Classical Courses

Options for Students at Counterpoint following the Grade 6 Examination - Grade 7 and 8

1. Students may be advised to attend an exam class for grade 7/8. Whilst this isn't a vocational exam, students have the opportunity to continue progressing with higher examinations. Two classes a week are required - one syllabus and one which may be used to rehearse for classical productions. This is the option which we would recommend to students who wish to remain very much involved in performances and/or exams, but are not suitable for major work or don't want to attend intensive weekly classes at Counterpoint. Not everyone wishes to have a career in dance, however this doesn't mean you have to stop dancing. This option offers the opportunity for senior and mature students to continue studying dance at a high level for pleasure, to keep fit and to take part in major productions.

Vocational Examinations

2. Students who have been studying Ballet for many years may now, or in the near future, wish to attend an Intermediate or Advanced Ballet Class - should they be considering a dance or dance related career. These students will be known as a Classical Associates at Counterpoint. The decision is entirely up to the student as to whether they wish to be attending three ballet classes a week and continue on the vocational course. This is an intensive course for the serious dance student often considering auditions into a full time school at 18 years of age. We will discuss with each student whether this course is appropriate. (See Classical Associate Students Scheme below)

Three ballet classes a week are essential for students to achieve the technical strength required at this level. Closer to performances choreographic classes will be combined. Majors are extremely challenging for full time students. However with the commitment previously given from our part time students, parents and teachers, our past successes for vocational examinations at Counterpoint have been excellent.

Classical Associate Scheme

Students on the vocational course will be invited to experience assisting teachers in the pre-school and reception classes. A rota will be arranged for this group of students to assist in a class each week. Students assisting in a weekly class will not be charged for the third class a week.

All Classical Associates at Counterpoint should treat this privileged position with the utmost respect. Teaching practise instils a sense of commitment, a deeper understanding of the syllabus and to the various teaching approaches. It is a responsibility that develops a mature approach to dance training overall. A quality one is expected to demonstrate when entering a major examination.

Two half day classes will be held to discuss teaching assistance in class, health and safety, and both the role of teaching assistant and vocational student.

In Order that we may arrange rotas and classes for every term we require students to inform us which options they wish to be considered for. Should students or parents have any queries regarding academic dance, you may wish to speak to Amelia regarding GCSEs or A level Dance. Alternatively, please don't hesitate to speak to Sheila, Helen or Amelia if you require any guidance on your options for any of the courses in Classical or Musical Theatre.

Pointe Work

Students are always excited at the prospect of going on pointe and many have been waiting anxiously for the moment to arrive. However at Counterpoint we will not allow any student to dance on pointe until we are sure they are ready since placing students on pointe prematurely can cause permanent physical damage to the feet. It should not be a race or competition amongst friends to start pointe work and students and parents are advised not to use 'going on pointe' as the bench march of a good dancer.

The decision to put a child on pointe is made carefully and intelligently. Students will be notified by letter at the appropriate time and will be given a pointe shoe information class by Miss Sheila the school director.

As students develop physically and technically at differing rates understandably it is not always possible for an entire class to commence pointe work together. We are always apprehensive to begin pointe with a child who is very small in stature as without an x-ray it is very difficult to be sure that the feet are strong enough. In some cases, after careful consideration of a student's physique and foot structure we sensitively suggest it would neither be healthy nor safe to study pointe work.

The student must be 11-12 years or older.

The foot is a complex system of levers, arches and pulleys and the bones which support this structure should ideally be fully grown and solid before pointe work can begin. In the majority of cases this 'ossification' or hardening of the cartilage occurs in-between the ages of 12 and 14 and can take 5 or 6 years to complete.

There is much controversy regarding the age at which pointe work is safe although children as young as 10 will be found on pointe. These children are often studying ballet intensively, and often at full time dancing establishments having been hand picked for their anatomical suitability for ballet training. Considering the ossification period discussed earlier, at Counterpoint we believe that in most cases12 years of age is a more suitable and approximate minimum age for pointe work to begin.

In addition to possessing the required physique students must be demonstrating they are capable of the meeting the following technical requirements;

Criteria for Pointe Work

1. The student must be approximately 11-12 years or older.
2. The student must be taking a minimum of 2 and preferably 3 classes a week consistently
3. The student must be mature and responsible enough for bringing any necessary Pointe shoe care accessories to class
4. The student must regularly show themselves to be healthy, fit and strong enough in their lessons ready for the demands of pointe work.

Going on pointe is a big step; the student must respond well to correction, be attentive in class and demonstrate commitment.

In addition to the above, the following technical criteria must also be met. To ensure readiness for pointe work, a student must:-

. Be able to hold their turnout while dancing.

Turnout is fundamental to ballet and holding turnout while dancing is a good sign of strength. Students are not strong enough for pointe if they haven't the strength to maintain turnout in flat shoes.

. Have a strongly held spine and particularly the lower spine whilst dancing.

The pointe shoes should not be used to hold the student up, it is the muscles of the feet and legs which enable the dancer to stand on pointe. Any weakness in the back will affect the central line of balance and hinder the accomplishment of ballet steps, in particular pirouettes. A straight back is essential.

. Have strong ankles so that the heels will not allow a sickle and stay forward toward the big toe.

This is the most stable position as when weight is transferred over the little toe it is difficult to stay on point which could result in strains or injuries.

. The ability to use a good plie while dancing.

To get up on to pointe a plies with the knees pointing straight over the toes is necessary. Failure to plie correctly will inhibit pointe work and encourage bad technique such as the loss of turnout and strain in the body.

. Point their feet well whilst dancing.

On pointe the body weight is supported on the ends of the toes, so to strengthen and prepare the muscles required for pointe work, feet need to be pointed well during class. Weak feet will knuckle over the toes and be prone to injury.

. Releve passé with a straight leg.

Students should have enough strength to push themselves onto half-pointe, this step is harder to do en pointe and a bent leg is usually a sign of weakness.

. Be able to do 16 releves in the centre continuously.

Strength is gained by repeating exercises and releves are excellent for building up vital calf muscle strength for pointe work. En pointe releves are much harder because of the extra height so strong releves high on half-pointe are a good preparation. The calf muscles will not develop strength for pointe if the heels are kept low to the ground.

. Be able to hold a balance in pirouette position on half-pointe.

The student should have the strength to balance on half-pointe in a well-placed pirouette position (hips square, back straight, legs turned-out). En pointe this is harder due to the small surface area on the toes on which to balance.