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https://www.youtube.com/watch?v=2IIX2LFS_3I

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https://www.youtube.com/watch?v=hBkVVw84h58

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Question 1-  Did you struggle to look for a dance school that has professional ballet lessons on offer?
The results show that six students didn't struggle on finding a ballet school for them to train professionally at, four girls did struggle with finding a school. The results are very similar and i have found that the RAD syllabus is something that is rare compared to IDTA. This is something that i have found personally when wanting to find another dance school that focuses on the RAD syllabus. There is a place in the market for RAD qualified teachers to set lessons up in this area offering students prestigious ballet training. This also shows that IDTA training is a syllabus thats more popular to study than RAD. This is something that we need more of in the community. It is easier to get qualified in ITDA teaching as this is a course that you can do alongside a job. RAD teaching is a full time course that involves taking training in London and training in the RAD style.
Question 2- How far do you travel to attend you ballet classes?
From this question i was able to see the time that it makes the girls to get to there ballet classes. 6 out of 10 students had to travel over 20 minutes to get to there class, 4 out of 10 students travelled less than 20 minutes. This is something that has shocked me as the students that study RAD syllabus only travel around 10 minutes to there classes. I personally had to travel over an hour to find a school that suited myself that taught RAD ballet that catered unto advance grades.
Question 3- Do you feel at your age there are enough classes or workshops to suit your ability?
From this question, i was able to see if the girls felt there were enough classes that suited there age compared to when they were younger. 8 out of 10 girls think that there aren't enough classes or variety within there community. 2 out of 10 girls believe that there are enough opportunities for dance classes around the area. I personally feel like there aren't enough opportunities when it comes to advance ballet. As you can see from my research a lot of ballet lessons only go to a certain grade. This is something that i have been lucky enough to set up a joint business with my peer allowing and giving the opportunity for senior girls to extend there knowledge in ballet training.
Question 4- What syllabus do you study?
From this question, i am able to see what the most popular dance syllabus there is around the midlands area. This links to with with question 1, where i explain the different pathways teachers go down to teacher different syllabuses. RAD only give exams in ballet not in any other dance style this is normally one of the reasons why dance schools use IDTA as there main syllabus.
Question 5- How much is your ballet class?
From this answer i was able to learn about the prices that the girls are paying for there dance lessons outside of college. 6 out of 10 students pay £5 or less for there ballet lessons, meaning that 4 out of 10 people are paying £5 and more. This is something that will help me when i am planning on teaching when i am eventually qualified.
Question 6- Do you know your teachers qualifications?
The answers that i got back from the questionnaire really shocked me. This means that the girls are unsure what training there teachers have been through or accomplished to get them to a trained ballet teacher. I believe that the students need to know that teachers achievement, and also know the background of the teaching that they are paying and committing to.

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Question 6

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Question 5

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Question 4

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Question 3

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Question 2

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Question 1

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Year 2s Handbook

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Year twos brief

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-Assessment 1 Technique
-Danceworks (ballet, pointe, choreography)
-Assesment 2 Technique
-Unite (ballet and pointe)
-HE choreography

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Level 3 dance handbook- rules+ expectations

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Level 3 dance handbook- rules+ expectations

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Within this logbook there is information where the learners can get answers and help throughout there qualification. This includes...
-Induction Week
-College Rules
-Effective communication between the student and the college
-Understanding Assesements
-Performance opportunities
-Agreement of professional industry etiquette
-Financial Support
-Tutorial support
-Other college services
-Appeals and Complaints procedure
-Disciplinary procedure

Year 1s Handbook-

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Teaching strategies for practical subject, dance and ballet 

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Teaching strategies for practical subject, dance and ballet 

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"Effective dance teaching methods

by Ausdance National originally published on 20 November 2011 in Australian guidelines for teaching dance

Use effective and safe teaching methods

Consider:

the type of class (community, social, school, studio, professional etc)

participants' age, stage and needs

the dance style/genre

class size and venue.

Lesson planning

Consider:

the aim of class or teaching program

pre-testing for prior knowledge/understanding

skill levels and age

logical, suitable and safe progression beginning with warm-up and stretching

students’ emotional, physical and intellectual development and/or limitations

a graduated workload, i.e. frequency, intensity, duration and type of dance.

Create a positive learning/teaching environment

Make sure that the:

teaching is supportive, encouraging and non-threatening

goals are clearly stated

students respect the rights of others to be taught and to learn

students are given equal opportunities to learn and develop their dance skills

teachers encourage students to accept reasonable challenges and to take risks with teacher support

students support each other in challenging or risk-taking activity

cultural, gender and age differences and different physical and learning abilities are reflected in fair and inclusive teaching/learning practices.

Demonstrate positive communication skills

Discuss your goals and expectations of a class, program or course.

Give clear instructions, explanations and demonstrations in verbal, non-verbal, audiovisual and written forms.

Create a safe, friendly and positive atmosphere.

Adapt your language to suit the age and experience of students

Give regular verbal feedback that respects students and helps them develop as independent learners.

Help students to reflect, evaluate and share knowledge.

Be a positive role model

Show your love for dance with energy and enthusiasm.

Set clear goals and expectations.

Use language that shows respect for students and staff.

Teach safe dance principles; non-judgmental attitudes; positive body image; punctuality, planning and preparation.

Pedagogy—develop and use dance teaching practices

Level 1

Respect students’ personal space.

Encourage a healthy awareness and understanding of the physical nature of dance.

Use verbal explanations and show correct stance/movement.

Before any physical contact, tell the student why and how contact is needed.

Show different approaches to a task, movement or problem solving exercise.

Allow exploratory learning by encouraging students to talk about ideas and processes.

Use positive approaches that give students information, confidence, encouragement and a willingness and desire to practice and improve their dance skills.

Be sensitive to social, economic and cultural contexts, expectations, language and themes.

Level 2

Recognise and be sensitive to the external lives/pressures that students (particularly adolescents) are experiencing.

Monitor issues that relate to dance training and talk with a student about concerning symptoms.

If needed, discuss issues with colleagues, parents and carers, while being sensitive to a student’s right to privacy.

Be aware and adhere to teacher responsibility to Mandatory Reporting regulations (check your state legislation).

Refer students and parents/carers to other dance and health professionals with sensitivity.

Use terminology and explanations which are understood by students.

Include assessment as an informal or formal gauge of progress.

Place dance as an art form in its historical, social and cultural contexts according to the style taught, and the training level.

Help students learn to relate dance practice and theory.

Give students learning opportunities which develop and recognise different learning styles.

Use various teaching resources and modes of learning.

Self-development and career development

Level 1

Invite and welcome honest feedback from parents, students and colleagues.

Make time to talk with students, course leaders, school or institution leaders and parents or carers about issues affecting individual students, classes or groups.

Find opportunities for learning and development.

Find opportunities for learning and certification as a dance educator.

Learn about lifelong learning practices.

Professional development

Maintain knowledge and expertise in your chosen genre and style of dance; develop a broad knowledge of dance; enrich your qualifications.

Level 1

Attend performances and read dance-related material.

Develop your awareness and knowledge of different stage crafts.

Enroll in teaching, stage craft, health, fitness and business management courses.

Encourage employed staff to do professional development.

Level 2

Make sure your professional knowledge is current and qualifications are upgraded through a teaching or syllabus organisation.

Attend professional development workshops or short courses.

Maintain or subscribe to a professional journal or library.

Encourage self-expression and creativity

Level 1

Include regular times for students to use imagination, expressive skills and creativity.

Teach students the elements of composition using the relevant style or genre.

Use different creative stimuli and models of self expression.

Use a developmental approach (creative scaffolding) to build creative skills along with technique development.

Include time to develop performance skills.

Give students access to other teachers or artists (workshops, summer schools and special events) to stimulate creativity through new ways of thinking about dance.

Recognise the subjective nature of creativity.

Level 2

Help students develop independence, problem-solving and decision-making skills.

Recognise individual learning styles and offer choices so each student has practice with problem solving and decision-making.

Make sure that programs/curriculum let students choose class tasks, projects or electives that allow creative growth.

Use technical training as a tool for expressive development and creative growth.

Give students tools to assess their expressive and creative development.

Give students opportunities and support their interest in dance experiences beyond their educational setting

Encourage use, review and criticism of dance-related material

Facilitate or encourage attendance at rehearsals, performances, exhibitions and performances in dance and other art forms

Support students to audition for events or performances or take part in activities/workshops where they can work with other teachers, choreographers or directors to enhance their

Understanding of creative processes, performance and professional expectations.

Use assessment and reporting procedures

Note: There are teaching situations such as community and recreational dance instruction which do not require or expect formal assessment and reporting.

Assess the work of students against criteria

Level 1

Give students regular verbal or written feedback that includes praise and identifies areas for improvement.

Let students discuss and receive feedback about work in development (technique, creative work and theory).

Give progress reports to parents and students.

Before assessment, make sure students understand the assessment measures.

Use external standards or assessors to moderate your assessment process.

Deal privately with sensitive assessment and achievement issues.

Give parents and students an accurate assessment of dance potential

Level 2

Give regular verbal and written descriptive assessment (which includes marks or grades), and some independent assessment.

Give honest opinions about a dancer’s potential or readiness to pass an exam or succeed in an audition.

Use criterion-based assessment which can be complemented by subjective opinions, references and statements.

Provide vocational support for training and careers

Level 2

Encourage students to complete their school education and to develop interests both within and outside dance.

Give students resources, structures, educational counselling that helps them complete Year 12 and receive university admission ranking.

Encourage students to gain experience in dance and theatre related work.

Give students access to professional career counselling.

Give students work, career and transition planning tools."

https://ausdance.org.au/articles/details/effective-dance-teaching-methods

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Behaviour management in a practical subject 

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Behaviour management in a practical subject 

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Research
"1. Praise

Support staff pride themselves on championing pupils’ strengths, so I truly thought this one would be easy. However, when presented with challenging behaviour, I was amazed at how quickly I lost sight of the positives and found the word "don’t" leaving my mouth all too often. By consciously focusing on praising positive behaviour, confrontation was removed and pupils were able to conform without losing face.

2. Partial agreement

This technique seemed to come far more naturally. I suppose the time constraints of life teach you to placate people’s needs while achieving your own aims. When faced with a plethora of excuses, the simple phrase, "I understand, but I need you to…" is empathetic and assertive in equal measure. By showing an interest rather than dismissing concerns, the risk of comments such as "you don’t care" is reduced and interactions become less antagonistic.

3. Positive language

While on lunch duty, I began to see the relevance of this strategy. I am forever repeating negative commands like "don’t run" . Inevitably, this often leads to argumentative exchanges in which pupils profess their innocence or regale me with their version of the school rules. Although it requires some practice, I have discovered that reinforcing the rules positively elicits a far more constructive response.

4. Providing choice

Now, this one was easy — or so I thought. I always give pupils a choice: behave or get a warning. However, I soon realised that this did not really offer a choice at all; punishment was the only alternative. By offering two positive outcomes, such as "put that on my desk or in your bag", pupils retained a level of control, allowing them to follow instructions on their own terms.

5. Preventing pleading

This was by far the hardest change to make. I believe that respect needs to be earned and have always regarded politeness as a crucial aspect of this. Ending requests to pupils with "please" had become second nature and proved a difficult habit to break. The theory of this subtle adaptation is that "thank you" is more effective at closing down a conversation and therefore reduces opportunities for opposition. Although it has taken a lot of practice, I have definitely found that the latter commands greater authority."

https://www.tes.com/news/five-ps-positive-behaviour

"In order to create a positive learning culture within a school, effective interventions need to be implemented. We will consider the following interventions:

effective classroom management

positive relationships

the classroom.

The ‘Tips for teachers – practical advice‘ section (pages 92–99) also sets out some practical tips for teachers to help them with their personal effectiveness.

Effective classroom management

Effective behaviour management is based on the teacher‘s ability to successfully create a well-managed, structured classroom environment so that learning can occur. Teaching a number of children with different needs, behaviours and attention spans can be challenging. However, when a positive learning culture is created, the children will learn better because they will know what is expected

of them.
Well-managed classrooms:

begin the year with a set of rules and routines which are understood by all children

have agreed rewards and positive reinforcements

have set sanctions for misbehaviour

have a selection of options for dealing with disciplinary problems

make use of their physical space

have well-planned lessons

encourage respect and develop positive relationships.

Tips: Behaviour theory
A child will repeat a behaviour if it is being rewarded.A child will be less likely to repeat a behaviour if sanctions areissued.If there is no consistency with rewards and sanctions then it is likely the child will continue to display the unwanted behaviour.The more attention the teacher gives to a child‘s behaviourthe repeated.more likely it is that that behaviour will be"

https://gov.wales/sites/default/files/publications/2018-12/practical-approaches-to-behaviour-management-in-the-classroom-a-handbook-for-classroom-teachers-in-primary-schools.pdf

"Rules

Rules create clear expectations for the children and need to define what is acceptable behaviour. These must be reinforced on a regular basis and placed in a visible place on the classroom wall. Include the children in developing the rules as this will give them ownership and they will be more likely to accept their terms and conditions and therefore comply.

Tips: Rules
When designing your classroom rules, they should be: – clear– comprehensive – enforceable.Write the rules in a positive way and avoid using ‘don‘ts‘. For example, ‘I will walk sensibly around the school‘ rather than ‘Don‘t run around the school‘.Children require understandable directions. Hence, the rules need to be specific and explainable, e.g. telling children to ‘Be good‘ or ‘Don‘t do that‘ is too vague.Display the class rules and go over them with the children on a regular basis.Check children‘s understanding of the rules.Explain the rationale behind the rules.Be consistent in enforcing the outcomes for breaches of the rules when an incident occurs.

Routines

Routines help to minimise behavioural challenges in the classroom and are key to a well-managed and organised classroom. Children enjoy routines that are easy to understand and easy to accomplish, yet flexible enough to alter if circumstances change. Research shows that most behavioural problems result from a lack of consistent classroom routines.

8 Practical approaches to behaviour management in the classroom

Tips: Routine
Display the class routines and go over them with the children on a regular basis.Check children‘s understanding of the routines.Explain the rationale behind the routine.Model the routine or procedure for the children.Be consistent. Take time re-enforcing the routines because when they are established at the beginning of the year, the entire rest of the year will be more enjoyable and productive for both teacher and children.PraisePraise is an effective way to encourage children to engage in the desired behaviour as it focuses on a child‘s effort rather than on what is actually accomplished. When educators give genuine praise that is specific, spontaneous, and well-deserved, it encourages continuous learning and decreases competition among children.Peer praiseEncouraging children to praise each other not only creates a positive, fun classroom environment but also motivates individuals to make positive choices. Children need to be taught how to praise their peers by clapping or cheering when they see a fellow child doing something positive.Tips: Effective praise
Make sure you define the appropriate behaviour when giving praise.Praise should be given immediately following the desired behaviour.Vary the ways in which you praise.Relate praise to effort.Encourage perseverance and independence."

https://gov.wales/sites/default/files/publications/2018-12/practical-approaches-to-behaviour-management-in-the-classroom-a-handbook-for-classroom-teachers-in-primary-schools.pdf

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Throughout this process i have had the opportunity of assessing the girls in there technique assessments. I found this challenge, extremely hard at first and needed some help in how i was meant to be setting the comments out and what components i was making the students on. My notes were then looked at at home with the brief making them against it whilst making a decision of the grade.

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This is a brief that the girls will have all there tasks and dates for what they are being assessed on throughout the year.
Year ones brief-

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How do you achieve a distinction in at ballet Level three?

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How do you achieve a distinction in at ballet Level three?

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Year one -
To achieve a distinction in year one you need to be able to...
- Demonstrate awareness of classical ballet technique with good turnout, classical ballet body line and correct alignment.
- Use the correct terminology throughout practical sessions
-Apply the correct classical ballet technique to perform combinations of movement through progression.
-Perform with precision, clarity of the line, expression, encompassing work.

Year two-
-Interpret choreography and apply through classical ballet technique.
-Demonstrate how to refine and improve classical ballet technique.
-Use the correct skills and classical technique in rehearsal time to embody a role.
-Perform a classical ballet piece with precision, clarity of lines and expression, making awareness of the audience.

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"Lauren has demonstrated excellent subject knowledge, evident in her thorough and detailed planning and in class when delivering ballet technique.
Lauren has taken on board the college lesson planning policy ensuring she has completed a detailed lesson plan showing learning objectives, outcomes and differentiation. Lauren has demonstrated she can complete a SOW and plan for the year of teaching.  She has followed the specification set by BTEC and applied the learning aims to her objectives. Lauren has ensured her practical sessions have enabled learners to reach the criteria set by BTEC. All learners have been challenged and have progressed with their ballet technique, some improving their grade as the year has gone on.  Lauren has provided sound verbal and written feedback to the learners and has consistently provided learners with extra help in her own time.
Choreographies created have been to a high standard and have provided the learners the opportunity to learn reconstructive work as well as own choreography. Lauren has identified learners strengths and weaknesses and has taylored sessions to suit each individual needs.
Lauren has demonstrated good behaviour management setting high expectations within the classroom gaining the respect of all learners. She has introduced ballet etiquette into the studio and has prepared learners for industry and auditions.
Lauren has built a good rapport with the learners and understands each individual needs. Learners are confident to approach Lauren and ask questions or seek advice regarding their ballet technique.
Each observation undertaken Lauren has achieved good to outstanding set against Ofsted grading criteria. Lauren has used her extensive ballet knowledge and training to deliver a high ability Ballet session. She has shown commitment and dedication and will make a great teacher of dance."

Zoe Hopkins

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"Everytime, you teach us you always ensure that everyone is comfortable with the choreography you’ve given to us. You continuously repeat the choreography and break it down to a pace that makes it easier for us to understand as well as remember. When teaching us, you also treat us as if everyone within the room is equal including yourself whilst still having authority creating a relaxed feel when learning the choreography."

"I have found Lauren’s teaching helpful fun and challenging, each lesson being organised and pre planned so they run smoothly. I found her ballet and pointe lessons extremely useful as I have gained strength and technique that I can use in the future. Each lesson was started with the correct warm up to prevent any injuries and she is aware of everyone’s strengths and weaknesses. Lauren’s choreography was even more fun to create as again each lesson was pre planned and she knew what she was doing, this made it easier and less stressful to learn. She’s always on time and I really enjoy being apart of her piece as it pushes me as a dancer but is also enjoyable.  I feel Lauren is a very fair and organised teacher and her lessons are great."

"I felt that our ballet lessons had more structure to it when you begin teaching . I felt that it a was a positive lesson that I was able to make mistakes and learn from them and improve weekly. Each lesson I felt I learnt something new and thought you pushed me and the rest of the girls to work to the best of our ability. My overall technique has improved and I’m so much more confident to perform aswell as learn. As an individual I struggle with keeping attention for the full lesson and end up missing things but you broke things down so I understood it all and changed things throughout so we were never stuck on one specific thing for an hour and half. Your teaching style of recording things and watching videos back helped me so much to see my faults and practice things at home. You filled us all with confidence that I feel we lacked before."

"Ballet Positives:
-Lauren guides students in the right way, she will always tell people when they are going wrong and will give them advise to improve.
-I enjoy her teaching as she is calm and doesn't allow students to stress. She's always helping us!

Ballet Negatives:
-Be more strict in some situations, for example when people aren't wanting to participate for no reason, or are being rude towards you.

Pointe Positives:
-Lauren has pushed me further in pointe to the point of where I feel really comfortable when performing now.
-Always allows us to have an input so that we are comfortable with what we are doing.
-Never forces dancers to do anything they do not feel comfortable with

Pointe Negatives:
-Include more strengthening exercises at the start of the lessons for dancers who feel they need it"

“Lauren is a very confident teacher and has certain characteristics which help her teaching style, this shows through her teaching as she can be professional and very well mannered, whilst also being down to earth and easy to get techniques across. For Example, ballet she is very confident in the style and has knowledge to back her in giving good feedback to each dancer and ensuring the technique is being used. I also like the way Lauren adapts choreography throughout lessons, although I feel some may struggle with this change, I quite enjoy the change in movements. For choreography, Lauren has very unique ideas and has good ways of incorporating them into our movement. She is very reliable and has helped me to become comfortable with her teaching. Overall I feel Lauren is an excellent teacher with confidence and professionalism, she has helped me with my ballet technique well.”

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This is something that i made my dancers sign before coming to pointe class due to health and safety reasons.

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This is a contract is for my six dancers for the 10 weeks that i will be teaching them for. This includes terms and conditions and the dates of the rehearsals. This will allow me to have my dancers for all the rehearsals. Myself and the students have all signed the contracts.

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Within my classes, i except my students to respect me throughout the classes. As im a student teaching, my worry was that i wouldst get the respect that is needed to run a class. From the first lesson that i taught i gained respect from the students with an approach that shows a teacher/ student relationship. Although, i do believe that there were students that tested this, but i dealt with this in a way that slowly gained the respect back. After observing lessons myself i have adopted the same approach as my tutor.

At Burton and South Derbyshire college there is a policie where if rules are broken there are consequences. This is a booklet that has been created by the head of the college with rules and expectations of the students . This is something that has to be signed by every student before enrolling onto any course at Burton and South Derbyshire College.

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I have found that whist teaching these 3 workshops the best tactic to keeping the girls focus is to keep them engaged throughout the lessons making sure that they don't have time to stand around not on task. I have found that the girls are generally interested in the subjects that i am teaching and i believe that this is because they are focused and want the most out of the subject. One technique that i use is showing the girls tips and tricks to improve, these are normally unique and are taken from my own experience. The girls are always interested in hearing different ways on improving there technique. I also add in a sense of competition, by making the girls compete against each other for the best movement.

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This is the scheme of work that i was given at the start of the year. From this i was able to go through and plan my lesson plans using the aims and topics.

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Research-
Parents often seem in a rush to enroll their children in ballet classes. However, formal ballet training should not be introduced until the age of 8. Before then, a child's bones are too soft for the physical demands and exercises of ballet. It is actually possible to delay training until the age of 10 or 12 and still have a great future in ballet.

Dance for All Ages

Pre-ballet classes are often offered to dancers between the ages of 4 and 8. Most teachers believe that the attention spans of 3-year-olds are too short to deal with, and prefer parents to wait until a child is at least 4. Pre-ballet classes have become quite popular in private dance studios. The classes are loosely organized and simple. Children may be encouraged to move around the room to the rhythms of different styles of music. Some pre-ballet classes may even introduce students to the five positions of ballet, stressing the importance of proper posture.

Many dance schools offer creative movement classes for very young children. Creative movement classes are much like pre-ballet classes, as they serve as an early introduction to formal ballet. Creative movement provides a way for children to explore movement through music. This creative movement involves the use of body actions to communicate certain actions, emotions, or feelings. By following a teacher's instructions, a child can develop physical skills as well as encourage the use of imagination.

https://www.thoughtco.com/what-age-child-begin-ballet-classes-1006602

Time for Training

Is there an ideal age for starting ballet?

Not many principal dancers can claim their careers happened by accident—but Kevin D. Bowles of National Ballet of Canada can. At age 14, he volunteered to work backstage at a high school musical but signed up to audition for a part by mistake. “I was too embarrassed to admit it, so I auditioned,” remembers Bowles, a principal character artist with NBC. “Then I landed a major role!” To get him stage-ready, the director put Bowles into ballet class. Immediately, he fell head over heels for dance.

But Bowles had a challenging road ahead. Starting ballet as a teenager is difficult for anyone with professional aspirations; most pros step up to the barre long before they hit puberty. Youngsters have not only the advantage of more malleable bodies, but also the benefit of time. It takes years to develop the strength and flexibility required for ballet, and companies tend to hire teenage apprentices. So what is the ideal age to begin ballet? Is it always preferable to get an early start? Dance Magazine investigates.

An Early Start
Starting ballet as a young child has both physical and mental advantages. Studies suggest that young minds are more adept at learning new languages, and ballet is definitely a language. “Kids certainly retain new information better than adults,” observes Damara Bennett, director of the School of Oregon Ballet Theatre. (The school begins pre-ballet at age 4, and full ballet classes around 6.)

According to Bennett, a main advantage of starting early is that young bodies are ideal for cultivating long lines and strong technique. “If kids don’t have the perfect feet and they start young enough, you have time to make their feet better and more limber,” she says. “But by the time they’re teenagers, there is not as much room for change.”

Jennie Somogyi, a New York City Ballet principal who began training at age 7, agrees. “As far as developing your muscles, the younger the start the better,” she says. “Ballet involves a lot of small muscles in addition to major muscle groups, and it can take years to build them.” Somogyi’s first teacher asked her to stop gymnastics when she got serious about ballet so that her body would develop in the “ballet” way.

The Washington Ballet’s Amanda Cobb ran into this problem when she transitioned from gymnastics at the late age of 12. Despite her great natural facility, she had to relearn how to move her body. During her first summer at the School of American Ballet, she was 14 but placed in a level with younger students. “I had all this flexibility, but I couldn’t do anything,” she recalls. “Their bodies would go in perfect positions. When I looked in the mirror, my body didn’t look like that.”

For the professionally oriented, the ideal starting time is almost a question of math. It takes about 12 years to produce a company-ready dancer, according to Bennett. “When they start at 6, they’re learning, say, 10 different steps, and you have to go so slowly for their bodies to absorb it,” she says. “Well, it’s the same for adults. They have to start at the beginning, too.” If companies hire dancers in their mid- to late teens (Somogyi joined NYCB at 15, after studying at SAB for six years), it only makes sense that training should begin at least a decade prior.

Some schools do it a bit differently. At White Lodge, the lower division of England’s Royal Ballet School, students don’t begin full-time training until the relatively late age of 11. Prior to that, they take a weekly class at one of RBS’s associate schools. By the time they audition for White Lodge, most are still dancing at an elementary level.

But at age 11, the training intensifies, with daily classes and girls going on pointe halfway through their first year. It should be noted, however, that White Lodge students are hand-selected from approximately 1,000 applicants for about 25 spots. “We look mainly for musicality, coordination, flexibility, hyper-mobility, an aesthetic to their lines—and that spark that you can’t teach them,” says assistant director Jay Jolley. “But a child at that age can still change drastically in 12 months.”

Assessing Each Child
There are a number of issues to consider when determining whether a child is ready to begin.  “It depends on their focus,” says Darla Hoover, associate artistic director of both Central Pennsylvania Youth Ballet and Ballet Academy East in New York City. Every child is different, and some may be too young to take direction. “You don’t want them so young that they can’t stand still.”Another concern: Kids can acquire bad habits just as easily as they acquire good ones. “Each time a child does something, it should be correct,” says Hoover. “If they use the wrong muscles now, they’ll have to unlearn it later.”

For students who don’t have the maturity for a full ballet class, pre-ballet is a good alternative. Typically, these classes cover the basic ballet positions but focus on creative movement, posture, etiquette, and coordination, making for an easier transition into full ballet classes.

Late Bloomers
Late starters like Cobb and Bowles face a special set of challenges—some of which are psychological. “When I was 16, I was put in with a bunch of 13-year-olds, and they are not kind at that age!” Bowles remembers. “Everyone was laughing at me and saying, ‘Who is the galoot who doesn’t even know what passé is?’ ”

But starting from scratch is what latecomers need. “Sometimes schools put new students with their own age group. That’s a recipe for disaster,” says Hoover. “When they start older, they might excel faster, but they still have to swallow their pride and take class with the 8-year-olds.”

Late-starters also need the patience to let their bodies reshape. “One main issue is flexibility,” says Evan Williams, a physical therapist at Mosaic Physical Therapy in Los Angeles, CA, and a former dancer with Birmingham Royal Ballet. With diligence, teenagers can increase their extension. “As you get older, there is less elastin in the muscles, but that’s when you’re 30 or older,” Williams says. “For teens, there is definitely still building being done.”

Is there a silver lining for latecomers? Bowles thinks so. He believes that starting late, he had the maturity to understand what he was getting into. “A mental strain kicks in around age 25. I’ve seen a lot of dancers get burned out,” he says. “I came in a little more mature, less able to be disillusioned. I could get my mind around this life.”

Kristin Lewis is a dancer and writer in NYC.

https://www.danceacademyusa.com/2015/03/04/time-for-training-is-there-an-ideal-age-for-starting-ballet/

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Throughout level three ballet

"Lauren has been a reliable workshop leader attending sessions on time and has been prepared for the sessions. She has used her background in classical ballet to inspire and challenge the level 3 learners to achieve a higher level of ballet technique. At the start of the year she was quite nervous but now she has embraced teaching is isn’t afraid to challenge learners and sets high standards. She encourages students to achieve their potential and gives constructive feedback consistently to all students. Lauren has embraced the teacher role by sticking to deadlines, leading assessment and writing end of unit feedback."

Gemma Haley Feedback

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Specifications- Level2, 3. Dance Education...

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Specifications- Level2, 3. Dance Education...

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https://qualifications.pearson.com/en/qualifications/btec-nationals/performing-arts-2010.html#tab-4

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- Advance Pointe
-Level 3 Ballet
-Choreography

Level 2/3 Ballet-
I will be teaching a class of students classical ballet technique for two terms and also two pieces of choreography for dance works and unite dance festival. I will be able to teach this class once a week, grading them on there technique assessments and performance pieces.

Advance pointe work-
I will be teaching this class once a week for an hour and a half. I will be choreographing pieces and teaching technique to the students throughout the year. I also will be giving them strengthening exercises that will help the students to be able to strengthen muscles that they have never been aware of before. I will be including sections of progression in ballet training allowing them to learn about there bodies and what they need to do to look after them, voiding injuries.

Choreography-
I have chosen six dancers from level three for me to choreography my work on. I will be able to use these dancers a for a piece i am creating that is based on a true story thats focused on infertility. The style of dance is contemporary and will be 10-15 minutes long. This something that i will be doing for 10 weeks and will be performed in HNC/D Showcase.

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Throughout this process i am able to mark the students on ...

Technique one Assessment

Dance Works Performance

Technique two Assessment

Unite Dance Festival

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Show Week

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Induction Week

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How do you run your ballet class?
I run my ballet lessons very different depending on what is planned for the term. For example, when teaching choreography for a piece that will be included in a show is taught more based on performance not so much technique. The main aim of a performance piece is including all the technique that has been learnt in the past technique assessment that was learnt in the previous week. The style of the classes are very different but still have the same level of discipline and control. A technique class is very structured and has more of a set plan and i can plan this to time. The time scale for landing choreography i have found very difficult as its very rare to get a class that are all present to class. Where as the exercises are the same each week and are set for the assessment. I start all my technique lessons with barre exercises and end the barre with a good stretch preparing them for centre exercises. Moving from the barre, i then make sure that the dancers are warm for develops and elevation work. They then perform the centre work, that leads on to corner exercises then ends with a reveranse. When rehearsing choreography the girls will perform a floor barre or a quick barre section before running the piece, this makes sure that all dancers are warm and prepared for the lesson. I will allow the girls to stretch what they feel needs to be stretched and then ill start the class. Closer to the show i will make sure that all girls are warm and stretched before entering the lesson, minimising all chances of injuries.

What teaching style have i adopted?
I have been taught by many different ballet teachers, as i have been going through this process , it has allowed me to really evaluate what sort of teacher i want to be. I would say that i expect a lot from my students in terms of attitude and effort. I believe that the only way a dancer will improve is by putting the time and effort into the style. The group of students that are within the class, didn't necessarily have a love for ballet. My main aim was to pass on my love for the style onto the students making sure that they develop there technique the same way that they develop there love. Something that stood out to me when first teaching this group is the lack of ballet etiquette. To get this etiquette involved in the lessons, i needed to adopt a strict approach making sure i set the boundaries straight from the start of the year when assessing the students deciding on which level they would suite best. I do also want the relationship with the students where they can ask me questions and help when they feel like they need extra help. I also want to make the students feel like they can ask questions within the lessons. From past experiences i feel like the students need to be able to ask questions and not feel like they can approach me. As the development is something that is between the students and teacher.

Research other teaching styles, How do you compare?

Effective dance teaching methods

by Ausdance National originally published on 20 November 2011 in Australian guidelines for teaching dance

Use effective and safe teaching methods

Consider:

the type of class (community, social, school, studio, professional etc)

participants' age, stage and needs

the dance style/genre

class size and venue.

Lesson planning

Consider:

the aim of class or teaching program

pre-testing for prior knowledge/understanding

skill levels and age

logical, suitable and safe progression beginning with warm-up and stretching

students’ emotional, physical and intellectual development and/or limitations

a graduated workload, i.e. frequency, intensity, duration and type of dance.

Create a positive learning/teaching environment

Make sure that the:

teaching is supportive, encouraging and non-threatening

goals are clearly stated

students respect the rights of others to be taught and to learn

students are given equal opportunities to learn and develop their dance skills

teachers encourage students to accept reasonable challenges and to take risks with teacher support

students support each other in challenging or risk-taking activity

cultural, gender and age differences and different physical and learning abilities are reflected in fair and inclusive teaching/learning practices.

Demonstrate positive communication skills

Discuss your goals and expectations of a class, program or course.

Give clear instructions, explanations and demonstrations in verbal, non-verbal, audiovisual and written forms.

Create a safe, friendly and positive atmosphere.

Adapt your language to suit the age and experience of students

Give regular verbal feedback that respects students and helps them develop as independent learners.

Help students to reflect, evaluate and share knowledge.

Be a positive role model

Show your love for dance with energy and enthusiasm.

Set clear goals and expectations.

Use language that shows respect for students and staff.

Teach safe dance principles; non-judgmental attitudes; positive body image; punctuality, planning and preparation.

Pedagogy—develop and use dance teaching practices

Level 1

Respect students’ personal space.

Encourage a healthy awareness and understanding of the physical nature of dance.

Use verbal explanations and show correct stance/movement.

Before any physical contact, tell the student why and how contact is needed.

Show different approaches to a task, movement or problem solving exercise.

Allow exploratory learning by encouraging students to talk about ideas and processes.

Use positive approaches that give students information, confidence, encouragement and a willingness and desire to practice and improve their dance skills.

Be sensitive to social, economic and cultural contexts, expectations, language and themes.

Level 2

Recognise and be sensitive to the external lives/pressures that students (particularly adolescents) are experiencing.

Monitor issues that relate to dance training and talk with a student about concerning symptoms.

If needed, discuss issues with colleagues, parents and carers, while being sensitive to a student’s right to privacy.

Be aware and adhere to teacher responsibility to Mandatory Reporting regulations (check your state legislation).

Refer students and parents/carers to other dance and health professionals with sensitivity.

Use terminology and explanations which are understood by students.

Include assessment as an informal or formal gauge of progress.

Place dance as an art form in its historical, social and cultural contexts according to the style taught, and the training level.

Help students learn to relate dance practice and theory.

Give students learning opportunities which develop and recognise different learning styles.

Use various teaching resources and modes of learning.

Self-development and career development

Level 1

Invite and welcome honest feedback from parents, students and colleagues.

Make time to talk with students, course leaders, school or institution leaders and parents or carers about issues affecting individual students, classes or groups.

Find opportunities for learning and development.

Find opportunities for learning and certification as a dance educator.

Learn about lifelong learning practices.

Professional development

Maintain knowledge and expertise in your chosen genre and style of dance; develop a broad knowledge of dance; enrich your qualifications.

Level 1

Attend performances and read dance-related material.

Develop your awareness and knowledge of different stage crafts.

Enroll in teaching, stage craft, health, fitness and business management courses.

Encourage employed staff to do professional development.

Level 2

Make sure your professional knowledge is current and qualifications are upgraded through a teaching or syllabus organisation.

Attend professional development workshops or short courses.

Maintain or subscribe to a professional journal or library.

Encourage self-expression and creativity

Level 1

Include regular times for students to use imagination, expressive skills and creativity.

Teach students the elements of composition using the relevant style or genre.

Use different creative stimuli and models of self expression.

Use a developmental approach (creative scaffolding) to build creative skills along with technique development.

Include time to develop performance skills.

Give students access to other teachers or artists (workshops, summer schools and special events) to stimulate creativity through new ways of thinking about dance.

Recognise the subjective nature of creativity.

Level 2

Help students develop independence, problem-solving and decision-making skills.

Recognise individual learning styles and offer choices so each student has practice with problem solving and decision-making.

Make sure that programs/curriculum let students choose class tasks, projects or electives that allow creative growth.

Use technical training as a tool for expressive development and creative growth.

Give students tools to assess their expressive and creative development.

Give students opportunities and support their interest in dance experiences beyond their educational setting

Encourage use, review and criticism of dance-related material

Facilitate or encourage attendance at rehearsals, performances, exhibitions and performances in dance and other art forms

Support students to audition for events or performances or take part in activities/workshops where they can work with other teachers, choreographers or directors to enhance their

Understanding of creative processes, performance and professional expectations.

Use assessment and reporting procedures

Note: There are teaching situations such as community and recreational dance instruction which do not require or expect formal assessment and reporting.

Assess the work of students against criteria

Level 1

Give students regular verbal or written feedback that includes praise and identifies areas for improvement.

Let students discuss and receive feedback about work in development (technique, creative work and theory).

Give progress reports to parents and students.

Before assessment, make sure students understand the assessment measures.

Use external standards or assessors to moderate your assessment process.

Deal privately with sensitive assessment and achievement issues.

Give parents and students an accurate assessment of dance potential

Level 2

Give regular verbal and written descriptive assessment (which includes marks or grades), and some independent assessment.

Give honest opinions about a dancer’s potential or readiness to pass an exam or succeed in an audition.

Use criterion-based assessment which can be complemented by subjective opinions, references and statements.

Provide vocational support for training and careers

Level 2

Encourage students to complete their school education and to develop interests both within and outside dance.

Give students resources, structures, educational counselling that helps them complete Year 12 and receive university admission ranking.

Encourage students to gain experience in dance and theatre related work.

Give students access to professional career counselling.

Give students work, career and transition planning tools.

https://ausdance.org.au/articles/details/effective-dance-teaching-methods

How do you keep your dancers interested in ballet?
First, i had to get the girls to enjoy the style as when i first started teaching the girls they all had mixed emotions about ballet. I feel like as i have been teaching, the girls have made it clear for there dedication and communication that they are enjoying the style. I have found that some of the students give up easily and find learning new techniques very intimidating. This is something that i have been focusing on and finding different exercises to use, for the students to understand there bodies when performing class. The students also deserve to have plenty of praise as this motivates them to strive for improvement. Making the classes, different is also something that i have been trying to focus on. Although, this its hard when you have set work to teach, but i try and use different method of feeling the muscles for example include different exercises that link with the set work. I also try and explain what the benefits are for each exercise so they know what they are working towards. Having an end goal is something that i feel keeps them interested and motivated throughout the lessons. I also include a slight competitive section where the girls try there hardest to perform as many pirouettes as possible. Competition is something i believe really works on the ages of the students.

How do you challenge your dancers?/ How do you differentiate with mixed abilities?
This is something that i found very hard and have had to have some guidance with. Although i am teaching the top set of ballet students, there is still a large difference of levels. I have been able to adapt my technique lessons by making sure there are options for abilities. For example, taking legs to 90 degrees instead of above this would be the difference between higher class and lower class. Lower class would take there legs 45 degrees or lower. Although i do change the level of work slightly i do still encourage the students to challenge and push themselves for the best outcome. I also challenge my students by giving them advance movements that will push them and understand the amount of work that professional ballet dancers have to put in to achieve the movements.

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Does Ballet enable you to be a versatile dancer? How? Does it help Other unit? If so which ones and why? 

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Does Ballet enable you to be a versatile dancer? How? Does it help Other unit? If so which ones and why? 

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In my opinion, i feel like ballet is the basis of many dance styles. The classical ballet positions (First, second, third, fourth, five) are used throughout many different styles, especially contemporary. Martha graham is a good example of this as she focuses on extensions and making sure that her work is very light-footed and has elements of being graceful in it. When you think of all the different dance styles there are, all incorporate plies and tendus within there warm ups. The ballet language that is used within ballet class can be used in other styles, such as jazz. They could use the terminology like pirouette with can be described as a turn and a kick can be described as a grande battement. I would say that hip hop dance is one style where ballet wouldn't really benefit the technique but could potentially improve flexibility. Ballet is based on holding posture and hip hop is about letting your body go and relax into the movement. Also, ballet teaches you structure, most ballet classes start at the barre and finish with corner exercises. The order of the exercises are the same and always finish with a reverance showing ballet etiquette. Most professional dance schools recommend there dancers to take 1-2 classes of ballet a week, to help with there technique. Musicality is also a massive factor towards ballet and also helps with other styles. Classical music is the basis of many different sty

Terminology

Ballet is like the mother of all dance techniques. Most Western styles of dance today can be traced back to ballet and its codification has been extremely influential in all styles of dance.

Many dance techniques borrow from ballet’s French terminology. For example, the basic foot positions such as 1st position, 2nd position, etc., and words such as plié and tendu are used in most dance classes. Learning these basics in a ballet class and practicing them regularly will give you a greater understanding of the language used to describe technical movements in all kinds of dance. Additionally, other techniques outside of ballet will also codify their style, so it is important to understand the difference as well as the reference point.

Almost every style of dance will include pliés and tendues in their warm up. Other techniques, such as jazz or modern dance, will also borrow terms such as pirouettes or battements to describe turns or high kicks. However, the way in which they are done may differ between styles of dance.

Technique

Taking ballet class in addition to your other techniques will always give you a good base line of overall dance technique.

Ballet is linear; emphasizing form, extension, and lightness in the body. This can clearly translate well into certain styles of jazz dance and modern dance (such as Horton or Graham Technique).

However, other styles of dance, such as release technique, hip-hop, and others, will require you to throw out all of that ballet technique. But knowing these opposing techniques as a dancer will only enhance your movement quality, enabling you to become a more versatile dancer.

Ballet is also a structural technique that has a defined form and general class outline. When you work at the barre, you generally perform each exercise on the right and left side. The same is true for the rest of class—petit allegro, adagio, and grand allegro.

In other techniques, less time may be spent on balancing the coordination of both sides of the body, as more time may be spent on larger center combinations. However, this structure of balanced body integration is essential to being a well-rounded dancer. When you are working towards leveling out your flexibility, strength, and coordination of right and left sides in ballet class, you will be able to adapt to choreography in any discipline with ease.

Ballet dance is also a great way to train your musicality as a dancer. Musicality is your awareness of the music and rhythm while you dance. It goes beyond just staying on the beat of an eight count phrase; musicality emphasizes how you can accent the music accordingly through your specific movement. Musicality training will help improve your sense of tempo (i.e. whether something is fast or slow). It may also determine whether something is performed sharply or more fluidly depending on the rhythm or melody of the music. This will enhance your ability to understand different movement qualities in the body that may be asked of you outside of ballet.

Use Ballet To Improve Your Modern Dance Technique

So how can you use ballet to improve your skills in other dance techniques?

1. Take a ballet class at least 1-2 times per week if ballet is not your focus.

2. Become familiar with the terminology in ballet and recognize when it is used in other disciplines to describe a similar movement. Understand the differences between the techniques. For example, a ballet pirouette (turned out) versus a jazz pirouette (in parallel).

3. Use the class to notice imbalances between your right and left sides, and work to improve them.

4. Let your ballet class time be a time to work on your personal dance technique, without any of the embellishments from jazz or modern dance.

5. Train your body and mind to become familiar with ballet musicality. Classical music is the basis for much of today’s contemporary music just as ballet is the basis for much of Western dance forms. This basic musicality will help you adapt to more complex rhythms in other styles.

Ballet paves the way for success as a dancer since it is the backbone of many dance techniques. It keeps the body strong, supple, and agile. Ballet will help any other movements in other disciplines look clean, clear, and polished. Turns, jumps, leaps, extensions, and other moves will improve and look better in performance.  Use ballet as a tool to become a stronger and more well-rounded dancer.

https://www.nyfa.edu/student-resources/ballet-and-modern-dance/

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Would College students benefit more to extra training? Why?

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Would College students benefit more to extra training? Why?

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I feel like college students would benefit from extra training outside college as they would be able to be taught by various different teachers that use different techniques. Although, the classes in colleges are normally split into different abilities this is normally split into two different groups. And from what i have seen whilst teaching the higher class is that there is a massive difference within abilities. Also getting different teaching styles will allow the students to be versatile and open to different styles. Most level three courses require the students to be in college 3 days a week, which means they aren't getting a lot of training as the three days are mixed with theory lessons also. Extra lessons, means that the gifted and talented students are able to expand there knowledge and be pushed as far as they can go. It also allows students that are less able to get extra training and improve in the style that they are less able at. Some students start level 2 or 3 with no dance background, which means that they are thrown in the deep end with the course and will hold them back from getting the higher grades. For the students that want to progress onto a vocational school, they need to be able to be versatile and open to different styles and have some sort of training in singing and acting. This is something that is not given to the students whilst on a dance course to the extent that is needed for auditions. From my experience, open classes and summer schools allows the students to interact and see the competition in the area and also experience different studios and environments that could potentially be apart of there career at vocational schools. Whilst teaching year 2 level 3s i can see the struggle that they are facing whilst auditioning for schools, i feel like students need to have more confidence and attempt as many open days and summer schools to get there face seen within judges and schools. Also, youth companies is something that allows the students to perform on bigger stages and theatres. This allows the students to gain confidence within themselves and achieve and something that can be put on there CV. Getting as much experience whilst at college allows the students to experience the industry.

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When is the best age to start ballet training?

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When is the best age to start ballet training?

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I started ballet dancing when i was three years old. Since teaching ballet myself and finding out the background of the students training i feel like starting at a young age can really benefit the students technique. Starting ballet lessons at a young age does have many benefits in terms of mentally and physically. Children are more adept to learning a different language, so the terminology used in classical ballet will be planted into there brain, learning a new language at an older age is a lot harder and is a longer process. Physically, you are able to develop your muscles in a way that will help a dancer get stronger lines and turnout. Students that start classical ballet at a later age, do struggle with picking up the movements and linking them all together, so they are in need of a lot of patients. As i am teaching, i can clearly see the girls that have been trained at an early age by there ballet etiquette. The way they conduct themselves within the lesson is very different compared to the other students. My main aim for this year is to teach all girls the etiquette thats needed/expected in a classical ballet lesson. This comes naturally to the girls that have been trained in there childhood, and will hopefully be passed onto the other subjects. Bodies also need training in a different way, as you use different muscles than the muscles that you use in another style class. The training that it takes to get you to the same level as a student that has been dancing since a young age takes a lot of hard work and dedication. The technique comes naturally to experienced students so will need more work for students that haven't had that experience. Teaching, has made it clear to me that getting classical training at a young age can really help with understanding what muscles are needed when performing classical ballet. To train muscles at an older age is difficult to understand and train.

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After researching all the dance schools that offer ballet, i was curious to find out where the girls i teach at college train outside of college if they have extra lessons outside of college. This is my questionnaire that i put together.
The outcome that i found was that the students i am teaching have to travel a good distance to get to a ballet class. I also found out that the majority of the girls think that there are no extra ballet sessions or workshops they can attend at there ages(16-18). The average ballet class is £4.50-£6.50. I also have found out that the ballet syllabus that most dance teachers use in the local area is ISTD. Only 2/10 study the Royal Academy of Dance Syllabus. Which is something that has opened my eyes up as didn't realise how popular IDTA is within the ballet examination industry. Here are the results below...

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Comparison between local ballet classes and Ballet classes in Birmingham

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Comparison between local ballet classes and Ballet classes in Birmingham

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In my opinion, i feel like the main reason we don't have ballet lessons in the local area is due to money and lack of qualified ballet teachers. I believe that people find ballet intimidating and find that there is a stuck up era about it. I believe that if ballet was introduced to the local areas more than it does now that ballet would be rather successful in a company like this. The results of my questionnaire prove this that 10 normal girls from the midlands are disappointed by the lack of ballet lessons and workshops there are in the local area, not only do they feel let down by this they also feel it is potentially holding them back to getting further experience and knowledge in classical ballet. From my research i have found that there are many ballet classes for the younger generation not for teens and above. This backs up the point that there is space in the market for ballet experiences being put out to  teenagers.More dance lessons in the community would reduce the amount of teenagers on the street giving them more of a reason to do physical education and learn a different sort of discipline than in a school atmosphere. The strength that they would gain will help them develop through teen age years and through to adult hood.

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There are no Ballet youth companies in the Local area. The closest Ballet Youth company is in Midland Theatre Ballet in Birmingham. This is a company where boys and girls ages 7-20 can have the opportunity to be taught by professional ballet dancers/teachers /choreographers. You have to audition to get a place with the company. The audition is held at a Professional ballet school. Elmhurst School of dance in Birmingham. This gives the students an opportunity to be trained in studios where principal dancers have trained. This gives young upcoming dancers an aim in ballet and inspiration. If successful the pupil will then go through casting auditions where they will be casted into the show that they are doing at the current time. They will then start learning the choreography. They get one to one teaching also in a group atmosphere. This allows the the pupils to work as a team with different abilities with different strengths. This also breaks the stereotype of ballet being stuck up and intimidating. The youth company allow the pupils to be themselves but with the same amount of discipline as a   Professional Ballet company.

"MIDLAND THEATRE BALLET – FULL LENGTH BALLET PRODUCTIONS

Midland Theatre Ballet is an exciting and unique Midlands based project which aims to give talented ballet students the experience of being part of a youth ballet company for a year, culminating in a full length ballet performance at the Crescent Theatre, Birmingham.

WEEKLY BALLET CLASSES WITH  EXPERIENCED DANCERS & CHOREOGRAPHERS

Our youth ballet cast members have weekly classes taught by our faculty of experienced dancers & choreographers who have worked, or are currently dancing, within ballet companies around the world. This further strengthens the children’s technique and vocabulary of steps, complementing their classes at their local ballet schools. As our course is designed to enhance the students regular training, permission must be granted by their dance teachers.

DEVELOPING YOUR BALLET SKILLS

All our ballets are choreographed on the students, who play a big part in the creative process. Having the students for a year allows us to get to know them as individuals, see their strengths and weaknesses, and help them develop their confidence and performance levels."

https://midlandtheatreballet.co.uk

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Dance exchange is in Birmingham and is connected to the Birmingham Hippodrome. This is made up of a hand full of studios that professional teachers can hire out and use the space to teach. This is somewhere in my opinion that is one of the very few that give girls and boys ages 18 upwards opportunities to carry on dancing through there adulthood. In my opinion i feel like there aren't a lot of opportunities for girls 18 upwards to carry on taking ballet lessons. Private dance schools doesn't expect girls to still be dancing at there school. Either a full time professional dance school or in a full time job. This is something that discourages girls and puts them off trying for ballet classes at a later stage in there life. Therefore, this is what makes dance exchange so different it allows dancers of all ages to develop and dance with a passion.

https://www.dancexchange.org.uk/events/

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Ballet at university level/dance schools...

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Ballet at university level/dance schools...

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Nearly all of Professional dance schools(BA Hons) provide classical ballet training. Here are a few reasons why ballet is so important for dancers training in all different styles of dance.

"The Benefits of Ballet

Learn why ballet is so critical to a dancer's repertoire.

Learn why ballet is so critical to a dancer's repertoire.

You may have heard your dance teacher or studio director say it a million times: “You have to take your ballet.” Most studio directors strongly encourage all students to sign-up for ballet class; some studios even have a ballet requirement. But why is it so important?

Ballet has a number of benefits. It improves your line, posture, flexibility, alignment and strength. It is the foundation and sets you up for other forms like jazz and contemporary. Even hip hop dancers can benefit from ballet. Ballet can certainly make you an all-around better dancer, and if you give it a chance, it can be fun, too!

Foundation

“The foundation you build in ballet will pay off in every type of dance,” explains Tyler Stickel, a member of Groove Dance Competition’s ballet faculty who trained at the Dayton Ballet and has performed in the Radio City Christmas Spectacular and for choreographer Mandy Moore, among others. “The first exercise you do in ballet is a plié. What type of dance does not use a plié? None. Ballet simply crosses over in every style of dance. That’s why it’s so important.”

Ballet gives dancers a solid foundation of technique, and with that strong base, they can dance other styles"

Technique is what helps a student become a professional,” says Karina Terán, also a member of Groove’s ballet faculty who freelances with multiple companies. “As a professional, you never stop learning and improving, so you have to maintain your training by taking ballet class as often as you can.”

A foundation is something that has to be maintained. If you took out the ground floor of a building, the entire structure would crumble. Likewise, it is important to keep up with your ballet training throughout your years as a student and as a professional.

“Maintaining your ballet training is very important because as you mature from adolescent, teenager to adult, your body and muscles change,” Stickel says. “During these changes, you need to keep training your muscles to execute ballet correctly. Within three days of not using a muscle, they start to atrophy. In this way, bodybuilding and ballet are very similar. Bodybuilders do not look like they do by only working out one day a week, and you will not maintain your ballet technique by taking one day of ballet.”

Benefits of ballet

As mentioned before, ballet has numerous physical benefits that can better your technique as a dancer.

“Maintaining good ballet training allows you to keep your alignment, core strength, full body control, flexibility, turnout and beautiful footwork,” explains Tiana Noecker, Groove convention ballet teacher and former professional ballet dancer.

Terán adds, “If you work correctly, it develops muscles in your legs, abs, back. Your body gets toned, and you don’t feel it the same way as if you worked in the gym.”  "

https://www.groovecompetition.com/blog/the-benefits-of-ballet

Bird College  Ages 18+
"Year One

Year 1 is conceived as a ‘starter pack’ where the principles of performance work are introduced through a series of discrete but related disciplines at the end of which students are expected to have achieved:

a basic working knowledge and acquisition of a variety of dancing, singing and acting performance techniques

a basic understanding of the anatomy and physiology of a dancer’s body, body maintenance and care, and common injuries

acquisition of fundamental observational skills required to appreciate the qualitative range and variation within dance and musical theatre performance

a language of appreciation which allows students to perceive and communicate components of the performing arts and which enables them to make an intuitive and critical response to performance work

ability to connect the theory and the practical in a variety of performance contexts

Dance Study
Ballet
Tap
Jazz
Contemporary

Musical Theatre Study
Acting
Singing
Voice
Performance Workshop
Musical Theatre
Dance
Perspectives

History of Performing Arts
Dance Science
Music Theory
Independent Professional Study
Year Two

Year 2 involves an extension and reinforcement of experiences introduced in Year 1. The emphasis in second year study is towards the highest possible acquisition of executant skills and the occasional relating of these to in-house production contexts and the annual performance. The learning outcomes are summarised as having achieved:

technique and performance development in terms of difficulty, complexity and extended range

increasing awareness of a range of spoken word contexts including personal exploration of duo and trio relationships, correct use of voice dialects and ways in which to analyse scripted pieces

strong vocal techniques and a personal repertoire of solo songs in varying style

a formal language of dance and music analysis

ability to explore, analyse and reflect upon visits to West End performances

application of technique through in-house performances and the annual show

Dance Practice
Ballet
Tap
Jazz
Contemporary

Musical Theatre Practice
Acting
Singing
Voice

Performance Project
Musical Theatre
Dance

Further Perspectives
Analysis and Appreciation
Dance Psychology and Somatics
Independent Professional Development

Year Three

In the final year of study attention is turned to specific concerns of the professional theatre and principles of company membership. ‘It reflects the synthesis of knowledge, skills and competence and equips students with tools of analysis and evaluation’ (University of Greenwich Academic Framework 1997 (p.53).

By the end of the third year students will be able to:

plan and organise their programme to their individual needs

understand and respond to the demands of company class

command secure technique

perform Musical Theatre repertoire

perform Dance repertoire

achieve technical and artistic development to professional level

understand, evaluate and respond to theatrical discipline and company membership

critically appraise and reflect upon theoretical perspectives and their relevance to personal and company performance

plan and carry out a significant piece of individual research which demonstrates a range of critical and evaluative skills, and share this with teachers and peers through an appropriate presentational mode.

attend auditions with confidence

review and evaluate contractual and administrative procedures related to employment within the profession

Dance Performance

Musical Theatre Performance

Core Skills
Dance, Singing, Acting"

This private full time dance school is located in London. They offer ballet training throughout all three years of BA Hons course. This shows the importance of ballet training. This is the difference between a college that offers all subjects and a private dance college that just focuses on dance. A college ballet teacher might not be ballet trained with ballet qualifications after there name. Whereas, ballet teachers from a private school like bird will offer teachers that are highly qualified in whatever class they are hired for. This also links with job opportunities. Finding a ballet teaching job in the London Area would be harder than finding a teaching job in midlands. For example, they are more likely to have better qualifications with training from London. This is proof from the amount of classes that are available in burton local area.
http://bird-college.com/he-fe/full-time-courses/ba-hons-in-professional-dance-and-musical-theatre/syllabus/

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Burton and South Derbyshire college teach ballet in there Level 3 extended Diploma.

"Course overview

This course will improve your dance technique and knowledge within many different genres, including contemporary, ballet, jazz and urban dance. This course will also prepare you for higher education at either university or dance school. Theory based units exploring the dance industry will underpin your practical units. You will also have the opportunity to gain extra qualifications and complete work experience in a professional environment."
https://www.bsdc.ac.uk/explore/course/view/13/1458

Nottingham College teach ballet in there Level three extended diploma.

`'This course is perfect if you want to develop your practical dance skills and gain a working knowledge of the dance world.

You’ll learn a range of techniques including contemporary, ballet and jazz. You’ll also study the body in action and the historical context of dance.

You can expect experienced tutors who will support you in all aspects of the course, there will be lots of practical classes and opportunities for you to perform to an audience, as well as working creatively with your peers."
https://www.nottinghamcollege.ac.uk/courses/dance-level-3-full-time

Coventry College teach ballet in there Level three extended diploma.

The course pays heavy focus to vocational and practical dance training. You will study  a wide range of dance styles during the course including:

Street Dance

Contemporary Dance

Jazz & Commercial Dance

Musical Theater

Ballet

International genres  incl African and Bollywood Dance

Dance Theater

http://www.coventrycollege.ac.uk/study/courses/level-3-diploma-in-dance/

Northampton College do NOT teach ballet in there level three extended diploma.

"Performance Workshop

Contemporary Performance

Jazz Dance

Urban Dance

International Dance

Dance Performance

Dance improvisation

Choreographing Dance

The Healthy Performer

Developing Classical Ballet Technique

Tap Dance

Exploring Contact Improvisation

Dance Appreciation

Developing Teaching skills in Dance

Developing contemporary Dance Technique

Exploring Dance Practioners

Dance in the Community"

https://www.northamptoncollege.ac.uk/courses/performing-arts/467-level-3/1739-level-3-dance.html

Doncaster College do NOT teach ballet in there level three extended diploma.

"The Diploma in Performing and Production Arts (Dance) is a one year course equivalent to 1.5 A levels, designed to introduce you to the skills needed to become a professional dancer/choreographer or teacher.

Dance is an exciting course where you will develop your skills through practical performance workshops rehearsal and live performance. You will be given the opportunity to expand your horizons within the field of Performing and Production Arts Dance including specific styles such as Contemporary, Jazz, Choreography and Urban Dance."

https://www.don.ac.uk/course/performing-production-arts-dance-level-3/

Leeds City College teach ballet in there level three extended diploma.

"This course will develop your skills as a dancer, performer and choreographer. You will study a variety of styles, including contemporary, urban, jazz, ballet, tap and musical theatre.

You will have a number of opportunities to perform in-house, tour locally and work on large scale projects where we will look at current dance pieces and choreographers. The course will be enhanced by visiting practitioners and local dance companies. "

https://www.leedscitycollege.ac.uk/courses-apprenticeships/courses/creative-arts/dance-level-3/

When looking at these results that i found from the internet i feel like more colleges study ballet then not studying ballet. This is something that i am personally shocked at as i feel like ballet is something that is always looked at the lower ages instead of higher grades. My research from private schools in the local area backs this point up. Classes are available for lower grades not grades that would suit college level students at the age 16-18. This is something that i personally understand is a struggle finding a dance school that can deliver ballet classes to a high level. This is an opportunity in the community to sort this out and provide ballet workshops to all levels for ages 16 upwards and is an opportunity for employing more staff. This is a positive factor in community as they are applying ballet in the community in education. The opportunities that college students will get from studying ballet at college will be perfuming ballet to an audience. This could be something that is out of pupils comfort zone pushing them stretching there styles of dance. This course is free therefore will allow members of the public ages 16-18 to study ballet free of charge by trained college teachers.

The average cost ballet lessons in the UK.
"Average costs of Dance lessons in UK

N&NE  E&SE   S&SW    W&NW  London  Average
Average£4.75 | £7.92 | £12.50 | £10.50 | £8.92 | £7.50     "

https://mathsdoctor.co.uk/after-school/dance/

As you can see the prices change depending on the area the ballet class in being held. This then links to the amount of opportunities that are in London compared to places up North. The prices are a massive indicator for this also. In terms of job opportunities, you are more likely to get paid for ballet teaching more in the London area compared to somewhere in the North of the UK.

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Is Ballet available in Primary and High Schools?

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Is Ballet available in Primary and High Schools?

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When researching ballet in different educational boards, from primary schools to universities i see very little access to ballet opportunities. I have found that primary schools and high schools only study GCSE dance. Gcse dance scheme of work specifically states that the end piece can be any style that is chosen. This can be mis leading as most PE teachers aren't trained in dance and have a physical educational qualifications. This means that the teachers can't teach all styles of dance to high levels. The students studying dance should have a back ground f dance before taking GCSE dance in my opinion. This is unfair, as students that have an interest in dance doesn't get a chance to learn all the different styles of dance especially ballet. This is where there are teaching opportunities available where a ballet teacher could be hired and take care of teaching students ballet. This is something that students will gain different knowledge and maybe an interest in by taking it up outside of school hours. The core strength that the students will learn from ballet will help them through all the different styles. There is another opportunity here where a ballet teacher could take a fresh lesson with the pupils to learn some terminology and the correct spellings that will help them with there essays and logbooks. This is a link to show the specification of GCSE dance and what it includes. In my opinion, a ballet teacher fits in perfectly extending knowledge further than contemporary dance. When reading the GCSE specification they want the students to work together as groups and ensure that they that can work and create a piece together, building relationships and mixing different choreographic opinions. In terms of partner work ballet teachers can teach par de deuxs and work on relationships between girls and boys getting rid of sexism and the era around boys and ballet. With the knowledge that would of been taught by a ballet teacher the students will be able to create there own pieces and explore with the art themselves and add emotion.
https://filestore.aqa.org.uk/resources/dance/specifications/AQA-8236-SP-2016.PDF
This could also link to trips that could be taken to watch different performances in Big cities where Ballet plays a bigger part in the community and have more opportunities. Watching companies like Birmingham Royal Ballet at the hippodrome.

On the other hand, Primary schools in larger cities for example have many different opportunities in ballet for younger children in schools. The program is called "Primary Steps Programme". This is a programme that has been set up by London Royal Ballet to help encourage primary school children no matter what class or ethnicity or how much there parents earn to join in and enjoy the art form ballet.  This opportunity is massive for primary schools as the children are taught by professional teachers. This is getting the young generation into ballet and encouraging them to work up to the level of there teachers and look at them as an inspiration.
This is something that is the difference between the local area and a bugger city there are more opportunities in ballet even at the primary school age. Being taught in the studios at London Royal Ballet School is a massive statement to put on CVS when older which gives the children in these environments more opportunities and a step in front.

"Primary school partnerships

The Royal Ballet School is committed to broadening access to the study of classical ballet and creative dance, as part of a child’s wider academic education.

The Primary Steps programme and our Insight events introduce primary school children to classical ballet, as well as nurturing young talent through regular dance classes.

The Primary Steps programme

The Primary Steps programme is a national junior school programme which provides Year 3-6 (7-11 years) class groups with a positive introduction to ballet and initial creative ballet training for selected children who would not otherwise have the opportunity. Primary Steps is funded by the Department for Education and other generous supporters, providing access to creative ballet education for thousands of children, targeting areas of social, economic and cultural diversity.

Primary Steps works through national partnerships to broaden access to and encourage engagement in ballet. In each area we work with a national dance agency, a host secondary school and a cluster of primary and junior schools. The weekly classes are co-led by a classical ballet specialist and a creative dance specialist who work together to develop pupils’ creative knowledge and skills through foundation ballet technique. All workshops and classes are accompanied by a professional musician.

Workshops

The Primary Steps programme focuses around a cluster of five or six primary schools in one area. The programme is carried out in two phases. In the autumn term, Year 3 teachers from 27 participating schools attend a CPD day at The Royal Ballet School and their pupils receive six creative ballet workshops led by specialist teachers.

Each school then receives:

Six creative dance workshops which introduce the basic elements of ballet for all Year 3 pupils in a partner school

CPD and resource materials to support dance classes with the pupils

An invitation for Year 3 to watch an interactive demonstration of ballet training by Royal Ballet School students in their area, which involves Upper School students aged 16+ and Junior Associate students aged 10 -11 years

Our Autumn Workshops can contribute to Arts Award Discover through pupils’ participation and documentation of their learning.

Primary Steps after-school classes

The second phase of the programme commences once pupils have attended our introductory autumn workshops. Selected Year 3 pupils from participating schools will be invited to attend regular creative ballet classes at their host secondary school, up to the age of 11. For a nominal weekly fee, pupils receive:

Weekly creative classes led by Royal Ballet School teachers, accompanied by a musician

Dance uniform and shoes

Opportunities to see Royal Ballet School students in training and professional dancers performing

Visits to local and regional dance providers and opportunities to perform locally and at The Royal Ballet School

Pupils in Primary Steps dance classes can contribute to Arts Award Explore through participation, creating and presenting their work and finding out about The Royal Ballet School and other arts organisations. Before graduating from the course, every effort is made to signpost Primary Steps pupils to further dance opportunities, including vocational and pre-vocational dance training, both locally and nationally.

Primary Steps graduates are currently studying pre-vocationally at Centres for Advanced Training at The Lowry, Swindon Dance, The Place, Dance4 and DanceEast, and vocationally at Elmhurst Ballet School.

Benefits of Primary Steps

In addition to weekly classes, the programme:

Supports the teaching of dance in participating schools, using the expertise and unique resources of The Royal Ballet School

Makes the case for creative dance as a vital educational tool for curriculum enrichment and for learning through movement, resulting in enhanced health, wellbeing, social and academic skills

Educating and informing schools and families through involvement in their children's learning

Provides opportunities for participants to experience dance creation and performance

Connects participants and their families to local dance infrastructure and opportunities"

https://www.royalballetschool.org.uk/participate/primary-schools/

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Many people also think that ballet gives children a level of discipline. Children in ballet classes from small ages are bought up to respect and have ballet etiquette. This will then grow up with the dancers throughout there career even if they aren't going down the dance pathway. Ballet classes in the community aren't just classes that help girls and boys to dance it helps them grow as a person having self discipline and control. Also, body confidence is a massive talking point to current day, the pupils will be able to look after there bodies and understand how important it is to keep them healthy. Showing pupils the amazing things that bodies can do when putting time and dedication to it. These are the things that would help children and teenagers in the community if we had more ballet opportunities in the local area. It also helps the students to learn about there individual bodies and how it copes with high intensity exercise. Throughout ballet lessons, teachers will use terminology that links to all the muscles and tendons in the body, this helps in terms of biology and how the body is formed of many different little muscles and tendons and how important it is too look after them. They will be taught how to care for them and how to build up strength and stamina if injury occurs.

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This is an action plan for a years worth of lessons. This includes Ballet technique lessons, ballet technique assessments, ballet rehearsals and performances. This includes the dates, topic/aim, Unit/module, Maths/English opportunities and resources.

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1. Use criticism to your advantage.

In ballet, you receive a lot of criticism -- some constructive, and some not. However, I came to realize early on that in order to improve, you have to take all types of criticism into consideration. I learned to block out any negative thoughts and used every correction I received on my technique to my advantage. This now helps me in all areas of life, whether I'm meeting with a professor or an employer, to improve my performance and learn from my mistakes without being offended by what that person has to say (because usually, they're right).

2. Time management.

Because of the intense amount of training required, dancers have to be especially diligent about getting their work done. In high school, I took a train from the suburbs to Chicago every day after school for class, and didn't get home until around 9:30 p.m. I used every spare moment during school, and my commute, to get work done and earn good grades, even in my AP classes. That mentality helps me even in college to schedule out times to get my work done so I can have fun too.

3. Look presentable.

Ballet class isn't the place to look sloppy. Especially when you're looking to impress a teacher or choreographer, it's important to show up looking neat. First impressions are everything in any type of job you have, and ballet taught me to put my best foot forward, always.

4. Tune out negativity.

There's always going to be one or two people in your life that give off those negative vibes, and there's certainly some of those in the dance world. At first I would get pretty offended when people didn't like me for whatever reason, but instead I learned to just ignore them.

5. Be disciplined.

Only hard work will get you to where you want to go. Ballet teaches this concept more than anything. Because 180 degree turnout, crazy flexibility, and dancing in pointe shoes isn't exactly natural for the human body, working diligently, day after day, is the only way to improve. I remember coming to class exhausted and sore from the previous day, but I had to remind myself of my goals and to keep pushing forward until I got the results I wanted.

6. Be self-motivated.

This sort of goes along with discipline. In ballet, your teachers aren't really there to be constantly telling you how good of a job you're doing. In fact, you usually hear a lot more of what you're doing wrong than what you're doing right. This isn't to say that they don't compliment you, but when they do, you know it's genuine. In the meantime, you just have to be self-motivated in order to improve.

7. Stay healthy.

Dancers know their bodies better than anyone else. As athletes, we know how to fuel ourselves properly with the right types of food. We also know that injuries happen, and it's important to take time off and rest. Listening to your body is so important in college, and helps you make smart decisions, such as eating a salad once in a while or staying in when you're really tired.

8. Deal with pain.

As dancers, we go through a lot -- from blistered toes and bruised toe nails, to sore muscles or tendonitis. Although it's important to listen to your body and know your limits, ballet also teaches you to not give up too easily when something gets difficult. The human body is capable of a lot more than we think it is, and ballet helps you push past those mental boundaries.

9. Be humble.

One of my teachers told me that the best dancers are usually the most humble. They are also the ones who get noticed, because they don't have to be in your face about how good they are; instead, their effort speaks for itself. This is true for just about anything you do -- when you work hard, your professor, employer, or friends will take note.

10. Appreciate the arts.

Ballet, along with many other classical art forms, has lost its popularity in recent years. Thankfully, being a ballet dancer has given me an appreciation for all arts, whether I'm going to the theater or a museum. Because I know how much work goes into making something look effortless, I have so much respect for what other artists

https://www.theodysseyonline.com/why-musicals-should-be-as-respected-as-sports-programs

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'Knowing proper etiquette for the ballet will benefit you and those around you. Never bring small children to a live performance, unless they are capable of sitting still for at least two hours. Usually, children are at least seven years old before they truly enjoy the ballet.'

https://www.thoughtco.com/enjoying-the-ballet-1007223

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What i found when researching for Ballet classes in the local area...

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What i found when researching for Ballet classes in the local area...

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Now i have researched ballet classes in the local area it has come to my attention that we have very few opportunities for people in the community to take part in classical ballet. Most schools that offer ballet lessons only offer this to small ages which means they only offer lower grades. When i look at the dance schools timetables they are focusing on jazz and hip hop dance. The opportunities for dancers to be all rounders is very slim in the local area. This is shame for dancers as if they are wanting to progress to full time dance schools they will need a basis of ballet training behind them.

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This dance school offers Ballet lessons but it doesn't state on there website what examination board they are with.

http://www.wendybates.co.uk/about/

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Research- Stephanie Parrot School of Dance 

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Research- Stephanie Parrot School of Dance 

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This dance school offers RAD ballet examinations from pre primary to Advance grades.

This dance school is located in Shobnall.
They haven't got a website that they use for all there information. This research is from my own knowledge.

https://www.royalacademyofdance.org/learn-to-dance/find-an-rad-teacher/stephanie-parrott

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This Dance school is one of many few that train and have examinations in RAD ballet. This is something that is rare in the local area. There grade go from pre primary to severn. This school doesn't accommodate for high ballet grades.

This dance school is located in Rugeley.
http://www.studio5stageschool.co.u

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When i researched this dance school there are no results to show that they teach ballet or pointe lessons.

This school is located in Burton.
https://www.yell.com/biz/pat-miller-school-of-dance-burton-on-trent-6126742/

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This website doesn't give out a lot of information in terms of ballet. They state that they do ballet lessons but not the level.
From this comment we know that they study IDTA ballet.

This school located in Burton and Little over.

http://www.cabaret-theatre-school.com

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You are required to plan/prepare the delivery of your sessions though researching the local area, collecting local data of Performing arts workshops that currently exist: You are collecting research on your local area and what there is to offer in regards to ballet and pointe sessions.

Create action plan including aims and resources needed, timescales and outcomes. You are creating an action plan (Overview) of your ballet classes – technique (What) technique assessments, performance rehearsals and performances. (use the briefs Gemma has written to give you dates) So basically you are creating a year action plan of your sessions.
Identify opportunities linking to Employability/Industry. What job opportunities are there for you to deliver ballet in your region? Also is ballet accessible in your region? Do schools/colleges/universities in your region offer ballet training? Compare it to the opportunities in Birmingham and Nottingham etc.
Experience and exploration: the essential creativity at the heart of workshops; individual and group exploration eg exploiting experiential learning, building working relationships, trust, preparing mind, voice and body, improvisation
Frameworks and structures: different methodologies and structures; different uses of workshops eg to explore, improvise, devise, research, examine issues, teach skills, create work
Client groups: identifying and assessing needs; creating and sustaining specific focus; working with mixed abilities; expectations of participants
Contemporary applications and issues: theories and models of workshop techniques; approaches; structures; practitioners; case studies

The writing in blue is examples of what to include….