Claudia Dean's thoughts on when to go full time

[DD Driver]

I'm glad she clarified here that she is talking about the number of hours a child does rather than simply fulltime vs. part time or one studio vs. three.

 

Really once your dc is doing significant hours of dance it is time to have an ongoing relationship with a dance physio.  They can review the hours being done.  It is so important once they are en pointe to have a specialist giving individual exercises.  EXPENSIVE of course but cheaper than the cost of an injury.

Edited August 25, 2018 by DD Driver
word change

[Viv]

While I don't agree with everything Claudia says (some of her videos on preparing pointe shoes I think need to have a caveat that you shouldn't be doing things like shaving your shanks the second you get your first pair of shoes out of the bag!) I don't think there's anything in these two videos that I disagree with. If there is, it's something small that doesn't stick out. While I know that she's not a trained teacher (although this is an assumption, I don't know what training she received or is currently receiving in that arena) I do think that she does her research, has a good relationship with local physios and really cares about developing her students into dancers who can have a lengthy career in this industry. I think that as long as a teacher is guided by best practice, isn't endangering any students and is producing results, then they are a good teacher. I have had some teachers with all the training in the world who still believe that you should start class with static stretches, and who produce more injuries than classical ballet careers. I have also met professionals who have a wealth of experience to share and can tell you 'sure, this is how they want you to do it for the exam, so we'll train that, but actually every professional I know does it this way'. I do RAD because my teacher is a wizard, and it's the best training for me, but as Claudia says in this video, every dancer is individual and learns best from different people. I'm going to take what I can from Claudia Dean and apply it in conjunction with my regular training, and I think a lot of dancers and teachers here in Australia do the same. 

 

But as far as full time training and appropriate hours per week, I think she is spot on.

[invisiblecircus]

After the first video, I was surprised to hear how many hours she was recommending. 14-17 hours per week for a 13 year old, 17-20 hours per week for a 14 year old.

[DD Driver]

10 hours ago, invisiblecircus said:

After the first video, I was surprised to hear how many hours she was recommending. 14-17 hours per week for a 13 year old, 17-20 hours per week for a 14 year old.

 

Yes those hours are getting up there and that is why I think some young students opt for full time programs.  They are looking to be more efficient with their time e.g knock off travelling time to and from school, to and from ballet, all of the breaks in between and extras that occur.

 

Distance Education at ballet schools offering full-time programs usually involves small tutorial groups and one-on-one tutoring.  A child needs to be highly motivated and  - as with all types of education - it helps if the parents are highly engaged in the process.

 

Personally, I think it is right to encourage 'more balance'  - there is some crazy behaviour that goes on - but at the same time children and adults who strive to excel are unlikley to be living an idealised version of the 'balanced life'.  Aspiring Olympic swimmers are getting up at 4am while I snooze away.  Young musicians who wish to get into a high school with a strong music program, then a conservatory and then an orchestra, spend many grueling hours in practice.

Edited August 26, 2018 by DD Driver

[Viv]

12 hours ago, invisiblecircus said:

After the first video, I was surprised to hear how many hours she was recommending. 14-17 hours per week for a 13 year old, 17-20 hours per week for a 14 year old.

 

I think as part of a graduated program towards full time or upper school training, it doesn't seem unreasonable. Whether it's physically possible, or you have access to this amount of training locally is another matter, but she does say this is across all genres and would include things like associates and youth ballet productions. 

 

It also seems in line with the hours provided by other reputable organisations aiming to train kids for professional careers. For example, if you look at the Northern Ballet CAT program, they take from ages 10-16, starting with 10 hours and progressing up to 18 hours 'depending on age, level and academic year'. Seems about in line with Claudia's hourly framework, and the CAT doesn't include hip hop, tap, musical theatre etc. A 14 year old doing 14 hours at CAT and also doing a couple of 'fun' classes at another local studio would fit into that framework. I'm not sure what the CATs view on outside classes is, perhaps they are discouraged, but if they believe that a student who started at 10 and progresses into years 4/5/6 of their program (therefore being 14/15/16) should be doing up to 18 hours of classical and contemporary training, Claudia's recommendations seem about the same.

[Cara in NZ]

I also wonder if those hours include 'supporting' classes such as Pilates, Progressing Ballet Technique (the strengthening programme using the big gym balls) and other body conditioning/strength type classes or one-on-one sessions with perhaps a physio to strengthen specific areas after injury. She doesn't specify what the hours comprise, I don't think? So the total could include non-dancing too maybe.

I know that the dancers in NZ's national company all have gym memberships that come with the job, which also suggests that the professionals do complementary training outside their 'working hours'. It's hard to know what to count!

[invisiblecircus]

14 hours ago, DD Driver said:

Personally, I think it is right to encourage 'more balance'  - there is some crazy behaviour that goes on - but at the same time children and adults who strive to excel are unlikley to be living an idealised version of the 'balanced life'.  Aspiring Olympic swimmers are getting up at 4am while I snooze away.  Young musicians who wish to get into a high school with a strong music program, then a conservatory and then an orchestra, spend many grueling hours in practice.

 

I agree on both points. To achieve a balance is important for so many reasons. Not only to ensure a back-up plan if dance doesn't work out or if the student changes his or her mind, but also to develop a more well-rounded dancer and person. In such a competitive field though, it is understandable that everyone is trying to give themselves an edge by adding on extra hours training where they can.

 

11 hours ago, Viv said:

I think as part of a graduated program towards full time or upper school training, it doesn't seem unreasonable. Whether it's physically possible, or you have access to this amount of training locally is another matter, but she does say this is across all genres and would include things like associates and youth ballet productions.

 

I'm not saying I think it's unreasonable, I was just surprised after saying in the first video that you don't need to be doing 25 hours a week until 2/3 years before you graduate into a company, that she then said you should aim for up to 20 hours at 14. From the way the first video was presented, it seemed as if she was going to recommend far fewer hours.

 

9 hours ago, Viv said:

It also seems in line with the hours provided by other reputable organisations aiming to train kids for professional careers.

 

It would certainly be interesting to hear the views of various training institutions on this issue. Accademia Teatro alla Scala in trains 10 year old for 3 1 hour lessons per week.

Edited August 26, 2018 by invisiblecircus
Added an extra quote