Ondine

Yes and an 'interesting' route in I have to say! In 2017, while training in New York City, I attended the Youth America Grand Prix and was awarded the silver medal in the finals which was held at The Lincoln Center. It was an exciting event, and no doubt played a role in helping me get where I am today. As a result of that experience, I was awarded a scholarship to the English National Ballet School. While in London, I was introduced to the Royal Ballet School which led to my enrolment and eventual graduation. All leading up to a contract with The Royal Ballet Company. Another young US dancer whose progress it's possibly worth following, it's a long way to come to London for a short 'intensive' when there are many nearer no doubt. I see she's already been offered places to train in the US. It appears she's 'putting the hours in' and also has what is described as a 'coach', not a teacher. YAGP next? It's a route many seem to be taking, with success bringing scholarships.

It's part of what was once a longer ballet. Gorgeous. This is a lovely insight. To the reader: The essay below, on the ballet school scene from August Bournonville’s Konservatoriet (The Conservatory), was commissioned by the Royal Theatre in Copenhagen, Denmark. It first appeared, translated into Danish by Lise Kaiser, in the Royal Danish Ballet’s illustrated program in Spring 2011. The original English version appears here for the first time with the gracious permission of the Royal Theatre https://www.artsjournal.com/tobias/2011/09/bournonville_remembers.html

Yes. And also working as a group, as one, as a female corps member has to learn how to do. We are used to seeing female dancers in a corps de ballet setting. It is nice to have a large group of male dancers working as a unit, as a collaborative corps de ballet, so to speak. I'd like to see this danced by the RB! One for the younger newer members? https://www.royalballetschool.org.uk/2023/05/22/in-conversation-with-mikaela-polley-on-fast-blue-a-new-dynamic-classical-work/

A glimpse and a few insights.

Yes I've known young swimmers too, also young tennis players, and yes, the work and hours they put in and the dedication is phenomenal. Getting to White Lodge itself has many interesting routes. Darcey Bussell was a late starter at WL, she said herself she was way behind the others and had to work extremely hard to catch up. She came from Arts Ed! I wonder if she'd even be accepted for WL these days? https://www.balletnews.co.uk/from-student-to-star-viola-pantuso-the-royal-ballet/ Viola was home schooled and some might even say hothoused, she was another 'late starter' at WL. She's made it all the way through and I'm sure will rise rapidly at the RB.

The ballet world is certainly crazy. There are so many routes to success, but it appears a place at White Lodge guarantees nothing beyond that. I'll just leave this here. Many are called and VERY few are chosen for this school. https://www.monaco-tribune.com/en/2020/10/video-behind-the-scenes-at-one-of-the-worlds-most-exclusive-dance-academies/ BTW US dancer Darrion Sellman, Prix De Lausanne 'apprentice' 2022-3 with the Royal Ballet and now off with a contract to the Royal Swedish Ballet, can be added to the list of winners. https://www.hellomonaco.com/news/latest-news/unprecedented-multiple-winner-princess-grace-academy-sweeps-dance-prizes/

Visitors familiar with the choreographer August Bournonville will immediately spot the links between Degas’s ballerinas and Bournonville’s “classroom ballet” Konservatoriet. http://www.theballetbag.com/2011/09/26/degas-and-the-ballet-picturing-movement/

Thanks. I tried googling too but didn't delve enough to find out! I wonder if it was his choice to not carry on, or was he not chosen for US? However, at least he gained a career in hopefully something he wanted to do, is longer lasting and I wish him well. Yet all that training, all that work & cash investment in so many youngsters... it surely can't go on!

Agree with all that @Pointytoes and @taxi4ballet say. Look at interviews with many young dancers from other countries and yes, hothoused, often home schooled, to fit the ballet classes in, trained like racehorses for competition. It's not the 'nice gels doing ballet' mindset of the Veronica at The Wells books! It's not 'one class a day, Morris & folk dancing and a syllabus class Saturdays' students in other countries are getting I'm sure. White Lodge is the tip of the apex too, look at all the work going on around the country to find young talent with various RBS schemes! Yes dance is a worthwhile activity in itself, and an informed audience is always a bonus, but for that there are local ballet schools. Giving hope and feeding dreams which will never be realised for most by the current training at White Lodge is eating up so many childhoods, and wider family life must suffer too. Luke Jennings again, this time in 2012. He's well worth a few minutes as with the 2008 piece I linked above. The parents of Sam Lee, from Dagenham, knew next to nothing about ballet when Sam was introduced to dance by the Royal Ballet's Primary Steps scheme, which sends accredited teachers into schools. Now Sam's at White Lodge. "You see dancers like Carlos Acosta and it's inspiring. The training's hard, but I tell myself don't give up. Carry on!" Sam's attitude suggests that he may have the right stuff to make it. But he's going to need every ounce of that determination. Did Sam make it? https://www.theguardian.com/stage/2012/mar/25/will-they-make-royal-ballet Over the years, however, the odds against home-grown British students fulfilling this ambition have steadily lengthened. Statistically, only around a quarter of those first-year White Lodge students are likely even to graduate from the Upper School, let alone be considered for a place in the company. The Royal Ballet and its schools comprise the nation's flagship classical dance establishment, so why are the odds so comprehensively stacked against British children? Jane Hackett, a former director of the English National Ballet School and the Central School of Ballet, now co-director of creative learning for Sadler's Wells Theatre, is concerned by the figures. "It's inexplicable, when you look at the amount of money invested in British ballet, that such a very small percentage of British dancers are graduating and progressing through companies." It's become such big buslness now, has ballet, all the extras and what used to be called summer schools which are now given much fancier names and are far more competitive than they were. Not much of it is free. So much handwringing over so many years and yet, here we are.

A few glimpes here too, with Caspar Lench

More about the music here (Owen Belton composer)

I have some sympathy with Maxine's point of view. 😏

To add: I'll just leave this here, to ponder. Luke Jennings 2008. https://www.theguardian.com/stage/theatreblog/2008/sep/18/british.ballet.training I do wonder if we have rose tinted specs when thinking the company in the past was mostly comprised of British born dancers. Like Monica Mason, many were actually born elsewhere including Commonwealth countries. Fred Ashton was from Ecuador and Margot Fonteyn spent much of her childhood and had her early training in Shanghai? https://visualisingchina.net/blog/2016/06/07/margot-fonteyn-in-china/ I think the British world has shrunk of course now we don't have a world map with vast tracts coloured pink! Hard I know for little girls with ambitions to join the Royal Ballet, but look at Isabella Gasparini and her varied career path and it seems talent and hard work as well as the ability to grasp at opportunity gets some there in the end. There are other schools, other companies. Everything changes and nothing can really be done to stop progress.

Look at the numbers. The 'far east' is a massive area with a huge pool of talented dancers from which to draw. I also suspect early training is very focussed. Yet 'home grown major talent does succeed, as shown by those in the company now! We do seem to be fine at producing male dancers right now, which is good. I think it's also easier for boys in some ways as there are fewer training though numbers are rising.

I suppose the company has always been more international and outward facing, its founder was Irish! Assuming your information is correct, any idea how many boys have 'moved up' from WL? I think, doing the maths, which isn't my strong point, 😏 this cohort will have been affected by COVID shutdowns in the earlier stages of training.

Lauren Cuthbertson is also British. However, among the current principals male & female the majority I believe were not UK born. Nunez and Muntigirov certainly not! Wasn't First Soloist Claire Calvert the only one from WL in her year to make it to the upper school? Or was that into the company? I suppose there is no crystal ball and it will always vary. I'm not sure it matters really where talented dancers were born so long as the school and then company always has room for them.

Though British, Francesca Hayward was born in Kenya I believe.

Thanks. I look forward to reading further reviews from forum members of the RBS upcoming performances, for which I believe there is a separate thread. Exciting times for so many talented young people, who have worked so hard to get this far. I see in today's Links all the latest news of where graduates will be going very soon! I wish them all well. Feature - Meet the 24 graduating Royal Ballet School students: Graham Spicer, Gramilano

I am neither, for the record. I took no part in the earlier discussion between forum members who I suspect are not 'friends and family' either. I agree the earlier posts went 'off topic' (it happens, at times a detour can take you via the scenic route to unexpectedly delightful places however) but I felt it useful to update the thread, to give fresh information about a dancer mentioned who has only spent a year at RBS and has now been taken into the company via the Aud Jebson scheme. I'm not sure this is 'promoting', it's informing.

Just a small update: Sierra Glasheen has joined the RB as an Aud Jebson apprentice. The following dancers will join the Company in the 2023/24 Season: Graduates of The Royal Ballet School, Bethany Bartlett, Sierra Glasheen, Seung Hee Han, Isabella Shaker, Caspar Lench and Blake Smith join the Aud Jebsen Young Dancers Programme. She'd had quite a varied career so far for one so young! That includes a YAGP sholarship in 2018 . A Google search is interesting! Early history http://www.dancersofny.com/blog/2015/8/21/59th-street-lexington-ave She's also teaching. https://dancestudio-pro.com/online/classes.php?account_id=1548 Pop Up Variations Workshop Variations Workshop with Sierra Glasheen of The Royal Ballet. Workshop includes a full barre with some center work followed by learning two to three variations selected by Sierra. Pointe shoes recommended but not required Education 2022-2023 The Royal Ballet School Graduate Year Taught by Jessica Clarke, Zenaida Yanowsky, Ricardo Cervera 2018-2022 Canada’s National Ballet School Professional Ballet Program Graduate Taught by Vera Timashova, Deborah Hess, Raymond Smith, Peggy Baker August 2022 Kaatsbaan Summer Intensive Taught by Stella Abrera, Sascha Radetsky, Martine van Hamel, Gemma Bond July 2021 The Royal Ballet School Summer Exchange (Awarded scholarship for summer 2022) Taught by Christopher Powney, Jessica Clarke, Nicola Tranah, Anita Younge Recognitions 2022 Erik Bruhn Memorial Award for Exceptional Dance Peter Dwyer Award for Excellence in Dance Ontario Scholar 2021 California Dance Classic International Virtual Competition, Gold award 2021/22 International Online Dance Competition, 1st runner up senior ballet category 2020 Universal Ballet Virtual Competition, Platinum level 2019-20 Ambassador BlochCanada Dancewear 2018 Youth America Grand Prix Finalist Top 30 soloist Lincoln Center

I think I know the difference Anna_C thanks. I've only ever once had a teacher be nasty to someone in a class I was in, where we all felt bad. (She went on to be a principal in a major UK company.) There was no shouting involved, quiet cutting words can do damage too. As I said: Loud, good natured exhortation in a ballet class is not the same thing as giving a student a shouty 'dressing down' and making them feel bad.

I agree with what you say, and it's actually what I said too. Loud, good natured exhortation in a ballet class is not the same thing as giving a student a shouty 'dressing down' and making them feel bad. However, unless and until @Anniedancemum expands and explains we won't have the full picture. Edit: she has, above. Its not easy, teaching people to dance, especially when you're pushed for time.

I wasn't 'verbally abused' (nor verbally abused anyone) as I made clear. I've never been scared by anyone shouting to remind me to 'STRETCH YOUR FEET' 'GET YOUR HEELS DOWN' over the top of a thumping piano at full pelt and clattering point shoes. I, however, stretched my feet and the rest. It's how I improved my technique. As I said above (I've been selectively quoted, out of the full context, which makes a difference) Loud, good natured exhortation in a ballet class is not the same thing as giving a student a shouty 'dressing down' and making them feel bad. However, I think the 'shouting' to the comp students probably requires more explanation and context than was given, before rushing to make sweeping judgements. @Anniedancemumsaid: I can see how it comes across like that, but it isn’t anywhere near as brutal. There are plenty of kids who just come for classes and don’t do comp/solos. They’re never shouted at. The school instills a good work ethic, and everyone is expected to try - they can’t stand about chatting for example, but these kids aren’t shouted at. It’s only comp kids. And my dd hasn’t been shouted at particularly, but others have. It’s a lot of the older ones. My dd just doesn’t like the shouting. They do take comps seriously and go to win though. The teacher doesn’t see the point if you’re not properly competing. And she loves to beat other schools and get good feedback from the adjudicators. They usually do win. What is the teacher shouting? Why is she shouting? When is she shouting? How old are the older ones? (And I add to what I said above, syllabus work and exams are not the be all and end all of dancing, but structured training, sound technique and the rest are required to progress. Not all children want to do exams, there are positives and downsides, but at least if some children are put in for exams with a reputable examining body, and gain decent results, then you can be reasonably assured that damage isn't being done to growing bodies and the basics are covered.)

Yes but I'm unclear which it is in this instance. A seven year old may not appreciate the difference. Also, if children are misbehaving in a dance class, so much so they need to be told to behave, I think I'd have a word with a parent.

I think this 'shouting' needs to be contextualised. I was 'shouted' at in ballet class, many times, and I've been 'shouted' at or to by some really rather well known and greatly loved teachers! It was fine as I knew it was to help me improve my performance, my technique, I knew that was the reason a teacher raised his or her voice, and I know I've 'shouted' when teaching. But that's how you make yourself heard over loud music / a piano thumping out the overture from William Tell when students are, for example, in the middle of leaping around the room in a circle 'doing' grand allegro so you raise your voice to 'shout' 'Stretch your feet' 'Use your head' 'Faster arms' 'Keep In time' 'Keep your heels down' 'Where's that plie?' 'SHOULDERS DOWN!' 'USE THE FLOOR!' and all the rest of the time honoured corrections. Loud, good natured exhortation in a ballet class is not the same thing as giving a student a shouty 'dressing down' and making them feel bad. Small children may not appreciate that. It seems it's the older students who are 'shouted' at and perhaps mixing the tiddlers with teens is not recommended. The real puzzle and worry is the lack of exams. Not every school does performances, shows, competitions, nothing wrong with any of those, as an add on and a fun hobby, some children love dressing up and performing, others just quietly enjoy their weekly ballet class with none of that, but those which do also usually have EXAMS as a solid foundation for these. IMO teaching should be based on a defined, progressive syllabus from a reputable examining organisation (though of course 'free' work is incorporated too) and there are several good and sound reasons for this where young people are concerned? Yes ballet / dance / stage schools are businesses, and some are better than others. Any decent school will have a website or at least a FB page with the qualifications of the owner / Principal., anyone else teaching, and from which awarding body these qualifications were gained. At times there will be students in training, but these should be under supervision and not left alone to teach children. Here are a few reputable orgs. There are smaller and other orgs, these are the main ones. Exams include 'class' exams, grade exams, what used to be called 'majors' and now are 'vocational' exams for older and more serious students. ISTD (Imperial ballet and other dance genres) https://www.istd.org/home/ Cecchetti, ballet under the 'umbrella' of ISTD ballet https://www.istd.org/dance/dance-genres/cecchetti-classical-ballet/ BBO Dance https://bbo.dance/ Royal Academy of Dance (ballet) https://www.royalacademyofdance.org/ It could be that another nearby school does do exams, and will be willing to take your daughter for a weekly 'exam' class, see how she enjoys it, and she could also remain at the 'competition' school for now? See what develops. The existing teacher can hardly compialn if this is not what she offers.