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How many years of ballet should a dance student have before going on to and/or adding other disciplines?
0 to 1 0%  0%  [ 0 ]
1 to 3 0%  0%  [ 0 ]
3 to 5 60%  60%  [ 3 ]
Over 5 40%  40%  [ 2 ]
Total votes : 5
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 Post subject: When to move on to other disciplines?
PostPosted: Fri Dec 14, 2007 6:59 pm 

Joined: Wed Apr 12, 2000 11:01 pm
Posts: 680
Location: Seattle, WA. USA
As young ballet students move into their junior high and high school years, I like to see them exposed to disciplines in addition to ballet. However, there is room for discussion about how many years of training ballet students should have before adding things such as modern/contemporary, character, or jazz. What do you think?

Dean Speer

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PostPosted: Sun Dec 16, 2007 11:31 pm 

Joined: Fri Oct 25, 2002 11:01 pm
Posts: 683
Location: Petaluma, California
I suppose it depends upon how early ballet training begins. I voted for 3-5 years. If a student has been studying ballet from, say, age 8 or 9, I see no reason why they shouldn't begin exploring jazz, contemporary or modern at age 11 or 12. If the student has had a later start, say, age 10 or 11, then perhaps a couple of years of ballet may be enough for a good foundation. I've even had some students come to me to study ballet because they were attending jazz class and wanted to try classical ballet! A couple of these students became quite accomplished ballet students... :)

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PostPosted: Mon Dec 17, 2007 1:44 pm 

Joined: Wed Apr 11, 2001 11:01 pm
Posts: 8612
Location: El Granada, CA, USA
I voted for 3-5, but I have to amend that to say that I really think all students after the age of about 12-13 should get training in other disciplines regardless of how many years they've had of ballet.

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PostPosted: Tue Dec 18, 2007 11:42 am 

Joined: Tue Jan 04, 2000 12:01 am
Posts: 14418
Location: Seattle, WA, USA
Somewhere between three and five years of ballet study (assuming, of course, that the curriculum and quality of teaching accord with pre-professional training standards) should provide an adequate foundation that will actually be enhanced (and not merely destabilized) by the addition of modern/contemporary concepts of the use of gravity, different concepts of what constitutes "centeredness," etc. Pre-professional training programs should certainly provide training in some form or forms of modern/contemporary movement, character and jazz as necessary tools in every dancer's bag.

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