New Continents — From Royal Ballet School To Boston Ballet

Duncan Lyle, fresh out of the Royal Ballet School has been offered a contract with Boston Ballet. In 2009 the young Australian was awarded a prize for Choreographic Development by the NJL Foundation and has performed Liam Scarlett’s Toccata at the Assemblée Internationale in Toronto, and in the RBS Matinee, an annual Covent Garden presentation that marks the shift of graduating student to performing artist. Before his training in London, he was a young ballet student in Victoria, Australia’s Camberwell District Ballet School (now the Russian Choreographic Academy).

Graciously sharing helpful tips for auditioning and jumps with Dance Advantage readers, Duncan took a moment to talk with me about his transition from student to professional.

Dance Advantage: You were young when you began begging your mom for ballet classes and eight years old when she finally relented. Do you recall what you liked most about training in ballet?

Duncan Lyle: I honestly can’t remember. I think it’s always just felt right. The ballet studio is always a place I have felt comfortable and felt like I belonged.

DA: You began with respected instructors in a pretty rigorous program, dancing after school for a couple of hours, four days a week. Was there ever a time you contemplated quitting or pursuing a less demanding track?

DL: Yes. I once took six months off from ballet when I was 14. My school commitments were growing and it was becoming seriously difficult to juggle everything. It reaffirmed for me, however, that ballet was my one love and out of everything what I should have been doing.

DA: Allegro dancing comes naturally to you but I am sure you have had instruction that has helped you develop that talent. Any advice you could pass along to a student hoping to improve their agility in beats or jumps?

DL: I think the best advice I could give is two things: develop the height of your jump by doing very slow static allegro and; always work every movement, no matter how quick, to the fullest. Always fully stretch your legs and feet in the air and think about the movements you are making in the air. Be very precise with your movements in the air and gradually they will become clean and crisp.

DA: At age 17, when most teens here in the U.S. are contemplating the move to college, you traveled continents away from your home in Australia to London to study at the Royal Ballet School. What was most difficult about the transition?

DL: I think the hardest thing about moving away was just the unknown. I had no idea what my new life was going to be like and I think that was the scariest thing. Once I was actually in London, of course I missed my family, friends and Melbourne but it wasn’t as hard as I thought it was going to be. I made great friends with almost everybody in my year who provided a wonderful support network.

DA: I know it might be hard to imagine, but what what kind of career do you think you’d be interested in if you did not dance?

DL: I would definitely pursue a career in music. I have been composing and arranging music since I was fourteen and it’s something I really love. I would apply for a university course in music and see where it would take me.

DA: Tell us a bit about the audition process that leads graduates of the RBS to employment.

DL: Firstly, we submitted a list to our director of the companies that we wanted to join and audition for. Our director then helped us by suggesting other companies that might suit us and removing companies that wouldn’t. From then on it was up to us to arrange our auditions, whether they be open or private, book our flights and make our way to our auditions. Every audition I participated in was just a ballet class watched by the director with a panel of ballet staff. Candidates get eliminated at certain points throughout the class so that the panel can see the people they are interested in better. I was lucky enough to make it through all of my classes without being cut. You then mostly find out the result of the audition on the day but of course this varies from company to company. If they’re definitely not interested in you then you’ll know that on the day, but if they might be interested in you then you may have to wait to find out.

DA: Do you find auditioning stressful? What is most challenging for you?

DL: I think the only aspect of auditioning I find really stressful is the travelling to the destination! It’s very hard trying to book a flight that will get you to your destination in enough time to get to the studio and warm-up! Plus I hate airports! I’m pretty good under stressful circumstances like auditions or appraisals.

DA: What advice or tips for auditioning you could you give to students or young professionals like yourself?

DL: I think most importantly, stay calm and confident. If you’re overly nervous, you won’t be able to show the people that matter what you’re capable of. Presentation!! Remember that what most directors are looking for are dancers and not just technicians so perform everything in the class! And I believe that a lot of directors are looking for a clean canvas that they can work with and adapt to suit their company so make sure your technique doesn’t get affected.

DA: You’ve been to the U.S. before, and I’m sure you’ve been doing some reading up on Boston. What excites you most about dancing in America?

DL: I think what I’m most looking forward to in the U.S. is the positive atmosphere and the fact that there’s so many exciting things. Everything is happening there and I’m very excited to be a part of that.

We are excited to follow your career, Duncan, and welcome you to a new continent! May you have many thrilling adventures in Boston and beyond.

For more on Duncan, his background and training visit Ballet News and Oberon’s Grove and Blast Magazine.

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How do YOU feel about auditioning? Do you get nervous?

What do you enjoy about training in ballet?

Do you like to travel? How far would you go to study dance?

When Is Too Much Not Enough? — The Truth About Well-Rounded Dancers

The Myth Of More, More, More — No Stone Unturned

There is a lot of pressure on parents to help their child get ahead, as if somewhere down the line a child’s failure to get that job, land that role, or succeed at each endeavor could somehow be traced back to that one stone left unturned in the child’s past. As a result, I see a lot of parents out there trying to turn over every stone along their child’s path. It’s exhausting to watch and even more exhausting to attempt.

In dance, this tendency translates into more money, more time, more classes, more performances, costumes, choreography, private lessons… more, more, more. Even studios feel the need to be everything to everyone, responding to demand and striving to supply. As a result, parents have some big questions on their lips…

How many hours spent at the studio is enough? How many competitions are too many? How much money should it take? How much experience should my dancer have in _____? How much is necessary to ensure that I’ve left no stone unturned?

Because the answers will be different for each family and individual, I’m going to help you answer the above questions for yourself. First, by dispelling some myths about dance training.

Myth:

If my child wants to advance or get ahead he/she needs lots of experiences with different dance styles.

Experience and exposure in a variety of dance styles is important for creating versatile dancers and may even be a necessity for aspiring professionals. Being well-rounded in dance is a good thing. Exposure to different dance forms, starting at a young age, is a great thing. So where’s the myth? It lies in the misplaced emphasis on experience and omission of training. Experience and training are two different things, and I’ll add a third level… exposure. To get ahead, your dancer needs a healthy balance of all three.

Exposure = Watching a variety of dancers, styles, and performances; Making contact with other students and professionals; Reading about dance or dance artists

Experience = Getting a taste of alternative ways of moving and patterning dance; Learning a dance; Participating in a performance; Working with master teachers or choreographers;

Training = Engaging in a course of study that prepares a dancer for the physical, cognitive, and mental requirements of codified dance forms/techniques; specialized practice and instruction over a period of time

When parents see a class that incorporates ballet, tap, and jazz in a single hour class, they may think that this is three times the experience for the price of one. Exposure, yes. Experience, maybe. Training, no.

The child in this situation has less time to develop in any one of these areas and in terms of training, often ends up shortchanged. “Combo” classes, or classes that combine two dance forms are not entirely a bad thing. Young recreational students may benefit from experiencing more than one dance style before deciding where to focus their efforts later. However if, later on, their in-class effort and focus on technique is still only 20 minutes because their hour is continually spent on learning choreography and preparing for performances, the value of their experience is diminished. They are no longer moving beyond the experiencing realm, and no amount of performing, competing, or exposure will make up for this.

Reality:

• One hour of solid, well-thought training in a single dance form is better than ten hours of experience.
• Training, whether focusing on ballet, contemporary, jazz, or tap techniques can always be built upon with the addition of other styles.
• An experience can rock your world but it can’t substitute for consistent effort and instruction.
• Good training roots exposure and experience, and allows versatility to flower.

What It Means To Be Well-Rounded

A well-rounded dancer has a balanced education with equal parts exposure, experience, and training.

4 Signs Your Exposure-Experience-Training Balance Is Off

1. Preparing a single dance routine requires months of preparation. (Well-trained dancers are prepared for what is given to them, dancers who only have experience under their belt have a steeper learning curve because they must digest and acquire skills as they go.)
2. Technique is the add-on in your regimen, while classes like ballet or jazz are spent learning choreography in that style.
3. You have lots of exposure but within only a small range of activities. For example, maybe you devour everything about ballet but skip the article on improvisation, or watch major network dance competitions but pass on PBS, or travel every week to competitions but have never seen a live professional performance.
4. You engage in tunnel-vision training (yes, a dancer’s balance can be overly focused on training, not allowing for diverse experiences or exposure).

Take some time to evaluate your child’s training. The time spent in additional classes should be relative to true desire and interest. It is important to build your repertoire of dance styles but look for a studio that sticks to the mission of providing an uninterrupted core of technique classes, while offering a chance to “taste” a variety of performance styles and choreography during workshops, via visiting teachers, conventions, and going to see dance performances.

When Is Too Much Not Enough?

As I’ve begun writing this series a theme has emerged. The query above may seem like a riddle but actually it’s not meant to confound and can be answered in many different ways. Through this series, I hope to continue to address this as an underlying question to your concerns about striking balance in your dancer’s study without turning over every stone.

What are other signs that a dance education is not well-rounded?

Can you think of other myths or questions you might have as a parent?

Where Can Teachers Continue Their Education?

On Monday, I posted WHY it’s a good idea for dance teachers to make continuing their own education a priority (particularly during the summer months when many schools break from the regular schedule). Today we’re talking about WHERE, teachers might do so. These are just a few of the many programs and events out there. I’ve tried to include a range of activities with a variety in focus, scope, and cost. If you have experience with any of these or want to add your own, please do so in the comments below!

Teacher Training and Workshops

Dance Teacher Summit – 3 days in New York City at the Hilton in Midtown Manhattan. Classes with renowned artists, seminars on teaching and the business/administration side of things. July 27-29 but still time to register!

Dance Teacher Web Conference & Expo – 4 days the Ritz Carlton on Lake Las Vegas (about 17 miles from downtown Vegas). Curriculum and choreography, business tips and tactics, teaching workshops, led by industry leaders. August 9-12, register online, by mail, phone, or fax.

The Pulse/Broadway Dance Center Teacher Workshop – 3 days at the Sharaton in New York City. Classes and seminars with BDC faculty, The Pulse faculty, and Rhee Gold. Choreography, music, and costume ideas. Overlaps with dancer conference. July 27-29, register online.

DanceLife Teacher Conference – 4 days at a Walt Disney World resort in Orlando, Florida. Classes, marketing seminars, Rhee Gold’s famous motivational workshops, and some truly unique session topics. August 3-6, call or register online.

Musicworks Teacher Tour – Six-city tour [Dallas, Indianappolis, Irvine (CA), Pittsburgh, Kalamazoo (MI), Atlanta]. 3-day schedule. Special assistant price when a teacher registers. Syllabus (including Al Gilbert tap system) and choreography, master teachers, and a small but exceptional staff. Dates throughout July, August, and one in October.

American Academy of Ballet Teacher’s Intensive – 6 day workshop/training held at SUNY Purchase. Curriculum and choreography for different age groups, including very young dancers. Discussion, Q&A, how to sessions with faculty. The chance to observe teachers in action as they instruct students participating in Summer School of Excellence program. Option to attend and pay per day. August 7 – 12.

Leap ‘N Learn Teacher Workshops – In addition to participation at the DT Summit and DanceLife Conference, scheduled are two/three-day workshops in New Orleans (July 24-26), Denver (Aug 22-23), and Chicago (Aug 29-30). Training in syllabus and in the teaching of young dancers.  Syllabus resources and music. Topical sessions on recital ideas, business and legal considerations, pilates, and more. Registration via phone or mail (spaces limited but requests for additional workshops are possible).

Boulder Jazz Dance Workshop – A weekend workshop (this weekend July 18-19) and a two-week intensive beginning July 20 at University of Colorado. Registration open until classes or full. Options to pay for groups of classes or even per class, however at this late date there will likely be limitations. Intensive is for 16yrs and up with level requirements and placement. A supportive, non-competitive environment. Special teacher seminars and completion certificate. Jazz and Modern Dance Focus.

Canada’s National Ballet School — Moved to Dance – Observation week July 27-31 – Sit in on classes, talk to faculty and guest teachers, and discuss the School’s training philosophy and approach. Moved to Dance seminar, Explore How Effective Breathing Enhances Dance August 4-8. Daily classes in classical and contemporary, evening lectures and discussions on nutrition, self-esteem and more.

The Dance Project Dance Teacher’s Conference – 2 days in Toronto, Canada. Classes in Ballet, Jazz, Salsa, and Hip Hop, as well as Lifts, Strength and Flexibility, and Preschool Dance. Daytime sessions with evenings free. August 15 and 16 at Joy of Dance Centre.

Ririe-Woodbury Dance Company Move-It Summer Teacher’s Workshop – Designed for teachers who are working in the university, professional, and secondary school settings. A mixed group of educators will facilitate sessions in technique, choreography, improvisation and experiential anatomy. Those signed up for the Teacher’s Workshop (July 27-31) can add on the Three-Week Dancer’s Workshop  (July 20-Aug 7) at a discount (during which technique classes can be taken at per-class or weekly rates).

There are so many more!!

Not finding something in your area? Try the Dance Teacher Magazine website. Or, the links here. Or here at Dancer Universe!

Why Stick to Just Teacher Workshops?

Between summer dance festivals which happen all over the country and the world and drop-in dance classes or dance jams in cities all over, there are plenty of opportunities to gain inspiration and rejuvinate your spirit for dance. You just have to look for them!

One of my favorite dance festivals is in the beautiful Berkshire Mountains in MA. I’ve written about Jacob’s Pillow before and there are additional art and dance experiences throughout the area. Headed somewhere on vacation? Look for art and culture opportunities in the area before you go. Research area schools – some may even be keen to let you observe or visit their school or summer sessions. This kind of work-related stuff feels more like play because it will rejuvenate and inspire you!

Got more ideas?

Have you been to some of the workshops above?

Want to share some other experiences or ideas for continuing dance teacher education over the summer?

Share, share, share below!!

What To Look For in a Dance Studio

Opinions on the characteristics of a good dance studio or school abound. In previous posts I have outlined what I feel are important qualities to consider when assessing where you are currently or potentially studying dance.

Deal-Makers

These are qualities that I feel are of upmost importance and can or should be expected of a quality dance institution. These range from the structure of a class to elements of a studio’s core philosophy. Click here to read about these deal-makers.

Deal-Breakers

These are red flags that warn customers that the dance education at a school may not be of high quality. The size and location of a dance studio have nothing to do with the standard of education one receives. Sometimes even positive word-of-mouth cannot be relied upon as there are many reasons that one may choose to attend a school that is not creating an appropriate atmosphere for learning. For instance, there are schools that produce incredible dancers that have used tactics that negitively impact the well-being of their students – something I consider a red flag. Click here to read about other deal-breakers.

Middle Ground

Under certain circumstances, some studio practices that would otherwise be deal-breakers, are acceptable or at least satisfactory. If one has options, this list presents additional considerations to weigh when choosing a school. When options are limited, this list highlights some issues that be important to discuss with studio owners or administrators. Click here to see this list.

What are your goals?

An important aspect of finding a dance school is finding a dance school that is right for you. This can only be assessed by first determining your goals in dance. Because dance requires years of training to master, early discussion about these goals is useful. One’s ambitions can change over time. For instance, a recreational student may decide that they want a professional career and decide to intensify their training. To determine your goals it is necessary to know what kinds of careers or alternatives are available. Even if you are not planning a career in dance, this post aims to help inform and assist in finding a path that is right for you.