open class - etiquette for the centre

[Michelle_Richer]

Hi PetovaFossil

 

Its along time since we were at LAB together, haven't seen many post on the forum from you, welcome back.

[Guest chinafish]

Ah I have just re-read and I think I have misunderstood you first time round. I for some reason thought you were referring to practising a step on its own. Now I have reread and realised you were referring to learning a new step but without the "explanation of the how" and just by copying.

 

I don't think that situation could be fun at all! One of those "sink or swim" situations, I don't think I could have fun with it even if I copied someone!

 

I agree with you re: learning an enchainment. However since I don't do syllabus class anymore I tend to find there are no opportunities / need for me to remember enchainments week on week. I find for class, my brain is being exercised too and I quite enjoy the challenge to pick different enchainments every week. Sometimes the habits of remembering enchainments from the same teachers trip me up when they suddenly one week decide to do something different from the middle.

 

Learning choreography is of course a different matter.

 

Sorry I am veering off topic!

 

PetrovaFossil: I agree with you: the feeling of being picked for teams, if handled poorly, is indeed very unpleasant. I have been lucky enough that my teachers usually indeed organise that every group has someone more experienced to help things along.

 

I'm also lucky enough that my teacher picks different people to demonstrate so there's no "teacher's pet" in her class.

 

Another one of an etiquette thing: questions to be addressed to the teacher at an appropriate time, or else i find that it gets distracting if people chatter.

 

Or ooh.... When another student in the same class comes to correct you uninvited! Definite no no for me.

[Moomin]

I haven't really encountered most of the problems here and I attribute that largely to my teachers. The more experienced dancers are asked to move forward and mixed in with the less experienced in groups, people are moved at the barre. If its a regular thing people begin to naturally do it without asking. I appreciate that it is more difficult if many of the dancers are not regulars but they must have a reasonable idea of proficiency after the barre work. Why not ask everyone to remove jewellery/ put hair back etc before starting the class? And if someone is new to turning or just not that proficient have students go singly? I don't think it is only the attitude of students that has changed, if a teacher is not authoritative then it is unfortunately the case that some students will behave badly.

[PetrovaFossil]

Hello Michelle- I'm a natural lurker I'm afraid so usually just read but couldn't resist this topic! I work in mental health and have done a couple of courses on group dynamics. I'm looking forward to the next LAB intensive....

 

Lots of interesting posts and experiences here.

[mimi66]

 

Mimi: interesting! My pet hate in my classes is that nobody stands at the front so there's half the studio in front available while everyone gets squashed at the back!

 

 

Hello, Chinafish.  Your pet hate also happens a lot, I know.  And then even after the teacher asks to stand in the front line, some people are still reluctant.  I wish we could just get on with it so that we can perhaps have time to do that adagio once more…

A variation of that one is people not moving forward when asked to swap the rows.  So, when the 3rd row people were asked to become the front row, they stay put in the orininal 3rd row position, leaving no space for other to dance in the back...

[mimi66]

Hello miss. point. I agree with you totally.  In a way it is sad that now everything must be spelled out, which was not necessary for adult classes.  And when even the obvious must be spelled out, it creates a tendency of “do what you like until you are told off”.  Must be a lot of adjustment for the teachers of adult open classes, I would imagine.

 

 

[...]

 

Oh and welcome to the forum - great topic!

 

Thank you for your warm welcome  .

[mimi66]

Hello Michelle, I am going to break up my comment in two posts.  First, Re ENB.

 

Interesting concept, however I am going to play devils advocate:

 

[....]

 

We are taught a completely different strategy at ENB, you should not be copying (following) the person in front, they may get it wrong, you should be looking in the mirror, you will see far more dancers, the majority should get it right, that’s what you are looking for. It stands to reason therefore that the inexperienced ones should be at the front as they need that bit of extra support.

 

At ENB the lines are often swapped over by our teacher, so everyone get to go at the front.

 

[...]

 

 

This is a nice way to explain the use of the mirror, and nice way to introduce the concept that one must be aware of other dancers and the group as a whole. I like it!

 

It might not have come across very clearly, but when I said the competent ones should go in the front row, it was so that the appropriate spacing for everyone can be established, and that the front row people can set for the class the energy, dynamics and tone of that particular enchainement, how it should be phrased. This way, those who are less competent are supported and nurtured, and learn much faster. Also it is safer and easier for anyone to concentrate on what they are doing with an appropriate spacing.

 

If one needs to “copy” someone else in front of her/him most of the time, and “copying” for the sequence of the steps, in my opinion taking that class does not do much for one’s leaning. (Of course it’s a different story for beginners’ class).

 

As for looking at oneself in the mirror, one should not have to be in the front row to do so. We space ourselves so that no one stands directly behind someone else, but slightly move sideways (NOT forward) so that 2nd and 3rd row can see themselves in the mirror.  This is anoter reason that the front row people must be competent enough to arrange themselves so that the entire class can establish apprpriate spacing.  If the first row people stand too close to each other, the 3rd row people would not have their "windows".  I don't think it's possible to give that window to the 4th row, though.

 

I think it is a very good idea to swap the rows so everyone gets to practice how to be in the front row. I wish beginners’ class do this more, so that by the time they come to General or elementary open class they are no longer self-conscious.

In my experience, however, this swapping the row tends not to be so effective. There are always someone who prefers not be in the front row, for whatever reasons, and in an open class setting, one cannot force them to. Personally I think one ought to do what they are asked to do by the teachers during the class, but we all try to be kind.

[mimi66]

Michelle, re Pinaepple.

 

 

Interesting concept, however I am going to play devils advocate:

 

I also know Pineapple as I often do Maggie’s class there on  Tuesday’s on my way to my two classes at ENB, also Pineapple are very obliging in letting me practice in one of their spare studios if ones available. Firstly there is quite a turnover of dancers and it takes a little while to establish who the experienced ones are.

 

[...]

 

Also with Pineapple you basically need to know what you are doing as there is very little that is actually taught, so the majority is copied into short term memory. That’s OK for practice, but not particularly good for learning. Sometimes if we go through an enchainement that I particularly like, I try to commit it to long term memory by documenting it after class in the Café. If I cannot remember bits, sometimes I see Maggie in there and we go through it together.

 

The question is, why do you go to Pineapple, to play or learn?

 

 

It has been quite a while since I last went to Pineapple elementary class, but Maggie and Ian I think are great teachers.  They teach A LOT considering the size and wide range of the abilities of the participants. I really learned a lot from their corrections.

 

You are right about “you need to know what you are doing” in that class in terms of most of the pas, ability to pick up enchenaiments and know how to phrase that with the given music to a reasonable standard, ability to control your body and reasonable spatial awareness.  And classroom etiquette, of course.  Also at this level one should be able to have a good guess as to how much others in the class can dance by the way they carry themselves (not how skinny they are or how high their leg go up, by the way).  In any case after the barre you will have a general idea anyway.

 

After all the class is billed as “elementary”, equivalent level for the vocational exam which used to be called “Elementary” (now it is called intermediate, I think).  Please feel free to correct me those who are more familiar with this matter, as I am not 100% sure, but my understanding is that the class is really aimed at those who have mastered skills equivalent for example to (old) RAD grade 5 at least. 

 

Anyway, I am not sure if I fully understand bits about your “short term memory” and “long term memory”etc. However, I do think there is a reason why we do “throw away” (as in used only once) enchainements in the class.  Learning enchainement is a mean of learning to dance, and not the goal.  As a beginner it is useful to learn how to remember it, and writing them down or trying to remember them after the class is a great exercise.  But it is not the ultimate goal in ballet classes to “learn by rota”, and one should keep this in mind, I think.

 

It is like when you are learning a foreign language: you learn and build up your vocabulary (pas in ballet), then you learn some sample sentences (enchainement) so that you can put the words you know together to make a sentence.

If your goal for learning say French is to be able to have reasonable conversation with others, remembering those sample sentences are no good if you can’t then apply them.  You want to be able to speak your thoughts and feelings – if you only ever repeat those sample sentences you will never achieve that.  But then, if you didn’t bother learning those sample sentences to begin with, you will never be able to speak French, either.

 

As Chinafish wrote, there will come a stage when it is counter-productive for you to “commit long term memory” some enchainements. The danger of this is one would only ever do that enchainement the same way, tempo, dynamics, mood, regardless the music, and worst, only in that particular sequence of the moves. But at your current stage of journey I think it is a good thing to learn enchainement the way you are doing now. No doubt this is why Maggie is helping you out.

 

As to the last question, I go to all my ballet classes to learn ballet, not to play a ballerina that I am not.  And I really enjoy that.

[Guest chinafish]

Veering off topic again, but just some thoughts on the use of mirrors.

 

My teacher often turns us 90 or 180 degrees away from the mirror (i.e. using a non-mirrored wall as the front), because she hates us having our eyes glued to the mirror. Especially in things like arabesque when you are supposed to look along the line of your arm to the corner of the room instead of the mirror.

 

Back on topic. Although it is annoying that someone could be unpredictable in terms of direction of travel, but in a way it is good training to be able to cope with these issues in the middle of an enchainment. As they say, "The show must go on!" But agreed that if it becomes a regularity then it needs to be addressed. I agree with Moomin that after reading these threads, the teacher does contribute largely to if their students keep the etiquette.

[mimi66]

PetrovaFossile,

Intereresting points, these group dynamics.  I would like hear more from you on this.

 

In a way, I think these group dynamics issues are probably more relevant to adult ballet class because in some classes people keep going to the same class (or at least the same teacher) for a long time, 10 or 20 years are not uncommon, even for those who started ballet as an adult. This doesn’t happen with children’s class.  I am sure everyone comes to ballet class to have a breathing space from those corporate politics and/or family power struggles etc, yet I am always impressed in equal measures how some people can’t help playing politics a la Catharina Di Medici wherever they go - it's their talent!

 

It is easy to say that teacher should manage the class, but what would one do in practice when faced with those who disregard teachers’ instruction? Not something grave nor from malice, but from the fear of (imagined) loss of face?

 

For example, say the teacher assigns people to say small group of 3.  There are always about 3¬4 of them who regularly ignore this and go with whichever group they fancy (no doubt they think that makes them look better. To whom, I don’t know).  We are not children, so we won’t get reprimanded for small things like that. The result is that teacher gives up assigning places, because it is a waste of everyone’s time.  This is not a beginners’ class, and those who do whatever they like tends to not to be the newbies but the regulars, and more often than not, those old enough to know better.

 

As you have mentioned, I think in most part people respect each other in open classes.  But it is also true that at least to me people have become a bit less considerate in their behaviour in comparison to when I started ballet well over 10 years ago.  It may just be my impression, though.

 

I am hoping that discussions in places like this thread might get people to become a bit more aware of ballet class protocols, and perhaps the consequence of not respecting them.

 

Editied because I misspelled petrovaFossile's name!!!!

Edited October 22, 2013 by mimi66

[Moomin]

The teacher needs to command respect whether they are teaching adults or children. It's not easy but is the art of being a teacher to me. If a teacher tells people to do something, they don't do it so the teacher just gives up theyre not going to inspire respect and it makes it seem optional to comply. The way you do it may depend on your personality and that of the students; you place the groups in different start positions so it is difficult to change groups, you stick coloured stickers on according to groups, you put someone in charge of making sure everyone starts the exercise at the right time, you have a quiet word after class to see if there is a genuine problem, sometimes a reprimand may be in order. There are lots of ways of addressing problems, ignoring is not really appropriate and is not fair on anyone. I have taught adults and was regularly assessed by students, peers & managers. If I wasn't managing the classroom I would have been reprimanded because it is not fair on those who want to learn.

[PetrovaFossil]

Hi mimi66,

 

I absolutely agree about how hard it must sometimes be for the teacher.

 

I also like your point that although we think ballet is an escape, we bring our usual selves with us!

 

The course I did about group dynamics was a "group relations" course, the idea is that all these complex dynamics to do with granting/taking/challenging authority, being part of or outside of the group, who we can trust and who we can't, taking a risk of "loosing face" in order to be creative.....all this (and more) goes on in any group, we just don't usually focus on this as usually the point of the group is to do something else, like learn ballet. In the group relations course, the task is to actually focus on these things and discuss them as they happen.

 

This sounds a bit navel gazing but is actually quite raw and v challenging. The link between risk taking or even rule breaking and creativity is something that has stayed with me from it, that I hadn't really thought about before.

 

But on a more practical level I like the idea of your thread, and thinking about some of the often "unspoken" rules of ballet class more explicitly.

[miss.pointe]

The teacher needs to command respect whether they are teaching adults or children. It's not easy but is the art of being a teacher to me. If a teacher tells people to do something, they don't do it so the teacher just gives up theyre not going to inspire respect and it makes it seem optional to comply. The way you do it may depend on your personality and that of the students; you place the groups in different start positions so it is difficult to change groups, you stick coloured stickers on according to groups, you put someone in charge of making sure everyone starts the exercise at the right time, you have a quiet word after class to see if there is a genuine problem, sometimes a reprimand may be in order. There are lots of ways of addressing problems, ignoring is not really appropriate and is not fair on anyone. I have taught adults and was regularly assessed by students, peers & managers. If I wasn't managing the classroom I would have been reprimanded because it is not fair on those who want to learn.

 

I think this is an interesting point... it's difficult when "we are all adults" and most adults are dancing for fun and fitness, so want to also have a laugh and enjoy it, which I'm not against. But if I were in the position of paying a decent price for a class, no matter what it was - dance, baking, calligraphy! - I'd want to get my money's wroth as well. I have two (lovely!) girls in my class who tend to stand together, whisper to each other for help rather than ask me the question, giggle a lot and mimic their own mistakes as a release, but it is noisy and distracting for the other dancers as well as frustrating for me to have to get their attention again. It's not fair on the other dancers who are paying to learn as well.

[Michelle_Richer]

Michelle, re Pinaepple.

 

 

 

As Chinafish wrote, there will come a stage when it is counter-productive for you to “commit long term memory” some enchainements. The danger of this is one would only ever do that enchainement the same way, tempo, dynamics, mood, regardless the music, and worst, only in that particular sequence of the moves. But at your current stage of journey I think it is a good thing to learn enchainement the way you are doing now. No doubt this is why Maggie is helping you out.

 

As to the last question, I go to all my ballet classes to learn ballet, not to play a ballerina that I am not.  And I really enjoy that.

Hi Mimi66

 

The point you have picket up is totally out of context. Please note I qualified this with “that I particularly like”. That definitely does not imply “one would only ever do that enchainement the same way, tempo, dynamics, mood, regardless the music, and worst, only in that particular sequence of the moves”, however what it does mean I may boro parts of it for my own choreography, I'm always looking for material, then its likely that the music and tempo will be significantly different. I tend to start with the music first, basically does it move me, I already have quite a list of music already waiting to be worked on. My last piece came by chance, it was something I heard in the Covent Garden square outside the ROH, played by a Chinese guy, it move me to tears, it was just so beautiful. I just had to choreograph it, it was called “Lovers Tears”

 

As for “I go to all my ballet classes to learn ballet, not to play a ballerina that I am not.  And I really enjoy that.”, well I do both as I'm am now actively selecting classes that perform, both my Monday classes do, one is a friends and family, the other is a public paying audience, Tuesday is ENB and that does not but that provides me with a good grounding against most, however I also cover Northern Ballet on timeshare on a Tuesday and they do have a friends and family performance, I will do that up to the dress rehearsal as I have another performance on the same date. My Wednesday class also has a public paying audience where their show runs all week. Thursday’s after Christmas I'm joining the LAB company of dancers, my conformation has already gone in, which of course has it own performance.

 

Maggie helps me because I ask her too, I am extremely proactive with my teachers. When I first meet them I make it clear that I really do want feedback, as some teachers are reluctant to give it, especially if they think a dancer is only there for recreation. That certainly was the message from my local teacher.

Edited October 23, 2013 by Michelle_Richer

[mimi66]

The teacher needs to command respect whether they are teaching adults or children. It's not easy but is the art of being a teacher to me. If a teacher tells people to do something, they don't do it so the teacher just gives up theyre not going to inspire respect and it makes it seem optional to comply. The way you do it may depend on your personality and that of the students; you place the groups in different start positions so it is difficult to change groups, you stick coloured stickers on according to groups, you put someone in charge of making sure everyone starts the exercise at the right time, you have a quiet word after class to see if there is a genuine problem, sometimes a reprimand may be in order. There are lots of ways of addressing problems, ignoring is not really appropriate and is not fair on anyone. I have taught adults and was regularly assessed by students, peers & managers. If I wasn't managing the classroom I would have been reprimanded because it is not fair on those who want to learn.

 

Hi, Moomin.  Reading your post and those from others (Chinafish, miss_poine to name a few), it is assuring to know that a lot of people would like teachers to take charge and actively manage the class. I hope this might give ballet teachers more moral support and understanding.

 

I say this because I know a few occasions where a student complained about a teacher for “upsetting” them, just because that person was asked to move back to give a bit more space for the others during the class (thus in front of everyone). I know these are rather extreme examples, but I am sure these are not very pleasant incidents for the teacher who was simply doing her/his job!

 

miss_pointe’s point (pan not intended) is worth exploring a bit deeper, I think. There are certain differences between teaching children and adults, but how much of it should be taken into account? For one thing, adult students tend to have far more emotional issues (and pride) than children, which are sometimes brought into the classroom. Leave your baggage outside the classroom, I say. But that does not always happen.

 

Speaking of teacher's authority issue,  there is another etiquette faux pas that Chinafish mentioned.  Those who teach other students during the class. Or those who ask others during the class to coach them...

 

Luckily I have never been the receiving end of unsolicited correction.  Poor Chinafish it must be have been irritating! 

 

I get annoyed with people who teach (or ask questeions to) other students during the class.  In my experience, this tends to take place when the teacher giving correction to one particular person.  Well, that correction is actually addressed to everyone, and I am trying to concentrate on these corrections and do not want to be distracted.

 

I wonder if people are doing this under the banner of "mutually supportive" class.  Well, one teacher in the room is quite enough, I think.

Edited October 23, 2013 by mimi66

[Tulip]

I have always found adult ballet classes run at dance X change in Birmingham professionally run. My daughter and other vocational students attend some of these classes during school holidays. The regular dancers are so lovely with these younger dancers and make them so welcome. Because the teachers are professional dancers from B.R.B ballet company, etiquette or manners is always of a very high standard. Better still us parents are allowed to sit quietly in the studio to watch the class. I have found each and every adult in that studio absolutely lovely, and they always ask how my daughter is getting on, giving both of us a hug. The standard is advanced and I would say that these adults are pushed and are definitely up to the standard, no one pushes to the front back or anywhere else. If they are expected to get into small groups then they do so without question. Hair is tied back, and correct clothing is always worn. I would highly recommend dance X, but I don't want to promote it too much as it is a first come first served arrangement, unless you pay for several classes in advance.

[LinMM]

In one of my local classes some of the teachers previous students come back from vocational schools in the holidays and its always lovely to see them and how they have progressed even MORE!!

 

In fact when they first go off to vocational school I miss them just that presence in the class as recently one of ours has gone off to Tring for full time training. You can see with all the vocational students just why they have been successfully chosen.

 

I have always found the vocational students extremely polite and not at all "pushy" but am always grateful I must say if they gravitate to the front of the class!! It's not that you are copying every move but there is often a tricky little bit that if you don't get can stop the flow through to the end and they mostly pick up first time which might take me three!! It also saves the teacher from having to continually demonstrate as one can learn to some extent from more proficient students. I'm meaning here the learning of step sequences not the basic technique as at the barre etc.

Being at the front if you don't know it doesn't help you to know it!!!! Just exposes that you don't!

We do line swaps but our teacher who does this usually judges when most have got a pretty good idea of the exercise/enchainement which may have been repeated over a number of weeks. So by then although nerve wracking at the front you can have a good go at it!!

 

I 'm going to give thoughts on amateurs learning choreography from classical repertoire on Back to Ballet thread as this is more about ow to behave in ballet class.

Final word I do think the teacher sets the tone of the class. There is a sort of aura about a good teacher where everyone just concentrates and gets on with it and if he/she sets the groups you accept it. A good teacher can also spot the talented trying to hide and will at some point bring them forward to help them gain their confidence. I don't think they would invite someone who hasn't much clue what they are doing to the front row myself.

[Michelle_Richer]

Interesting; BRB was my first workshop with one of their insight days. I was wearing a watch, necklace and ear rings, I ask the teacher if I should remove them before the class started. She said "No we only ask that of the little ones". I must confess I never remove jewellery for class, only for performances, then special rules apply, for instance even nail varnish is removed unless its completely unobtrusive, make-up itself takes on another dimension too.

 

Whilst I cant say I have seen the really bad behaviour illustrated in some of the postings, I am guilty of some minor indiscretions like joining or going after the last group going across the room when I have already been, but only if the music is has not finished.

 

I have also been guilty of answering a dancers question when the teachers hesitation has seemed too long, and needless to say, I got told off for it.

 

One thing I really struggle with, is giving correction to teachers, often an inappropriate term will be used, or a poorly executed movement, or something missing in repertoire. My enthusiasm is inclined to get the better of me, especially as attention to detail has been drill into me by my local teacher Nicky, she is a stickler for detail and a lot of that has rubbed off on me. But I am getting better, I just use the evil eye, and that conveys the message, especially if they know me.

 

One message that appears to be coming across, correct me if I am wrong, is the need for an authoritarian teacher, for me that would be a disaster. Firstly I don't go to class to much about, I go to learn and build on my existing knowledge. I work WITH the teacher and not fore them, but then that's me.

 

One observation I have made just recently, attending my Body Balance class, our teacher there refers to her class at TEAM, that I feel adds a level of importance to the class member, I really like that, its almost as if you are part of TEAM GB and it gives a strong identity to the group, not something I have seen in ballet classes. I have even found it difficult in trying to get ballet classes to do something special for Christmas.

Edited October 23, 2013 by Michelle_Richer

[Tulip]

These classes are not workshops Michelle, they are open adult classes taught by BRB company members. Can I just ask what do you mean you correct the teacher. Is this is if a sequence goes wrong and the teacher asks for input, or do you just come out with it? I'm not being funny, just not sure what you mean in correcting the teacher. I just don't know any teachers that would take kindly to being corrected. I know of some amazing teachers that would literally eat you alive if you uninvitedly tried to correct them during a lesson. Perhaps I have completely not understood what you have written sorry.

[Michelle_Richer]

Hi Tulip

 

The BRB link was to jewellery and they were BRB teachers, that's all, its unimportant as to if its open class or rep.

 

Well you got it in one, I don't mince words but at the same time please don't think I say "YOU GOT THAT WRONG MISS", that would be very wrong and rude. And yes they are not lightly taken but its amazing how their technique changes, but I haven't been eaten yet. These are usually in the form of queries, but sometimes my choice of words could be better, as I did get a response from one of my teacher with the first class with her "Are you criticising my technique", and that was a real woops.

 

After a while especially the smaller classes you develop a repartee and a lot of that can be pure body language, just a cheeky smile, or a perplexed look. In some instances you can get away with "do you really mean like that", it depends on your relationship with the teacher, mine tend to be quite close.

[Moomin]

I think a teacher should be in a position of respect and authority, that does not necessarily mean they have to adopt an authoritan style to achieve this. There are many groups in life but generally there is some sort of 'pecking order' within. A teacher may on occassions make mistakes but they still know a heck of a lot more than me!

Nail varnish and small discreet jewellery are ok but large articles that could damage yourself or others if you collide or they fall off & someone kneels/steps on them definitely need to be removed Michelle, you weren't to know if nobody has pointed it out though Michelle!

Love your post Lin, you are right a good teacher does so many positive things instinctively (or it seems that way anyway!)

[Michelle_Richer]

I really don't agree with the argument over jewellery, if those were the rules then I would abide by them, but as I am a very active social dancer and have taught that type dance for many years which always involves dancing with partners, where the potential is much much higher. Seldom does anyone experience any problems, only very occasionally does anyone receive a minor scratch or something caught in their hair, it is so very very rear.

[Michelle_Richer]

As we are talking of etiquette, no one has mentioned dress. I remember my second class, before I joined they had a whole section on etiquette including dress for there classes. It sounded very professional. Eg no Jewry, hair in a bun, a strict uniform of black leo, black chiffon tie round skirt, pink tights and pink ballet slippers. I agonised over that one as my first class was very relaxed everyone wore leggings and long tops, with ballet slippers, one lady gave me a pair of her old ballet slippers to get me started.

 

When I got to that new class, I was the only one wearing the appropriate ballet wear. Then I was told they could not enforce it as very few would come. I have always since warn a leo and chiffon skirt, but I am amongst the minority of dancers that do.

 

 

PS its not often you see a teacher in a leo, not a good example to set.

Edited October 23, 2013 by Michelle_Richer

[mimi66]

Well I am glad to know that this thread seems to be provding at least one useful information!

 

In a lot of way, each ballet class should be treated in the same way as being on the stage.  Many class room protocols are based on what goes on the stage during the performance.

 

Re jewellerly and watch, I wonder if this policy is not always observed in the adult open class in order for the studio to avoid the blame or responsibility in the event of loss/theft.  Nevertheless, I am not amused having to dance with someone with a lovely 1.5 carat  diamond engagement/eternity ring.  Particularly when I know that she has a dodgy musicality and not very good sense of direction, without a decent spatial awareness!

 

I also think it is rather a commonsense not to undermine someone's authority in front of other people.

 

Often I share my class with ex-professional dancers (ex-Royal etc), and I notice that they never wear jewellery nor watch, always keep their hair tidy, and never question the teacher nor they ever even attempt to correct anyone.  I think it says something, doesn't it.

[2dancersmum]

I think you will find actually that there is quite a difference in the expectations of etiquette, jewellery, dress etc depending on the class offered with BRB teachers.  BRB themselves send out a letter for all their Insight Days that tell you what you are expected to wear, no jewellery except for small stud or hoop earrings etc on the same sheet as start/finish times etc.  This comes from the organisers and maybe the teacher, especially for an adults taster class (which is what Michelle attended) was not sure exactly what had been sent to the adults as it was the first adult taster session that they ran.  Dance Xchange is a completely different organistion with its own codes and regulations.

[2dancersmum]

Incidentally, for those who can access Birmingham, I have heard that the RAD Associates program is soon to include Adult RAD Associates in Birmingham.  No news yet I think on if it will be a class one Sunday each month, as with the childrens program but it might be of interest to some.  I think you have to register your interest with Julie Bowers of the RAD.

[mimi66]

I really don't agree with the argument over jewellery, if those were the rules then I would abide by them, but as I am a very active social dancer and have taught that type dance for many years which always involves dancing with partners, where the potential is much much higher. Seldom does anyone experience any problems, only very occasionally does anyone receive a minor scratch or something caught in their hair, it is so very very rear.

 

Michelle,  Sorry but I do not think social dancing argument stands here.  Social dancing (salsa, tango, teadance etc) has a strict code of conduct on the floor and one of the basic rule is: No "stage dance" moves please.

 

Social dance floor etiquette takes into consideration that women wear jewellery and men watch, and that women wear killer heels.  They don't do grand jete nor pique turns acorss the floor, with or without a partner.  They also don't do lifts on the floor. That is for the  competittion or stage, not on the dance floor where you share with many other couples.  If you did, you would get thrown out of the place or worse!!!!(particularly in Buenos Aires).

 

Please do not wear your jewellery to the class!  You will have fellow students who would respect you more for that.

[Michelle_Richer]

Yes we got the same letter, I have just checked it. I think that why I queried it

 

Mimi66; Believe me its never my intention to undermine teachers, its sometime difficult to control my enthusiasm, that's the real point I was making as I get so engrossed in ballet. Couple of my classes too have ex professional dances and we have a couple of dancer teachers too. I tend to do across the room in pairs with one of them.

 

As for the jewellery / watch thing, I regard that as unimportant both from experience that I have already mentioned and it has become the norm. I like your idea of regarding a class as a stage, I wonder how many dancers you could get to turn up in a tutu, as dancing in a tutu is quite different.

[Michelle_Richer]

Hi mim66

Point noted and it does make sense, thank you. However at Salsa last Friday I did do Pique turns across the room, but only when the dance floor was clear, as I sometime use that for a bit of practice.

[LinMM]

Not in high heels I hope Michelle

[Michelle_Richer]

No, I have actually started doing Salsa in ballet slippers, its fantastic I can really feel the floor, the sensation is unbelievable against traditional ballroom dance shoes. I'm going to try some ballet shoes with small heels as I want to retain the flexibility. I just wish I had the time to choreograph a ballet piece for a repetitive salsa rhythm. I'm choc a block with reps at the moment, just so much to learn. 

[LinMM]

Where jewellery is concerned it is generally frowned upon as a rule even for adults but anyway personally I can't bear anything round my head eg: long dangly ear rings would drive me up the wall. Even some watches can be quite heavy and anyway spoil the line of the arm for ballet at least.

 

I used to dance in a Polish group and though I loved the dances wasn't quite so keen on the costumes for shows they looked nice but I hated the heavy ish necklaces etc (but even more the hair piece plaits!)

[Michelle_Richer]

Don't forget you are doing "Swan Lake" with City, are you coming in white this time, I think I did white when we did Sleeping Beauty with Franziska.

 

Sorry a bit off topic

Edited October 23, 2013 by Michelle_Richer