Inside RAD Archives - Dance Gazette

In December, the Royal Academy of Dance launched RAD Leadership Training, an exciting initiative which uses the power and influence of movement to help corporate leaders take their leadership skills to the next level.

Designed for high potential and senior executive leaders in the corporate sector, the programme will initially be delivered by Movement in Practice, an educational platform designed by dance psychologist, Dr Peter Lovatt.

Drawing on the parallels between business and dance, RAD Leadership Training’s creatives and academics will utilise their expertise in dance education and training to help participants unlock their version of high performance, giving them renewed confidence in abilities to confront challenges, achieve sustained performance and cultivate potential in others.

Dr Michelle Groves at the launch. Photo David Tett

Leadership lessons at the RAD. Photo: David Tett

The programme was launched with an event sponsored by London Women’s Forum (LWF), the networking and thought leadership platform for senior female executives in the financial services sector in London and beyond. Power in Motion coincided with the LWF’s 20th anniversary and was attended by members and partners of LWF and other executives from the corporate and dance sectors.

Power in Motion also featured an insightful presentation by Dr Michelle Groves, RAD Director of Education, explaining how to harness the power of stillness. An inspiring session followed with Dame Darcey Bussell, giving a personal account of how she handled her career change and transition. Participants were then treated to an excerpt from The Nutcracker by English National Ballet’s Precious Adams in the RAD’s Aud Jebsen Studio Theatre.

Precious Adams performs in the Aud Jebsen Studio Theatre. Photo: David Tett

‘The power of dance is something I have believed in for some time,’ said Jane Karczewski, Chair of LWF Board, ‘being a dancer from a young age. This special event gave others the opportunity to experience the transformative power of dance and movement and how this can be applied in the business world.’ Tim Arthur, RAD Chief Executive, added, ‘beyond the art form itself, we envisage a future where the principles ingrained in dance education become pillars for effective leadership – the leadership that fosters innovation, empathy and inclusivity.’

RESOURCES

More information about the RAD’s Leadership Training programme

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 9 – Feb 2024

REST OF Issue 9 – Feb 2024

Earlier this year, Dance Gazette reported on the dance sector’s growing recognition that safeguarding was a central concern, in dance training and the profession alike. Six months on, Penny Cotton (Membership Director) and Katharine Hikmet (Safeguarding Manager) discuss how the RAD’s work has developed in this area.

What is the latest on the RAD’s safeguarding work?

Penny Cotton It has been a busy period. The main thing we have done is launch safeguarding requirements for RAD teaching members, to support them with their commitment and to take a step closer to creating a world-class safeguarding culture within dance. These new requirements reflect that goal by setting higher standards for student safety. This is about creating safe spaces where everyone can be reassured that their wellbeing is a priority. These include the need for RAD teachers to have a criminal background check every three years, declare any criminal convictions, and take part in annual safeguarding training. We want to create a baseline standard across all the countries in which we operate.

Katharine Hikmet Our international focus has meant meeting regularly with our national directors and colleagues around the world, to have wider conversations exploring safeguarding principles in their regions and countries. I’ve also held introductory sessions with our members in Europe, South Africa, Australia, New Zealand, the Americas and more. This is something we’re committed to constantly improving and we can only do that if we do that with our members and teams globally, everyone has to buy into the concept that, above everything else, child safety comes first.

Given international variations, can a single code of conduct or best practice be created which works for all members?

PC We believe it absolutely can be. We’re devoting a lot of time to working with our global community to create a practical, simple and impactful common framework.

KH While our headquarters is in the UK, we aim to give an international context to our work, so that it remains meaningful and practical for everyone. Ultimately, we all want to safeguard and look after young people and vulnerable adults, so it’s about highlighting common themes. Creating an overarching, global approach, giving us a common foundation with national variations, is a long-term project, but it’s absolutely possible.

Do teachers appreciate why safeguarding is important?

PC Very much so, and they are responding positively to changes. Our collective goal has always been to provide a secure and supportive space for all dancers.

What safeguarding questions do members have?

KH They are very varied, depending very much on individual circumstances. Some teachers run their own dance school and don’t have anybody else to discuss these issues with. It can be as straightforward as a question about whether or not to refer a situation and to whom. We’ll talk it through and offer any expert advice we can. I’m pleased that people realise they can check in with us. We give them confidence that they’re doing the right things.

We’re opening up conversations with our members – demystifying safeguarding, but also empowering them by ensuring they have their own checks in place.

How would you describe the RAD’s safeguarding journey in recent years?

PC We’ve totally transformed how we look at safeguarding. We’ve been working on enhancing our safeguarding measures and practices including policy development, education, external collaboration and communication. Safeguarding is a continuing priority and commitment for us and in recent years I have seen a massive shift in our approach and we won’t stop until we become a world leader in this area.

What does the future hold for the RAD’s safeguarding work?

PC We will continually review and adapt our policies to changing circumstances and best practice while raising awareness, maintaining open lines of communication and providing clear channels for reporting concerns.

The next step is to look at further developing our training to support teachers. We want every member to have access to the best possible content to help them be the best teachers they can be.

KH As Penny says, it is about developing that training package, developing the existing response to safeguarding questions and making it a truly international space. The key for me is to help more people to have a deeper understanding of safeguarding. We’ve already had some very positive responses – I’m really encouraged by where we are, but we’ll never rest on our laurels.

For more information about safeguarding and resources visit:

RESOURCES

The RAD Website

Safeguarding Hub in the Members’ Area

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 8 - October 2023

REST OF Issue 8 - October 2023

The Royal Academy of Dance has appointed the philanthropist and entrepreneur Stephen Moss as Chair of the Board of Trustees.

Stephen Moss joins the RAD at an exciting time for one of the world’s pre-eminent dance education and training organisations as it continues to empower people across the globe through dance.

Speaking of his appointment, Stephen Moss says, ‘I am delighted to be joining the RAD as Chair. I have always had a love for dance, and so I feel very privileged to become Chair of such a brilliant international organisation.’

Moss trained as a lawyer and holds an MBA from London Business School. After a spell working in the City of London, he combined a successful career as an entrepreneur with transformational charity roles; including founding and chairing the Springboard Charity, a leading national organisation helping thousands of young, disadvantaged and unemployed people change their lives through training and employment in the hospitality industry.

In 2020, he became Chair of London Youth, which represents over 600 youth organisations across London and helps young people to become the best they can be. He is also Chair of Trustees of Jewish Community Secondary School (JCoSS) and the Jewish Policy Research, which undertakes demographic and social research for its community.

He was awarded an MBE for services to the restaurant industry and a CBE for his contribution towards education and training.

Tim Arthur, Chief Executive of the RAD, says, ‘on behalf of the RAD, I am thrilled that Stephen is joining us as Chair. It’s an exciting time for the RAD and Stephen joins us at a pivotal moment as we evolve and expand around the world with more products and services than ever before and a renewed focus on our fantastic membership and digital future. I look forward to working with Stephen and furthering our mission of inspiring the world to dance.’

Ida Levine, RAD Interim Chair and Chair of its Fundraising & Development Sub-Committee adds, ‘we are excited to be welcoming Stephen as our new Chair at this pivotal time. He combines a passion for dance and the arts, with transformation experience and a commitment to philanthropy, education and the social sector.’

As Chair, Moss succeeds Guy Perricone, who chaired the RAD from 2015 and is now Chair of Northern Ballet.

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 7 - June 2023

REST OF Issue 7 - June 2023

For the first time, the Bedells Bursary took place at RAD’s new, state-of-the-art London headquarters, in October last year. This was also the first competition to take place since 2019.

British dancer Jakob Wheway, aged 15 was awarded the Bedells Bursary. Currently training at Tring Park School for the Performing Arts, Wheway performed variations from Giselle (the Act 1 peasant pas de deux) plus Between the Lines, which he choreographed himself.

22 young dancers took part in this competition where candidates were judged on a non-syllabus ballet class, a classical variation and a variation choreographed by themselves. In recognition of the huge importance of nurturing and providing opportunities for creativity in young dancers, this year’s Choreographic Award was presented to British dancer Scott Milne, 16 (and trained by Karen Berry at Danscentre in Aberdeen) for his Dancer’s Own solo entitled Twilight. This award has been made possible by funding generously provided by the Lynn Wallis Bursary Fund.

Candidates were judged by Lynn Wallis (former Artistic Director of the RAD), David McAllister (RAD Vice-President and former Artistic Director of the Australian Ballet) and Anna-Rose O’Sullivan (Principal Dancer with the Royal Ballet). O’Sullivan is one of many previous winners to perform with professional companies. Dancers from previous competitions have also gone on to dance with companies such as Dutch National Ballet and Estonian National Ballet, and other former winners include Errol Pickford, Lauren Cuthbertson, Sean Bates, Joseph Caley and Brandon Lawrence.

Jakob Wheway with Anna Rose O’Sullivan. Photo: Foteini Christofilopoulou

Recognising young dancers’ excellence in artistic and technical achievement and providing opportunities for creativity, the bursary is named in honour of Phyllis Bedells, a founder member of the RAD. The bursary, supported by the Mary Kipps Bequest, offers £1,000 to be used to further the winner’s training. This year, dancers took part from countries including the UK, Malta, Canada, Hong Kong and Portugal.

Gerard Charles, Artistic Director of the RAD, said, ‘it is a joy to see our dancers gather from so many different places to learn together, to show what they have achieved and to see each other’s work. It is a good opportunity to celebrate their work and to recognise all the people that have helped them get to this point. We are always excited to see what their next steps may be.’

This year’s Bedells Bursary took place at the same time as the RAD’s Dance Challenge, a nationwide competition where dancers perform a solo choreographed by themselves. The winners were:

Overall winner of the Antoinette Sibley Scholarship for Levels 1 and 2: Erin Eastaugh, 12, trained by Karen Berry and Lorna Scott at Danscentre in Aberdeen
Jean Bedells Choreographic Award Level 1: Beatrix Chevalier Louis, 11, trained by Lorna Scott at Danscentre in Aberdeen
Jean Bedells Choreographic Award Level 2: Keira Hair, 16, trained by Lorna Scott at Danscentre in Aberdeen

All the young dancers taking part in both competitions enjoyed a weekend of performances and educational experiences at RAD headquarters, including a special masterclass led by former Royal Ballet dancer Leanne Cope.

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 6 - Feb 2023

REST OF Issue 6 - Feb 2023

Step Live Festival, Step into Dance’s annual celebration of dance, returned for the first time in three years on 12 July. The event, which took place at London’s Cadogan Hall, saw over 350 students perform for family, friends, and invited guests.

Delivered by professional dancers, Step into Dance supports young dancers to progress, excel, and realise their creative potential. A Royal Academy of Dance programme in partnership with the Jack Petchey Foundation, Step into Dance reaches secondary school students across London and Essex offering a broad dance programme. Schools and students benefit from opportunities to get involved in a wider programme of workshops and performances.

All of the participating dancers were involved in the Step into Dance programme, which this year celebrates its 15th anniversary. Audiences got a taste of hip hop, contemporary, commercial styles and afro across two performances. 23 schools were selected to perform, from a total of 49 applicants.

Because of the pandemic, this was many students’ first experience of performing in a professional venue, and the atmosphere was electric. Dancers cheered on their fellow schools from the hall’s circle, which allowed them to see what their peers had been working on and experience a range of different dance styles. Natasha Beuselinck, a sports coach and drama teacher at Swiss Cottage School, said, ‘the students enjoyed it and the parents absolutely loved it, they were very emotional!’

LOOK

Foteini Christofilopoulou’s photos of Step Live at Cadogan Hall

‘I was incredibly proud of each and every one of the dancers who took part in the stunning Step Live performance,’ said Tim Arthur, CEO of the RAD. ‘Each one radiated creativity, commitment and joy. It was a wonderful and moving event and it’s such a privilege for the RAD to be working so closely with the Jack Petchey Foundation and with our wonderful dancers.’

After a busy day of rehearsal and performance, the dancers received a standing ovation from an excited audience.

RESOURCES

More information about Step into Dance

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 5 - Oct 2022

REST OF Issue 5 - Oct 2022

HRH The Duchess of Cornwall formally opened the new state-of-the-art Royal Academy of Dance global headquarters on 10 March. Created as a new international home for dance, the new building in Battersea will enable the RAD to expand on its 100-year commitment to high-quality dance education and to bring the transformational power of dance to more people, regardless of age, ability, or location.

The Duchess, Vice-Patron of the RAD since 2020, was given a tour of the building by the RAD’s outgoing Chief Executive, Luke Rittner, and its President, Dame Darcey Bussell. ‘As the very proud Vice-Patron of the RAD,’ she said after unveiling a commemorative plaque, ‘I would like to congratulate everybody who has made this wonderful new building possible. Having had a very short tour of it, seeing its complete magnificence, it’s just doing so much for so many young people – and old people like me. As a Silver Swan myself, I was inspired by my first visit here to try it out and I have been doing it ever since.’

After meeting RAD students training to become dance teachers, the Duchess continued onto a Silver Swans ballet class for learners aged over 55, delivered by her own teacher and Silver Swans Licensee, Sarah Platt. They were joined remotely by a class in Perth, Australia led by Jamelia Gubgub. The Duchess is herself a ‘swan’, as part of her ongoing commitment to championing active aging. She also met participants from the RADiate programme, which provides subsidised inclusive dance classes designed to develop the physicality and boost the self-esteem of children and young people with additional learning needs.

A dance presentation in the brand-new studio theatre, which moved from ballet to hip-hop, included performances from the Step Into Dance initiative; the Step Hip Hop Company is run in association with ZooNation: The Kate Prince Company and develops technique and choreographic skills in dance styles influenced by hip hop culture.

The Duchess also congratulated the winner of the RAD’s art competition for primary schools in Wandsworth. Young children from across the borough were invited to submit a piece of artwork inspired by how dance makes them feel. The winner, Richard aged 8 from Alderbrook Primary School, presented his work to the Duchess, alongside runners up Indiana and Genevieve.

Before leaving, the Duchess paid tribute to Luke Rittner, ‘who has done such a wonderful job over the years,’ and concluded, ‘I just want to say again how proud I am to be part of it all.’

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 4 - June 2022

REST OF Issue 4 - June 2022

The RAD is delighted to announce that Tim Arthur will succeed Luke Rittner as Chief Executive of the Academy.

Tim Arthur started his career as a drama teacher with his own drama school in Tunbridge Wells. He went on to become a successful theatre director and playwright. He was CEO/Artistic Director of Trinity Theatre in Tunbridge Wells and won several awards for his work as Artistic Director of the Derby Playhouse’s internationally renowned Community Theatre. He was also the CEO of Cardboard Citizens, a multi-award-winning charity creating theatre working with and for homeless people. He is also a published author and a former presenter on BBC Radio London.

‘I am incredibly excited and honoured to be given the opportunity to lead this wonderful organisation,’ says Arthur, who will take up the post in March. ‘Over the last 100 years, the RAD has helped to change tens of thousands of lives around the world by introducing them to the transformative power and sheer joy of dance. The RAD has been a beacon of excellence, creativity, passion and inclusivity and my aim is to ensure that this continues long in to the future.’

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 3 - Feb 2022

REST OF Issue 3 - Feb 2022

This year, The Margot Fonteyn International Ballet Competition was held entirely online for the first time in its history.

After remote coaching and masterclasses from world-renowned teachers and choreographers, the competition final saw the coveted Genée Gold Medal awarded to New Zealand dancer Alice McArthur, trained by Auckland Academy of Dance and currently Sarah Abendroth at John Cranko School. In a touching coincidence, Alice’s success comes over 30 years after her mother was awarded the silver medal in London.

Australian dancer Milei Lee won the silver medal. Milei has been trained by RAD teachers Liane McRae and Janne Blanch, and English National Ballet School. Bronze medals were presented to British dancer Hannah Martin, trained by RAD teacher Mary Goodhew, and to Australian dancer Amelia Soh, trained by RAD teachers Jasmin Bobyk, Paris Bobyk and Celine Bobyk. The Dancer’s Own Choreographic Award was won by British dancer Olivia Chang Clarke for her self-choreographed solo Rain of tears.

Australian dancer Amber Mitchell-Knight, trained by RAD teacher Susan Sargison and the National Theatre Ballet School, won this year’s Audience Choice Award, generously supported by the Dame Margot Fonteyn Scholarship Fund. The online vote was held over a 72-hour period, so viewers in all time zones could choose their favourite dancer.

The 15 young dancers were judged by Dame Darcey Bussell, President of the RAD, Director of the Royal Ballet Kevin O’Hare, CEO and Artistic Director of Scottish Ballet Christopher Hampson and Irek Mukhamedov, Ballet Master at the Paris Opéra Ballet. Each dancer performed a 19th- or 20th-century classical variation, a contemporary solo choreographed by or for them (Dancer’s Own), a commissioned solo by choreographer Ashley Page and set class exercises.

Milei Lee. Photo: Amber Griffin Photography

Gerard Charles, Artistic Director of the RAD said: ‘I am so pleased that we were able to make the competition happen this year, after what has been an incredibly challenging time for dance students and teachers. It has been so inspiring to see these young dancers surmount unforeseeable challenges of separation, closed studios and lockdowns, just to take part in the competition, let alone take home a medal. This is a true testament to how deeply they value dance.’

The RAD welcomed a record number of applicants, thanks to a new format designed to widen access to this prominent competition. In the early stages, the RAD delivered one-to-one online coaching for 114 dancers from 18 countries. The coaches, all leading professionals, included former Royal Ballet Principals Edward Watson and Leanne Benjamin, Miguel Altunaga from Rambert and Amber Scott, Principal with the Australian Ballet. All the solos of the 15 chosen finalists will be sent to artistic directors of leading international companies, providing a potentially crucial stepping stone in their career path.

Watch

Meet the Fonteyn finalists

Watch

Bronze medallist Hannah Martin on her journey to the final

RESOURCES

The Margot Fonteyn International Ballet Competition

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 2 – Oct 2021

REST OF Issue 2 – Oct 2021

David McAllister had no idea what awaited him when he arrived at a special event held in Sydney in April. To his surprise, he was awarded the Queen Elizabeth II Coronation Award, the RAD’s highest honour.

McAllister, who stepped down as Artistic Director of the Australian Ballet at the end of 2020 and is also a Vice-President of the RAD, receives the award in recognition of his contribution to the Australian Ballet as a dancer and director, as well as being a vital supporter and advocate for dance.

David McAllister is surprised by Darcey Bussell’s filmed announcement. Photo: Chris Pavlich

‘It is the highest achievement in ballet,’ he said, ‘and without the Royal Academy of Dance I would not be here today. This award has been given to such extraordinary people and to join them is mind-blowing. You don’t expect to receive such an award or recognition when you are lucky enough to do a job you love, with such incredibly talented people. I am incredibly touched and moved.’

First presented (to Dame Ninette de Valois) in 1954, the QEII Coronation Award has been given to some of the greatest names in dance, including Marie Rambert, Frederick Ashton, Rudolf Nureyev, Carlos Acosta and most recently Karen Kain. This year’s award was presented at a special lunch gala organised by the Friends of the Australian Ballet, arranged to mark the end of McAllister’s incredible four decades with the company, and provided a perfect opportunity to surprise him with this coveted honour.

David McAllister danced with the Australian Ballet for 20 years and then became its Artistic Director for a further 20 years, growing its international reputation immeasurably. Dame Darcey Bussell, who guested with the company and is the RAD’s President, joined the event virtually to announce the news (Audrey Nicholls presented the medal in person). ‘David, you are so deserving of this award,’ she said, adding that he achieved everything ‘with complete humility and integrity.’

The event was compered by McAllister’s close friend and former dance partner Liz Toohey, who told the Sydney Morning Herald that ‘the legacy and the mark he has made on Australian ballet can never be underestimated.’

RESOURCES

David McAllister speaks to Dance Gazette in 2019

SEND YOUR FEEDBACK

Dance Gazette Inside RAD Issue 1 – June 2021

Tag: Inside RAD

RESOURCES

REST OF Issue 9 – Feb 2024

RESOURCES

REST OF Issue 8 - October 2023

REST OF Issue 7 - June 2023

REST OF Issue 6 - Feb 2023

LOOK

RESOURCES

REST OF Issue 5 - Oct 2022

REST OF Issue 4 - June 2022

REST OF Issue 3 - Feb 2022

Watch

Watch

RESOURCES

REST OF Issue 2 – Oct 2021

RESOURCES

REST OF Issue 1 – June 2021