Prix de Lausanne 2023

[Birdy]

Most of the bigger company affiliated schools in the United States don’t allow students to compete either. Occasionally there seems to be a boy from ABT, but that’s about it. Parents tend to question why their children can’t compete but the school then recruits from the very same competitions. As someone else has suggested, I think it would be fair to allow students to compete if they are in their final year of school. It would be a great way to be seen by a lot of companies at once.

[taxi4ballet]

Perhaps some schools don't like their students to enter these competitions because they might not be very successful, and that could affect the standing and prestige of the school.

[Kerfuffle]

56 minutes ago, taxi4ballet said:

Perhaps some schools don't like their students to enter these competitions because they might not be very successful, and that could affect the standing and prestige of the school.

Yes, I think that’s possible - and there is bound to be a big crossover between PdL and YAGP dancers who are used to the whole scene. It’s pretty intimidating going for it the first time ! 

[LinMM]

While still on subject of Prix and Oz thought I’d add that Harrison Lee was in Nutcracker with the Royal Ballet tonight …. in fact twice! This afternoon as a Party Guest in first Act and this evening cast in the Chinese Dance (reworked recently and now pretty difficult to do) in the second Act. 
 

[Peanut68]

Just a random thought.....if competition is a way to judge ballet why not consider having it as a sport within the Olympics just as Ice Dance is? Most of the 'traditional' variations seem to have a standard list of 'tricks' within them....a triple tour en l'air could be likened to an ice skating 'triple selko toe loop' (apologies - am writing phonetically & from very limited knowledge gleaned only as a TV spectator from Torvill & Dean days I confess!!) or multiple pirouettes to an Axel spin....etc etc.....They can be judged on program (variation) difficulty, execution & artistry - much as I am sure the current comps are judged. I do think this would be a natural extension from things like YAGP & could perhaps help attract sponsor funding so it's not just merely contestants who have funds from the bank of (rich) mum & dad who can take part.

Of course, this doesn't really reflect the actual jobs available as either a ballet or an ice dancer whereby the artists need to be team players to be able to dance roles within a company & often to act as part of a whole to tell a story.

And I do wonder how competition coached dancers used to performing principal dancer variations ever happily slot into a corps position.....

I suppose is it similar in the world of music whereby young competition musicians & singers performing solos at highbrow international competitions? Do they then have to slide into subsidiary roles within Orchestras/Opera companies etc once entering the world of employment?

Or is being a competition winner a 'fastrack' route to immediate soloist status & stardom in the fields of dance/music & other arts? A way to queue jump to the top if you have the talent & - pertinently - the opportunity? 

The jury is very much out with me as to the ethos of ballet competitions. I instinctively find it a bit distasteful but I cannot deny it has many benefits....

These are just my personal musings from no point of direct knowledge.

 

[DD Driver]

59 minutes ago, Peanut68 said:

Just a random thought.....if competition is a way to judge ballet why not consider having it as a sport within the Olympics just as Ice Dance is?

 

I'd say Ice Dance & Ice Skating do open the door for Ballet at the Olympics as they are judged on skating skills, transitions, performance/execution, choreography, and interpretation.  Most importantly, it is a way to get sports funding.

I heard, on the grapevine,  that the PdL jury place more importance on performance in the Master classes than on the solos. The classical solos are a couple of minutes in time and could have been practised & polished over years. In contrast, the classes show candidates over a number of days, responding to corrections in real time & working with different choreography. So very relevant to company life.

 

The Finalists need to have performed beautifully on stage, of course, but a non-Finalist may have impressed & pick up a great offer or contract.

 

Edited December 24, 2022 by DD Driver

[MissEmily]

@DD Driver, exactly this. I was an interpreter at the Prix de Lausanne one year so got to observe it all at very close quarters. The year I was there, very unusually, there was a candidate from Vaganova. She was immaculate, highly accomplished and has gone on to be Principal with the Bolshoi. She did not make the finals! And I’m fairly sure it’s because there was no change in her style, approach or dancing throughout the week. She listened to the teachers’ corrections respectfully…but didn’t really seem to apply any of them to herself, but stuck to what she knew. 

[Beezie]

Interesting conversation…ballet vs Olympic sports like ice dancing.

 

I think I’d prefer seeing ballet go the opposite direction for children, closer to theater.  It seems like there are tons of children’s theater productions, where everyone gets to participate and perform.  This is how I would draw parallels to a ‘team’ sport, and all those great dynamics learned while contributing to a team performance.  Then there is still a place for competitions, as a standout activity for those children seeking a professional career.  I agree competitions should be affordable, though.  Airfare is a huge cost, depending on your location.  And many competitions (ie US ex YAGP) seem more like profit-generating-machines vs an accessible platform to showcase talent.

 

We were in one school where they put on 2 major productions, plus recital.  All kids could participate, at some level.  I didn’t realize how unique that was at the time.  Now, being in the European training circuit, it feels like children are expected to diligently train until teen years before the joy of performing really becomes an option.  If there are younger performance options, than they are highly selective and come with tons of pressure….not to mention the costs of privates, driving to practice locations that are usually non-local, etc. 

 

In theater, the talents still find a way to float to the top.  Same as in instrumental music.  However, in both of those, it perhaps seems more accessible to all incomes and it also feels like the children possible feel more rewarded along the journey.  

[Marconcini]

According to the PDL rules published on their website there is very generous financial aid available to candidates in need of assistance,  covering flights, hotels, meals, stipends and more. 

[Birdy]

I think the Prix model is much better than YAGP at selecting dancers who will have future success. Observing classes gives schools and companies a better idea of a dancer’s overall ability not just to execute steps but also to pick up combinations quickly and apply corrections. Then finalists have an opportunity to show their skills and artistry on stage. They also don’t find out the variation they will perform all that far in advance. YAGP, on the other hand, has some dancers who have been working on the same variation for years. It doesn’t really indicate the overall ability of the dancer. 

[Neverdancedjustamum]

35 minutes ago, Birdy said:

I think the Prix model is much better than YAGP at selecting dancers who will have future success. Observing classes gives schools and companies a better idea of a dancer’s overall ability not just to execute steps but also to pick up combinations quickly and apply corrections. Then finalists have an opportunity to show their skills and artistry on stage. They also don’t find out the variation they will perform all that far in advance. YAGP, on the other hand, has some dancers who have been working on the same variation for years. It doesn’t really indicate the overall ability of the dancer. 

I believe the YAGP also has masterclasses but I think the main difference (apart from minimum age) is that PdL candidates have already been pre-selected. Anyone can register for the YAGP and perform and be seen on those YouTube livestreams. I believe the PdL selection process is a lot more rigorous in that only a select few actually get chosen after video application or summer intensive pre-selection to travel to Lausanne and participate. A lot of PdL candidates seem to have done YAGP previously already. And I’ve seen many young dancers scoop numerous prizes and scholarships at the YAGP and not even reach the finals of the PdL.

Edited December 24, 2022 by Neverdancedjustamum

[Kanangra]

On 24/12/2022 at 11:03, Peanut68 said:

Just a random thought.....if competition is a way to judge ballet why not consider having it as a sport within the Olympics just as Ice Dance is? Most of the 'traditional' variations seem to have a standard list of 'tricks' within them....a triple tour en l'air could be likened to an ice skating 'triple selko toe loop' (apologies - am writing phonetically & from very limited knowledge gleaned only as a TV spectator from Torvill & Dean days I confess!!) or multiple pirouettes to an Axel spin....etc etc.....They can be judged on program (variation) difficulty, execution & artistry - much as I am sure the current comps are judged. I do think this would be a natural extension from things like YAGP & could perhaps help attract sponsor funding so it's not just merely contestants who have funds from the bank of (rich) mum & dad who can take part.

Of course, this doesn't really reflect the actual jobs available as either a ballet or an ice dancer whereby the artists need to be team players to be able to dance roles within a company & often to act as part of a whole to tell a story.

And I do wonder how competition coached dancers used to performing principal dancer variations ever happily slot into a corps position.....

I suppose is it similar in the world of music whereby young competition musicians & singers performing solos at highbrow international competitions? Do they then have to slide into subsidiary roles within Orchestras/Opera companies etc once entering the world of employment?

Or is being a competition winner a 'fastrack' route to immediate soloist status & stardom in the fields of dance/music & other arts? A way to queue jump to the top if you have the talent & - pertinently - the opportunity? 

The jury is very much out with me as to the ethos of ballet competitions. I instinctively find it a bit distasteful but I cannot deny it has many benefits....

These are just my personal musings from no point of direct knowledge.

 

There is on ongoing debate in some circles in Australia about whether dance is an art or a sport. Most dance schools have different troupes who compete against other schools at eisteddfods/dance competitions. The usual experience for many young dancers here is to be part of one or more troupes and a lot of their parents see it the same as if they were on a football or netball team.

 

Many dancers will also have a private lesson where they will learn choreography for dances to be performed as solos at the same eisteddfods/dance competitions. Eventually some of them (if they continue) will go on to learn variations for the bigger competitions such as PdL, Alana Haines, YAGP etc. I would say it is unusual for a dancer to go on to a career without participating in these competitions here. There are actually certain sections and scholarships of City of Sydney Eisteddfod where the ABS offers places to conpetitors of their choice.

 

I don't like the competitive element but it certainly does give dancers the opportunity to perform.

[LinMM]

Personally I don’t think Dance can ever really be considered a Sport however athletic the dancers bodies may be! 

I certainly hope it doesn’t go further in this direction as I feel it will produce more robotic type dancers. Just my view. 
 

[Pas de Quatre]

I would be very sad to see Dance and in particular ballet made a sport. You just have to read this board to see how people differ in their opinions of dancers and choreography.  You don't see a Premieur league with RB playing a match against POB, NYCB against Mariinsky etc. Most of these competitions are artificial money spinners for the organisers. Really it is only PdL and YAGP that have any merit. Balanchine famously said he loathed competitions!

[Sophoife]

...and of course with POB's internal promotion comps and internal and external entry comps, someone with other comp experience can have an advantage. Vide Sae Eun Park (2007 PdL, 2010 Varna gold medal, 2011 external entry comp, 2013 coryphée, 2014 sujet, 2017 première danseuse, 2021 étoile) and Hannah O'Neill (2009 PdL, 2011 external entry comp, 2014 coryphée and Varna silver medal, 2015 sujet, 2016 première danseuse).

 

Mathilde Froustey won Varna in 2004 then made sujet in 2006 but didn't make it over the next hurdle to première danseuse despite entering every year until she left for San Francisco in 2013. Also despite being championed by José Martinez and Manuel Legris, both at that time étoiles. She herself put it down to extra nerves in competitions in an interview I read in about 2011.

[DD Driver]

On 26/12/2022 at 12:10, Kanangra said:

There is on ongoing debate in some circles in Australia about whether dance is an art or a sport. Most dance schools have different troupes who compete against other schools at eisteddfods/dance competitions. 

 

I would add that the large number of Eisteddfods or Comps in Australia came out of the Eisteddfod tradition of being a showcase for artistic talents such as singing, dance, instrumental, speech & drama, poetry etc  Yes, winners are announced but everyone quickly realises that someone gaining a 1st place in one event has no guarantee of winning a place in another.  There is a level of consistency due to technical merit but the judging is very much the adjudicator's subjective appreciation.

 

I'm not excited by the idea of ballet in the Olympics either.  However, the amount of training support and funding for sport in Australia is significant.  You can't help but wish for a piece of that.

[Sophoife]

3 hours ago, DD Driver said:

Yes, winners are announced but everyone quickly realises that someone gaining a 1st place in one event has no guarantee of winning a place in another.  There is a level of consistency due to technical merit but the judging is very much the adjudicator's subjective appreciation.

 

I never competed in a dance competition (my teachers didn't allow), but I certainly competed in Eisteddfods in music! It was usual for the same two or three kids to share all the prizes in each age group. Adjudicators were always from out of state so didn't know people and we competitors always felt results to be fair.

 

In my age group there was one very talented boy whose mother was the kind that hovers over practice, ruler at the ready to slap a misplaced finger. She would talk during other kids' performances and it was years before an adjudicator called her out on it. She was ejected and everyone who'd already played was invited to play again. It was hilarious from my POV as I was never going to win anyway and I played worse the second time.

[Kanangra]

4 hours ago, DD Driver said:

 

I would add that the large number of Eisteddfods or Comps in Australia came out of the Eisteddfod tradition of being a showcase for artistic talents such as singing, dance, instrumental, speech & drama, poetry etc  Yes, winners are announced but everyone quickly realises that someone gaining a 1st place in one event has no guarantee of winning a place in another.  There is a level of consistency due to technical merit but the judging is very much the adjudicator's subjective appreciation.

 

I'm not excited by the idea of ballet in the Olympics either.  However, the amount of training support and funding for sport in Australia is significant.  You can't help but wish for a piece of that.

Yes and in recent years the proliferation of American style comps (a la Dance Moms). I always hated it when people referred to it as a sport, but you're right, if only the arts got anything like the funding sport does!

[Beezie]

5 hours ago, Kanangra said:

Yes and in recent years the proliferation of American style comps (a la Dance Moms). I always hated it when people referred to it as a sport, but you're right, if only the arts got anything like the funding sport does!

A lot of Americans don’t like American style comps…..but everything associated with raising a child in middle-class America ends up being a competition.  These Dance Shows have figured that out how to capitalize on that to maximize profit.

 

Lots of good debate on whether American style comps are good for children.  Very few children bridge that competition track to ballet….and a lot of times, the time spent training for comps substitutes real ballet classes.  I also think injury rate is higher.  But perhaps satisfaction is as well, as friend-groups form and everyone gets an award.  (I continue to worry it is misplaced satisfaction.  Staging a performance should be just as satisfying.)

 

The only positive I take from American style comps is that it lets teachers showcase their choreography.  In a world where it is extremely hard for female choreographers to break into the industry, dance comps is one of the areas where it is attainable.  ….but now we start talking about a real conflict of interest.  Is participation for the good of the student or good for the teacher?  And why can’t we break gender biases without creating a competition-circuit monster?

 

I would also say that American comp families are almost a whole other genre.  I don’t think they seek dance-as-a-career.  Rather, I think they are seeking an all-encompassing extracurricular activity to build children’s confidence in preparation for college/life.  …similar to cheer or gymnastics.  The accolades will be collected and friendships will be made through childhood and teen years, but then it is generally expected that the children move on to other things.

Edited December 28, 2022 by Beezie

[Beezie]

Also interesting to hear about Eistedfodds in music in Australia.  
 

The US has musical solo and ensemble integrated into its school program…and I have always considered it one of the most healthy forms of competition.    Your piece is scored 1-5, so most students end up competing against their own personal expectations.  While higher awards are usually given, the schools usually de-emphasize these.  I don’t even remember award ceremonies….just the band director saying how proud he was that we had five 4-star and two 5-star performances within the school.  
 

In my opinion, it is just the right amount of competition for growing and developing children.  No profit. No politics.  Just a performance opportunity with a score and some discerning judges’ comments.

[Sophoife]

2 hours ago, Beezie said:

The US has musical solo and ensemble integrated into its school program

If only that were the case in state education in Australia - or the UK!

 

My nieces and nephews (half state, half private) had Class Music for 40 minutes once a week in primary school and nothing in high school. They are now 15-22 in age. None has even identified, let alone developed, an interest in playing any instrument.

 

My own generation had Class Music for 90 minutes twice or three times a week in both primary and early high school years. Schools also provided proper instrumental lessons (group or solo) as part of the structure. No more, alas!

[LinMM]

Both Music and Dance have declined hugely in the last 20 years in most UK state schools both Primary and Secondary. 
A very long time ago now when I was teaching in London in the 70’s/80’s when ILEA ( Inner London Education Authority) still in charge of finances for schools etc ( before schools came under individual education boroughs) there was money available for children from less well off families to learn different musical instruments within a school. I worked at a Primary school (so children 5-11) very close to where the “new” Arsenal stadium is now ( it wasn’t there at this time!) where we had a school orchestra and a full time teacher employed just for Music!! This is just unheard of now especially at Primary level. If there is any musical instrument teaching someone is employed privately by the school and children have to pay for tuition….in fact very often an extra curricula activity rather than any integral part of the curriculum. 
At one point in the early to mid 80’s I was employed purely as a Dance teacher in two different Primary schools to work across age ranges …but I only taught Dance…Again this is very rare these days and children certainly rarely have Dance on the curriculum on a weekly basis as part of an integrated curriculum. 
The Arts in schools generally have been much neglected since the late 90’s really although I believe there are now moves to try to start rectifying this rather sad situation. 

[Birdy]

The arts are extremely neglected in the US as well. As a kid I had art once a week and music once a week in primary school. Now, even though I live in a state that mandates arts eduction in schools, there is little to none. Any art classes my kids got in primary school came from a parent supported teacher who came in four times per year to do an art activity with the kids. At 11 years old the kids got either cello or violin once per week and at 12 they got either saxophone, trombone, trumpet or flute once per week. By middle school there was orchestra as an elective. Art class was dropped as an elective at the middle school in 2018, but it remains at the high school. And the state I live in ranks as the fifth largest economy in the world. I can’t ever remember a time when dance was part of the curriculum. I’m guessing it never has been.

 

[LinMM]

Dance became part of the curriculum in Primary schools in U.K. after the Plowden Report in 1967 which was very pro child centred education. 
The main Dance taught was Laban which I had a strong interest in. 
I’ve always had two main passions Dance (including Ballet of course) and Languages and right up to the end of the 70’s these two subjects in the form of Nuffield French and German Primary courses and Laban Dance forms were quite widely practised in Primary schools as part of an integrated curriculum. It’s what attracted me into Primary Education in the late 60’s! 
People still can’t believe that Languages were promoted at PRIMARY level from late 60’s onwards!! All gone by the end of the 80’s though 😥 

Again people and teachers these days can’t believe that a Primary School would have an orchestra! Not absolutely every school did but Music ( especially Carl Orff theories) was thought to be more important back in the day. Secondary schools also had orchestras and this was more common than at Primary level. 
Society has changed in what it wants and expects from Education so a leaning towards Learning  for productivity ( not necessarily all bad) rather than for its own sake has taken precedent. We’ve probably just swung too far in one direction at the moment but these things do tend to be cyclical! 

[Sophoife]

8 minutes ago, LinMM said:

People still can’t believe that Languages were promoted at PRIMARY level from late 60’s onwards!!

 

I certainly believe it.

 

I started (state primary, known as "first") school in Redhill, Surrey in January 1970, newly arrived from Australia and already able to read for my own entertainment (thanks Mum). They refused to have me in nursery school because I could read and would be "too disruptive" (hah Mum had found the time to teach me so I would be safely and quietly occupied while she dealt with one or other of my three younger sisters) so I started proper school a year early, the term I turned four instead of (as was then the rule) the term I turned five.

 

We started French in the Michaelmas term of 1971, so by the time I was six I'd had a term and six weeks of it. Perfect age to start what in Australia is called LOTE (language other than English). As I'm 57 in six weeks' time, I've loved the French language for now over 50 years and am so grateful to have started so young.

 

I also remember school milk in those little bottles with foil caps. 🤢 in the summer term!!

 

Also school dinner. It amazed me on return to Australia in the mid-70s that no school dinner was provided. Instead we had to either take our own or buy it from the tuckshop, and there was no designated space for eating - we certainly weren't allowed in the classroom at lunchtime, even when it was raining.

[DD Driver]

I think the push on Sport in Australia helped Dance along here!  The exemptions for sport opened up to exemptions for Arts e.g. time off school and some credits. 

 

In every High School that I know of - state or independent - Dance is available as an extra-curricular activity within the school.  I understand it is the 3rd biggest activity e.g. after netball and some form of football... Importantly you can do Dance as a subject for your High School Certificate so that is an increasingly popular elective selected.

 

High schools enter the Eisteddfods/Comps with their troupes.  There is a state-run Schools Spectacular that showcases dance/singing/music & some government funded Arts workshops.

[LBC]

The London Ballet Circle are delighted to kick off our events in 2023 with a Prix De Lausanne special interview by RB School director Christopher Powney and two former prize winners on Wednesday 25 January 2023.  As you know, Chris is a member of the jury in this 50th anniversary year.  

 

One of the prize winners joining us, is Ashley Coupal.  She was a prize winner in 2021 and joined ENB company later the same year, where she has already been featured in ENB’s Emerging Dancer awards.

 

We await confirmation of the other prize winner. 

It should be very interesting for ourselves (and Chris!) to hear of the young professionals’ experiences at the PdL.

 

https://www.tlbc.org.uk/events/prix-de-lausanne-winners-with-christopher-powney-via-zoom

 

Non-members are welcome to join this Zoom by booking access via this link. 

[Mummy twinkle toes]

On 19/12/2022 at 23:21, DD Driver said:

My understanding is that RBS teachers see a large number of candidates e.g. on the intl audition tours.  They take notes & possibly take video to share their thoughts/recommendations with the AD.   

 

Last year Australians did the Finals audition via Zoom but this year a video must be sent in and then if selected then they have to go to London audition.

Of course, at YAGP & PdL some dancers may get offers - as they are being seen in person by the AD over a period of days.

 

- I do find it confusing that UK students - not at a vocational school - are not getting advanced coaching & attending YAGP/PdL as much as o/s students do!  Great teachers are available.  I get that homeschooling & Distance Ed are not as big as o/s and the school exam timing may be unfavourable...but you could still get quality hours in.  Can someone explain?

 

There are teachers available to coach but the costs are expensive. You also have to be located near them as if your dc is at a non vocational school then they can only train after their school day has finished and weekends. Teachers we know coaching for YAGP are in London and want their students 6-7 days a week.

[DD Driver]

3 minutes ago, Mummy twinkle toes said:

There are teachers available to coach but the costs are expensive. You also have to be located near them as if your dc is at a non vocational school then they can only train after their school day has finished and weekends. Teachers we know coaching for YAGP are in London and want their students 6-7 days a week.

 

Yes coaching is expensive, probably wherever you live.  In Australia, students land up training in a city with a larger population base. For us however that can mean a city like Newcastle, with a pop of 500,000.  Great teachers also appreciate life outside of the big city! 

The students might move from part time after-school training to full time training from 12/13 on.  They mostly do Distance Education so the ballet day will end by 2:30-4pm and may be 5 days a week.  No weekends. Some students in small towns or cities will have very good teachers and just augment this by attending holiday schools in the bigger cities.  They may have a coach they also work with on Zoom.

[Mummy twinkle toes]

Non-vocational schools in U.K. tend to focus on technique, syllabus work and some will do shows. Not all schools do competitions. School day ends around 3.30-4pm so most cannot take ballet class until then. Home schooling is still rare in U.K.

Serious non-vocational school students will be aiming to get a vocational place either in lower or upper school. YAGP’s popularity in the U.K. is growing but it is still not held in the U.K. If you are able to be coached for it then it still means travelling to France, Spain or Italy to participate. The costs alone are prohibitive for many.

[DD Driver]

1 hour ago, Mummy twinkle toes said:

Non-vocational schools in U.K. tend to focus on technique, syllabus work and some will do shows. Not all schools do competitions. School day ends around 3.30-4pm so most cannot take ballet class until then. Home schooling is still rare in U.K.

Serious non-vocational school students will be aiming to get a vocational place either in lower or upper school. YAGP’s popularity in the U.K. is growing but it is still not held in the U.K. If you are able to be coached for it then it still means travelling to France, Spain or Italy to participate. The costs alone are prohibitive for many.

 

It is really a different situation & approach between the different countries!   

Part-time ballet students in Australia seem to do big hours at ballet.  It can be up to 3 hours after school most days and 1.5 hours o or more of Saturday classes. Private lessons would be on top of that.  This is very hard to sustain so the 'serious' students tend to go full time & others drop back their hours.

 

Even schools associated with a company are expensive - the Australian Ballet School (ABS) is around $15k AUD and Boarding $21k AUD.  Govt Student loans are available at the older - Diploma - levels, I believe.  The academic schooling is done at a public school.  Similar (ish) story at Queensland Ballet Academy.  Only 1 student from ABS was taken into The Australian Ballet Co this year.  She attended Prix de Lausanne 2022! 

 

MEANWHILE there were 8 Australian candidates selected for PdL 2023 out of 43 applicants.  1 representing ABS and the rest from private ballet schools. There were 6 applicants from the UK but none selected.

[Kanangra]

My daughter routinely did 4-6 hours of dance five nights a week, plus another couple of hours on a Saturday morning, from the age of 13-16. (ballet syllabus and troupe, pointe, modern, jazz, tap, pilates, private lessons, contemporary, pilates, stretch etc)This was on top of dancing that she did at school, at a performing arts high school. (I'm honestly not sure how many hours of dance they had at school, I'm guessing about 6 per week). She and the other girls her age would catch the bus from school to the studio and I would pick her up at 9pm. They would all eat their dinners together between classes. When she went full time most of the evening classes were dropped and their day mostly went from 8.30 am - 4pm. Learning solos/variations would happen in the private lessons. As they get older kids going to Prix or YAGP international competitions stop learning eisteddfod solos and start learning variations. (Interestingly, some eisteddfods have introduced variation sections or integrated variations into their scholarship sections.)

[DD Driver]

That's an interesting insight @Kanangra

Big hours and on a journey with a bunch of like minded peers!

 

I find most Eisteddfods now have Variation sections for the 13 plus age group.

Most students will eventually drop off and go in a different direction but the level of discipline, hard work & sheer grit as they go through the ups & downs is a rare thing in today's world.