Michelle_Richer

The week run up to Christmas see all my ballet classes close, however I continued with my hall bookings all the way up to Friday. Thursday see the return of my boyfriend Adrian for our Pas de deux’s for Ballet West in the summer, although I was pleased to see him back, things really didn’t go very well. First my Choreography had moved on a bit for the Russian dance PDD as with being danced with Emma my coach. Adrian had a video copy of what we had done to help him keep up to date. A few run throughs and he was starting to get familiar with the chorography again except the ending, which had a Cossack style dance replacing the fouettes of the solo version, as I wanted us to do that together. Although he could remember the steps he could not get anywhere near the timing of the music, we persisted on that piece alone for about an hour, finally I have to Choreograph that piece out and replace it with something simple to complement me doing the Cossack piece, possible him stamping his foot and clapping his hands in time with the counts before our ending pose. That we haven’t tried as yet. Thursday was a two hour session, so we tried to re-run the Black Swan PDD as far as we had learnt it, baring in mind its been quite a while since we last danced it, to be honest we were both rubbish, we had forgotten so much, and I also hadn’t taken the documented choreography along with me, that we had to abort. I will re-run this on my own before our next session together, after studying the documentation as its created from a number of different companies. Finally we tried re-familiarising an old PDD (Le Corsaire) that we danced at Ballet West last summer, again we seamed to have lost a lot of that one too. At least with the Russian dance solo, the fouettes seam to be coming together bit by bit although the music is quite tricky. The turns itself starts with an assembly soutenu 2 counts, into a coupe fouette 2 counts, this is repeated 6 times (12 turns). What is awkward is that the first soutenu uses counts 7 and 8 from the previous 8 counts. When I first started with this piece I separated out the musical phases of the first 4 sets of 8 counts before the fouettes, but to make things simple, I would throw away the first two counts of the fouette section allowing me to start the soutenu on counts 3 and 4. That was ok for a while until I got more familiar with the music. The first two sets of 8 counts are easy to follow with a clear signature, however the second two are not but you just have to keep counting and believe in yourself, if you don’t and hesitate for conformation, you are already too late. I’m currently working at 80% of the full speed, I’m happy if I can get that at 100% consistent with musicality and spotting, however I’m hoping eventually I can get it at full speed. Finally my legs seam to be holding up this time without injury. My ballet classes don’t start back until 9th of Jan, however I need to do some slightly different coaching with Adrian for our New Years Eve Salsa party.

Yes Janet the Alive Ballet Company is currently looking for additional dancers for both our classical company and also our Contemporary Company too. The London Performance Company is also recruiting, follow the Facebook Link for details https://www.facebook.com/groups/1426938984196082/permalink/1832144807008829/ This is run by Lisa Marie Probert and she can be contacted by email at strengthgraceballet@gmail.com

Hi TYR The important thing is, are lessons being learnt, is organisation and communication improving. The company I’m with has gone through it own teething problems so to speak, about a year ago the norm at rehearsals was about 50% attendance which was a nightmare for positioning and group work. Running right up to last summers performance the schedule was almost out of control, it was allowed to slip early on, as dancers didn’t know the weekly schedule only globally what pieces we would be doing for the show. The only way that could be pulled back was lots of weekend extra rehearsals, often on both days so at least most could at least do one of the weekend days, that also led to multiple changes in choreography in order I guess to make progress by simplifying. The downside of the extra rehearsals were the dancers had to fund the studio hire but the teachers provide there time FOC as acknowledgement that the slip was there responsibility. The out come of that was a set of rules so lessons were learnt and we moved on. Since then we’ve done our performance in Russia and the Christmas show and things are much calmer and somewhat better managed. A little bit of icing on the cake for me was a little bit of recognition in the show program, when one of my friends said I didn’t know you was on the Tech team as Sound Editor, although its something I have done for several teachers over the past few years, no one has acknowledge it in that way before, that really made my day. I guess our dance company doesn’t have the issues of dancing with other groups that have rehearsed separately. Although it could potentially have been when I was with LAB , I don’t recall that as being an issue, and of course we had an interim rehearsal of all groups as well as the usual dress rehearsal. However I do remember an annoyance creeping in when out Artistic Director stepped out from our group and had another teacher take his place. We were learning the Peasant dance from Giselle, a piece I loved, we were taught it all the way through by a really nice and easy to follow teacher, this was taught very closely to the Royal Dutch Ballets rep. We had been learning and practicing this for 3 or 4 weeks then we was given the bomb shell, we weren’t to dance the centre piece, it was given to another group dancing on pointe, then we were to come in after to finish the dance. The new piece was nothing like the original rep, for me it looked awful and spoilt the piece. For me that was all about communication, both the teacher and the dancers should have known how much of the rep we were expected to dance. As it was I continued to practice the full piece even though it wasn’t going to be used for the show. Now I manage my own fledgling group "Glen Ballet" and also my own personal rep development with a one-to-one coach twice a week for final once a year presentation and polishing at Ballet West in Scotland. I wish you luck which ever way you go, but think about it first, can lessons be learnt and the processes enhanced.

Hi LinMM Well I’m glad the show is over now, not that I didn’t enjoy it, it was real fun, a really nice group of dancers too, but the reports of severe delays on the Piccadilly line were quite worrying, not only for us dancers getting to the theatre for 10am but also for our guests getting to the evening performances too. Thank goodness the Piccadilly line did not turn out to be a problem. At least with the show out of the way, I can take a little bit more risk on board to sort my Russian Dance Fouettes out. I’ve managed to stack up nearly 3 hours of practice with them this week without any sign of discomfort or injury, the first hour was with my rep coach. As yet I can only get to 70% of speed with the music and the spotting is rubbish, I haven’t yet got that body memory where I don’t have to think, but I think its coming . I really loved the review we did last night (Tues) of last years rehearsals and shows and particularly what we have to look forward too. Can’t wait for the opportunity to do another overseas trip, I do hope it comes off. Love the choice of ballet for our next show. But the real icing on the cake for me is, for the next four to five weeks letting us work on our own material as either solos, or groups with coaching by our Artistic Director, for me that’s another trained pair of eyes on my Swan Lake Russian Dance solo, I really do have to pull the stops out on this one.

Do you ever get the feeling you are swimming against the tide when everything you do seams to have unplanned obstacles in the way of progress. Firstly while Adrian my PDD partners was practicing the Black Swan PDD he developed Gout and couldn’t dance for a while. As we have quite a demanding schedule of solo and PDD to take up to Ballet West next year, I though I would press on with one of my solo’s The Russian Dance from Russian versions of Swan lake. This is similar to that which is danced by Anastasia Volochkova. However I removed the first just under a minute similar to a version of Mariinsky I have. However that did bug me a little to waist that music, then the penny dropped, why not create something for Adrian my PDD partner to dance to, to introduce me to the audience. Well that how it started, then Adrian bless him sustained another injury, but not through ballet but picking up a pen, he hurt his back. Now the momentum is going Im using my rep coach to dance the male part and the dance is developing into a full PDD, also as I want to utilise it as a PDD I’m trying to distance the choreography from the solo. We have even ripped the fouettes out of the end section and replaced it with a type of Cossack dance but to the fouette melody. Adrian has seen this and I know he is keen to start practicing it even though it will really stretch him, particularly the speed. As for the solo, its almost done apart from tidying up the port de bras as I seem to switching it between Anastasia (Bolshoi) and Mariinsky styles and of course the fouettes at the end. Although I know I could edit the music to finish the solo early or use a gentler fouette routine, the dance certainly seam looses a bit of its impact, so Ive decided Anastasia’s fouettes has to stay, for me that means managing injury prevention when I attempt sustained fouettes which has been an on going problem. I think I have a bit of an opportunity to take on a bit more managed risk after our Alive Ballet Christmas performance this weekend, as it been a pretty busy year. I want to do this with the help of a physio to get down to the bottom of this issue. The annoying part of it, there is no pain or discomfort while I am practicing fouettes as that occurs the next day and remains for a very long time, even months if the practice is sustained. I am sure there must be something wrong with my technique but my rep coach says not. I’ve been recommended a new physio by a dancing friend, but I think she is only a sports physio as I don’t now know of any specific physio that have experience with ballet in South Lincolnshire. The next thing to go wrong, my Wednesday ballet class is being moved and combined with a Thursday one as the attendance is quite low, I cant do Thursdays as that's my Progressing Ballet Technique class, fitness class with the big and small balls, and it the only one in the area. Sadly for Wednesdays I will loose my stretch and tone class too, so will need to find something for Wednesdays as I cant justify going to 3 one-to-one sessions a week. As for swimming against the tide just to make matters worse on the way to our last rehearsal yesterday, some kind gentleman managed to run into the back of my car GRRRR at least he admitted liability for the accident in front of a policeman, and the car is a least no one was injured and the car still drivable, just an insurance job now but so inconvenient.

OK I followed that through Yell.com Dance Doctors Studios, Unit 3c West End Mills, 2 Leopold Street, Long Eaton, NG10 4QD Tel: 0115 946 4822

Sadly for RAD Adult Associates at Elmhurst, the drop-in facility with ad-hock payments have been stopped. This was always an incentive for beginners to try a class as a taster, two of my group did do that. I’m not sure what triggered the change in policy, it’s certainly not the vast number of dancer, however it may be that the online payment system cant cope, as drop-ins usually paid on the day.

Is Dance Doctors actually a school, I looked at that and it seemed to show a list of what I thought was recommended schools, but I may have misread it.

Hi Pompom_Featherbottm The nearest Adult ballet class that I have attended was : The Elite Academy of Dance, St Annes Church Hall, Harrowby Road, Grantham NG31 9DS But that was a few years ago and I guess that’s a fair few miles for you to travel. I did ask some of the dancers I was with yesterday and a couple of Nottingham classes were mentioned, however I forgot to write them down before I left last night, sorry about that. Have you considered checking out these: Nottingham Dance Centre, 1 Parliament Terrace, Nottingham NG1 5FX Jill Gregory School of Dancing, Sherwood, Nottingham NG5 3FN Rollo Academy of Performing Arts ,Roden House, Roden St, Nottingham, NG3 1JH Leonard School Of Dance Ltd 24 Leahurst Road, Nottingham, NG2 6JG Studio 3 Mapperley Dance & Fitness Centre, 3 Robinson Rd, Nottingham, NG3 6BA ABC Dance School, St Ann’s Hill Road, Nottingham, NG3 4GQ The Academy Dance and Fitness Studio, Arnold Business Centre, Byron Industrial Estate, Brookfield Gardens, Arnold, Nottingham, NG5 7ER Eastwood & Nuthall School of Dance, Mob: 07793 563811

Our Alive Ballet Company trip to the 47th World Congress in Dance Research on the first week in November was really fantastic apart from attending a Master-class from one of the former ballet legends and performing on a Russian stage too. We also got to see 5 different ballet performances between Saint Petersburg's main theatres of the Mariinsky 1, Mariinsky 2 and the Mikhailovski . We also got to see the Boris Eifman Academy with it beautiful studios including the one with the pink floor, it was very soft and quite slippy and I did get a chance to try out some travelling turn on it, loved it. Although the Vaganova Academy was on the Congress itinerary to visit, it was withdrawn. However a small group of us did call at the Vaganova and we did at least get into reception there, but sadly we didn’t get any further, possibly as it was like a bank holiday there, it was “Russia Day”. The following day we did get to see the Museum of Theatre and Music just around the corner from Vaganova. There we got the chance to see the ballet section full of various costumes and ballet shoes of famous dancers from the past. We also saw Tchaikovsky's original piano score of the Nutcracker and his piano too. I finally arrived home at 11.30pm Sunday night . Monday was ballet as usual, except Adrian my boyfriend was suffering from gout again, so he was grounded. First session was Body Conditioning at 10am, I was well below pair, most of my energy had gone and I was really tired too, the trip had taken it out on me. 11am was my one-to-one rep coaching which was to be my PDD beginning of the Swan Lake Russian dance, however Adrian was unable to dance, so my teacher took his place and danced my choreography, between us we sorted out the musicality of the movements and Adrian videoed it as a guide, its now developed a little further but I need more attitude and confidence from Adrian yet, but its coming along. The only real issue I have with the Russian dance is the Fouettes at the end, as they quickly result in injury if I practice them for too long. However I have found a different version that has a simpler slower type of fouette movement at the end but unfortunately it doesn’t fit the fast tempo of the music. My Glen Ballet group has just started its new piece Merliton’s Pas de Trios from Nutcracker. They didn’t quite get up to the promenades but I allowed them to try them in prep for this week. I am awaiting a response from a theatre, for hiring so things are beginning to move with Glen Ballet. Not many weeks now for my next performance with the Alive Ballet Company (10th Dec), in London this time.

My dear friends I think a little correction is required: Firstly after reading through the comments and trying to understand where the DISRESPECT element towards teachers came from. There appear to be two separate origins : First, the fact I referred to my roll with my group as Ballet Mistress. In simple terms the definition is : ballet mistress - a woman who directs and teaches and rehearses dancers for a ballet company, isn’t this what Glen Ballet an amateur company, all about. This in itself shows no disrespect towards any other professional dancer or ballet teacher. The second: it seem when I said Even these well qualified people are not immune from the occasional sloppy technique, they are human too. Then I gave 3 examples, unfortunately this got misinterpreted and was thrown back of good but elderly teachers that were not able to dance full-out, making me sound heartless. Firstly this was never intended as a derogatory remark, but to show that even the best (able bodied) teachers, are human and DO have bad days, but never the less I don’t put them on pedestals which appears to be the culture behind the remarks. One of my first teachers was a lovely elderly lady that had a real hip problem, and as many of you have made the point, it didn’t stop her teaching in any meaningful way. I would never be critical about her technique so please do not cast me in that light as its extremely misleading. I know this week, both LinMM and myself will be attending a 2 hour Ballet Masterclass with one of the Russian Ballet legends “Arkady Ivanenko” in Saint Petersburg, Arkady graduated from Leningrad State (Vaganova) Ballet Academy in 1963.He joined Kirov (Mariinsky) Ballet the same year and has performed there for 25 years. He is considered to be one of the unique principle character artists of all times as he has performed 95 parts through out his career! Arkady has also had roles in some theater-film productions such as "Firebird" by Boris Eifman (1977) and "Fouette" by Vladimir Vasiliev (1986). Although the years make have taken there toll, for me it still a great honour and privilege to take class with him. There is so much more I could come back on but there simply isn't the time, as I need to leave shortly on my travels.

Dear Youngatheart Thank you for you comments, firstly I’m going to reject you first remark as the teacher banning me from certain movement to keep it in context, no one in the class for pirouettes were allowed to do doubles although it wasn’t uncommon in the classes I did at Pineapple where I did them, . Sadly if you are told enough times you stop doing them , you start to loose that ability. As for Cabrioles the situation was slightly different and as indicated I was already doing these at a different school and allowed to perform on stage with them. As for your last para, when I was attending RAD associates last Sunday, I meant to make enquires in that general direction, but that slipped my mind during my rep practice, however I not looking to follow a career as a ballet teacher as such. Dear Anna C Your comment “If you and your friends enjoy getting together to learn ballet, why don't you club together and hire a qualified teacher? Then you could all learn the rep you want but with someone qualified teaching you at an appropriate level and with correct technique” First Learning rep for me, I already have a rep coach, which as previously indicated I use twice a week. That is purely for technique as I am the custodian of the rep itself. That rep is totally inappropriate for my group. Second My group are free to organise anyone they wish to coach rep for them including as you say qualified teachers. Third My involvement has been, they have simply asked me to help them. I have not canvased to establish this group. As I was asked I will not shy away and I will continue to help them for as long as they need me. Fourth you seem to have used a bit of a smoke scene about having lovely and expensive costumes as if that’s undesirable. Having the correct attire also play a part how something is presented to the audience, check Giselle's solo from Act 1 where she uses port de bras with her skirt, its not the same without it. Fifth you have used t having an intensive week for once a year, totally out of context. This has been the culmination of a selections from a whole years works on rep which represent several hours every week including 2 hours every week with my rep coach. That is by no means learning rep but high emphasis on both technique and audience orientation. That what my week at Ballet west is all about. It also conducted on a one-to-one basis. This next year will be my fourth year with them, the plan of what we are doing is already set. Needless to say its worlds away from what you would do at a LAB or similar Intensive. Sixth Correction given to student dancers, I have found this in most instances is spread too thinly on the ground to be properly effective, I know its more difficult for the lager classes. I feel most correction is left to self correction with proper use of the mirror, however I have found RAD at Elmhurst brilliant at giving this in the form of feedback, both positive and negative. That why I encourage my dancers to include that in their basic ballet training. Seven Qualified teachers teaching an appropriate level with correct technique. Even these well qualified people are not immune from the occasional sloppy technique, they are human too. Ones I see quite frequently are poor or no perceivable tendu on rising and closing grand batterments, poor closing tendu from second through a plie where its difficult to determine if its done as a single movement or two separate movements. Another is tendu to second followed by an change of weight through a plie, where the foot is accidentally lifted off the floor to the new position almost like a tombe. I hope I don’t do these thing but I guess on a bad day I probably do. Needless to say ladies I remain unrepentant and will continue to offer my brand of help as long as its needed, it will either flourish or die naturally under its own merit.

Hi Anna C I’m sorry but the evidence I've come across by talking to the Ballet Teachers I know, Benesh Movement Notation is not something they use. I’m using this in the context of a ballet teachers running regular adult classes etc, and not a teacher running or coaching students of the Royal Ballet. As for teachers running amateur ballet performing companies, choreography is often created on the fly and not recorded other than to video it. I know in some instances when we’ve learnt a short piece of our sequence with our teacher and the pianist has continued playing, I have ad-libed dancing beyond that point with the music, it has often been remarked by our teacher “Thanks Michelle” Ill use that. The system of documenting the rep firstly allow me to think and plan what I’m about to do, Its helpful to the teachers that coaches me, and where I’m running a rep group it is part of the foundation of what is expected from that scene, it also underpins any off-site practice that may takes place. The only exception I apply is where there may be a possible health and safety issues , eg turns, then the scene is choreographed up to that point, then a talk with the group soon resolves what they are safe and comfortable with. That has resulted in two options being documented in their current piece which is now due for a dress run next week as I’m hoping to close the current piece down before I’m away in Saint Petersburg. The group have already chosen their Christmas piece before I get back, they are to do the Merliton Pas de Trios from Nutcracker. As for Seniors risk of brittle bones, I guess that’s already close to my heart (or feet) for that matter as I’m actually older in chronological years than my oldest dancer. However no one is being subjected to undue risk as the follow things are already in place: 1) Dancers discuss and decide on the rep they wish to dance and areas of concern discussed. 2) Pre knowledge as I dance with most of them at a ballet class with a “trained teacher”, so I already have a good insight into their capability and limitations. 3) Suitable alternative options are discussed with the group as to if they all would like to execute the same steps, or an optional branching whilst still maintaining continuity and whilst still dancing together as a group. 4) Provide additional training if requested and thought feasible to significantly minimise risk. I’m also mindful that a dancer should not be held back as I was with an over cautious teacher, where I was not allowed to go pirouette doubles or do cabrioles in class, even though for cabrioles I had performed them on stage with one phrase containing 6. The final decision is always with the dancer, I can only guide them, the rest is left to trust between us. Love the TEACHER bit. I must say in the few months I’ve been running this group I’ve been learnt alot, and as a result I have changed the structure of the things we do. We started off with a time line of activity slots over 1 hour period, but when we ran it, it was unmanageable. The need for correction particularly at the barre was immense, particularly with the guys, with slow progress through the rep. The first significant change was to have a full half hour at the barre with feedback, which is correction and complements too which I have found equally important to maintain confidence. The second was to extend the whole period to one and a half hours with nearly an hour for rep alone. The third significant change was from always dancing by example in the front as one of the dancers, to dancing initially as the example to follow, and then observing and correcting the group as their ballet mistress . Technique is improving all the time but never the less it’s still really challenging, my boyfriend Adrian for instance has a naturally turned in foot, he now has developed some turn out and is starting to believe in himself. Both Adrian and one of my ladies have started the RAD adult associates at Elmhurst as a result of belonging to this group. I agree completely with you last paragraph, that why I use my private rep coach twice a week and Gillian from Ballet West for a whole week each year. Hi Youngatheart I note you comment on “Duty of care”, there are two distinct issues implied there: Firstly you mention “you have at times displayed a somewhat cavalier approach in relation to certain injuries you have sustained”, I would turn the interpretation around and suggest I have a high tolerance towards risk to me personally in order to push for that extra mile of achievement, I'm by no means passive or go with the flow. You also mention which I believe is a different issue “However when you are responsible for other people you simply have to have a "duty of care" towards them”, in principle I don’t have too much of a problem with that, Im cetainly not recless with it, but at the same time I will not molly coddle them by restricting their learning and development without good reason. As you need to make the comment about PDD’s and lifts, I guess you don’t know me very well. Although I have a high tolerance to risk I'm not down right stupid and yes I have tested the feasibility of this with my partner Adrian in a controlled way. It was a no, no, so there is no way I would introduce that into our group. However in a completely different setting I have been lifted above a guys head who was deemed to have the strength to do it. I hope that answers your concern. Hi Bangorballetboy Noted, I will check it out, thank you. General: If it really is rubbish repertoire that I am coaching then the group will naturally wither and die. If alternatively we have a winning structural combination that dancers seek then we likely to grow and roll out into other locations. For me the coaching is only a small part, my object is to create the dream for our dancers. I'm already talking about a joint relationship with a lady who intends to set up a small amateur orchestra, I have a brilliant musician in the pipe line that I would like to work with, and we have already talked turky over fees. So if it’s a flyer, its got along way to go, and guess what, I have no personal gain other than my passion of ballet and helping others realise their dream.

Hi Youngatheart I very intrigued by your post, I am sorry I haven’t replied before but I’ve had a spring of 7 day ballet runs with long hours. I must say I was a little surprised at an almost compliment “I think it is great that you are producing all the documentation etc, which is obviously something you are really good at”. In my working life it had to be not only was all documentation under configuration control, it was formally verified too. I'm not saying I found utopia, but I have a system of documentation that works, its both easy to follow and intuitive by the dancers, but never the less still has room to evolve . I note Anna_C comment “Many qualified teachers have studied Benesh Movement Notation to some degree so use this to document choreography”, after talking to many teachers, their experience with this has only been academic while in training, they have never used this in practice. However I do have the book “Dance Notation for Beginners” by Ann Kippling Brown and Monica Parker, covering both Labanotation and Benesh Movement Notation, its by no means intuitive and completely inappropriate for the dancers of my group. As for Youngatheart’ comment “Quite frankly I am more than a little surprised that the studios are allowing this”: Firstly I have never had problems in hiring studios and I have hired several in London as well as in my own area, needless to say I make several hires a week. Secondly: That Ballet school owner and teachers know me well and I am really really grateful that they have allowed me to book one of their studios during prime time. When I have afternoon booking in the winter, they usually put the heating on in that studio before I arrive, they have always really looked after me. The school has three studios which are kept spotless, a café area and a shop. Its general standard is well above most in London. Even though I have alternatives I would be sad to loose that school, it really is very special. Thirdly: I have the appropriate administration in place including signed disclaimers. Its also worth pointing out generally I have no problem in utilising spare studio space, at most ballet schools I attend during periods of natural break. Furthermore I will be seeking similar permission during my attendance at 47th World Congress in Dance Science in Saint Petersburg. Dear Youngatheart I am somewhat perplexed by your comment “you really need to have a qualified teacher on board as well”, perhaps you could indicate why and what there roll would be. Another point I don’t quite understand is where you have made the point “some of them seniors?” should I treat them differently, if so, why?, perhaps you can explain.

Hi ladies I guess I’m swimming against the tide again by the number of likes against my lovely opposition in culture , but hey ho I’m a strong swimmer. However I think some of the augments are somewhat confused as to which of two main issues are being addressed. Firstly my roll in running the Glen Ballet Group. And secondly my expectations of a teacher for myself, but do correct me if I’m wrong. First my student landscape tends to be mainly the older end of the spectrum like myself, although all the ladies do attend other ballet classes but they are not accomplished amateur performers or ex-professional dancers, in fact one of our ladies is really frustrated with her poor short term memory, but she loves to dance, I really feel for her, so who am I to discourage her. As I said to her, it will take as long as it takes, we don’t have a schedule to keep. Also my guys have done next to no ballet before, like my Adrian they have been sort of shanghaied into it. Never the less they are all enjoying it immensely. For me this is about being dancer orientated, helping them live the dream. That’s why I encourage them choose the repertoire they would like to dance, I simply coach it, and make it possible from the basics and provide the documentation to support it , including sometimes helping out with basic costumes and props. And of course lots of patients, particularly with the guys. The idea of using Benesh Movement Notation to document it for these dancers would be a totally inappropriate. Both Benesh and Labanotation are not at all intuitive. I have ask a couple of what I would call good teachers from different schools if they have used either notation, only one had used Labanotation and then only barely as a student. I guess then it’s likely to be left to something easy and simple to use. As least with Glen Ballet we have given it a standard structure that our dancers find easy to use and do use it to practice. So I guess its horses for course. When it comes to choosing repertoire for myself, those that know me, know that a couple of years ago or so, I would hoover up nearly all rep workshops and intensives until I became disillusioned with them. Firstly I never really went to a rep workshop to be challenged, I went there to dance the piece, in other words complete the job. So my focus changed by taking control and selecting my own rep that I wanted to dance, then effectively commissioning a coach to allow me to meet that objective. Like most things it has evolved. My rep often turns out to be a hybrid version of two or more ballet companies, selecting what consider to be their best parts. Coaching has evolved into twice weekly one-to-one sessions with practice between. Reading many of the comments related to rep mainly in the workshop or audition context, tends to suggest this is mainly a transitory activity. For me its not, I have 3 parallel rep activities running side by side that have to be manage: Firstly I have my annual plan of what I’m taking up to Ballet West each year, the loading of that also increases each year. For 2016/17 I have 7 solo’s and 3 PDD's, currently I’m working on the Black Swan PDD and the Russian dance solo from Swan lake for that one. Secondly I have Glen Ballet rep to coach “ The Toreador Cape dance and PDD” Thirdly I have rehearsals for our The Alive Ballet Companies visit and performance in Saint Petersburg and also rehearsals for our Christmas show. To some degree we are trying to do both on the same night. So Rep for me is clearly nearly all the time, punctuated by a few ballet and fitness classes and very little sleep. .

Hi Lin, I see you have picked up on the word friend in the context that any transfer of skills/knowledge cannot be taken seriously and also suggested you wouldn’t expect friends to commit hours to it. Firstly there is a very good reason why I use the term friends, I am working within an established ballet school and I have a good working relationship with. I’ve been hiring studios from them for some considerable time for myself only. In running my Glen Ballet group, the terms of my hire is that its non profit making, I’m only allowed to recover my studio hire cost, otherwise it may be seen that I am in competition with that school. What is embarrassing but not intended is that attendance a my sessions are higher than that of the schools normal ballet class which I also attend. That does concern me somewhat. It’s also worth pointing out that the relationship between myself and the dancers is very close, so I prefer not to use the term teacher but that of a ballet coach. Lets take your point “you wouldn’t expect friends to take hours”, well I do spend an awful lot of hours both choreographing where necessary especially adding the boys activities in where it largely a female dominated scene, and of course documenting the choreography into a manual for that particular scene, that each dancer has a copy. Funny I have never seen such detailed info from any of the professional ballet teachers I know. I love this term of yours “it's natural to seek teachers who are qualified in whatever you want to learn.” For me this is not enough, I expect them to do the job I have commissened them to do to my satisfaction. I have often made the point numerous times about rep workshops and intensives supplying advance scene info of what they intend to teach, seldom is that fourth coming, it seems its not part of the ballet industry culture. It is ours. If I were to write a specification of the services I required from a good ballet teacher, I would expect items 2 through to 6 of my previous posting to be included in some form or other, I guess there are not many if any that would match up to that statement of compliance. For me this isn’t a joke or something I’m playing at and I do expect it to develop in scale, only time will tell.

Mmmm interesting choice of words Lin, Yes he had a really good teacher at Elmhurst on Sunday, easy to follow and gave lots of feedback to everyone, both corrective and complementary, I have had her before and she’s really lovely. You have to remember Adrian has had coaching before from as you say “fully qualified teachers” with Emma my personal rep coach and principal of her own school in South Lincolnshire and well as Gillian the principal of Ballet West in Scotland, both of which are exceptional teachers. However I would never take it that a “Fully Qualified Teacher” necessarily guarantees one gets a good teacher. I cant help think this is a little dig at the tuition I have I have given Adrian both in our joint PDD work and also that which he has received from my company Glen ballet as one its dancers. If it is then its like water off a ducks back and certainly no offence taken. However my roll in Glen Ballet as Ballet Mistress/ Choreographer / Artistic Director all rolled into one is developing. In Glen ballet we do thing a little differently. 1)The Company is run informally as a group of friends although the way it which we operates is highly structured 2)We allow prospective newbie’s to come and watch a session before joining, that’s how we recruited two of our male dancers. 3)No one gets left behind in dancing ability; it takes as long as it takes, as we are not schedule driven. If we have to abort a particular piece because it’s become stale and dancers are getting disheartened. The group make the decision to move on or not. 4)All girls get to do partner work with the guys unless they specifically don’t want to, unlike many workshops I’ve attended when only the best dancer get selected to do that. 5)Everyone has a say in what rep they are going to dance next. Each dancer can submit pieces for the group to consider, this usually takes place as a debate over a social evening then a consensus taken as to which is selected. Then everyone knows in advance what they are going to be dancing as their next piece. 6)Before a dancer starts on a new piece, the choreography is already documented in a standardised structure, including picture of important poses and positions together with variation dance rout and of course any youtube clip references and timing, this is intended to support homework for those that desire. 7)Each session consists of 30mins warm-up and barre, Rep 55mins, with 5mins for cool-down and stretch. 8)Coaching is intended to be progressive: The barre its not a beginners barre , but its kept fairly constant to allows the dancers to develop their technique through familiarity. Progression in rep will be achieved by the dancers themselves selecting the slightly more challenging pieces as their confidence builds and also from the Glen Ballet choreography that has to be inserted for compatibility with my group of dancers may also be more challenging. As I said this is developing roll with a steep learning curve, this is the first time I have had time to write something of the philosophy of how we operate. It has lots of little challenges for me too, not only do I have to teach the guys parts but also dance it too if I need to make up the numbers. I guess my roll as a dancer is now a little diminished as there is a real need to observe as I found by not doing so with our first piece “Waltz of the Swans”. I was so busy dancing in front; I had no idea how well the girls were doing behind me, that was a big mistake on my part, but I’m learning and loving it. Oh I guess you can add another hat I have to wear “General Dogs Body”, I’ve spent most of this afternoon and a little time this evening after class sewing Toreador Capes for my 3 male dancers for Fridays session which is based on Don Q Cape dance and PDD.

Sunday was Adrian my boy friend and PDD partner’s first real ballet class at Elmhurst with RAD. As usual I went and attended all 4 classes during that day. I had a brief word with our teacher and introduced Adrian to her. The first class was the Absolute beginners, although I didn’t think of it at the time of introduction, I made sure that Adrian and I swapped places each time we changed sides at the barre, so he could always follow me, I was a little concerned as I hadn’t said anything to our teacher. However when she see what I was doing, she just smiled approvingly and said “Thank you Michelle”, that made me feel a whole lot better. The down side was I couldn’t see how Adrian was doing. I know he enjoyed the barre but found the centre work a bit daunting and has asked me to go through it with him during the week, at least what I can remember. Next time I must take special note so I can go through it with him the following week. At least he seems to have enjoyed it and wants to go again. Hopefully I can persuade him to do the body conditioning class too. I’m hoping at least two of his friend from my Glen Ballet rep group come along with him next time too, as they will be in the same boat. Needless to I was very proud of him on Sunday now he has broken the ice.

Last night at my ENB classes was a bit like an end to an era, it was the close of the Monday Advance class with Tom our teacher leaving. Needless to say there were various group photos taken with Tom in both the Intermediate and Advanced classes and a final goodbye drink at the a local pub after class. Not only will I miss Tom for his eagerness to help and his endless enthusiasm, I will miss ENB’s lovely studio which has become a bit like home. Only last night with the company away I had nearly an hour practice in that studio before class. Monday morning was also the time Adrian my boyfriend attended class with me and my rep coach for introduction to his parts in the Black Swan PDD. As I had learn a good deal of it more or less as a solo or improvised the male assisted parts. I really wasn’t expecting the differences it made. One piece which really stood out was near the beginning which is a sequence temps de fleche’s which starts with the gesturing leg in attitude derriere and the supporting leg on demi-pointe , this was fine when unassisted ( as per Kirov) apart from a few balance wobbles, it launched the temps de fleche beautifully. However we decided to add Adrian in with an open palm to support by palm touch only of my lower arm , with that I could hold that attitude position on demi-point almost indefinitely, for me that was a big wow I wasn’t expecting, but I found for some reason it screwed up the launch of the temps de fleche. Instead of the attitude gesturing leg coming down for a spring off on the other leg for the grand battement , it seem to fall flat, then the other leg was slightly late and inclined to developpe. That took a lot of brain to body reprogramming to pull those two together, but I still cant work out why that little bit of support changed the dynamics of that movement so much, ah well its fixed now.

Follow this link it may be of interest: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CCIQFjAA&url=http%3A%2F%2Fwww.researchgate.net%2Fprofile%2FMatthew_Wyon%2Fpublication%2F236338298_The_influence_of_winter_vitamin_D_supplementation_on_muscle_function_and_injury_occurrence_in_elite_ballet_dancers_A_controlled_study%2Flinks%2F00463517e2f86974ef000000.pdf&ei=zbX1VPyhJNKXauavgfAI&usg=AFQjCNG5qR8sTIzkBfNrvFKsA2DXnRRKlg

Picked up from mail drop On Thursday 3 November, we are holding a Primary Insight Day at The Royal Ballet School, White Lodge. Aimed at students in Key Stage 2, the day will include a demonstration of ballet training by Royal Ballet School students, and children will have the opportunity to ask questions and maybe even join in. This event is open to primary schools in Richmond and the surrounding area, so please do share details of the event with those who may be interested in attending. Places are limited, so please contact lisa.guppy@royalballetschool.org.uk for further details and early booking. Date: Thursday 3 November 2016 Time: 11am–12pm Venue: White Lodge, Richmond Park, Surrey, TW10 5HR Fee: FREE

Yes Lin that Taverner piece we danced to is nice, but for me is no where as moving as Gabriel Oboe that we danced in our last Alive Ballet Company show, that was a real emotional piece and really beautiful. To be honest I use that as a cool-down with my Glen Ballet group at the end of our session. Interesting comments comparing Yoga Pilates to ballet. Although I don’t do them specifically, but a mix of those with various fitness and body conditioning classes. The Less Mills Body Balance class I attend states it is based on a combination of Ti Che, Yoga and Pilates, however I do have a habit of balletfy them a bit, if there is such a word, the movement and coordination with the music in a dance like interpretation. Another type fitness class I find quite rewarding is called “Progressing Ballet Technique”, it works well with music. I was first introduced to this as a taster at our last Body Conditioning class last term at RAD Associates at Elmhurst. Just by chance I found a local class that teaches Progressing Ballet Technique when looking for another studio to hire, the basis of most of the exercises I have done uses the large 80cm ball. Here is an example follow the link

Toreador capes have arrived from Spain and it only Thursday, guys are just going to love this piece.

Well after the sadness of loosing Tom at ENB, well not quite yet, we have until the 19th, end of ENB’s term. I have no dought we will meet up for a final drink after class. Although he wont be a regular teacher for ENB any more, he did say he would on accessions he would be back to provide cover if needed. Unfortunately there are several dancers like myself who are not renewing our bookings with ENB. For me at least, Ive decided to put the extra time and effort that this has freed up in to developing my Glen Ballet Group. The rest of the week has been brilliant: firstly I guess in the wake of not going to ENB each week, I thought I may loose track of a casual acquaintance, a smart gentleman that play the Titanic Theme on the harp in the pedestrian underpass from South Kensington Tube station on my way to ENB which is close to the Royal Albert Hall. He was there this week, so I stopped for my usual chat and this time we exchanged contact details as I really really want that music when he finally records it, for me it’s the best I have ever heard, so beautiful and moving, I just have to choreograph some ballet to it. The following day I received his request on Facebook, he also has his own website. Some of you may know of him, he was an accountant that gave it all up to follow his passion as a musician, he has on CD out already, but not the music he plays in the underpass. Apparently it is taken from the original piano music that the Titanic theme was developed from, it always gives me goose bumps when I hear it, it was just meant to be. Secondly: I managed to get my extra half hour prime-time booking on Friday evenings for Glen Ballet at the studio we hire. Thirdly: I collected my Russian visa from the visa centre without any hitch, for my trip with the Alive Ballet Company. Fourthly: I managed to book flights today for our trip to Saint Petersburg in November. Fifth: Icing on the cake, I’ve also managed to book tickets to see Kirov perform Giselle at the Mariinsky Theatre. So at least for the moment I have a big smile on my face, I’m just hoping to finish the week off on a high when my Toreador capes come in from Spain before Friday, this is when my Glen Ballet guys starting their new piece from Don Q.

Hi Linda Thanks for the info on Nina, that one I will bare in mind. I see Rambert have a level 2 class, I spoke to a lady there, and she said it was advanced but I’m not convinced. I see Crystal have an Intermediate class on a Mondays with an advanced on Wednesdays, but you need their approval to move up to advanced, needless to say several of those I dance with in the ENB Advanced class are doing Crystals advanced too. I even checked out Northern Ballet at Leeds, as I had it in my head their Intermediate/ advanced class was on Thursdays which I have done before, which if push came to shove I could accommodate. It turns out its on Tuesdays so that’s a non starter with the Alive Ballet rehearsals. I will have a chat with Tom tomorrow but I’m not very hopeful. As for other advanced classes at ENB, they are really a non-starters, again Tuesday is out with rehearsals. Wednesdays is also out, lets say conflicts of interest and leave it at that. Classes for the new term at ENB on Mondays are as follows: 1) Improvers, 7pm – 8.15pm 2) Intermediate, 7pm – 8.15pm with Lisa Probert 3) Absolute Beginners, 8.20pm – 9.35pm 4) Contemporary, 8.20pm – 9.35pm with New Movement Collective. Hi Kate_N Thank you for the info. The class with Adam Pudney certainly sounds interesting; timing could be somewhat difficult as Mondays start off very early for me with rising at 4am, then on the road at 5am to take Adrian back to his flat by 5.30am so he can start work at 6am. Its just after 6am when I return home. I leave home for my first class about 9.15am for 10am start to 11am, then one-to-one rep 11am to 12am and back home again by 1pm for a change and quick bite to eat. I usually leave home again at 2.30pm (tight timing) for Peterborough Station arriving a little after 3pm for the 3,29 train to King Cross, that arrives about 4.30. That give me enough time for a quick chat on the phone with Adrian, then tube to South Kensington for a coffee and quick snack at the RAH coffee shop before first class at ENB at 7pm, although I generally get to ENB just after 6pm in case a studio is available. Although 4pm in London is just about doable if I don’t stop for drink/snack, I really am running with no contingency and wouldn’t want to do that in the long term. Never the less curiosity my get the better of my and I may try him anyway. As for Central, its doable time wise, as the last class I leave at ENB is 9.35pm with train out of Kings Cross at 11.01pm, then home just before 1am. However I must say of what I have seen of Central it I’m not impressed, building wise that is. As I’ve still got 3 weeks to with ENB I’m not making any quick decisions, I may not change my remaining schedule significantly until after Christmas, I need to think it out carefully. In any case the money I am saving on Mondays will allow my to add in another one-to-one session each week, but at the moment I think I would rather put that effort into my own rep group Glen Ballet, especially as I have two more dancers joining us this week, that really does take up a lot of time.