Kerfuffle

I agree. The main purpose should be to supplement regular training especially if your hours are limited . It’s also worthwhile if you’re training in a different method. I think upper schools are only interested in what they see in front of them at auditions -  it’s a bit of a red herring thinking that a dance cv will make much difference and parents shouldn’t feel under pressure like it’s some kind of balletic arms race. Same goes for intensives. 

On 28/05/2023 at 10:21, Mrsgdy said:

We are meant to be auditioning at central as well, but I think DD is going to accept the ENBS associates place . I’m now unsure whether we should email to say she’s not attending centrals audition or still go for the audition practice but I worry if she does end up being offered a place there as well and turns it down if it would count against her next year if she applies for their upper course. So hard to know what to do for the best! 

I really don’t think any school would hold it against you if you didn’t accept a place on an associates. If they like what they see they will give you an offer ! 

I would choose an associate programme  according to what you think the course  might offer you rather than if it will help you get into the associated upper school. It’s not surprising that not many associates get a  ENBS upper school place, any more than with RBS  SA - RBS upper school rate of acceptance . Both of those schools are able  to choose from a wide range of students including many from around the world! 

Such an exciting time! I love the creative collaborations with Picasso and Stravinsky. 

On 26/08/2016 at 11:02, FLOSS said:

It is difficult to say when the sluggish, "wading through treacle" musical style became popular as there was always the occasional conductor willing to indulge the dancers. Emmanuel Young used to be my bugbear and I always tried to avoid any performance which he was conducting for that reason. But I think that the slow performance style and indulgence of dancers has been encouraged by the employment of Russian conductors for Russian classics in the last twenty years. 

 

The trend to a pose and freeze frame style has got a lot to do with the Vaganova method and what Morrison describes as its absolutist view of how steps should be performed. According to her this absolutist attitude towards classroom steps reduces the ability of dancers to adjust to, and accept, the choreographers's  modification of classroom steps in performance. I think it is one of the things that Donald MacLeary was speaking about when he talks of ballet as a theatrical art form.

 

Then there is the fact that everyone has access to the internet which means that dancers can see what others are doing and can incorporate that into their performance. If the coaches are amenable changes creep in without any one really grasping the true effect on a performance. How many dancers are really aware of what their performance looks like from out front or what  impact changing a couple of apparently insignificant steps will have on what the audience sees? Then there is the idea that what is taught now is better and the belief that because the young can do things that the older dancers could not have done that the new is better than the old rather than simply seeing it as different.. In the course of coaching Two Pigeons I believe that Christopher Carr said "We do ...position better now" which of  course meant that if he was encouraging the dancers to do a position in the modern standard classroom form fashion and ignoring the form of the step that Ashton expected to see.

 

If change is taking place in front of you and you are part of it you are unlikely to notice it. In much the same way as you don't notice how old your parents have become when you see them virtually every  day. Go away for a month or two and then you really notice it. 

I don’t believe that vaganova encourages freeze framing, it’s a very lyrical style and typically Russian dancers move with a huge amount  musicality. The freeze framing I have seen is more of a competition habit where dancers get so obsessed by showing control that they forget that the music is continuous and that they should keep moving. This also happens in competitions when  doing too many pirouettes that don’t fit the music. Vaganova like Ashton also pays a  lot of attention to the upper body - with flexible backs, expressive arms and heads. Our British ballet owes a lot to the Russian tradition as well as Ceccheti  and the French through Ballet Russes and Diaghilev. 

Yes our one is Nervi. I think they both look a lot of fun with performances and being in Italy what is there not to like? 

Hi Neverjustadancemum is this the YAGP summer intensive? I don’t know much about it but there are videos etc online and I think it’s often a prize at YAGP competitions. My DD has a scholarship to something similar this summer, also in Italy. I think they both include master classes with ADs from top European schools although I don’t know which ones specifically for this year. For example from places such Dutch National, Princess Grace etc. I think it would be a good experience for her if she wants to explore what these teachers offer - there might be several different ones over the week. I think the other dancers are likely to have won their places to be on these intensives so you’ll get a good idea of the standard internationally. 

Thanks Spidey, my DD is very excited! I’m so pleased your daughter loves it and I’m feeling very optimistic that mine will too. 

My DD is starting at ENBS this autumn and I was just wondering if anyone else here is in the same situation? 

I know a boy who started in the first year at  Central aged 17. Other posters have mentioned starting at Elmhurst older too. I don’t think all ballet schools are rigid  about staying in your year group. There’s a thread about this on here! Hope your DDs foot recovers soon. 

4 hours ago, Neverdancedjustamum said:

The summer intensive will be in Italian so I reckon the full time programme will most likely be. DD doesn’t speak a word of Italian but the school assured me she would be fine - not sure if she feels the same way! 

What a wonderful experience for her though ! 

On 29/03/2023 at 14:39, Neverdancedjustamum said:

I would be interested to learn about this too. I was informed by the school that the classes will be conducted in Italian (and French for the technical terms) but I wonder how students who only speak English can cope or whether this won’t be much of an issue.

I was wondering this too! We were also looking into it as a full time school. 

3 minutes ago, OnTheMove said:

Some may take a different route, go abroad etc. Go down the contemporary route. There are lots of reasons. 

Great that they come out with the confidence to explore all sorts of options. 

5 minutes ago, Newbie126 said:

I don't think Elmhurst do take a good proportion through to Upper School. I believe the last few years the girls have been less than a handful going from Year 11 into Year 12 ........

 

 

 

 

 

 

Where do they go next ? Sounds like there is a lot of shuffling around at 16! 

On 26/03/2023 at 19:08, mumtotwoballerinas said:

My son is having huge issues getting visa, but even with an EU passport dancers have to apply for visas in certain countries 

Which countries? Does the EU passport get their foot through the door? 

30 minutes ago, RachH said:

If you’re referring to my DD, she was offered a Tring place back in November after the first audition. She went to Elmhurst finals on 8th and 9th March and White Lodge on 10th. She didn’t attend Tring funding audition. Not sure what we were supposed to do differently? Although Elmhurst finals were first, the results came out last.

I doubt this is personal. Obviously if you don’t know the result then it can’t be about you! 

12 minutes ago, PrancingMum said:

DCs friend didn’t go to other finals after accepting WL but have seen this year at least one DC announce accepting WL and then attend further finals and subsequently announce three offers.

Exactly this, what is the point ? 

Sorry I didn’t mean to post that again! From what I’ve observed is that there are DCs from all sorts of dance backgrounds who are successful getting through to finals  so worth exploring all options. It really is down to the individual dancer I think. 

21 hours ago, Ruby Foo said:

As far as I know, there is nothing published for WL yr 11 destinations. I stand to be corrected.

Above are purely examples of destinations for previous years graduates

17 hours ago, taxi4ballet said:

The thing is though, that although most of the schools spread out the preliminary rounds, they tend to hold their final (or funding) auditions very close together, so you may not have heard whether you are successful at one before you go to the next. 

Absolutely - if you don’t know the outcome that is totally understandable. I was only meaning those who already knew they had places, as someone mentioned earlier.  

The threshold is low for DaDa awards too, less generous than MDS, but that is another story …

Yes, I agree. Although surely chances are you know after one audition how you feel usually ? I certainly wouldn’t bother looking further if my top choice was already in the bag ! 

They either secretly are holding out for a place they don’t think they’ll get or they are collecting offers to boast about on social media (or their school wants them to). In the end though any places they don’t take go to someone else who has attended the audition. The peuple to feel sorry for are those who just missed getting to the finals and are out of the running. 

Does  stress have something to do with this too, even with an excellent bill of health from doctors? My DD eats very well but is tiny and can’t seem to gain weight ! She is y11 and working hard at GCSEs auditions etc 

3 hours ago, Thelittleswans said:

Just talking hypothetically here….the results are in. Unfortunately, it's a no for Whitelodge, Elmhurst, and Tring, for example. So, what's the next step? If vocational training is not an option, what other types of training could be pursued? How many hours per week should be dedicated to training, and how many private and group lessons should be taken? Additionally, what extracurricular activities could help maintain strong technique? Should festivals be put on hold in favor of bigger global competitions? I'm curious about the alternatives available for those who don't attend vocational school in year 7.

Try and find as good quality training as you can, so associates and a classical focused CAT scheme depending on what’s available. Continue with other training as well during the week, but consider not just RAD but perhaps other approaches too (eg Vaganova - this is really challenging and quite different!). I would say 10 hours classical ballet is what my DD typically does, 4 nights a week and also weekends, but not every single one - she needs some time to study! She’s in year 11 and has got through to finals here and abroad. As your DD gets nearer this age get some performance experience - perhaps here (EYB) and also I recommend YAGP in Europe because then your DD will get an idea what is going on abroad (including dancers from Australia and USA). Also summer intensives are a good idea, especially the kind that draw non U.K. dancers. Some conditioning is important particularly as 13-17 is peak age for injuries because of hormones/hyper mobility. We haven’t bothered much with private lessons because my DD knows her weaknesses and also she has a peer group of very high standard dancers where she trains. This is what we’re doing but as someone has already said your daughter is very young and she might change her mind about ballet or find she’s suited to another dance discipline so it’s probably worth keeping those going for at least a while. You have 5 years before the next major audition rounds and a lot can change in that time ! We have only recently (in the past 2 years) dropped modern tap jazz etc as it’s become clear that ballet is her focus. Good luck and don’t let the pressure of keeping up with vocational schools get you down, there are plenty of dancers at top upper schools who have never been at them!