news on some issues too. Given the impact of Brexit on mobility of artists ,as I am sure you are following the very latest news on this, it will be important to swap news of auditions and courses that will give access to Europe. The government poo-hooed early discussion with the industry on this in 2018 and appears to have ignored the latest EU offers of visas for artists during discussions, and have abandoned Erasmus so opportunities have shrunk and all pathways must be explored for graduates and students.

I am sure like most competition organsations, they have looked at one set of dates, tried to find alternatives,  and is now struggling to move them again. I know because we have had to move our competition three times now in the past 12 months, and that is in a country with cultural events now up and running with social distancing. We have booked two dates in 2021 in two different locations because another factor is that different venues also have their waiting lists and obligations for cancelled 2020 events . We hope to compensate for our usual entrants for no opportunities last year. Most of our 500+ participants want a live competition and the quality of independent international judges and prizes that we have had to date, so until we can move our competitors around the country safely, have a socially responsible timetable meeting government rules, and when the international entrants and judges are free to travel without Covid test restrictions or quarantining, we will not be planning anything for another 6 months. If as an organisation you have a good model and certain ideals, then there is no sense in sacrificing those to do any old thing for the sake of it. So my sympathies at present are with the BBGP organising staff , I am afraid. I do hope the project will continue. The concept is interesting.  

I love scouring second-hand book shops anywhere ,including Europe for English titles, and have picked up several old autobiographies and history of dance, occasionally first editions. I usually give them to my DD as Christmas or Birthday presents. She found the book by Gelsey Kirkland online herself. She has is just finishing the Nuryev and has devoured an old history of modern ballet with a lot of information about  long forgotten or rarely performed ballets.  She was fascinated by the stories, but in any case she loves to learn the history of the art, studies many old films and reads online the biographical accounts of Russian dancers published by one of the  history teachers of the  Russian ballet academies( I forget which) and just soaks it all up .    

During the height of the lockdown, in a galaxy far. far away from the reaches of Harlequin , Amazon or the amazing Mr. Props, who could make anything, my 'not -so -handy' husband managed to run one up with some 3x3timber uprights left over from a shed project,and a few planks of decking for the base and stability and the old curtain rail I had substituted in a bedroom repaint( the first of the lockdown chores). 

As long as I kept tightenening the screws every week, it served its purpose, and is now dismantled , with the roll of linoleum ,waiting the return of DD from her college, pre-flight Covid PCR test permitting. At least the local studio  and hopefully even a stage for a show with some friends are accessible to her for the hols. The other length of linoleum is currently on its way to the UK with a digital piano for my Music D, who has returned to dance and does classes online, a 1000 miles from the teacher. 

23 hours ago, Dizzyballetmum said:

i think you just have to do what feels right for your child and your family . Whilst weighing up the risks and the gains.  It was with much trepidation I sent my dd off to full time ballet school age 11 but I knew that this was the best chance of her getting to do what she loves day in day out without having to juggle travelling to classes on top of doing a full school day whilst still living at home .

To SJ Ballet and other parents in doubt,

Like Dizzyballetmum siad you have to do what seems right. We had to take the same risk and send our DD hundreds of miles from home at the age of 11, and now she is still studying in another country. She was given one of those rare places not even realising how precious was her talent in relation to her peers, nor that she was being provided this oportunity by the State, something that would be a gift to many of you given the high costs of such a specialized education. She did not appreciate it at the beginning but does now. she has made friends for life amongst those that stayed the course and others who left , of their choice or the school's. She, and us parents, saw successes but  also witnessed pupils left to wallow by a mixture of 'the system' of the school philosophy and contracted teachers, some of whom would not jeopardise a regular monthly wage to protect or coach weaker pupils( all Valentina notes too).  Our DD was one of those who not having a classical ballet shape, more hourglass( my shoulders and hips I am afraid though she lays claim to  the waist), I was told in year 2 that she would never represent the school in any external activity, not YAGP , not Prix de Lausanne, not Tanzolymp, Moscow or  any such, but we  kept the faith for her because she was  technically and artistically one of their best  as was evident to all that attended public assessments term after term. It was very hard to know that the school were content to send weaker dancers with perfect figures and not our DD. We had to continue to support her and any of her friends in the same boat. We still send encouragement to all those who were assessed out along the way and are still moving forward .

It is a journey, a tough journey for child and parent as you can see from these posts, but  you are not alone.

My DD has moved to a  new course of professional now,of her own choice  at a natural break in the path. She is appreciative of her start, the friends, the independence she gained that has opened other doors, and the technical teaching. She is tougher and more self focused than her cohort, who breezed through assessements on their figures not necessarily  their dancing, so whilst they are not prepared for the working world, my DD has already had job offers that she can't accept for her young age, based on an impressive international curriculum and scholarships round Europe. We used to joke that if she stayed at her first school to the final year, she would be the most over-qualified guitar catcher behind the curtains in Dom Q, ever.

She has picked up teaching qualifications and studied so much with so many excellent professionals, from her own volition, that she merely has to work in an hour's class to turn the heads of RB and other company dancers, who take her for a professional not a student. So does she  now need Prix? Probably not. Will any of her cohort make it? Probably not. Did her old school in the end need her to do for them? Probably.

So the moral of this is, you are not alone in your worries; the path will have many twists and turns over which you have no control; there are many different routes to the same end; vocational training is good if as a family you can all support the concept and costs and seek support from other parents all in the same boat in good times and bad; there are really good independent routes to the same end (lots of super private tutors for private coaching) and smaller schools; and don't wear yourself out too soon if you are in for the long haul . Lots of sleepless nights, but we are here for you and you DC.

7 hours ago, Peony said:

The proportions and musculature etc will differ, but I think most people doing 30,40 or more hours of ballet a week would be fairly slender! 

Well it may be that the figures of professional dancers will be very different from their adolescent pre-professional ones, and that is my point.

The AD's of schools have no business to decide the ultimate path of an individual based upon the figure of a child in 16- 20 hours of classes, when there are so many other factors that govern their future. Why should a strong singer with an exuberant personality be pushed into MT for the West End, if her desire is to control those characteristics and dedicate herself to La Fille Mal Guardee? Why should a tall leggy girl be pushed to jazz for cruise ship entertainment, when she wants to be Scheherazade ? Why should athletic dancers be recomended into contemporary companies ? Why should a slender, petit dancer be pushed into Giselle, when she wants to rock the house as the next Arianna Grand or out J Lo J Lo?

There are so many other factors that must be considered other than fitting dancers to roles by shape or size, and letting schools decide with no consultation with the dance student themselves, just those divisive techniques of weighings,costume fittings, low marks at assessment. These are the cowards way out for many, IMO, instead of sitting down with the child and parents and planning a future with achievable goals and aims. No, there's plenty of fish in the sea, plenty of associates on the schemes dying to get in, so we lose a few, hey ho...... is the prevaling attitude.

There are good companies now who search for strong dancers  with diversity, thank goodness, but some of the school are behind the times, and that's the worry.  

I remember having a conversation with a classical teacher in a vocational school about the souless dry curriculum with little chance of artistic presentation and lack of stage preparation for the big occasion, and the stupidity of the marking system based upon aesthetic qualities and not the quality of technique and dancing, which penalised many keen dancers from 13-15 years, dancers who had the potential to be very good teachers, choreographers,if not dancers. She agreed wholeheartedly with everything I said, but then failed those dancers when she failed to defend them in the final marking process of the intermediate stage as part of the panel, and allowed the 'system ' to make the cull, two based upon shape. I am pleased to report that at least three of said culled pack are on scholarships and at the top of their sets in other institutions and have had job offers already, though they have yet to finish senior school, proving the point that early selection based on physical qualities can so often be wrong, where the will is stronger.

I am sure there are many others on this forum who have witnessed the same in other institutions.

So how can we move forward. Well let's not always criticise institutions, because they only then close ranks. Let's instead reward and credit institutions that show good working practises. Go out of our way to show that we notice. Publically ...letters to the company directors, the Board of Trustees, the Arts Council, the Lottery Fund, the Times and such like, social media. television and radio stations.   

14 hours ago, Tango Dancer said:

Definitely, if they look too thin I find it very offputting personally.  I prefer to see dancers who look healthy and ideally like adults not children.   Dancers are often small built and delicately framed but there's a difference between slender and healthy and under nourished and if you're in the stalls it's not difficult to see the difference.  

 

I much prefer to see an athletic form than an undernourished one.

But IMO real dancers reflect society and will come with all sorts of shapes and sizes, because dancing is a gift that is not solely given to the slender only.

On 09/10/2020 at 23:17, DD Driver said:

I don't know if many of the Artistic Directors out there have the leadership and management skills this industry needs.

I think this point is quite relevant, and that goes to Artistic Directors of schools too, not just companies.

Firstly school directors will point at what they believe company directors want ,as their excuse, to make internal selections of adolescent changing bodies to weed out pupils based on false aesthetic notions , regardless of all those other attributes required of a dancer other than their shape or height / weight ratio: technique, artistic qualities in interpretation, musicality , resilience, patience,strength, ability to learn and memorise choreography, team participation, the list goes on....   But if the AD's of companies are more willing to look at diversity and communicate that to the schools, then we will have progress. If the AD's of companies say send us your best dancers, not your lookalikes, then the pressure will be reduced at the bottom to conform to stick- insect like figures.

I would also add that IMO it is child abuse and a form of discrimination to weed out children based on weight, because adolscents are particularly suscentiple to great variation. 

I have yet to see a review of any company that heaps praise on a company not for its performance, the technique, artistry, choreography, costumes, music, but rather picks out specifically  the skinniness of its dancers as a plus point. I do not see a single contributor to the ballet news and performance forum that ever mentions that they preferred one dancer or another because of their light weight and only buys tickets to see them. So if we the public do not choose  to buy tickets and supports companies on that basis, why do AD'S  insist on this as a necessary characteristic .

Of course , if any knowledgeable person on these pages can show me scientific evidence of  why a BMI of 14 or less is advantageous, or a review that does praise the superskinny dancerand thought it lent some artistic or technical benefit, then I would gladly be corrected.

Hello all,

Codarts is very popular and super training with students from all over Europe and beyond.The course though I believe is 4 years someone was telling me

There is a new school in the Atlantic Pyranees, run by Elephant in the Black Box of Madrid. They opened this month, but the school and company , with both pre-prof and professional courses, has been well establishged in Madrid for some time. Jean Philippe Dury and his team are excellent.  Check out their website. I would be happy for my DD to go there, , and indeed she won a scholarship in a competition to the summer intensive but she has a friend in the first cohort, who went from a more contemporary with classical vocational school where my DD is classical with contemporary., so we are bound to hear all about it very soon.

There are schools in Toulouse, Marseilles, Cannes( Rosella Hightower). Will try and fish out some names.  

There is PERA in Cyprus.

The University of Malta.

There are some new pre-professional companies opening up in Portugal. So watch  those as well.

Italy is strong in contemporary, so worth looking there too.

Some courses are free, some much cheaper than the UK, and some on a par because of the name.

Thank you for posting.

This young man is one to watch, but he is not alone:

Francisco Gomes is his contemporary, and like António, strong in classical, character and contemporary.

João Gomes his older brother has recently left the school direct to Teatro Sibiu Company, Romania and already is showing his merits  not just as strong team player in the company but also as solist.

Guilio Diligente is following through the school  and showing promise too.

Matilde Rodrigues has just been accepted to the Birmingham Royal Ballet as Artist

Margarita Fernandes and Margarida Gonçalves are outstanding too.

The list goes on...too many to mention...

This school is producing so many future artists and some outstanding teachers and choreographers too. They were extremely fortunate to have a strong cohort that worked together well in a family atmosphere, supported by some committed teachers, coaches and parents, and became the magnet that attracted others suitably motivated.

We have been lucky to see many of the schools productions and to watch the development of these young people.

I 

On 16/07/2020 at 10:04, PJW said:

you could do 2 or 3 group numbers and every student is involved in 2 or 3 dances rather than just the one solo.

Personally  I agree with this approach for the start.

It allows equal access to as many as possible, and from that initial investment in time and commitment, from which you will see those that become the natural leaders  that can be soloists in a set group piece or soloists in  independent works. It builds team work , unlike exam work which works towards individual goals, and that can be between same year groups or vertically with little ones incorporated into pieces with older ones and then watch them evolve faster as the older ones lead and encourage( Some of the greatest pieces  I have ever seen at  DWC have had aged 4 yrs working with 20+'s in Senior acro ,flying through the air ito the arms of safe catchers.)

Hello,

 As a parent of a DD that competed from aged 7, with her first Dance World Cup gold medal at that age in a group dance from our small past-time school in out town, we discovered that it focused attention in many different ways. The teachers gained students who concentrated better at technique classes , applying this to the competition choreographies, the school gained more money from extra classes, parents became important to the team for their sewing skills, media skills- photgraphy, filming, writing copy for publications or social media, connections to potential sponsors-corporate or fund-raising initiatives. The fund-raisers usually involved some sort of presentation of the works to be performed, so extra performance time is gained in all sorts of spaces, schools,town squares, hotels, social clubs, garden parties, you name it . Try  being aged  8 doing a solo ballet with three grande jetés in the chorepgraphy diagonal and deciding that the 3 metre quare space won't let you do more than 3 chenées and just getting on with it without instruction from your teacher. Believe you me they are prepared for anything. The kids get used to putting on a show, quickly lose nerves, gain confidence,  so by the time they hit a linoleumed stage  10m x 12m it is a piece of cake.

Anyway the upshot is our school ended up with a higer that average number of kids moving into full time vocational dance education, including my daughter. And the school still regularly brings the house down at Dance World Cup Finals, representing their country .  

As for me, with all that I learned as a supporter of the competition project at our school, I ended up not just being a dance mum, taxidriver, seamstress and fundraiser, but an integral part of the volunteer team backstage of Dance World Cup Finals since 2014, and now organiser of Algarve Dance Open, and volunteer for Viva Dança Convention.  My older daughter who danced but not as competetively as the DD is also now a competant stage manager and also on the DWC team.  Consequently, we have friends all over the world through the experience, and have  visited some very interesting  places. The adrenaline rush of contributing to the general energy of such events is addictive. I still can't get enough of watching all of these kids do their stuff and the sheer brilliance of you teachers and your imaginations. I am missing this year's event. 

It is a great way for you to build your school, build your pupils confidence, and introduce them to other opportunities and motivate supportive parents.It can wake up the dreamers. I always say that the dancers and teachers can learn almost as much from watching the efforts of others as doing their own dances. It is important to learn that you can be a big fish in a little pond but a small fish in a big pond. The medals not won are as important as the tropies on the shelf. 

Try some of the smaller competitions first. Indeed there are even some small  online competitions at present, and this format will probable continue for some time. So sign up to view some for levels and style. Check out the rules closely for each...ages. classes, make sure you can clearly define in the rules what you understand contemporary is from modern or lyrical. Jazz from Showdance etc. Ballet variations from Free Ballet, Neoclassical from Modern Ballet etc.  In order that dancers are not penalised by being in the wrong category. We frequently have teachers trying to sneak contemporay into lyrical because in our country contemporay has many more entries so chances of medals fall, or try putting good students doing neoclassical/ Free ballet in pointe shoe into the lyrical class  just to pick up another medal. The judges  will often mark down on technique or artistic for not being adequate for the style, whilst being quite obviously a strong dancer.It can cause great disappointment for teacher, student and parents. So be advised. Time limits too are to be observed because of penalties.

 Bad language in Hip Hop , Urban classes in any language will result in disqualification, so in DWC foreign teachers will not always be atuned to inappropriate English if they are not fluent in the full range of Anglo-Saxon expletives or the modern American slang.Listen very carefully and choose the clean version.

In Algarve Dance Open, we expect very strong Ballet and Contemporary classes from some excellent school, national and international, so we try to chose specialist international judges in these because medals will be divided often by less than one mark. and different ones  each year that have NO previous links to any school participating, and then specialist judges for the jazz MT styles. Many winners have been offered scholarships for vocational schools or prestigious summer schools by these judges.Notes and judges comments are passed on to the teachers. We try to arrange that the judges give  workshop classes included in the entry fee, and videos and photos useful to build portfolios, media release to newspapers, potential sponsors for schools dancers, school websites . We try to choose accessible locations with good transport links, raod , rail, air, and accommdation for all budgets. Catering services with healthy meal options and pre-ordered packed lunches for school parties accompanied by teachers only. Compact days of varied classes carefully timed so as not to run late , attention to individual costume changes in schedule when advised by teacher, an early gala to allow for transport back to home in time for school on Monday. Little extra things: one  we tried, was a small improvisation competition between sections and it proved popular, with unusual winners. One minute of completely blind- choice  current music,: Line on stage of entrants, one  steps forward, hears music , moves, any style, any shoe, any costume, then back into the line.  Just a fun section but full of spontaneous surprises and such a united admiration of all the audience with school loyalties completely forgotten .

We have tried to apply all the positive experiences that we as parents and DD's liked from the experiences we had in the past, and avoid the negatives. From feedback, we seem to be doing more things right than wrong  and our judging panel independence is valued by the experienced teachers as it gives a sharp and accurate evaluation for preparation for even bigger international events. Sometimes the judges, previously new to the scene here, maintain contacts with us and return to teach workshops or auditions later, or continue to offer more scholarships knowing that the standards warrant it. So its a win, win situation not just for the students.

So there you go, right now you want to dip your toe in the water to try competitions but who knows if you or one of your parents will be running them in the future? So all that remains is to say, good luck to you and yours on another of life's  great adventures. 

22 hours ago, Mamaderuby said:

I have looked into HE dance options in Spain, which are more geared towards ballet and contemporary. There are also a few private dance/musical theatre schools here, with BA degrees awarded by British Universities. This may be an option.

It looks like you have been researching far and wide.... Codarts is popular but as you say, more ballet, contemporary oriented, Dutch National?  Brussels? Have you checked out the IAB (Institute of the Arts Barcelona) that has a broader dance course that includes Jazz and the musical theatre skills.What about PERA in Cyprus?  Or the University of Malta, they have a dance course. The problem this year and next might be the auditons and timings. Each country has different rules or dates. The UK is usually early, but then scholarship recalls were messed up this year (if you follow some of the feeds) .  See who might accept video auditions for the first stage. 

As regards student finance with the Musical D, when challenged about residence and UK status, she wrote a letter that said that she moved with us to EU at eighteen months, having no option but to be with her parents, and now that she had reached 18 and had finished the PT school cycle, she was opting to exert her right to 'return' to the UK to study. That seemed to satisfy them under their 'right to roam' rules. Quite what happens from here onwards  is anybody's guess.

My DD will have lived in the UK for extended sixth form level studies  in home schooling of A levels alongside vocational studies, so she should qualify later too for Finance I hope. She has been a vocational student since 11 years , firstly in Lisbon, lately in the UK, and will do a preprofessional course after reaching 18, prior to trying to get a company job, instead of another 3 or 4 years of dance degree. She is spending Covid lockdown signing up for every course going that substiutes for theory classwork in Uni , preparation for a teacher's diploma , plus assisting in any MSc Dance Science Projects that are open to under 18 year olds( she is only 17 at the end of the summer, but has already completed her first A level, and finishes the others next summer having always studied in Portuguese ). She wants to do an academic degree later after a dance career, so she is enjoying seeing the questionaires and helping with academic study related to her world.

Many of her old colleagues are struggling to get into junior companies or directly in to companies where even 4 or 5 years ago this would have been the norm for their finalists at 18. They are moving from one 'school ' environment to another educational establishment instead of learning on the job. The lucky ones get selected at competitions or masterclasses, but it is fewer now.  Trying to identify long term goals for your DD will guide the choices for the course. The UK schools are good about publicising and taking a pride in their employment rates for graduates. Check these out with other colleges....if they can't tell you, well be careful.

We have a friend who opted for a dance degree and then complained about the lack of dancing. Yes there was some technique classes but so much was spent on the theory, or the language of dance , especially as the groups had different previous experience, that she found herself so far ahead of many and really missed the stage. She is reconsidering her options as many pupils take extra classe outside to get more practice of broader skills. 

There are many well informed people in this forum so I am sure there will be more input regarding other courses. The uncertainties are the post Brexit legislation, the economic repercussions of the Covid emergency and fiscal restrictions that limit available funding, Home Office interpretations of nationality, citizenship, residence with regard to EU -resident Brits , and the EU responses to such,  and as even the politicians can't even agree, we will be the last to know. 

I just wish you luck and a lot of patience. 

On 26/06/2020 at 20:06, Mamaderuby said:

Bad news for EU students planning to start 3rd level education in UK September 2021. It has now been announced that they will no longer be eligible for Home fees or student finance. This does not include Ireland, as they have separate agreement. 

My daughter has both Irish and Spanish nationality, but has resided in Spain her whole life. She should be entitled to home fee status, but I am  not sure about either student loans or DADA, due to residency. I am desperate for a bit of clarity! 

Dear Mamadaruby,

Yes the news this week was not good for EU students. But more than that, the viability of many UK university  courses in the long run may be weakened without the injection of foreign students, financed or not by Student Finance or parent power. If applications fall, then departments will contract. Many EU countries have English language courses now to attract all those English speaking foreign students from around the globe for a fraction of the price of the UK, in everything from Medicine, Dentistry and Veternary, to Music and Dance. 

I have just managed to get my daughters into the UK, under their 'right to roam' given that we, as parents, gave them no option as minors except to live where we parents chose to live or were stationed for work. My undergraduate musician qualified for Student Finance as a UK student, not EU, though she has lived in Portugal since 18 months. My' born-in-Portugal' dual nationality younger DD went to study in the UK with a scholarship to a  Level 4 diploma course. A levels (level3)  and the rest of  the costs were funded by us. A later degree should qualify for UK SF funding. 

If you get really stuck for Level 3 vocational dance studies in the UK, then there are courses in Spain or Portugal, that would be a fraction of UK costs for someone who speaks Spanish and English. Portugal has a Ministry of Education  specialist arts education system  for post 15 yrs ( 3 years sixth form) free, and so only accommodation would be required to be funded, and Spain has some excellent vocational schools for 16 plus. I would be happy to forward some suggestions  so that you can explore a number of options.

Have you looked at the options in Ireland?

My DD has quite readily decided all her dancing plans for next year cannot be decided now, though the intention is to return to the UK to complete certain goals. She is now flying as an independent, loosely attached to three entities in the Uk and Portugal but  open to other international offers for short term attachments.So whether she joins a company for a short contract or particular project, does  competitions or events, and passes time or terms at pre-professional courses around Europe, she has learned to consider the future fluid and as subject to serendipity or other people's whims, conceptions or misconceptions as to personal plans . 

She has found so many sources to study for her academic qualifications, and other material, she never has a dull moment. She is as excited now by the opportunity to use this 'spare time' for her own cultural and artistic development as she was at the start. She is reading literature, poetry and watching plays,is exploring historical aspects of dance, anatomy and physiology, studying different curriculums and listening extensively to three or four centuries of music . Even did a course online with a joint French and Serbian venture yesterday. The next project is an online convention where there are great scholarships to be won. So she is not bored yet. Mores the pity because I would like help in the garden sometime.

And ...we are lucky that she can return to the studio in her home town here in Portugal .We are further down the path of the undoing of isolation here;  solos, duets or small groups only for now ,given the instructions for studios, and I see teacher friends working in Spain too with small groups.However, a friend of DD's studying in Madrid can't get back to join her colleagues, because land borders are still closed and intercommunity movements restricted still,, and another lad can't get back to class in Germany, but their old classmates in the national school are in the same boat with online classes, although I think I saw an announcement of live auditions planned for the end of June as normal and school normally finishes at the end of June. The  residences closed temporarily too. Other non-boarding vocational schools in Portugal are auditioning as normal for start in September, but in any case, only  the final two years are currently in  state schools ( since June) and finishing  final exams for uni entrance. Strict hygiene rules and distancing are in place everywhere so the studio or school is no different. Even temperatures and triage are taken regularly at entrances to places.There is general observance and respect of rules, and effective rolling lockdowns based on track and trace. Let´s see what happens to the numbers here in the next few weeks, given that greater internal movement is allowed and airtravel and tourism open.

It will be interesting to see if some late- planned pop-up summer schools set up with some of the top schools or teachers here , to compensate for lost studio/ performance  time or for pre-season preparation , guided by local  government advice of course.

So watch this space, if anything interesting is posted I will pass it on, 14 day UK quarantine rules, flights and other restrictions depending ... Who knows?

All I know is, at this point I am saving money in lessons, dance material, tutus and uniform, travel passes and train fares, bed and board, flights,accommodation costs and  enrollment fees for short courses and competitions, and gym membership, and we have great family dinners that we haven't had for six years since she started to study away, with lots of lively conversation, and my husband gets to try out new recipes for appreciative diners.   

11 hours ago, Kate_N said:

In a departmental meeting, we started to discuss how we would teach in person, and our Departmental health & safety guru basically said: "We have to be guided by the government guidance." 

It is always interesting to read some many informed opinions here.

As an exercise, my DD was today just beginning to develop the outline of a policy document for a risk assessment in a dance studio context , using documentation from a clinical situation and guidelines according to a foreign governments perspective.So we werejust discussing a global overview that may cover regional, national or international variations , and thus will likely encompass far more strigent requirements than your department guru might be suggesting, given the track record to date of UK government advice. 

I do believe we have to look at the science, as and when it is published, but from responsible and various international  and independent sources, adapting as time marches on. So we have to abide by local rules, but could extend further precautions , as each of us has a duty to apply these to the particular circumstances under which we work.There are no hard and fast rules that cover all work/ study environments, Many things are similar but not identical. The Health and Safety aspects of a factory are different from a school , a shop, a hairdresser, a dental surgery or a dance studio. So until department staff start talking and planning through timetables, use of physical spaces and resources, personnel and public flow  and distancing, and alterring the same for safe social distancing and hygiene, no progress will be made. Waiting on the government to decide will leave it too late, I suspect. It will require internal teamwork to cover all the bases, see every angle, and then a willingness of all to oblige the new policies. 

My DD is applying heself to her year 12 academic work and dance teacher's qualifications . Her vocational plans are all suspended and quite fluid now, but she is philosophical about it. My musical D on the other hand is seriously concerned for ensemble playing for next year. All recitals and orchestral concerts were cancelled of course.The staff have been wonderful and teaching has continued regularly online, one a one-to one or small group classes, but with international students spread out acroos timezones, and varying internet speeds, joint work is tricky. Quarantine rules and infrequent flights to and fro will be an added complication for international students in the UK.

Strange and challenging times. Keep positive everyone.

Great to see the enthusiasm and  lengths you are all going to to keep the DC's dancing.

The first chore of our lockdown was making a ballet barre with some left over wood , and then I am lucky to have access to lengths of linoleum because I belong to an association  that arranges events and competitions, so DD's bedroom has two lengths .Couldn't see my hubby allowing the 'lounge takeover senario', especially as it would cramp his guitar practice space!

My musical daughter has her music room for her bassoon practice and uni online lessons and I have retreated to the peace of the garden! Looks gorgeous for all the attention. 

Loving all the online screenings  too.