annual review & report 2010/11 contents
Chairman’s Report 02 Chief Executive’s Review 04 The Academy’s personnel are a committed team of RAD Leadership 06 experienced professionals. The Human Resources team The Trustees 08 continues in its endeavours to attract, retain and quality & excellence crest Objectives & Achievements 12 reward a highly talented global team of employees, 10 Looking Ahead 14 freelancers and volunteers so that the RAD can grow, Case Study: Highlights of 2010/11 15 excel and achieve its strategic objectives. As HR’s role movement & innovation Objectives & Achievements 20 at the RAD develops, its focus is on high-quality 18 Looking Ahead 22 service delivery and the facilitation of skills Case Study: Highlights of 2010/11 23 Benesh Movement Notation 24 enhancement. Their aim is to nurture the Academy’s Objectives & Achievements ‘people resource’ and to support a collectively Looking Ahead supporters Case Study 25 engaged and motivated workforce and to ensure The Philip Richardson Library 26 that the organisational values of leadership, Objectives & Achievements Highlights of 2010/11 excellence, empowerment, integrity and arms Looking Ahead collaboration are upheld and maximised. Case Study 27
inspiration & creation Objectives & Achievements 30 motto 28 Highlights of 2010/11 32 Looking Ahead 34 Case Study 35 employees in UK and Republic of Ireland Patron: Her Majesty Queen Elizabeth II health & happiness 117 Objectives & Achievements 38 36 Highlights of 2010/11 39 Looking Ahead 40 years ago this coat of arms was granted to the Royal Seventy-five years on, the coat of arms continues to represent the Case Study 41 employees in international offices Academy of Dancing in 1937 by the College of Arms and ideals and aspirations of an ever-evolving organisation: Step Into Dance 42 was designed by the Hon. George Bellew, Somerset Herald of 75 • : The coat of arms itself is granted under Objectives & Achievements 90 Arms and Registrar. His description of the coat of arms explains quality & excellence royal prerogative, and as such is a mark of quality for the RAD as Highlights of 2010/11 43 the heraldic significance of its components, which embody the Looking Ahead 44 Academy’s ideals and aspirations: an organisation, its members, products and services. It is also a symbol of the powers granted to the RAD by its Royal Charter. Case Study 45 RAD Enterprises 46 freelance examiners Crest: A figure representing Supporters: On either side of Objectives & Achievements • movement & innovation: The RAD is an organisation that Terpsichore, Muse of dancing the shield is a doe with golden doesn’t stand still. Constantly moving, innovating and leading, Highlight of 2010/11 194 – her name literally means wings symbolic of lightness it draws on its history and heritage as it moves forward. Looking Ahead ‘delight of dancing’. In Greek and grace of movement. Case Study 47 mythology, the Muses are the • : The RAD is an arts organisation goddesses who the inspiration & creation freelance teachers / guest lecturers inspire – creation and inspiration are at its very core and the rewards, rad annual general meeting of the arts. creation recognition and enjoyment of our members and students are 48 300 direct by-products of a shared passion for the joy of dance. finance Arms: The pentagram within Motto: ‘Salus et Felicitas’ means Key Performance Indicators 50 the shield symbolises health. ‘ ’. • health & happiness: The benefits of dance extend beyond 49 At a Glance 51 health and happiness the studio encompassing body, mind and soul; however the RAD The wavy vertical line and the Statement of the Board of mentors horizontal zigzag convey to is a healthy organisation in every way – financially stable and Trustees’ Responsibilities 52 the mind the committed to cultivating positive relationships with members, Auditor’s Statement to the Trustees 350 movements in dancing. students and partners. of the Royal Academy of Dance 53 Although each key area of the Academy’s business naturally ties in Group Consolidated Statement of Financial Activities 54 more readily and directly to one of the ideals and inspirations that practical teaching supervisors the coat of arms embodies, they are all present within each part of Group and Charity Balance Sheets 55 the Academy’s work and so in order to reflect that, the case studies Accounting Policies 56 200 within each section illustrate some of the ways in which the other Scholarships, Awards, Bursaries ideals are also applied and how they continue to shape our future. & Fundraising 58 A Global Brand 2010/11 60 Corporate Governance 62 80tutors Royal Academy of Dance Annual Review & Report 2010/11 1 chairman’s report
April 2012 marks the retirement of our universally admired in memoriam and inspirational President, Dame Antoinette Sibley DBE. This It was with great sadness that we learned of the will be a sad occasion for all members of the Academy but unexpected death of Professor Joan White CBE I doubt anyone will miss her more than I. She was very on Tuesday 21 February 2012. influential in my decision to accept the Academy’s invitation to become your Chairman and I have enjoyed immensely “The London event was made even more memorable by a wonderfully Professor Joan White made an extraordinary our monthly briefing sessions over the past five years. sensitive keynote address delivered by The Royal Ballet’s Dame contribution to dance education in the UK and Monica Mason DBE. In it she acknowledged the defining role of her internationally over a career that spanned five decades. Another retirement from the Academy was that of our former She retired from her position as the first Director of dance teachers from when she first ventured into the studio and then Director of Education, Professor Joan White. Professor White’s Education of the Royal Academy of Dance in July 2011, throughout her professional career. She made the point that it was not bold and ambitious vision for the scope and standards of following a lifetime of dedication and service to dance, the graduates of our various dance education programmes dance education and wider public service. only her dancing that benefited from the instructional acumen of her are undoubtedly the foundation of the respect that they can expect in their chosen profession for many years to come. teachers but that they also helped shaped the values that she continues On her appointment in 1999 to the Royal Academy of We were all delighted to learn of Joan’s recognition in the Dance (RAD), Joan White set about the creation of a to embrace in her everyday life.” New Year Honours list in which she was awarded a CBE. new Faculty of Education and, following the aims of the Academy’s founders, she increased the department’s The momentum that the Academy is currently enjoying does focus on dance teacher education and training. Over not happen without the extraordinary and continuing effort the last 12 years she worked with vision and drive far on the part of our wonderfully competent and dedicated staff beyond what would have been expected to reposition at both Battersea Square and in our operations throughout the RAD as a world-class teacher education institution the 39 countries in which we presently operate. Behind the that delivers across public/private contexts, offering staff is an equally dedicated Board of Trustees with whom I Kerry Rubie, Chairman taught programmes as well as distance learning feel privileged to work. Sadly I must acknowledge the passing certificates, diplomas and degrees in home languages of one of them during this past year. Frank Freeman was not across 44 countries. In creating a modern, diverse and only a great contributor to the artistic achievements of the dynamic department involving over a thousand students Academy but he was also a much respected and loved and hundreds of tutors worldwide, Joan changed the member of your Board of Trustees. His untimely passing left public profile and perception of the RAD and ensured a formidable gap in the resources of the Academy and we are that many young people will benefit from the already missing his thoughtful, measured perspective on so excellence of RAD qualified teachers. much of what we do. In addition to her career in dance education, Joan Recently I had the privilege of attending the presentation To my mind this is at the heart of why the Academy continues Looking ahead, 2012 will be yet another challenge to contributed to local community service as a Councillor of the new Grades 1–3 syllabi to a capacity audience of to enjoy such encouraging year-on-year progress and maintain our momentum but I strongly believe that on Ripley (Surrey) Parish Council for 10 years and as RAD teachers and members at the Mermaid Theatre & achievements. Because our teachers instruct their students initiatives including the implementation of our Continuing the Parish Council nominee on the Governing Body of Conference Centre in London. The enthusiastic reception so conscientiously and with such integrity, the desire to Professional Development programme, the finalisation Ripley Infants School. She was also a volunteer steward they gave to the new syllabi was quite moving and I believe achieve superior grades in dance examinations ranks of the Professional Dance Teachers’ Registration Scheme for the National Trust at Clandon House in Surrey. that an equally appreciative audience in Sydney also uppermost in the students’ goals. Not to mention the and the next phase of the Syllabus Review will ensure that the year will again be one of sustained progress. applauded the new work in the company of RAD Vice sheer joy and exhilaration that just comes with dancing. Without Joan White’s leadership through paid and many Presidents Darcey Bussell CBE and David McAllister AM. voluntary posts, dance education in the UK would not Student examinations represent the largest measurable *Dame Monica Mason’s keynote address is available at have reached its present position of importance in our The London event was made even more memorable by a activity of the Academy and as such are pivotal to our www.rad.org.uk/podcasts national culture and achieved recognition worldwide. wonderfully sensitive keynote address delivered by The Royal success both operationally and financially. Ballet’s Dame Monica Mason DBE. In it she acknowledged the defining role of her dance teachers from when she An example of their impact is that despite the financial first ventured into a studio and then throughout her pressure that comes with the uncertainties of the current professional career. She made the point that it was not only global economic environment and the significant cost of her dancing that benefited from the instructional acumen of taking examinations, we conducted a similar number this her teachers but that they also influenced and indeed helped past year as in the previous year for which I extend my shape the values she continues to embrace in her everyday congratulations and thanks to both our teaching members life. Dame Monica’s words clearly resonated with our RAD and, of course, our examiners. Without your remarkable teachers in the auditorium as they reinforced their awareness efforts, the financial health we are presently experiencing of the role that they play in the lives of so many of the young and which the Chief Executive will address later in this people under their direction.* document would not be so sound.
2 Royal Academy of Dance Annual Review & Report 2010/11 3 chief executive’s review
The period under review was punctuated and highlighted Emblazoned over the new glass entrance of our Battersea by many memorable events. In November 2010, a packed Square headquarters is the Academy’s coat of arms, a very Sadler’s Wells Theatre in London cheered the finalists in the tangible sign that our Royal prerogative represents quality Genée International Ballet Competition and paved the way and excellence. The coat of arms also alludes to inspiration, for similar scenes of enthusiasm when the Genée was held creation, movement, health and happiness. All these things go in Cape Town in 2011. These are extraordinary signs of to make up the Academy – a remarkable institution that has how far the Genée has come since we began to stage it never looked forward with more optimism to a future that “ The Academy’s coat of arms is a very tangible sign that internationally. That we can sell out in London but also in sees it as an influential body of professionals promoting our Royal prerogative represents quality and excellence. Cape Town, Hong Kong, Sydney and Singapore is another dance in every arena. The coat of arms also alludes to inspiration, creation, achievement of recent years. As I write this introduction, we are looking forward to the 2012 Genée which will be Finally, I would like to add my tribute and that of the entire movement, health and happiness. All these things go to held in New Zealand. Academy’s staff to our President, Dame Antoinette Sibley make up the Academy – a remarkable institution that DBE, on her retirement in 2012. I would also like to take this has never looked forward with more optimism to a The Academy’s international Summer Schools were more opportunity to thank not just the members of my senior team, successful than ever. Almost every one of them attracted but the entire Academy staff worldwide whose continuing future that sees it as an influential body of professionals capacity numbers and they remain a potent symbol not just efforts and total dedication are the engine that propels the promoting dance in every arena.” of the international nature of the Academy but of the direct Academy forward. I am indebted to every single one of them, effect the Academy’s teachers have on thousands of young as indeed I am to our Chairman, Kerry Rubie, and all the people. The continuing growth and success of the London Academy’s Trustees. based community dance project, Step into Dance, now in receipt of funding for three years from The Jack Petchey Foundation, was further evidence, if such evidence were needed, of the Academy’s broadening interests, activities and influence. Ballet may be at the heart of what we do, but our work embraces an ever widening array of dance activities.
Behind all the statistics, the graphs, the pie charts and the Luke Rittner, Chief Executive financial information, every organisation is made up of a team of individuals. 2010 saw the appointment of our first Director of Examinations. Dr Andrew McBirnie has embraced his role with enthusiasm and energy and is already steering our examinations operation to greater recognition with That the year under review – 2010/11 – was financially the 2010/11 proved to be a year of exciting developments for accreditation by the Scottish Qualifications Authority. We best year the Academy has ever had seems to be strangely the Academy. The consultation phase on our Continuing are also delighted that from 2012 onwards, applicants to UK at odds with the prevailing uncertainties and upheavals of Professional Development (CPD) scheme was concluded universities and higher education institutions may use the the world’s economies. That it was also the fifth consecutive and the resulting scheme will be launched on 1 July 2013. results of their Level 3 dance examinations (Grades 6–8, year in which the Academy’s international operations made I believe this development will add greatly to the respect Intermediate and Advanced Foundation) to count toward their a surplus makes the outcome even more satisfactory. Having in which the Academy and its members are held and I also UCAS (Universities and Colleges Admissions Service) points said that, it must also be pointed out that we cannot afford believe it will be a significant benefit to every one of our tariff requirements. We also welcomed in 2011 Dr Anne to be complacent. The results for 2010/11 represent on members in their professional lives. Hogan, who took up her post as Director of Education. A average only a £26,000 surplus for each country in which former professional dancer who, since retirement as a the Academy operates, so the margins are very tight indeed Linked to CPD, but a separate development, is a proposal performer, has pursued a successful career in academia, and caution must remain our watchword in all matters to create an entirely new Professional Dance Teachers’ Anne Hogan has, like Andrew McBirnie in Examinations, financial and administrative. With our deficits hopefully a Registration Scheme in support of our declared aim to brought a new energy and perspective to her role as thing of the past, we can focus on rebuilding our reserves become the leading professional membership body for Director of the Academy’s Faculty of Education. and addressing years of under-investment. At last, it seems dance teachers. This Scheme has been through an initial that our long-held objective not to be reliant on borrowing consultation phase and the views of many members that A continuing programme of renovation and refurbishment or overdraft and to be able to invest in long-term have been expressed will be considered as we prepare around the globe has seen a dramatic change in the new development is finally within our grasp. a final proposal to launch in due course. Again, this entrance lobby of our headquarters in Battersea and our development will, I believe, prove to be a vital benefit colleagues in Sydney have had a complete office refurbishment. to our members in their professional lives. Meanwhile, architects in Johannesburg are putting the finishing touches to a major upgrade of our existing office as well as a brand new studio.
4 Royal Academy of Dance Annual Review & Report 2010/11 Overview Royal Academy of Dance Annual Review & Report 2010/11 5 rad leadership
01 02 01 Graduating in 1972 with an Honours degree in Business He taught music in the UK independent schools sector, and dame antoinette sibley dbe, president and Administration from the University of Portsmouth, Richard was Director of Music at The Oratory School, Reading. As a English, and trained at the Arts Educational and Royal Ballet Schools, qualified as a Chartered Accountant in 1976 and became a composer, Andrew has received commissions, performances, Antoinette Sibley joined the Royal Ballet in 1956 and went on to Fellow of the Institute of Chartered Accountants in 1982. broadcasts and recordings by a variety of professional orchestras, become one of the most acclaimed ballerinas of her generation. He has represented the RAD on the Council of Dance ensembles and soloists, both in the UK and worldwide. Her legendary partnership with Anthony Dowell, initiated by Education and Training’s Awarding Body Committee and in the Ashton, spanned the 1960s, ‘70s and ‘80s. She worked with most 1990s was the Chairman of the Registration Board, as well as 07 of the great choreographers of her time – Robbins, Howard, Honorary Treasurer. He is now the longest-serving Director of melanie murphy ba (hons) mcim dip ipr mcipr, Massine, Tudor, Cranko and especially Ashton and MacMillan, the RAD, having surpassed Miss Gordon’s 20 years. director of marketing, communications & membership Melanie Murphy joined the Academy in May 2003 as Press & creating lead roles in, among others, The Dream (Ashton) and Within the Group, he is a Director of Royal Academy of Marketing Manager. In 2006 a new department was created and Manon (MacMillan). She made guest appearances all over the Dance asbl, RAD Dancing (Malaysia) Sdn Bhd and Royal Academy Melanie became Head of that department. She was appointed world, retiring in 1988, and today frequently rehearses Principals of Dance Singapore Pte Ltd.; and Company Secretary for Youth Director of Marketing, Communications & Membership and a of The Royal Ballet. In 1991, following the death of Margot Dance England. Fonteyn, she was elected President of the Royal Academy of Director of the RAD at the end of 2007. Melanie graduated with 03 04 Dance and has been actively involved ever since. In 1973, she was Joint BA (Hons) in English & Law in 1995. She has a postgraduate 05 appointed CBE and, in 1996, a Dame. She appeared in the film anne hogan ba ma phd, director of education diploma in Public Relations (Chartered Institute of Public The Turning Point with Baryshnikov in 1976. Publications include Dr Anne Hogan was appointed to the Academy as Director of Relations) and is also a professional member of the Chartered Sibley and Dowell, Reflections of a Ballerina and Antoinette Sibley. Education in March 2011 and took up her role on 30 August 2011. Institute of Marketing. Since 2008 she has been actively involved A former member of the Boston Ballet Company and Pacific with ENYAN; is a mentor with the AMA and sits on the Dance 02 Northwest Ballet, Anne holds a BA in English Literature from Takes the Lead Steering Group. kerry rubie, chairman of the executive committee Kerry Rubie became Chairman of the Executive Committee Harvard University, and an MA and PhD in English Literature (now the Board of Trustees) in May 2006. Born in Australia, he from Brown University. She taught in the Department of 08 Comparative Literature and was Director of Alumni Relations at lynn wallis fistd, artistic director was recruited by the Leo Burnett Company of Chicago in 1964. Lynn Wallis graduated from The Royal Ballet Senior School in 1965 The American University of Paris, and was previously the Head of He became CEO of Burnett’s Canadian operation in 1978 and into The Royal Ballet Touring Company, becoming Ballet Mistress at Dance Studies at the University of Wolverhampton, and Head of subsequently moved to Hong Kong as Regional Managing Director the school in 1969, a position she held until 1982, when she was Postgraduate Studies and Research at London Contemporary for the Agency’s Asia Pacific operation. Leaving Hong Kong in 1987, made Deputy Principal. During this time she reproduced a great Dance School. Prior to joining the RAD, she was an Associate 05 06 he relocated to London as head of Burnett’s Europe/Middle East/ many ballets from classical repertoire for the school performances Dean in the Faculty of Humanities, Arts, Languages and Education Africa group and in 1992 moved to Chicago as Group President. at the Royal Opera House, Covent Garden, and other venues. In at London Metropolitan University. He was appointed Group President Leo Burnett Worldwide Inc. in 1984, at the invitation of Erik Bruhn, she joined The National Ballet Anne has taught English and Comparative Literature, 1997 and retired as Vice Chairman in 2004 leaving an agency with of Canada, as Artistic Co-ordinator, and in 1986 she became specialising in Shakespeare in performance, as well as both operations in 87 countries, employing over 6,000, with billings in Associate Artistic Director, with Valerie Wilder, and Co-Artistic theoretical and practical courses in Performing Arts, specialising excess of US$900 million. His other charity roles are Chairman of Director from 1987 to 1989. In 1990, she was appointed Deputy in dance. Her research interests include the role of ‘alternative Friends of the Elderly and reading assistant at St Mary’s Primary Artistic Director of English National Ballet with special responsibility somatic practices’ within classical and contemporary dance training, School East Row. for Mid-scale touring, the Education and Community Unit, the choreographic legacy of George Balanchine, and Shakespeare Choreographic workshop and English National Ballet School. and Dance. Anne’s publications include Balanchine Then and Now 03 Lynn joined the Academy in 1994 as Artistic Director and is luke rittner, chief executive (Sylph Editions, 2008) and she contributes reviews on dance and responsible for setting and maintaining the standards of dance Luke Rittner took up his appointment as Chief Executive arts publications and performances to the Times Higher Education. of the Academy on 1 September 1999. He was Secretary training worldwide, developing the RAD’s Syllabus and planning General of the Arts Council of Great Britain (1983–1990), courses internationally for students. 07 08 06 Communications Director for Sotheby’s Europe (1992–1998) andrew mcbirnie ba mmus phd ltcl, Lynn led the Creative Panel for Pre-Primary in Dance, Primary in and in previous years has run the Bath Festival and was director of examinations Dance, Grades 1–3, Intermediate Foundation and Intermediate and Founder-Director of the Association for Business Sponsorship Dr Andrew McBirnie was appointed Director of Examinations chaired the Artistic Panel of Dance Professionals who wrote of the Arts (now Arts & Business). Luke has served on many at the Academy in January 2010. Previously he was Chief Examiner The Foundations of Classical Ballet Technique and The Progressions arts boards, including the Victoria & Albert Museum and the in Music for London College of Music Examinations, based at the of Classical Ballet Technique. She is currently working on Grades 4-5, British Council. He was a non-executive Director of Carlton University of West London, where he also taught on the BMus as well as Advanced Foundation (Male and Female) and Advanced Television until 1993. He is currently Chairman of the London course. Subsequently he spent some time in the USA, where he 1 and 2 (Female). Academy of Music and Dramatic Art (LAMDA). was syllabus consultant and North American promotions officer In 2001 Lynn was nominated and shortlisted for the for LCM Examinations, and an adjunct professor in music at European Women of Achievement Awards. In 2004 she was 04 Oklahoma City University. He remains a Senior Examiner nominated for an Isadora Duncan Dance Award in the category richard thom ba (hons) fca, for LCM Examinations, and is also on the board of the Council of Reconstruction/Revival/Restaging for her work on Monotones director of finance and administration Richard Thom joined the Academy in 1988 and was appointed for Dance Education and Training. I and II, Sir Frederick Ashton, San Francisco Ballet. Director of Finance and Administration in 1991 with responsibility He studied music at the University of Bristol, gaining a for Finance, Facilities, Human Resources and Information BA with first class honours, followed by postgraduate study in Technology. He is also responsible for and a Director of Royal composition at the Royal Academy of Music. He was awarded Academy of Dance Enterprises Ltd. a PhD in composition from the University of London in 1997.
6 Royal Academy of Dance Annual Review & Report 2010/11 7 the trustees
01 02 03 04 09 10 11 12 13
05 06 07 08 14 15 16 17 18
01 09 dame antoinette sibley dbe, President karen berry AdvTch Dip RTS 02 kerry rubie Chair of the Board of Trustees 10 julia bond 11 brian brodie 03 leigh collins Chair of Finance sub-Committee 12 thérèse cantine ARAD Dip PDTC RTS 04 deborah coultish Adv Tch Dip RTS Chair of Regional sub-Committee 13 sarah dickinson ARAD Adv Tch Dip RTS 05 Chair of Education sub-Committee and Vice-Chair of the 14 A.I. Chor nigel hildreth Board of Trustees anders ivarson 15 ARAD RTS 06 Chair of Artistic and Examinations sub-Committee and derek purnell Vice-Chair of the Board of Trustees louise murray 16 ARAD
07 ARAD Chair of Benesh sub-Committee philip pegler kathryn wade 17 LRAD 08 Director and Chair of lynne reucroft-croome RAD Enterprises nigel wreford-brown 18 RAD RTS Trustee not present: helen taylor Cheryl Thrush ARAD RTS
8 Royal Academy of Dance Annual Review & Report 2010/11 9 01 01 quality & excellence
‘Quality assurance’ – that celebrated, notorious business Beyond this, perhaps the key is in achieving the right balance phrase. How can you, in your own relationship with the between building on our heritage (91 years of leading the world in Academy, be truly assured of our quality? What, for you, ballet training can’t be all bad) and remaining aware of, and sensitive defines quality? What, for you, is a quality cup of coffee – to, the ever-evolving contemporary landscape in terms of what one which tastes full and rich, and gives you a warm buzz young dancers and dance teachers need to know, understand, and on a cold morning, or one where you know the beans be able to do. This means appreciating how the RAD’s particular have been sourced ethically and the producer paid fairly contribution fits into wider contexts of artistic endeavour, training for his work? and education. It means understanding the expectations and demands placed on our students, and the mechanisms by which Our coat of arms is granted under royal prerogative, and as their achievements are valued. It means dedication to being the such is a mark of quality for the RAD as an organisation, its best, without being arrogant or complacent. members, products and services. It is also a symbol of the powers granted to the RAD by its Royal Charter. Perhaps for We know that getting this balance right can be challenging, even some people, this is difficult – the significance of a hereditary painful at times. But we all care about the same things, or else monarchy can be a rather political issue at times – but we wouldn’t be involved. Through a combination of constructive nonetheless, historically we can assume that the monarch debate and collective focus on the same goals, we can be would have granted official recognition only to the very best. assured, and assure others, of our quality.
How can we assure ourselves and our customers that the dr andrew mcbirnie quality we deliver as an organisation every day measures director of examinations up to what we say, or claim, or assume? For a start, much depends on the dedication, expertise and enthusiasm of those many thousands of individuals worldwide who are, in effect, the RAD – Trustees, managers, administrative and academic staff, examiners, tutors, teachers and students.
photo: Elliott Franks
10 Royal Academy of Dance Annual Review & Report 2010/11 Quality & Excellence 11 01 quality & excellence
Royal Academy of Dance offers an internationally recognised portfolio of examinations and assessments which is designed to motivate and encourage students of all ages and levels of ability, through a systematic measurement of progress and attainment.
To maintain compliance with To implement the action plan objectives & existing regulatory frameworks resulting from the 2010 internal achievements and expand accreditation and audit, self-assessment exercise, To support the launch of the recognition where possible and equality and diversity new Intermediate Foundation and appropriate compliance review and Intermediate syllabi and The RAD’s Graded and A significant number of these develop the necessary Vocational Graded Examinations actions were wholly or partially documentation and were placed on the Qualifications completed; but the requirement administrative processes and Credit Framework (QCF) in to achieve compliance with The new syllabi were launched September 2010, and the new Ofqual’s new General Conditions in January 2011 to considerable qualifications were awarded for of Recognition superseded this critical acclaim. The Examinations the first time in November 2010. process from May 2011. Board supported the launch by: To enhance communication Examinations flyer was To trial new systems for - developing relevant In May 2011 Ofqual published its To carry out an internal audit, structures with international designed and is available for use enabling the electronic documentation such as General Conditions of Recognition, self-assessment exercise and offices and implement associated by RAD Registered Teachers transfer of examination results Specifications, marksheets, and work commenced to evaluate equality and diversity compliance quality assurance procedures via the Marketing Tools for This project was postponed and Results Forms and achieve compliance with review for 2011 Work was carried out to Teachers online platform. pending the development of - developing policies and these by May 2012. This process was superseded implement a more robust Discussions with the RAD the new Global Database. procedures to support the by the self-evaluation process global reporting procedure for Marketing, Communications & new administrative model for In July 2011 the Academy in line with Ofqual’s General examination tours. Detailed Membership department for To trial an Examinations examination tours, whereby achieved confirmation from Conditions of Recognition. feedback from Examiners and the further promotion of the Feedback model these examinations can be the Universities and Colleges National and Regional Offices is Examination department’s A model was developed, and incorporated within Graded Admissions Service (UCAS) To review the Examinations now sent to the Examinations work and activities are ongoing. trial feedback sessions were Examination tours (Approved that Graded and Vocational Board’s documented policies Department and reviewed, with carried out in the UK, Australia Examination Centre tours Graded Examinations in Dance and procedures, in particular: resulting actions carried out To begin work on the and New Zealand during the from January 2012) at Level 3 would be included - Examiners’ Handbook as appropriate. Examinations module of the first half of 2011. - Administration manual - training all RAD Examiners within the UCAS points tariff RAD’s new global database - Examination Attendant to assess the new work. for the first time. To continue to develop a A detailed requirements To finalise teacher feedback guidelines marketing strategy for the document was written, which mechanisms - Procedures to monitor To support the continued Work continued to achieve Examinations Board provided an opportunity for a This project was put on hold the work of examiners development of the new accreditation in Scotland, and the Focus on Exams was launched fundamental review of the pending the enhanced quality - Malpractice policy Grades 1–3 syllabi Academy’s application to SQA in October 2010 and quickly Examinations Board’s global assurance measures outlined - Specials policy The Examinations Board Accreditation for recognition as established itself as a key business processes, and this was in ’To enhance communications Examination Attendant Guidelines continued to administer trial an Awarding Body in Scotland communications tool. A refined continually throughout structures’ above. were completed and signed off examinations and supported was complete by May 2011. photoshoot took place in June the year. Development work during the year under review. Of the development of new 2011 which created a bank of commenced on the Results the other policies listed, some products and documentation In collaboration with the Council examinations-related images Analysis and Adjustment module were carried forward in the light for the new syllabi. for Dance Education and Training for use in marketing materials of the new database. (CDET), a project to map RAD of Ofqual’s General Conditions and publications. A dedicated Graded and Vocational Graded of Recognition and the resulting Examinations against the new self-evaluation process and action Australian National Dance plan. Others remained under Qualifications (Live Performance consideration at the end of Training Package) was started. the year.
photo (top): Mark Lees
12 Royal Academy of Dance Annual Review & Report 2010/11 Quality & Excellence 13 Leading the way in dance assessment inspiration & creation quality & excellence 01 movement & innovation health & happiness
To support the successful launch during 2010/11 looking ahead of the new Grades 1–3 syllabi. These objectives have been developed alongside the To achieve compliance with Strategic Plan for 2010-15 Ofqual’s General Conditions examination tours took place in and the Examinations Board’s 754 of Recognition and issue a 66 countries associated Operational Plan Statement of Compliance for 2011/12 by 18 May 2012. To successfully implement the necessary processes to To achieve accreditation for the candidates entered for Graded support the new policy of RAD’s examinations in Scotland Examinations,206,958 Presentation Intermediate Foundation and Classes, Class Awards and and comply with all associated Intermediate Examinations Demonstration Classes conditions. being examined in Approved Examination Centres. To refine a marketing and communications strategy To refine and implement an for RAD Examinations. 21,869candidates entered for Examinations Feedback model. Vocational Graded Examinations To implement a more robust To review and publish new Graded entries increased by procedure for reviewing and 1.7% and Vocational Graded Specification documentation revising policies and other entries by 5.8% on the previous for the Academy’s full suite year, representing an overall documentation. of assessments in dance. increase of
2.1% The RAD’s Graded and Vocational Graded highlights of 2010/11 Examinations are placed on the QCF at Levels Quality & Excellence 1–4 and range in size from 7 to 38 credits. Each The Examinations Board has maintained and candidate who passes one of these examinations enhanced its compliance with the exacting is awarded credit, which can be accumulated and requirements of external regulators and agencies. transferred on the framework. The Academy’s suite of Graded and Vocational Graded Examinations in Dance was placed on the UCAS tariff points for Graded and Vocational Qualifications and Credit Framework (QCF) in Graded Examinations in Dance at Level 3 were October 2010. The QCF is designed to provide confirmed in July 2011. This means that candidates learners, learning providers and employers with who achieve a Pass or higher at Grades 6–8, an inclusive and flexible regulated qualifications Intermediate and Advanced Foundation can use their framework containing units, and qualifications built exam result as contributing towards their points from those units, that recognise the widest possible tariff when applying to a university or Higher range of quality-assured learner achievement. Education Institution in the UK. The QCF introduces a standard currency for Each attainment band (Pass, Merit, Distinction) for learner achievement through the award of each qualification is assigned a specific number of credit. Each qualification on the QCF is assigned points, ranging from 30 for a Pass at Grade 6 to 70 a level, indicating the standard or degree of for a Distinction at Advanced Foundation. For some difficulty, and a credit value, indicating the size applicants, this can mean the difference between of breath of the qualification. There are three getting to university and not getting to university, sizes of QCF qualification: award (1-12 credits), and is a meaningful, tangible, practical recognition certificate (13-36 credits), and diploma (37 or of their achievement in dance, in the context of more credits). the individual’s wider educational development.
photo (left): Robert Hamlin
photo (opposite): David Tett
14 Royal Academy of Dance Annual Review & Report 2010/11 Quality & Excellence 15 01
Inspiration & Creation Health & Happiness The creative team, led by the Artistic Director The Examinations Board seeks to maximise access and the Chair of the Panel of Examiners, has to examinations for all students, and supports continued the groundbreaking work started by candidates who have disabilities or conditions the development of the Pre-Primary in Dance which impact on their ability to undertake and Primary in Dance syllabi by creating and an examination; whether by implementing a launching new syllabi for Intermediate Foundation Reasonable Adjustment to examination procedure, and Intermediate levels. or awarding Special Consideration to a candidate who was disadvantaged by temporary adverse The new syllabi challenge and inspire students circumstances which arose prior to, or at the time technically, artistically, musically and creatively of, the examination. with exercises that encourage critical thinking and physical fitness while also developing a In addition, the Examinations Board has a clear sense of theatre, movement dynamics and procedure in place for candidates who are musical interpretation. unable to complete an examination due to illness, injury or compassionate circumstances, and wish In the examination, students are assessed on to defer to a future session or withdraw entirely. their ability to: The policies and procedures related to these • perform a series of prepared ballet exercises matters were revised during the year under review. which require the ability to demonstrate secure posture, correct weight placement, Movement & Innovation co-ordination of the whole body, control, line, The Examinations Board has not stood still. spatial awareness, dynamic values and (for Whether by supporting pioneering and female candidates) the ability to successfully innovative syllabus development work; or control movements en pointe by maintaining and enhancing the external • dance in time to the music and show recognition and practical benefits associated responsiveness to music with achievement in RAD examinations; or • dance with expression, interpretation, by maintaining and consolidating best practice communication and projection in quality assurance, customer service and • perform one unprepared enchaînement in communications, we continue to move forward accordance with the Examiner’s instructions and lead the way in dance assessment, refreshing • perform one Variation which requires the and re-establishing the RAD’s worldwide demonstration of aspects of technique, music pre-eminence in the assessment of ballet at and performance. all levels from beginner to pre-professional. The new syllabi were launched in January 2011 and will be examined for the first time from January 2012.
photo (opposite): David Tett
16 Royal Academy of Dance Annual Review & Report 2010/11 Quality & Excellence 17 02 movement & innovation
“Everything flows onward; all things are brought into being with The Faculty of Education supports its students and its graduates a changing nature; the ages themselves glide by in constant by precisely this ethos of informed innovation. The year in review movement.” Ovid, Metamorphoses, book 15. saw ongoing review and refinement of our existing portfolio of programmes, and the initial development of two new ones: the Ovid, the great poet of flux, honoured movement as the Diploma in Dance Teaching Studies and the Professional Dancer’s essence of existence. Everything that is ceaselessly shifts Postgraduate Certificate in Teaching. Development of a relevant – not to move is, quite simply, not to be. and engaging Continuing Professional Development Scheme for members was a strategic priority, in anticipation of its July 2013 Movement – the very stuff of life, then. Small wonder that launch. In collaboration with colleagues working across the dance at its most... well, moving, is at once resplendent and Academy, Faculty of Education staff are committed to offering fundamental, luminous and from the gut. Dance is movement our graduates and our members the support they need to of a most exquisite ilk; it is always, when heartfelt, aesthetically sustain challenging, evolving, inspiring careers in dance – careers, beguiling, be it a spontaneous jig of joy, a turn on the dance in short, that don’t stand still. floor or a meticulously crafted choreographic work. dr anne hogan A diverse organisation bound by a common passion for the director of education dance, the RAD is itself on the move. Movement is not, of course, in and of itself an advantageous aspect: organisations, like people, can spin their wheels, propel themselves rashly or timorously backtrack. The RAD, in contrast, embraces forward movement through judicious enterprise. We value fleetness, grace and elegance in action, symbolised by the doe on our royal coat of arms. Respectful of our heritage, though never resting on our laurels, we are innovative, responsive photo: and strive continually for excellence. Johnny Carr
18 Royal Academy of Dance Annual Review & Report 2010/11 Movement & Innovation 19 02 movement & innovation
To support life-long learning Development has concentrated by offering Continuing on new CPD content, balanced Professional Development between practice-based learning (CPD), ensuring that teachers and training, and academic keep up to date with their learning. Once again a selection professional practice and are of syllabus-based workshops able to meet the challenges was offered during the summer of changing educational and of 2011. These were held in professional requirements Birmingham to great success, and The Continuing Professional are scheduled to take place again Development team has further in both London and Birmingham refined the CPD scheme by in the summer of 2012. The developing a strong framework scheduling and the content of supported by a clear set of the 2011 summer workshops rules and regulations, including have proven popular, with a 13% schedules of responsibility increase in delegate attendance to support the international since 2010. rollout of the scheme in 2013. The aim has been to develop To support Faculty of Education high-quality CPD activities which staff engagement in a wide range will support our teachers in the of Research and Professional many facets of their professional Development activities, and life: as teachers, mentors and to disseminate their output business leaders. Teachers are to the wider community expected to have a much wider The year saw the launch of Recruitment to the Master The distinctiveness of the BA knowledge base including an the Karsavina Project with the objectives & of Teaching (Dance) (MTD) (Hons) Ballet Education and understanding of legislation and aim of producing an interactive achievements increased by 27% in its fourth BA (Hons) Dance Education To provide a full portfolio of business management, as well electronic teaching resource cohort, confirming the demand programmes remains a key initial and continuing dance as an ability to demonstrate based on the ballet syllabus for this award. The MTD cohort advantage in operating within teacher and teacher education excellence in teaching. RAD CPD created by Tamara Karsavina. includes students who have a competitive market. As these and training programmes, activities will empower teachers Teaching staff continued to progressed from the Faculty programmes are reviewed as including University validated in the workplace, underpinning pursue their individual professional of Education’s Postgraduate part of the re-validation process Undergraduate Degrees, the RAD’s strategic aims “to be development through practice- Certificate in Education: Dance we will seek to enhance this Diplomas, Certificates, the leading international authority based and action-based research Teaching (PGCE: DT) and competitive edge. Postgraduate Awards and on dance teacher education and as well as enrolment for higher BA (Hons) Dance Education Professional Awards of the training” and “to be the preferred degrees, attendance at (BADE) programmes, as well as The Certificate in Ballet Teaching RAD, that are internationally professional membership body international conferences and teaching members of the RAD. Studies (CBTS) programme renowned for the highest for teachers of dance around publication of research. continues to exceed target standards of teaching the world”. Graduates from our PGCE: DT recruitment figures. This year and learning programme, for which the saw the largest CBTS cohort A total of 388 students from RAD has been recognised as since the programme was 32 countries graduated from the an Outstanding Provider of Initial launched, with 385 awards Faculty of Education and Benesh Teacher Training, continued to expected to be agreed in Movement Notation programmes, have 100% employment success November 2011. Graduates their success being celebrated in rate, with almost all gaining senior from the 2010/11 cohort will photo (top): two ceremonies: the University Mark Lees appointments within 18 months be invited to attend Awards of Surrey Graduation and RAD of their first appointment. Day in 2012. photo (right): Awards Ceremony on 14 and Johnny Carr 20 July 2011 respectively.
photo (top): Johnny Carr
20 Royal Academy of Dance Annual Review & Report 2010/11 Movement & Innovation 21 02 Grade of Outstanding for the PGCE: DT quality & excellence
The RAD was granted Accredited Institute Status To promote our university- number of students looking ahead of the University of Surrey in November 2010 and To respond to changes in validated and professional awards In 2011 there were from January 2011 became responsible for the teacher education and training of the RAD internationally to validation and review of its undergraduate and internationally in order to best maximise global recognition. postgraduate degrees. support the needs of our current and future members. To continue with the 1,094students enrolled on Faculty of Education programmes development of exciting CPD This year saw the re-validation of the Certificate in Ballet Teaching Studies (CBTS) which will be To remain abreast of changes opportunities which encompass a offered from January 2012. The new programme in UK legislation pertaining to diverse range of content from the retains best practice from the original version but higher education, the national RAD syllabus to dance education has been strengthened in response to feedback curriculum and teacher training. and business management. from students and tutors. Initial plans for a sequel programme, the Diploma in Dance Teaching To develop a Research and To establish a range of Studies (DDTS), for launch in January 2013, were Professional Development collaborative activities with also approved by the Education Sub-Committee. Strategy designed to further higher education institutes nurture our research community and appropriate professional In April 2011, the first two students graduated by developing innovative organisations internationally from the Master of Teaching (Dance). The students, practices in a wide range of to enhance our research and parents and staff attended the awards ceremony research activities (text-based curricular development profile. at Guildford Cathedral. Both students had already as well as action and practice- gained a BA (Hons), PGCE: DT and Qualified based) in support of dance Teacher Status through the Faculty of Education. teacher training and education. Our Masters programme enabled them to continue their studies and pursue their research interests with excellent results. Both students highlights of 2010/11 gained the MTD with Distinction and produced The year 2010/11 included an Ofsted inspection research deemed worthy of publication. for the PGCE: Dance Teaching programme with Qualified Teacher Status (QTS) resulting in a grade The largest cohort of students successfully of Outstanding in both major areas of review completed the Professional Dancer’s Teaching (overall effectiveness of the provision and ability of Diploma (PDTD). 22 professional dancers leadership and management to sustain high-quality undertook an intensive period of study between outcomes) and in all nine embedded criteria. The June and August, gaining the PDTD qualification. inspectors stated that teaching and tutoring is Whilst all of the dancers had strong ballet inspirational, attainment is very high, recruitment training, they represented the diversity of the and selection is excellent, progress is outstanding dance profession, from national ballet companies and communication between the Academy and to small-scale touring groups, musical theatre, our partnership schools/colleges is exemplary. They and the film and entertainment industries. The also reported that the impact of our leadership cohort also achieved excellent results with eight and management is incisive, comprehensive and students gaining Distinction and 13 gaining Merit. evaluative, and that we have a highly focused and innovative response to change. During the summer, Faculty of Education staff met Dr Anne Hogan, who was appointed Director of Education in March 2011. Dr Hogan subsequently took up her post on 30 August 2011.
photo (left): photo (top): Johnny Carr Johnny Carr
22 Royal Academy of Dance Annual Review & Report 2010/11 Movement & Innovation 23 benesh movement Moving forward as a dancer 02 notation movement & innovation
Benesh Movement Notation (BMN) is an integral part of the Academy’s work. It forms the basis for a number of courses and is offered on most of our teacher education programmes. Notator education from beginner to professional level is offered through The Benesh Institute.
Notation of the set work is Work continues on the included within the printed Encyclopaedia of Benesh looking ahead To incorporate BMN into syllabi for RAD examinations Movement Notation, made the new Grades 1–3 Graded (all the Vocational Graded possible with generous funding Examinations in Dance Syllabi examinations and increasingly from the Benesh Institute to be published in 2012. within the Graded examinations Endowment Fund and the Linbury syllabi) as a resource for teachers Trust; due to the complexity of the To incorporate BMN into and students and since 2008, task it is now anticipated that it will the new Advanced Foundation, the new work created by the be published in September 2012. Advanced 1 and Advanced 2 commissioned choreographer examination syllabi to be for the Genée International Publication of the new published in 2013. Ballet Competition has been Intermediate Foundation and notated using the Benesh system. Intermediate examination To incorporate BMN into the syllabi incorporating BMN. Benesh provides an important new Grades 4 and 5 Graded link between the Academy and Examinations in Dance syllabi The Certificate in Benesh professional dance companies to be published in 2014. and the Benesh scores of Movement Notation and the “When I first joined the Munich Ballet Company Learning by correspondence for the certificate numerous choreographic Diploma for Professional Benesh gregory mislin, a soloist with To promote accessible learning I used to try to write things I had to learn, (CBMN) was fun. It is done gradually, step by step, works, available to study in the Movement Notators are now the Bayerisches Staatsballett in of BMN through a revised especially when I had to cover 10 dancers at the and is easy to go through. If you have any problems Academy’s Philip Richardson offered on flexible, individual Munich, is currently studying for Distance Learning Course One same time, and you would never know until 30 the tutor helps really quickly. Timewise, the Library, make a valuable timetables, which serves to widen the Diploma for Professional and new web-based learning minutes before the performance which dancer CBMN is also really flexible, and I had no problem contribution to an already access to these programmes. Benesh Movement Notators resources. you might have to replace. I had no proper to have my career as a dancer and study a teaching impressive archive and collection. of The Benesh Institute, and is The Score Reading for about to undertake a three- system of movement notation, so to be honest, diploma at the University of Art in Munich. I To publish the Encyclopaedia Dancers programme is now month placement with The I would not be able to read my notes now, realised that BMN has helped me move forward of Benesh Movement Notation objectives & fully established at English Royal Ballet company. Having 15 years later. At the time I had no idea as a dancer – I always analysed my dancing, but in 2012. achievements National Ballet School and completed the Certificate in that a system for notating dance existed. this gave me a different way of analysing. Work on incorporating BMN Elmhurst School for Dance. Benesh Movement Notation into the new Grades 1–3 To continue to liaise ever more (CBMN) programme, Gregory Then I saw that Cherie Trevaskis, the company I am delighted to have come for three months to Graded Examinations in Dance closely with dance companies, Library staff continued the shares his experience of choreologist, was using a ‘proper’ system of The Royal Ballet and take part in the rehearsals syllabi books is on schedule for choreographers and notators process of checking all records learning BMN with us: movement notation, and I could see how valuable for the new piece by Liam Scarlett. I have also publication in January 2012. to ensure that we continue to and updating the 1998 Benesh it was to record the basis of the creation – the been involved in updating the score of Ashton’s serve their needs as effectively Movement Notation Score correct intentions of the choreographer, and Scènes de Ballet and recording his pas de deux The new its-a-sign.org website as possible. Catalogue with a view to making all the little details you need to know fast in a Voices of Spring for our company premiere which promoting BMN went live in it accessible through the online rehearsal. I would even say that notation will took place in December 2011. All that is great 2011; work has begun on Library catalogue. become part of dance history – in 200 years experience for me and I hope in the future to revising Distance Learning people will be able to see what was done in continue using BMN everywhere I am able to. Course One in BMN in order our days – it’s funny to think of it! BMN will broaden my career in dance and I to make time spent studying it am open to all opportunities coming to me!” eligible for CPD points.
photo (top): Gregory Mislin by Charles Tandy
24 Royal Academy of Dance Annual Review & Report 2010/11 Movement & Innovation 25 the philip richardson library The English Ballet Company in Copenhagen, 1932
02 inspiration & creation quality & excellence
The Philip Richardson Library aims to promote the widest possible access to its resources and is committed to the professional management and preservation of its collections for future generations.
It seeks to provide a high-quality To increase the number of Much progress has been made research and information service external users and subscribers in rationalising and cataloguing in support of the promotion of The number of external visitors the archives and Special dance, dance education and and enquiries increased from last Collections; the Bedells archive training internationally and year but only one more library is now fully catalogued and the serves as a principal resource for subscription application was RAD archive is also becoming anyone studying, researching or made than last year. We will much more accessible and better showing a general interest in enhance subscriber benefits and utilised due to the ongoing the subject of dance. work towards achieving better retrospective cataloguing of communication with our these documents. objectives & subscribers to ensure a greater achievements number of applications and The number of visitors to the To extend the Library re-subscriptions. Library increased to an average catalogue availability to public of 405 per month and Library access via the RAD website To compile a subject Information Services satisfied This is an ongoing objective thesaurus to be used for 282 requests for information, and it is dependent on the indexing and searching within 36% of which were from development of Phase 2 of the the Adlib library database external users of all ages and The recently catalogued Phyllis The appearance of The English Ballet Company The first performance on 24 September was Global Database project. The Initial research has been carried varied from simple stock to Bedells archive contains a heavily was scheduled to coincide with the British a gala occasion in the presence of the King and Library will work with the out for this project but time detailed research enquiries. autographed programme for the Exhibition in Copenhagen, for which Madame Queen of Denmark and also the Prince of Wales, Marketing, Communications & constraints have made it first performance of The English Genée had also arranged a display of English and received favourable reviews in the Danish Membership department to impossible to start this year. looking ahead Ballet Company at the Royal needlework. The performances were directed press (the archive also contains some of the define a realistic timeframe for To add to, if not complete, the Theatre in Copenhagen, in by Ninette de Valois and included repertory original Danish press cuttings). The fourth and the achievement of this aim. To create and publish a Collection Management Policy. September 1932. The company from the recently formed Camargo Society final performance on 28 September included Collection Management Policy was organised by the Association and Vic-Wells ballet company. an appearance by Adeline Genée herself who To compile a new library A draft Policy for the To work towards compiling a of Operatic Dancing of Great danced with Anton Dolin in The Love Song – information pack for RAD Acquisition and Holding of subject thesaurus to be used for Britain (AOD) and the visit to The majority of the dancers were members of the a suite of traditional dances which Genée had Members, subscribers and Newsletters has been drawn indexing and searching within the Denmark arranged by Adeline AOD and Phyllis Bedells appeared as a Principal choreographed earlier that year for a charity external users up and it has become clear that Adlib library database, using the Genée who in 1931 had been Artist alongside other famous British ballet names matinee at Drury Lane. It provided a triumphant The Library has been working this policy requires more time new classification scheme to elected as Chairman of the such as Alicia Markova, Anton Dolin and Ruth climax to a short but successful season of English on this during the year under for completion to ensure all define subject terms. Anglo-Danish Society. French. In her autobiography, My Dancing Days ballet – the first ever to be presented outside review and the pack is due to be aspects of the collection are (1954, London: Phoenix House), Bedells describes the UK. published on the RAD website encompassed. To draw up guidelines for the the trip as “one of the most exciting events of my in early 2012. acceptance of bequests and life”, although she was extremely disappointed Although The English Ballet Company was not to highlights of 2010/11 donations, and instigate a form when the Blue Bird pas de deux she was become a permanent entity under the auspices The Library continued to enrich to be filled in by donors to scheduled to perform with Harold Turner on of the AOD, it did much to raise the profile of the its archive collection with over ensure that we have all the the opening night was cancelled due to missing work of the Association prior to gaining its Royal 110 new book titles and editions, acquisition information needed. orchestral parts. Charter in 1935. It was also an important step over 30 new audio-visual items, for the promotion of British ballet on an new items for two of our major To begin to reorganise the international level. archives – the Adeline Genée library space, with a view archive and the Phyllis Bedells to improve housing and archive – and a large number preservation of the collection. of donated programmes.
photo (top): RAD Archive
26 Royal Academy of Dance Annual Review & Report 2010/11 Movement & Innovation 27 03 inspiration & creation
From the 19th century we have inherited ideas of music and This commitment has never been more evident than when dance as separate, sometimes even mutually exclusive arts – in February 2011, we brought together nearly 100 musicians one for the concert hall, one for the theatre. In the concert hall, including The Orchestra of English National Ballet, a chamber music aspires to be a purely aural experience, with listeners ensemble, soloists, composers, arrangers and producers to record seated reverently in a darkened auditorium where even a compendium of 400 years of inspiring dance music for the foot-tapping is frowned upon. In the theatre, musicians are new Grades 1–3 syllabi, including classics such as Sleeping Beauty, concealed in a pit under the stage, to be heard but not seen Giselle, Don Quixote and Cinderella, songs by Gershwin and Irving while the spectacle unfolds above. Berlin, and dances from Purcell to Shostakovich.
In view of this, the dancer pictured in the crest of the It is one of the biggest musical advances the RAD has made Academy’s coat of arms is a surprisingly radical figure. Even in its history, yet truer than ever to the spirit of its crest. Terpsichore, the Greek Muse of dance and lyric poetry on whom the crest was apparently based, is more usually seen jonathan still seated with her lyre. But our dancer, with her tambourine music development manager raised high, and dynamic, flowing scarf, visibly makes and carries her music while she dances. She does not surrender herself passively to music, she possesses and celebrates it actively as an inseparable element of her dancing. This simple image perfectly encapsulates our belief in the centrality of music to dance, and dance to music. In promoting dance, we cannot help but be committed to promoting music.
photo: Pat Bromilow-Downing
28 Royal Academy of Dance Annual Review & Report 2010/11 Inspiration & Creation 29 03 inspiration & creation
To launch four new categories To begin to revitalise the in South Africa. To this effect, the “Our members are the beating objectives & of teacher registration and a non-professional membership RAD and Cape Town City Ballet heart of our organisation. It is achievements range of supporting branded categories in order to created Sizodanisa (Let’s Dance!), their achievements that have To launch a refreshed Dance promotional tools for engage the widest possible an outreach project for young made us great and their loyalty Gazette to the membership and professional dance teaching membership base aspiring dancers from local that has made us strong; therefore to trial a magazine subscription members in 2012 The Academy conducted community groups; providing it is our responsibility to continue to broaden its readership The Academy recognises that research at MOVE IT, the UK’s them with a platform to learn, to provide first-class services for Following the decision to broaden consultation is vital to the largest multi-genre dance participate and perform while them and to recognise and reward the remit of Dance Gazette, the process of launching the new festival, that attracts an audience introducing them to the magic their support and commitment Academy’s membership magazine Professional Dance Teachers’ of over 20,000 dance of ballet. to the RAD and to dance.” was redesigned in February Registration Scheme; therefore enthusiasts and professionals melanie murphy 2011 and now covers a wider director of marketing, during the year under review each year. Over 1,200 attendees To launch and deliver the range of articles on dance- communications & membership we began a consultation period participated in an Academy- first ever Dance Proms in related topics. by engaging with international wide survey, where we collaboration with the IDTA, The revamped publication focus groups of students, successfully collated feedback ISTD and the iconic Royal was made available to dance members, examiners and covering brand recognition, Albert Hall enthusiasts everywhere via a external dance representatives. membership benefits and More than 450 young dancers subscription scheme, so that Following the focus groups, services, social media channels took to the stage of the Royal everyone can read about the further progress was made by and events. The Academy will Albert Hall on 13 November Academy’s work and also enjoy publishing our intentions in a utilise this data from our ideal for the first ever Dance Proms, a unique perspective on the printed brochure that was sent target audience to plan and a partnership project between world of dance. In February to the worldwide membership implement the revitalisation the three leading dance 2011 Dance Gazette was with Dance Gazette. of the non-professional examination boards: the placed on the shelves of membership categories by the International Dance Teachers’ The brochure outlined the various WH Smith shops revised time frame of 2012/13. Association (IDTA), the Imperial proposed scheme and the four across the UK. Society of Teachers of Dancing new categories (Associate To deliver a successful Genée (ISTD) and the Royal Academy Teacher, AT RAD; Registered International Ballet Competition of Dance. Participants Teacher, RT RAD; Licensed in Cape Town in 2011 with a showcased a huge range of Teacher, LT RAD and Chartered far-reaching and sustainable dance styles and cultural Teacher, CT RAD) intended community element influences – from classic to replace the current single The Academy’s flagship event, ballroom and beautiful ballet to category of RAD RTS. the Genée International Ballet energetic tap, Kathak, Spanish Members were invited to Competition, took place for the and thought-provoking submit questions and feedback first time in South Africa. The contemporary dance – in what via a dedicated micro site beautiful city of Cape Town was a national celebration of www.radteachers.info. All played host to this prestigious dance in all its forms and a feedback from the consultation competition and garnered the celebration of the unique period will be used to shape the enthusiastic support of our relationship between students Scheme before it is launched. South African members and and their dance teachers. the wider local art scene. We were successful in delivering an unforgettable experience to all candidates who participated in the competition but also in leaving a lasting legacy behind for the underprivileged communities
photo (above): Courtesy of Cape Town Tourism
photo (left): Elliott Franks
30 Royal Academy of Dance Annual Review & Report 2010/11 Inspiration & Creation 31 03
To continue to increase The RAD developed a new the profile of the RAD, its highlights of 2010/11 online membership marketing 2010 marked the Academy’s members and its services solution, which delivers a 90th anniversary. To highlight through social networking diverse range of fully branded the work and growth of the media e.g. Facebook, Twitter professional marketing materials organisation throughout nine The year under review saw for RAD teachers – Marketing decades, we delivered 90 days a great improvement in our Tools for Teachers – to choose of online activity as a tribute to external communications. We from. These include headed the pioneering people whose are engaging with RAD paper, business cards, flyers, influence has had a profound members and dance enthusiasts posters and website templates, effect on shaping the RAD into via our social network channels. all accessible to RAD Registered the very special institution that it The corporate Facebook page Teachers based in the UK and is today. Visitors to our website reached over 24,000 fans in July Ireland at very competitive rates. were given the opportunity to 2011, from 10,000 in May 2010, We plan to roll out this new join us on our virtual trip to and it is still growing. This success resource internationally following learn quirky facts, view rare has been so overwhelming that a period of review. Visit archive photos and find out all RAD UK Regions have set up www.radmarketingtools.com more about the Academy’s their own regional Facebook to find out more. founders, leaders examiners, pages to keep in touch with their teachers and students. members locally. Although the new Grades 1–3 syllabi were launched in January Twitter has also seen an increase Dame Monica Mason DBE, 2012, the planning, development in the number of followers from Director of The Royal Ballet, and promotion of the new 800 to over 2,500 and it is still was awarded the Queen work took place in the year growing. Our audience provides Elizabeth II Coronation Award under review. us with invaluable feedback, while at a ceremony held at the Royal using the medium to enhance Opera House in December 2011. customer service.
photo (far left): Mark Lees
photos (left and opposite): Pat Bromilow- Downing
32 Royal Academy of Dance Annual Review & Report 2010/11 Inspiration & Creation 33 03 Life Membership stories inspiration & creation
The Academy strongly believes “The Royal Academy of Dance has played a major I stopped teaching when I was 28 to pursue a social media statistics in celebrating the achievements role in my life. I began learning the RAD syllabus performing career in Germany. When I was 36, I of its membership. During the and taking exams when I was six years old (1952) retired from the stage and opened my own RAD year under review, we continued in Northern California under the tutelage of Mary school, the Ballett und Tanz Akademie Marburg. In 24,000fans had joined our Facebook page to do so by collating and publishing Conmee. Mary was the organiser for the RAD in 2000 I sold my school and returned to California. by July 2011, which was an increase from 10,000 in May 2010 short biographies from our Northern California at that time. I freelanced at various RAD schools for six years, longest-standing members: being warmly welcomed back by many of the our Life Membership. By the time I was 18, I had successfully same RAD teachers whom Miss Conmee had completed my RAD exams and was an assistant helped train. In 2006, I moved to Pflugerville, These are viewable teacher to Miss Conmee. Back in those days the Texas, where I once again opened my own 2,500people also follow us on Twitter at www.rad.org.uk. and it is still growing children wore cotton tunics for the exams, and I school, the Texas Academy of Ballet. of carolyn bognar, arad used to love helping Miss Conmee iron them. I Texas is one such member: taught for Miss Conmee for 10 years, until I was Throughout my geographical life changes, I have aged 28. always been welcomed and supported by the close RAD teacher network. It is truly a remarkable Two of the highlights of my youth consist of a family! I became a Life Member several years ago, reception given for Margot Fonteyn at a hotel and have been a member now for 50 years. I love in San Francisco when I was about 12, and a the RAD and I am proud to be a member.” To revise the Code of Conduct luncheon given for Miss Fonteyn by Mary looking ahead and Professional Practice to Conmee, and the RAD teachers in that region, To hold a successful Genée ensure that it is robust enough when I was 21. At the reception we presented International Ballet Competition to promote and safeguard the the Vocational exams; I was then doing my in New Zealand in 2012. Leaving a legacy professional standards of our Elementary exam for Margot Fonteyn. She Not only do we value and celebrate our Life teaching members. came onstage afterwards, and personally To continue promoting the thanked us, and shook each of our hands. As Members; sometimes our Life Members leave Dance Gazette subscription a lasting legacy of their lifetime in dance in the To work with IDTA, ISTD and President of the Academy, she was travelling scheme and develop a strategy form of a donation to the Royal Academy the Royal Albert Hall towards around the US at the time. I remember being to increase sales of the magazine. of Dance. staging Dance Proms 2012. surprised that she actually ate food, and was a perfectly normal, charming mortal being! I was To devise and implement The Executors of the will of the late Mrs Jennie To start a consultation process totally in awe of Miss Fonteyn – the first ballet member surveys to gauge Hoey (also known as Miss Jennie Smith ARAD with our international offices in I ever saw was Ondine, with Fonteyn in the title member satisfaction levels and of Heaton, Lancashire), a Life Member of the order to begin to work on a role, and I later saw her dance in Romeo and to communicate the results RAD, have kindly permitted us to thank her and global re-branding strategy. Juliet with Rudolf Nureyev. effectively to the membership, her family for her generosity in remembering taking action where necessary to the Academy in her will. Leaving a legacy, split improve the services we provide. among 10 charities and other beneficiaries, the Royal Academy of Dance share came to To develop and promote new, £26,365 on realisation of the assets. improved and relevant UK and international benefits and services specific to each membership category.
photo (top): Elliott Franks
34 Royal Academy of Dance Annual Review & Report 2010/11 Inspiration & Creation 35 04 04 health & happiness
The motto emblazoned on the Academy’s coat of arms It also by inference supports Abraham Maslow’s 1943 work on is ‘Salus et Felicitas’ – Health and Happiness. The health needs-based behaviour, still used in business today. Maslow outlines benefits of dance are well documented. Delivering those the basic human needs in the form of a motivational pyramid. benefits to the widest number of people possible has of Firstly basic physiological and safety needs: health, food, water, course been central to the purpose and aims of the Royal shelter and security. Next on the pyramid is belonging and Academy of Dance since its inception in the 1920s. esteem; as humans we need social interaction – we need to value ourselves and feel valued. But top of the pyramid However, dance as an art form – its beauty and joy – can is self-actualisation: as humans strive to reach their potential, touch the soul. As a charitable organisation, with a strong be it creative potential, academic potential or just being the and loyal membership, it is vital to remember that we are best that we can be. all part of this beautiful, creative thing called dance. One of our core strategic aims is ‘to be the leading international Whatever our role and clearly some roles – teacher and authority on dance teacher education and training’, underpinned mentor – are more central to the process, we are all by a core value to be a leader as an organisation and leaders as contributing to the health and happiness of thousands of individuals. As a leading organisation we need to believe in our people around the world, in our way. Our values as an products and policies but to demonstrate leadership we first organisation centre on enjoyment, fulfilment, reward and need to understand that leadership isn’t a business behaviour, it is a recognition in acknowledgement that our mission to promote human behaviour and as humans we need to be healthy and to feel the knowledge, understanding and practice of dance is simply happy in our selves and our work in order to achieve excellence. another way to acknowledge that we are promoting health and happiness through dance. melanie murphy director of marketing, communications & membership ‘Health and Happiness’, when you boil it down, is an essential mantra for a successful organisation. It describes an organisation that puts people first, that encourages those people (both members and staff) to feel a sense of ownership for their organisation.
photo: Paul Greenwood
36 Royal Academy of Dance Annual Review & Report 2010/11 Health & Happiness 37 04 health & happiness
The Academy’s Training department continues to extend its links across international communities offering a range of opportunities for students of all ages and abilities. We aim to provide a high-quality programme of activities which is engaging and inclusive.
The RAD was pleased to run its selected from each of the three objectives & third Adult Summer Course at levels and will be invited to achievements headquarters which attracted perform at the Phyllis Bedells To continue offering a 43 students who participated Bursary in March 2012, along high-quality, diverse range of in ballet and Pilates classes. with the winners from the opportunities for people to Genée Dance Challenge participate in dance and To augment dance training by competition taking place in experience new genres creating opportunities to work Leeds in December 2011. In 2010/11, 10 Summer Schools with and learn from teachers, took place worldwide offering dancers and choreographers To continue to offer grants, students classes in ballet, from all over the world, bursaries and scholarships to repertoire, group dances, The intake for the GCSE course The RAD Dance School developing musicality and widen participation in dance highlights of 2010/11 increased by 85.7% in 2010/11 has introduced Repertoire character, classical mime, jazz, In 2011, three new schools were stage craft skills internationally from the previous year. The Workshops to its ever growing musical theatre, street dance/hip welcomed onto the RADiate Activities are led by highly In the UK some six Summer intake for the AS course Adult programme: 26 participants hop, contemporary/creative Project and two brand new skilled teachers, many of whom School tuition awards provided increased by 10% and the intake joined in with the first workshop dance, singing, Benesh Movement tutors joined the team. The combine teaching and careers the opportunity for students to for the A2 course decreased by which was based on the ballet Notation, stage hair and project delivers subsidised weekly within the dance profession. receive one week’s tuition at an 20%. An extensive marketing Swan Lake. Due to popular make-up, and drama. In addition, dance/movement sessions This allows them to pass Academy-run Summer School campaign was carried out to demand, these workshops three international Intensive to schools in Wandsworth on invaluable knowledge to anywhere in the world in 2012 promote these courses to will take place once a term Examination Syllabus Courses and Merton. A three-year students which adds a unique and 2013. Scholarships awarded secondary schools and colleges in the future. took place: Athens in Greece, development plan has been feel when attending Training in Japan, Italy and Toronto as well within outer and greater London Gilching in Germany and Long prepared in consultation with the department activities. as UK regional scholarships also and surrounding UK counties in The RAD Dance School has Beach in the USA, which Lead Tutor which includes the provided students with further 2010 and two Open Days were expanded to include classes on a covered the Intermediate integration of small numbers of The Performance Course in opportunities to continue their organised for new and Friday evening and has introduced Foundation through to children from some of the project London ran with 86 students dance experience. In 2011, over prospective applicants. a range of new classes to its Advanced 2 syllabi. schools into the RADiate sessions from 23 different countries; an 600 students took part in UK timetable including Song & audience of 210 watched two regional Scholarship and Award at other project schools. The Four Boys Only! courses took The first Summer School was Dance, Boys Ballet Level 3, Street performances of choreography Day events and 30 students project received a one-off private place in the UK: the South West, organised in Bournemouth at Dance for young people and specially created for the won prizes including tuition donation of £10,000 to assist Midlands and East of England, the new seafront studios at adults, and Classical Ballet with students including repertoire, on Summer Schools and with the running of the project Northern region and at Pavilion Dance in August 2011. a focus on Pointe Work. contemporary dance and jazz Masterclasses. in 2011/12. headquarters, London. The pieces in the Genée studio at courses were subsidised with A brand new event, Performance The review and development of headquarters. 31 candidates from the UK, The GCSE and A Level Dance proceeds from the Billy Elliot gala Masterclass, was designed and the Children’s Summer Classes Germany and Spain entered students once again achieved performance. Across all of these piloted in Taunton, Somerset in programme is continuing. The second Genée Dance the Phyllis Bedells Bursary. The higher than average results with courses, a total of 145 boys aged August 2011. Challenge competition took bursary of £1000 was awarded a 100% pass rate A*–C at GCSE, between eight and 18 years took 73% pass rate A–C for the AS place at Birmingham Royal Ballet to a male candidate from The This year saw for the first part in ballet and creative dance Level and 100% pass rate A*–B in July 2011. Forty candidates Royal Ballet School and this time an RAD Dance School classes culminating in a sharing of for the A2 Level students. The entered the competition across candidate went on to secure Prospectus being commissioned work for parents and guardians. all-inclusive courses continue to three levels and travelled from a place at English National and the recruitment of a Dance provide intensive tutoring and as far as Durham, Somerset and Ballet School. School Principal who will are supported by additional Yorkshire. Two winners were co-ordinate all artistic aspects dance workshops, visiting of the School and oversee professional company classes the development and quality and trips to live dance assurance in consultation photos performances. (top and top right): with the Artistic Director. David Tett
38 Royal Academy of Dance Annual Review & Report 2010/11 Health & Happiness 39 Genée Dance Challenge goes global!
inspiration & creation 04 quality & excellence movement & innovation
The GCSE and A Level Dance To organise a partnership event at the Artscape Theatre in Cape Town, South students once again achieved higher looking ahead in the South West region giving Africa as part of the 2011 Genée International than average results with a To increase the intake of students both male and female dancers Ballet Competition. Renowned teacher and on the GCSE and AS and A2 the chance to participate in pas internationally acclaimed choreographer Level Dance courses for each de deux coaching sessions led Christopher Hampson, who co-judged the academic year through wider pass rate A*–C at GCSE by professional dancers. competition with Artistic Director Lynn Wallis, 100% and more effective marketing. said that he particularly enjoyed the diverse range To organise an end of term of music that the teachers had chosen for their To continue to seek funding sharing of work for the RAD choreographies. This event gave students the to develop and expand the intake increase for the GCSE course Dance School students at chance to explore their creativity and perform in85.7% 2010/11 RADiate project. headquarters. on a major theatre stage in front of a full capacity audience: “Being a judge, alongside Lynn Wallis, To increase the number of student To work with Youth Dance for the Genée Dance Challenge was one of the events taking place in the South England through collaborations highlights of my time in Cape Town. The level of 600students took part in UK regional East region. Scholarship and Award Day events with their Regional Partner energy and commitment to each specially created Organisations and by registering solo was incredibly high. It was hugely rewarding To roll out the Performance all our courses and events with to watch these young artists exploring and Masterclass events to other U.Dance stimulating dance creating movement. It is vital that young people regions. students won prizes including performance across England. in dance are reminded of the endgame – tuition30 on Summer School performing. The Genée Dance Challenge gives and Masterclasses To develop RAD Associate a much needed platform for us to glimpse Classes regionally, giving students the dancers of the future, alongside the main an opportunity to participate in Genée International Ballet Competition.” non-syllabus classes which focus on performance technique The RAD was keen for the experiences of the and artistry. In 2011, the Royal Academy Building confidence is at the heart of the Genée Genée Dance Challenge to not only provide of Dance continued to develop Dance Challenge with students coming away high-quality choreography, coaching and judging, its exciting competition for feeling inspired by their experience which exposes but prizes that would continue to inspire the passionate young dancers, them to the world of a professional dancer. One young dancers to pursue future opportunities. Genée Dance Challenge. The mother whose daughter attended the Genée For winners of UK competitions in 2011, we competition gives aspiring Dance Challenge competition in Birmingham were pleased to offer a Masterclass given by a dancers a unique opportunity in 2010 commented: “Last weekend was an distinguished teacher at our London headquarters, to perform a ballet solo extraordinary time for us all, and it’s almost along with the unique opportunity to perform choreographed by their impossible to explain how wonderful it was for at the prestigious Phyllis Bedells Bursary at RAD RAD teacher. the children and what fantastic memories they headquarters in March 2012. Being part of the will have of it forever.” Phyllis Bedells Bursary will provide the winners with inspiration and motivation as they perform Following on from the outstanding success alongside the candidates who have passed the of the first Genée Dance Challenge in 2010, Academy’s Advanced 1 Examination with where feedback on the experience had been distinction and watch them compete for the overwhelmingly positive, the RAD felt it was prestigious bursary prize. In South Africa, important to offer more of these rewarding the winners received a trophy and Genée events to young RAD dancers in the future. A memorabilia and all finalists received two second competition took place in Birmingham complimentary tickets to the Final of the in July 2011 and a further event was planned Genée International Ballet Competition. to take place in Leeds in December 2011. The successful model formed the foundation for In 2012 we are planning to expand the Genée the Genée Dance Challenge in South Africa. Dance Challenge even further by running it in conjunction with a Performance Masterclass which From August 2011, regional heats were held in will provide students with an additional opportunity Cape Town, Durban, East London, Johannesburg, to learn, perfect and perform a solo dance. In Port Elizabeth and Pretoria. Winners were chosen photo (top): addition, using the successful model delivered in Brian Slater in each city and represented their region and South Africa, New Zealand will also host a Genée ballet schools at the national competition staged photo (left): Dance Challenge to complement the Genée David Tett International Ballet Competition 2012.
40 Royal Academy of Dance Annual Review & Report 2010/11 Health & Happiness 41 04 step into dance
To offer all our students the Students experience what it is to special education needs “Thank you Step into Dance opportunity to further their highlights of 2010/11 work as and be part of a team (sen) facts 2010/11 Step into Dance is a partnership programme between The Jack Petchey for giving our children these These have been the interest in and enjoyment of – especially where groups have Foundation and the Royal Academy of Dance. It is the largest ongoing, amazing opportunities. What realisation of the key benefits dance during the summer formed ‘crews’. Based on registers submitted, a positive difference you are of the programme which have attendance was at holidays inclusive secondary schools community programme in London and Essex. making to each and every been evident as a result of During the summer, a very Students who stay on the one of their lives” feedback from schools, the successful partnership with one programme year on year improve Step into Dance offers up to two purposes. There were also six These events have been tori drew development of our students dance teacher, of our SEN schools resulted in their skill set and have reaped hours of dance classes to schools additional days each specialising established as highly successful in and the appreciation of The 82% acland burghley school our firstStep into Dance SEN the rewards of their hard work. throughout the academic year, in different genres and aspects their aims and continue to grow Jack Petchey Foundation who Satellite Summer School which in a genre of their choosing. In of teaching. A handbook was in popularity. They provide a are considering giving us was hailed a huge success and Step into Dance helps create an students currently taking part in the return, the schools pay a small produced for our freelance valuable added platform for our funding for three years as of 3,570 “The girls loved performing and very much appreciated by the increased interest and enjoyment programme in 150 schools commitment fee. The genres dance artists to use as a students to shine, develop their the 2010/11 academic year getting an insight into other parents of all the children who of dance in schools. taught include Hip Hop, Breaking, reference and resource for their skills and learn from each other. Students experience an increase students’ work in the contemporary participated. We also piloted Contemporary, Spanish, teaching – this included SEN in confidence and empowerment. Step LIVE!, our celebratory end dance genre. It was refreshing a Summer School for those The inclusion of Special Needs Bollywood, Capoiera, Jazz and teaching, creative work, hip hop of year performance, was once to have an evening of dance interested in hip hop, in our programmes helps to of students are boys Musical Theatre. The programme style analysis and tips on teaching Students have increased 24% again held in Sadler’s Wells dedicated to contemporary dance contemporary and creative break down taboos and has ran in 150 schools, 27 of which contemporary dance. performing opportunities. Theatre in July 2011 with 410 and the variety, scope and talent work at one of our schools demonstrated how supportive are Special Educational Needs dancers participating. This that exists in London schools was in the East End. This was also the community can be. (SEN), in 18 London boroughs To offer our students exciting Students gain access to included three SEN schools evident. It was a nice change to very successful. Both ended the of students are SEN students in the academic year of 2010/11, performance opportunities, opportunities in the dance world 12% and five wheelchair users. The showcase this style, and as fab and week with a sharing for family Our Special Needs students with over 3,570 students thus broadening our audience which they would otherwise not foyer was awash with breaking, valid as street and hip hop are, not and friends. have flourished as a result of this participating; 862 of these base and continue raising have or be aware of. popping and locking battles to have these styles dominating inclusion – they have felt cared were boys. our standards events. More of this please!” Boys Schools plus some contemporary To promote and develop our for and valued. 10 In the academic year 2010/11 carolyn tailby Students gain a ‘sense of pop-up dances to get the watch this step work in Special Needs Schools as well as the Borough Events ega, on belonging’ – they are part of a objectives & audience ‘in the mood’. There To this end, a Special Educational (where all the schools in a larger network and dance ‘family’. achievements was an audience of 1,300 (up Needs promotional DVD was particular borough get together SEN Schools To continue to maintain and from 750 the previous year). made of the training of our SEN to share their work) we “You kind of feel like no one can 27(including Pupil Referral Units) promote the highest teaching The Gifted and Talented teachers in situ at the Vale introduced two new performing stop you and you’re just so happy” standards in dance programme was once again School in Haringey. opportunities: Step into Battle (to daisy To this end, the Step into Dance in place whereby 80 dancers coloma school, croydon promote and raise the standard teachers had four days of auditioned and a company of of hip hop and break dance school retention rate intensive training before the start 18 dancers were chosen and 89% styles) and Watch this Step (to of the academic year and this worked over the May half term “I have really loved this promote and raise the standard was followed up by school visits together with two Step into experience. I have learnt a lot – of contemporary and creative from the programme’s Artistic Dance teachers to create a dance isn’t just about the dance dance). This has resulted in the of participants have no previous Director for quality assurance piece for Step LIVE! 2011. Ten that you do, it is also about the dance47% experience creation of a network amongst of these dancers were male. people that you meet and the dance teachers in schools with new friends I have made” similar interests and aims, i.e. to nathaniel samp raise the standard of dance, to kingsmead school, enfield give young people the best performing opportunities possible, and to develop their potential as well as to educate them in these diverse genres.
photo (right): Mark Lees
42 Royal Academy of Dance Annual Review & Report 2010/11 Health & Happiness 43 Break Dancing Club
04 inspiration & creation health & happiness
We will pursue the idea of The Gifted and Talented looking ahead forming a dance-in-education programme will continue with In the next three years, the group (made up of professional a view to being developed into programme will be delivered dancers) which will present a Step into Dance Youth Dance to 200 schools over all London workshops in schools followed company which will be able Boroughs reaching a target by a performance which can to perform at The Jack Petchey number of over 4,500 students. also involve the students. These Foundation and Step into Dance will be promoted both at our events as well as others thus The performing opportunities existing schools and schools promoting the work of the in the form of Step into Battle, which are not on the programme programme, the Foundation Watch this Step, Borough Events in order to widen participation and the Academy to a and Step LIVE! will continue in Step into Dance. wider audience. and the students will also be encouraged to participate in We will work on trying to A video resource will be created other events/competitions/ find a platform for those with for those who teach on the Step festivals in venues such as the disabilities to perform and offer into Dance programme, as well Southbank Centre, Trinity Laban, workshops and performances as the students so as to offer GDA, Big Dance and MOVE IT. in SEN schools. We will also support for both learning and The students will be actively work together with our SEN teaching. This should result in a encouraged to promote The Jack schools in order to raise the website that is very interactive. Petchey Foundation and Royal involvement of the support www.stepintodance.org Academy of Dance through their workers in terms of their participation in these events. contribution and importance to the success of a dance class. Step into Dance Satellite Summer schools (both SEN and Step into Dance has provided a positive male role other) will become an exciting model for a group of students in one of the boys’ fixture in our calendar and schools in the London borough of Camden. expand according to need. For many this is not something they have in their We will continue to seek active lives. Within the group, one boy was beaten up partnerships with other dance repeatedly and made fun of, and one was bullied organisations so as to support at school. Another student in the group is from a our students, increase the range troubled family that has a history of violence; he is of opportunity on offer to them, seen as a ‘rough’ character in school and is already and promote the programme, facing expulsion. All these boys started Break e.g. some of our students have Dancing Club. already been placed on the CAT programme at Laban. This has transformed their lives and aspirations. They are part of a crew. They have an identity and belong to new ‘family’. They have a sense of belonging and have something to work for. They are becoming more skilful and focused. This has impacted hugely on their school work and their sense of self. They are now a respected force for good in the school. They have taken responsibility for their learning and feel really grateful to their Step into Dance teacher, Mario Nadal, who has made all of this possible.
The name of the school has been withheld for privacy reasons. photo (opposite): Mario Nadal by David Tett
44 Royal Academy of Dance Annual Review & Report 2010/11 Health & Happiness 45 rad enterprises Music: Inspiration for the future
04 inspiration & creation movement & innovation
Over the five years that we have And now the music for Grades 1–3, devised and As a resource for teaching, it has endless RAD Enterprises (RADE) was established in 1992 as the commercial been reviewing and changing the recorded in 2011, represents a sea-change in the possibilities. The repertoire is a compendium RAD syllabus, music products concept of syllabus music. Previously, music for of some of the key musical moments in dance and trading arm of the Academy. It Gift Aids its profit to the charity in have received special attention. examinations was often modelled on the way history. Contrasts in scale between the solo support of its work. Music is often the reason that that music was used in ballet technique classes: performances, chamber ensembles and the full children want to dance in the piano accompaniment used as a means to achieve orchestra encourage a natural focus on different Our existing suppliers remain first place, so the provision of technical ends. Recordings replicated the sound aspects of music such as melody, rhythm, timbre, objectives & loyal in working with us to looking ahead RAD Enterprises remains well-chosen, well-produced of the piano for the teacher who did not have instrumentation, dynamics or articulation. achievements generate product that is The completion of the review committed to the completion music that inspires movement is a pianist. The provision of two pieces of music for each competitively priced despite the of Royal Academy of Dance of the final stages of the five- a vital part of syllabus product exercise draws attention to the particularities rise in commodity prices for examination syllabi took further year syllabus review with the development. In Pre-Primary in In the music for Grades 1–3, this changes and distinctiveness of each one. The entire paper, cotton and metal. An shape with the launch of the publication of the new Grades Dance and Primary in Dance we completely. A repertoire of over 400 years of syllabi have also been recorded as piano solos evolving relationship with new Intermediate Foundation and 1–3 syllabi on target for its introduced different instruments, dance music has been recorded with a variety for rehearsal purposes, encouraging yet other expense reduction analysts has Intermediate in January 2011. launch in January 2012, sounds and styles; in Intermediate of ensembles from piano duo through to full ways of listening, comparing and responding. further helped us to streamline RAD Enterprises was delighted followed by the start of the Foundation and Intermediate we orchestra, bringing a rich and many-layered our supply base, thus increasing with the support for these new new Advanced level Vocational began a move away from piano world of music into the studio to be explored As a product, these recordings are totally new and efficiency levels and managing publications which saw Graded work ready for late music for the dances. through movement. The orchestral excerpts innovative: there is not another product like this in print costs, a major part of our pre-orders and subsequent 2013 and Grades 4–5 in were recorded by The Orchestra of English the world of music for ballet teaching. At the same business. Year on year, we have sales throughout the year early 2014. National Ballet conducted by Gavin Sutherland time, it celebrates the musical traditions of classical evolved our non-syllabus follow a similar pattern to using original scores from their library such as ballet more completely and richly than ever before. product ranges to showcase an those of Pre-Primary in Dance We will continue to identify Cinderella, Sleeping Beauty, l’Arlèsienne, Swan Lake, offer that is fully supportive of and Primary in Dance which further opportunities to Flower Festival in Genzano, Don Quixote and our core work as gift and launched in 2009. increase the global accessibility Le Corsaire. Additional scores were sourced for clothing remain a key attraction of our uniform wear in support works by composers from Purcell and Corelli to our visiting customers. We have been working on of our syllabus. to Shostakovich and Irving Berlin. identifying opportunities RADE was delighted to overseas to offer approved We will continue to support showcase its new shopfit, uniform wear in territories Academy projects and events based in the reception at where our current licensees do such as Step into Dance, the RAD’s headquarters, in time not presently reach; in particular Genée International Ballet for the Faculty of Education’s Australasia where we have a Competition and Awards Day annual Awards Day. The refit large audience, and South Africa which show steady growth year has resulted in increased shop where access to our current on year, as well as Dance Proms sales and a more efficient approved products is limited. In 2012, which sees a unique use of space provides our late 2011 we reached agreement collaboration between the customers with an enhanced with Bloch Australia to develop IDTA, ISTD, RAD and the shopping experience. a unique product line which Royal Albert Hall. encompasses our desire to be more accessible, but also with highlight of 2010/11 We will continue to contribute increased innovation and Such was the success of the 2% of our net pre-tax turnover knowledge of cultural trends and sales of the new Intermediate to the Academy’s ‘Social these products will launch in Foundation and Intermediate Responsibility Fund’ designated 2012. In South Africa we are syllabi that RAD Enterprises for the creation of bursaries having talks with a manufacturer finished the year with a 47% and awards. with a view to launching a increase in sales on the product range for Southern previous year. All departments, Africa and Indian Ocean both syllabus-related or territories. recreational, maintained their sales and profit expectation, further proving how stable the business is in spite of the photo (top): current economic climate. Saba Ali photo (opposite): Jonathan Still
46 Royal Academy of Dance Annual Review & Report 2010/11 Health & Happiness 47 annual general meeting
Notice is hereby given that the 4.5 To elect Miss Darcey Bussell 5. Special Business 76th Annual General Meeting of CBE as President of the – Member’s motion your trustees Following the untimely death of members of the Royal Academy Royal Academy of Dance To consider the adoption of the Frank Freeman FRAD RTS in of Dance will be held on under Bye-Law 52.4(c) for following motion proposed by February 2011, the retirement Thursday 26 April 2012 in the a term of five years Janie Harris LRAD ARAD, a full of the President and Miss Genée Studio of the Royal 4.6 To elect Miss Gillian Lynne Member of the Academy and Valerie Mitchell OBE, and the Academy of Dance, 36 Battersea CBE as a Vice-President of 05 signed by the proposer and retirements under Bye-Law 36, Square, London SW11 3RA, the Royal Academy of twenty three other full members the Board of Trustees as at the England. The meeting will start Dance under Bye-Law in accordance with Bye Law date of the Trustee’s Report, finance at 11.00 am with registration 52.4(b) for a term of five 16: “That the Creative Team consists of 6 Trustees falling commencing 30 minutes years produce training exercises and under Bye-Law 33.1(a) as beforehand. The following 4.7 To re-elect Mrs Lynne (piano) music as part of an shown in List A and 3 Trustees business will be transacted: Reucroft-Croome BA(Hons) integrated system to support falling under Bye-Law 33.1(b) MA LRAD who is retiring by the new work for Intermediate as shown in List B. 1. Introduction and Trustees rotation in accordance with Foundation and Intermediate Report – Kerry Rubie, Bye-Law 36.1 and is offering examinations and Grades 1–3 List A (10 positions) Chairman of the Board herself for re-election under (especially the Character Dances), Karen Berry BSc BA(Hons) Adv of Trustees Bye-Laws 33.1(a) (List A) and and incorporate training exercises Tch Dip RTS 35.1(a) as part of a system of training to Louise Murray ARAD RTS 2. Operational Review – be launched with the rest of the Philip Pegler Dip RBS TTC ARAD Luke Rittner, Chief Executive 4.8 To elect two Trustees to fill two vacancies in syllabi in future.” AISTD AIDTA Deborah Coultish Adv Tch Dip RTS 3. Financial Review – Richard accordance with Bye- 6. To record the Academy’s Helen Taylor RAD RTS Thom, Director of Finance Laws 33.1(a) (List A) gratitude to Dame Antoinette Cheryl Thrush ARAD RTS and Administration and 35.1(b): Thérèse Cantine Sibley DBE for twenty years of dedicated and inspirational List B (10 positions) 4. Ordinary Business – ARAD Dip PDTC RTS Sarah Dickinson service on her retirement as Kerry Rubie Resolutions ARAD Adv Tch Dip RTS President and Trustee Leigh Collins 4.1To consider and approve 4.9To re-elect the following Anders Ivarson AI Chor the minutes of the 2011 Trustees who are retiring by 7. To offer HM The Queen, Annual General Meeting rotation in accordance with Patron of the Royal Academy of The nominations in resolutions 4.2 To receive and adopt the Bye-Law 36.1 and are Dance, warm congratulations 4.7 and 4.8 will, if successful, fill Report of the Trustees for offering themselves for on the occasion of Her a further three vacancies under the year ended 31 July 2011 re-election under Bye-Laws Majesty’s Diamond Jubilee List A, leaving one vacancy. The nominations in resolutions 4.9 4.3 To receive and adopt the 33.1(b) (List B) and 35.1(a): 8. Any Other Business and 4.10 will, if successful, fill a audited Statement of Nigel Hildreth MBE MMus PGCE further six vacancies under List Accounts for the year Derek Purnell A, leaving one vacancy. ended 31 July 2011 Nigel Wreford-Brown 4.4 To re-appoint Deloitte Kathryn Wade LLP as auditors for the ARAD ensuing year 4.10 To elect two Trustees to fill two vacancies in Luke Rittner accordance with Bye-Laws Chief Executive 33.1(b) (List B) and 35.1 (b): By order of the Trustees Julia Bond 13 February 2012 Brian Brodie
photo (opposite): Mark Lees
48 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 49 key performance at a glance indicators
Membership The Trustees are pleased to report net incoming resources of £967,885 for the year to 31 July 2011, against prior year net incoming Actual 2010/11 resources of £948,961, and budgeted net incoming resources of £624,720. RTS FM AM FoA Other Total 2009/10 Life RTS Life FM This stability in results for the fifth year running is particularly gratifying given the state of the world economy, the austerity budgets in Canada 602 59 263 9 933 969 78 0 various OECD (Organisation for Economic Co-operation and Development) countries and the state of uncertainty in the euro zone. Australia 894 388 601 20 2 1,905 1,836 154 90 All key performance indicators – examinations entries, programme enrolment, members, product sales and course attendees – were close or above target and contributed to the overall success of the year. New Zealand 212 147 127 30 20 536 544 69 57 South Africa 348 177 125 4 1 655 687 36 63 Unrestricted activities resulted in a net incoming resource of £979,556, an increase of £60,319 over the surplus of £919,237 for the USA 203 146 89 18 8 464 488 56 prior year, before transfers between funds; and restricted activities had a net outgoing resource of £11,671 for the year to 31 July 2011 as the purpose for two Funds set up in the previous year – Challengenée and the Genée Legacy UK Fund – was realised and applied; UK 2,061 1,022 566 118 25 3,792 3,926 440 398 compared to net incoming resource of £29,724 in the prior year. Elsewhere 2,938 521 541 46 6 4,052 4,153 134 55 Total 7,258 2,460 2,312 245 62 12,337 12,603 967 663 Financial Highlights1 Unrestricted funds Restricted funds 2011 2010 2011 2010 Statement of Financial Activities £000 £000 £000 £000
Examinations 2 Actual 2010/11 Total incoming resources 18,857 16,888 599 435 Net incoming (outgoing) resources before transfers between funds 980 919 (12) 30 Graded Examinations 2010/11 2009/10 Net incoming (outgoing) resources after transfers between funds 980 881 (12) 68 Europe 38,058 38,021 Gain (loss) on revaluation of assets and investments 437 885 1 5 United Kingdom 56,246 56,661 2010/11 Movement on exchange arising from the consolidation of branches 313 298 - 1 Rest of the World 112,654 108,835 and subsidiaries Total Entries 206,958 203,517 Net movement in reserves 1,730 2,064 (11) 74
Balance Sheet Vocational Examinations 2010/11 2009/10 Tangible and intangible fixed assets (excluding freehold property) 428 388 - - Europe 4,466 3,915 Cash and other liquid assets3 6,262 5,620 680 691 United Kingdom 3,220 3,057 Working capital including provisions4 (3,307) (3,178) Rest of the World 14,183 13,703 2010/11 Readily realisable reserves5 2,955 2,442 680 691 Total Entries 21,869 20,675 Accumulated funds 5,080 3,937 680 691 Revaluation reserves 6,413 5,826 - - Grand Total 228,827 224,192 Statistics 2011 2010 Members 12,337 12,603 Faculty of Education Students enrolled on education programmes 1,094 1,099 Studying in 2010/11 2009/10 Candidates taking examinations, class awards, presentation and demonstration classes 228,827 224,192 United Kingdom 483 462 2010/11 Rest of the World 611 637 Total Entries 1,094 1,099
1 References to page 18, Notes 7, 23, 24, 25 and 26 below refer to pages and notes in the full financial statements and Auditors’ Report which may be obtained on request from the Marketing, Communications and Membership Department, Royal Academy of Dance, 36 Battersea Square, London SW11 3RA, or downloaded form the Academy’s website www.rad.org.uk 2 Sales turnover and cost of sales included in Other primary purpose trading for 2010 has been restated as net of discounts to conform with the treatment in 2011 (see Note 7) Europe 3 Cash and other liquid assets is made up of cash held at bank less any bank overdrafts shown in Note 25 United Kingdom 4 Working capital including provisions is made up of stocks and debtors shown in Notes 23 and 24 less trade creditors, taxation and social security, and accruals and deferred income shown in Rest of the World Note 25, and provisions for long service in Note 26 5 Readily realisable reserves are made up of cash and other liquid assets less working capital including provisions as shown above and on page 18.
50 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 51 statement of the board of auditor’s statement trustees’ responsibilities to the trustees of royal academy of dance
The trustees are responsible for preparing the Trustee’s Annual Review and Report and the financial statements in accordance with We have examined the summary financial statement of Royal Academy of Dance for the year ended 31 July 2011 which comprise the applicable law and in accordance with United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). summary statement of financial activities, the summary balance sheets and accounting policies.
The law applicable to charities in England requires the trustees to prepare financial statements for each year, which give a true and fair This report is made solely to the charity’s trustees, as a body, in accordance with the Accounting and reporting by charities: a statement view of the state of affairs of the charity and the Group and of the incoming resources and application of resources of the charity and of recommended practice 2005. Our work has been undertaken so that we might state to the charity’s trustees those matters we are the Group for that period. In preparing these financial statements, the trustees are required to: required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charity and the charity’s trustees as a body, for our audit work, for this report, or • select suitable accounting policies and then apply them consistently; for the opinions we have formed. • observe the methods and principles in the Charities SORP; • make judgements and estimates that are reasonable and prudent: Respective responsibilities of the trustees and auditor The trustees are responsible for preparing the summary financial statements in accordance with the recommendations ofAccounting • state whether applicable accounting standards have been followed; and and reporting by charities: a statement of recommended practice. • prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in business. Our responsibility is to report to you our opinions on the consistency of the summary financial statement within the Trustees’ Annual Review and Report with the full financial statements and the Trustees’ Annual Review and Report. The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the financial position of the charity and Group and enable them to ensure that the financial statements comply with the Charities Act 1993, the We also read the other information in the Trustees’ Annual Review and Report. as described in the contents section and consider the Charities (Account and Reports) Regulations 2008, and the provisions of the trust deed. They are also responsible for safeguarding the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the summary financial assets of the charity and the Group and for taking reasonable steps for the prevention and detection of fraud and other irregularities. statement.
The trustees are responsible for the maintenance and integrity of the charity and financial information included on the charity’s We conducted our work having regard to Bulletin 2008/03 The auditor’s statement on a charity’s summary financial statements in the website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from United Kingdom and Practice Note 11The audit of charities issued by the Auditing Practices Board. Our report on the charity’s full legislation in other jurisdictions. annual financial statements describes the basis of our audit opinion on those financial statements.
The summary financial statements on pages 54–57 of the Annual Review and Report are not statutory accounts, but a summary of Opinion information relating to the Statement of Financial Activities and the Balance Sheet, extracted from the full financial statements. The full In our opinion the summary financial statement is consistent with the full financial statements and Trustees’ Review and Report of the financial statements which were approved by the Board of Trustees on 13 February 2012 received an unqualified Audit Report and Royal Academy of Dance for the year ended 31 July 2011. have been submitted to the Charity Commissioners.
The summary financial statements may not contain sufficient information to allow a full understanding of the affairs of the Group and Charity. For further information, the full financial statements and Auditors’ Report may be obtained on request from the Marketing, Communications and Membership Department, Royal Academy of Dance, 36 Battersea Square, London SW11 3RA, or downloaded from the Academy’s website www.rad.org.uk. Deloitte LLP Chartered Accountants and Statutory Auditor LONDON
Kerry Rubie Leigh Collins Trustee, Board of Trustees Trustee, Board of Trustees
52 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 53 group consolidated statement group and charity of financial activities balance sheets for the year to 31 july 2011 as at 31 july 2011
2011 2010 Group Charity Unrestricted Restricted Total Unrestricted Restricted Total 2011 2010 2011 2010 funds funds funds funds funds funds £000 £000 £000 £000 £000 £000 £000 £000 £000 £000 Fixed assets Total incoming resources Intangible Assets 5 4 1 1 From generated funds Tangible Assets held for charitable use 8,539 7,502 8,333 7,317 Voluntary income 13 - 13 3 2 5 Investments 32 29 109 103 Activities for generating funds 297 91 388 273 116 389 8,576 7,535 8,443 7,421 Investment income 80 2 82 57 2 59 Current assets From charitable activities Stocks 425 345 128 101 Examination fees 10,396 - 10,396 9,372 - 9,372 Debtors 1,103 1,060 1,357 1,320 Education and training fees 5,714 506 6,220 5,195 315 5,510 Cash at bank and in hand 7,195 6,513 4,731 4,446 Subscription income 967 - 967 908 - 908 8,723 7,918 6,216 5,867 Other primary purpose trading 1,073 - 1,073 865 - 865
Other incoming resources 317 - 317 215 - 215 Creditors – amounts falling due within one year (5,083) (4,837) (3,893) (3,675) Total incoming resources 18,857 599 19,456 16,888 435 17,323 Net current assets 3,640 3,081 2,323 2,192 Resources expended Costs of generating funds (89) (107) (196) (99) (41) (140) Creditors – amounts falling due after more than one year (43) (162) (39) (147) Costs of charitable activities (16,520) (501) (17,021) (14,671) (360) (15,031) Governance costs (869) (1) (870) (784) (1) (785) Net assets 12,173 10,454 10,727 9,466 Other resources expended (399) (2) (401) (415) (3) (418) Total resources expended (17,877) (611) (18,488) (15,969) (405) (16,374) Funds Net incoming resources before transfers 980 (12) 968 919 30 949 Restricted Funds 680 691 671 683 Unrestricted Funds Transfers between funds - - - (38) 38 - Accumulated funds 5,080 3,937 3,749 3,059 Net incoming (outgoing) resources 980 (12) 968 881 68 949 Revaluation reserves 6,413 5,826 6,307 5,724 Total funds 12,173 10,454 10,727 9,466 Other recognised gains and losses On investments held for investment These financial statements were approved and signed on behalf of the Board of Trustees on 13 February 2012 by: purposes Realised gains - - - - 3 3 Unrealised gains - 1 1 - 2 2 On revaluation of tangible fixed assets 437 - 437 885 - 885 Movement on exchange arising from the 313 - 313 298 1 299 consolidation of branches and subsidiaries Kerry Rubie Leigh Collins Total other recognised gains and losses 750 1 751 1,183 6 1,189 Trustee, Board of Trustees Trustee, Board of Trustees
Net movement in funds 1,730 (11) 1,719 2,064 74 2,138 Fund balances brought forward at 1 August 9,763 691 10,454 7,699 617 8,316 Total funds carried forward at 31 July 11,493 680 12,173 9,763 691 10,454
All activities derive from continuing operations
54 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 55 yearaccounting ended 31 july 2011 policies
(a) Basis of accounting (i) Recognition of income (continued) These accounts have been prepared in accordance with the Statement of Recommended Practice “Accounting and Reporting Income received in advance for exams or short courses where the activity does not start or complete until after the year end is by Charities” (SORP 2005) and accounting standards; the Charities Act; and the historic cost basis of accounting except for accounted for in the year of completion of that activity; or fees for programmes such as the Faculty of Education’s Certificate in investments and fixed assets which have been included at revalued amounts. Ballet Teaching Studies which is a two-year programme that falls across three financial periods.
(b) Going concern (j) Recognition of expenditure These accounts have been prepared on the going concern basis. In common with other charities, the Academy faces uncertainties Unrestricted expenditure is accounted for on an accruals basis. Expenditure is allocated directly to the activity of which it relates, arising from current economic conditions. Page 19 of the full financial report and statements discusses these uncertainties and including support costs that can be identified as being an integral part of direct charitable expenditure. explains why the Trustees have concluded that the business is a going concern. (a) Costs of generating funds: costs of generating funds include expenditure related to support departments and staff members engaged in or contributing to those activities. (c) Basis of consolidation (b) Costs of charitable activities: charitable expenditure includes all expenditure related to the objects of the charity and includes The Charity accounts include the audited accounts of the Royal Academy of Dance in the United Kingdom and its branches for expenditure related to support departments and staff members engaged in or contributing to charitable activities. the year to 31 July 2011, and the Consolidated Group accounts include the audited accounts of the charity and its subsidiaries. (c) Governance costs: these are costs associated with the constitutional and statutory requirements of the Group, and include (d) Stocks and work-in-progress expenditure related to the trustees and senior staff members engaged in or contributing to the governance of the Group. Stocks of goods for resale are stated at the lower of cost and net realisable value. Costs relating to the development of (d) Indirect support costs have been allocated on the following bases: examination syllabi and teaching aids are treated as work-in-progress until the product is ready for sale. - Salaries and pensions: time spent or responsibilities - General administration: estimated or actual usage (e) Tangible fixed assets - Information technology: estimated or actual usage All tangible fixed assets, other than freehold land, are stated at cost or valuation net of depreciation and any provision for - Rent and property: space occupied or used impairment. Depreciation is provided on cost using the straight-line method over the estimated useful lives of the assets. - Depreciation: assets occupied or used Impairment reviews are conducted when events and changes in circumstances indicate that impairment may have occurred. If any asset is found to have a carrying value materially higher than its recoverable amount, it is written down accordingly. Freehold land is not (k) Pension costs depreciated. Tangible fixed assets under £500 are not capitalised. The rates of depreciation are as follows: Retirement benefits to employees are provided by defined contribution pension schemes. Contributions payable to the pension schemes in respect of each accounting period are charged to the statement of financial activities. Freehold buildings 2%pa Furniture and office equipment 10%pa (l) Fund accounting Computer equipment 33%pa Restricted income and expenditure is recognised on a receipts and payments basis. Funds can be classified as Restricted, Motor vehicles 25%pa Designated or Project. They arise from a number of sources, which include: (a) Donations, legacies, scholarships, bursaries and trusts left to the Royal Academy of Dance and its branches and subsidiaries to (f) Investments administer in accordance with the conditions laid down therein. Listed investments are included in the Balance Sheet at market value. Investments in subsidiaries are included in the charity’s (b) Grants, sponsorship and project money awarded to the Royal Academy of Dance and its branches and subsidiaries where accounts at cost less provision for impairment. conditions are related to their expenditure. (c) Fundraising events and appeals for monies for specific purposes set up by the Royal Academy of Dance and its branches and (g) Revaluation of assets subsidiaries. Investments and land and buildings held by the group for restricted and unrestricted use are revalued annually where material. (d) Funds from unrestricted activities designated or set aside by Trustees to fund particular activities. The gain or loss is reflected in the statement of financial activities and, for land and buildings, includes the amount of depreciation (e) Income and expenditure is treated as per notes (i) and (j). All expenditure in pursuance of the conditions is shown as provided in that year. restricted fund expenditure. (f) Scholarships and bursaries are paid at the time when the activity for which the award is made requires payment. (h) Overseas currencies (g) Transfers of funds from unrestricted to restricted funds will occur where Trustees have agreed to fund an excess of Income, expenditure, assets and liabilities of overseas branches and subsidiaries are translated into sterling at the exchange rates expenditure over income. ruling at the balance sheet date. The exchange gains or losses arising from the retranslating of opening net assets of the overseas branches and subsidiaries are shown under Other recognised gains or losses in the statement of financial activities. All other (m) Regional advisory panels and committees exchange gains or losses are dealt with through resources expended within the statement of financial activities. The charity carries out some activities through a network of regional advisory panels and committees that include the name of (i) Recognition of income the charity in their title, and are located in only some of the countries in which the charity operates. All regional advisory panel and committee transactions are accounted for gross in the accounts of the charity, and all assets and liabilities are included in the Unrestricted income is recognised in the statement of financial activities on a receivable basis. This is when the Royal Academy of charity’s balance sheet. Dance has entitlement, reasonable certainty of receipt and the amount can be measured. If there are conditions that have to be fulfilled before entitlement to income received the income is deferred and included under creditors. (n) Treatment of VAT The Royal Academy of Dance is registered as partially exempt for VAT in the United Kingdom, and is exempt or liable for VAT or Assets given for use by the Royal Academy of Dance are recognised as incoming resources at their estimated market value when applicable taxes in other parts of the world. Irrecoverable VAT is charged to the activity to which it relates or otherwise forms receivable. If they form part of the fixed assets at the year-end they are included in the balance sheet at the value at which the gift part of the support costs and apportioned as per note (j). was included in incoming resources.
56 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 57 scholarships, awards, bursaries & fundraising
Australia Advanced 1 Bursary Sharlene Roberts Scotland RAC Scotland Awards Ellie Crosbie, Jessica Low, Lucy Hutton, Lucy McPhail; Canada 2011 SunDance Summer School Scholarship Kylee Hart Overall winner was Lucy Hutton Italy Fondo Summer School Bursary Giorgia Farimbella, Martina Ancarani, Francesca Marzaro Caroline Newlands Memorial Statue Katy Russell Sara Acquarone first prize Giorgia Vailati South East England Summer School Scholarship Robyn Dennis, Mary Sheath Sara Acquarone second prize Carlotta Dejana Performance Course Scholarship Samantha Francis Bursary dedicated to the memory of Carlotta Dejana, Matteo Manzoni Awards Day prizes Ethan Barratt, Natalie Austin, Emma Haskins, Phoebe Abbott, Maria Pia De Luca Laura Mereweather, Anya Clarke, Katie Valentine Fondo Bursaries Elisa Baldelli, Benedetta Angelini, Martina Ghisleni, Michela Farioli South West, Wales Geraldine Lamb Memorial Fund Award Natasha Burgess, Sarah Chapman Japan Chacott London International Performance Chihiro Tanigawa and Channel Course Scholarship Islands Runner-up RAD Summer School Scholarship Mana Ogawa Tokyo Summer School Scholarships Miyuu Mori, Yui Kuwata, Mika Aoki New Zealand 14+ Dance Scholarship Award 2010 Phebe Murison Fundraising – Challengenée Alexander Grant Training Award 2010 Ariana Hond The Regional Advisory Committees of the Royal Academy of Dance and London Headquarters were challenged to raise £30,000 South Africa Friends of the Ballet – Southern African Galya Wolov towards the cost of the Genée International Ballet Competition London 2010. Advanced 1 Bursary Spain Performance Summer School Bursary Alejandro Martinez £ United Kingdom Iris Truscott Bursary Megan Christie, Suzanne Nikolic Regional Advisory Committee for the Midlands and East of England 7,856 Phyllis Bedells Bursary 2011 John Rhys Halliwell London Headquarters (Strictly Boys Only!) 6,359 London Summer School Tuition Awards Camille Jade Montagne, Lucia Spada, Manon Cazalis Regional Advisory Committee for Scotland 5,242 London Performance Course Tuition Lorenzo Angelini Award 2010 Regional Advisory Committee for North England, Yorkshire and the Humber 4,994 Bournemouth Summer School Tuition Award Joshua Stuckes Regional Advisory Committee for South East England 4,368 Jersey Summer School Tuition Award Saoirse Robertson Regional Advisory Committee for Ireland and N Ireland 2,107 Regional Advisory Committee for South West England, Wales and Channel Islands 1,294 United Kingdom Regional Awards Regional Advisory Committee for London and Middlesex 1,205 London and Sallie Lewis Award Sasha Leigh Total raised £33,425 Middlesex London Region Award Shannon Wood Ruth French Award Nicole Reardon In addition the following grant and donation were gratefully received: Midlands and Genée Dance Challenge 2011, Birmingham Level 1: Francesca Lynn, Lydia Bradshaw East of England Level 2: Leisha Harrison, Amelia Evans J Paul Getty Jnr Charitable Trust 1,000 Level 3: Lucy Hutton, Jack Brownhill Level 4: Tsanta Andriamingay, Emily Lunt Mrs Sarah Coleman 10,000 Northern England, North East Scholarship Junior Winners: Total raised before indirect expenses £44,425 Yorkshire and the Master Class Tuition Award Annisha Attanayake, Ben Casey, Natasha Charles, Charlotte Humber Downes, Cora Drummond, Laura Maria Haubold, Elizabeth A net £42,303 was applied to the Genée International Ballet Competition London 2010. Morrison, Rebecca Russell Senior Winners: Tyler Angus, Marnie Byfield, Chloe Daly, Charlotte Holmes, Emily Jackson, Chloe Ogilvie-Coe, Alice Robinson, Bronwen Stout Nora Lycette Fearn Trophy Award Gabrielle Guest Joy Beadell Trophy Award Marnie Byfield North West Scholarship Steffi Armor, Camila Disano, Emily Jayne Prescott, Zara Ward Class Trophy Awards North West Scholarship Zara Ward Jean Brenda Johnson Award
58 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 59 a global brand 2010/11
No of No of No of No of No of No of No of No of No of No of Members Members Examination Faculty of participants Members Members Examination Faculty of participants who are Candidates1 Education on an IF / who are Candidates1 Education on an IF / Registered Students2 I course3 Registered Students2 I course3 Teachers Teachers United Kingdom 3,792 2,061 59,466 376 517 Korea 9 9 83 Australia 1,905 894 21,853 97 388 Trinidad and Tobago 9 9 202 12 Canada 933 602 14,384 65 151 Barbados 7 5 304 1 5 Italy 702 505 11,763 61 Costa Rica 6 6 73 S Africa 655 348 8,935 48 123 Denmark 6 4 204 New Zealand 536 212 6,799 10 74 Sri Lanka 5 4 263 11 USA 466 203 3,752 20 104 Brunei 5 3 225 3 Germany 321 246 5,822 44 115 Jamaica 5 3 433 8 Spain 306 269 8,591 47 159 Bermuda 4 4 139 Hong Kong 289 218 16,785 36 128 Guatemala 4 4 109 Greece 279 213 4,038 31 274 Gibraltar 4 3 Malaysia 260 180 10,466 32 194 Chile 4 2 55 Mexico 232 191 8,346 41 156 Lebanon 3 2 Japan 201 114 1,750 17 66 Bahamas 3 1 111 7 Brazil 172 155 4,321 47 125 El Salvador 2 2 69 China 135 63 2,542 111 India 2 2 198 Portugal 130 110 5,678 16 85 Jordan 2 2 102 Thailand 125 41 2,722 1 32 Armenia 2 1 Ireland 114 91 3,880 18 30 Honduras 2 1 47 Singapore 109 93 9,782 30 Ecuador 1 1 37 1 Indonesia 95 56 4,042 22 78 Finland 1 1 Cyprus 72 55 2,496 4 49 Guadeloupe 1 1 1 Switzerland 70 45 1,130 Macao 1 1 201 Netherlands 44 29 471 1 St Lucia 1 1 46 2 Malta 44 20 708 6 18 San Marino 1 1 Israel 30 25 416 Serbia 1 1 Norway 30 17 654 5 11 Venezuela 1 1 France 30 16 240 Iceland 1 Taiwan 30 15 672 17 Monaco 1 Belgium 29 19 514 Slovakia 1 UAE 21 19 885 3 13 Slovenia 1 Turkey 16 14 568 2 Suriname 1 Austria 16 8 174 1 Tanzania 1 Peru 13 13 402 2 Vietnam 1 1Includes Presentation Classes, Class Awards and Demonstration Classes Philippines 13 11 312 1 12 Colombia 2 2 Excludes students at Tong Ji University Luxembourg 13 8 432 2 Kuwait 40 1 3 A further 44 Intermediate Foundation and Sweden 10 4 87 Total 12,337 7,258 228,827 1,094 3,075 Intermediate courses will be held in the latter half of 2011
60 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 61 corporate governance
Patron Education sub-Committee Regional sub-Committee HM Queen Elizabeth II Nigel Hildreth MBE MMus PGCE (Chair) Deborah Coultish Adv Tch Dip RTS (Chair) Kerry Rubie (Northern England, Yorkshire & the Humber) President Trustees Lynne Reucroft-Croome BA(Hons) PGCE LRAD Kerry Rubie Dame Antoinette Sibley DBE Kerry Rubie (Chair) Co-opted: Co-opted: Nigel Hildreth MBE MMus PGCE (Vice-Chair) Professor Ting Tina Chen FISTD MA Dip RBS TTC ARAD Niki Forbes Tch Dip RTS (Scotland) Vice Presidents Derek Purnell (Vice-Chair) Michelle Eyre BHSc (Hons) LRAD Siân Dixon Tch Cert RTS (South West England, Wales & Channel Islands) David Bintley CBE Dame Antoinette Sibley DBE Professor Rachel Fensham BA(Hons) GDMD MA PhD Penny Parks RAD RTS (South East England) DBE DMus DLitt DEd FRSA Karen Berry BSc BA(Hons) Adv Tch Dip RTS Dame Beryl Grey Philip Garbutt Sara Gannon-Perez Tch Cert RTS (Ireland & Northern Ireland) Darcey Bussell CBE Leigh Collins Baroness Hooper CMG FRSA FRGS Lorna Rookledge RAD RTS (London & Middlesex) Dr Ivor Guest MA DUNIV FRAD Deborah Coultish Adv Tch Dip RTS Linda Jasper MBE MA Cert Ed Sue Lucas Tch Cert RTS (Midlands & East of England) David McAllister OAM Anders Ivarson AI Chor Hilary Moss MA BPhil (Hons) LRAD ARAD Wayne Sleep OBE Louise Murray ARAD RTS Susan Robinson Adv Tch Dip RTS Sir Peter Wright CBE DMus DLitt FBSM Philip Pegler Dip RBS TTC ARAD AISTD AIDTA Lauren Scholey BA Hons Lynne Reucroft-Croome MA BA(Hons) LRAD Advisory Council Helen Taylor RAD RTS Student representatives: Joy W Brown Cheryl Thrush ARAD RTS Paula Scales (Postgraduate) Mary Clarke Kathryn Wade ARAD Reena Bhattacharjee (Undergraduate) Barbara Fewster OBE FISTD Nigel Wreford-Brown Board of Directors of Royal Academy of Dance BMN sub-Committee Dr Stanley Ho OBE GrOIH Chev Leg d’Hon DSoc Sc CStJ Deceased 24 February 2011 Philip Nind MA OBE Enterprises Ltd and Enterprises sub-Committee Kathryn Wade ARAD (Chair) Frank Freeman FRAD RTS Lady Porter Nigel Wreford-Brown (Chair)(Trustee)(Director) Anders Ivarson AI Chor The Rt Hon Lord St John of Fawsley Resigned 14 April 2011 Leigh Collins (Trustee) Co-opted: Sir Roy Strong DLitt PhD FRSA FRSL Rosemarie Franklin RAD RTS Helen Taylor RAD RTS (Trustee) Christopher Hampson Denise Winmill ARAD RTS Luke Rittner (Director) Deceased 30 September 2011 Jeanetta Lawrence Richard Thom BA(Hons) FCA (Director and Co Secretary) Alexander Grant CBE Resigned 20 October 2011 Lady MacMillan Valerie Mitchell OBE International Advisers Co-opted 23 March 2011 Ross Brierton ARAD PDTC Dip (RAD London) Americas Brian Brodie Management Appointed 15 December 2011 Co-opted 23 June 2011 Chief Executive Director of Examinations Professor Susan Street MA Australasia Julia Bond Luke Rittner Dr Andrew McBirnie BA MMus PhD LTCL Robin van Wyk Africa Dr Christiane Theobald MBA Europe Co-opted 20 October 2011 Director of Finance and Administration Director of Marketing, Communication & Membership Lee Suan Hiang BSc FCMI FCIM FWAPS Asia Thérèse Cantine ARAD Dip PDTC RTS Richard Thom BA (Hons) FCA Melanie Murphy Dip IPR MICPR Sarah Dickinson ARAD Adv Tch Dip RTS Retired 23 June 2011 Director of Education Artistic Director Dr Tania Kopytko Australasia Dr Anne Hogan BA MA PhD Lynn Wallis FISTD Dirk Badenhorst Africa Sabine Lieb RAD RTS Europe Advisers Finance sub-Committee Artistic and Examinations sub-Committee UK Banker Leigh Collins (Chair) Derek Purnell (Chair) HSBC Bank Plc Kerry Rubie Kerry Rubie 31 Holborn Circus, London C1N 2HR Philip Pegler Dip RBS TTC ARAD AISTD AIDTA Karen Berry BSc BA(Hons) Adv Tch Dip RTS UK Solicitor Nigel Wreford Brown Cheryl Thrush ARAD RTS Field Fisher Waterhouse LLP Julia Bond Kathryn Wade ARAD 41 Vine Street, London EC3N 2AA Yvonne Gray RAD RTS (co-opted) Co-opted: UK and Group Auditor Norman Gealy MA CPsychol FCIPD FCIEA Deloitte LLP Caroline Jenkins ARAD RTS 2 New Street Square, London EC4A 3BZ Moira McCormack ARAD PDTC Dip (RAD London) David Nixon OBE Catherine Weate BA DipEd LSDA FRSA HonFLAM Denise Winmill ARAD RTS Stirling Wood
62 Royal Academy of Dance Annual Review & Report 2010/11 Summary Financial Statements 2011 63 corporate governance
Head Office United Kingdom 36 Battersea Square, London SW11 3RA
Representative Offices China Villa 86 Xin Feng Cheng, 1500 Nong Kong Jiang Lu, Shanghai 200093 Cyprus 19 Vassa Kilianiou, 4771 Limassol Greece British Council, 17 Kolonaki Square, Athens 10673 Hong Kong Hong Kong Examination and Assessment Authority, 17 Tseuk Luk Street, San Po Kong, Kowloon Ireland Holly Lodge, Pidgeon House Lane, Julianstown, Co. Meath Caribbean PO Box 1433, Constant Spring Post Office, Kingston 8, Jamaica Malta 8 Guze Ellul Mercer Street, Sliema SLM1281 Philippines British Council, F. Ortigas Jn Road, Ortigas Center, Pasig City 1605 Scandinavia Vestavinden 20, 9015 Tromso South Korea 1703 Artnouveau Palace, 7–1 Songpa Dong, Songpa Gu, Seoul 138–848 Sri Lanka British Council, 49 Alfred House Gardens, Colombo 0030 Switzerland Royal Academy of Dance gGmbh, Waldenserstrasse 2–4, 10551 Berlin Taiwan 5f, No 122, Sect 7 Chung Shan N. Road, Taipei Turkey British Council, Maya Akar Center, No 100-101 Buyudere Cad, Esentepe, Istanbul UAE & Qatar British Council, Academic City, Dubai English Speaking College campus, PO Box 2002, Dubai
Branch Offices Australia 20 Farrell Avenue, Darlinghurst, NSW 2011 Canada 1200 Sheppard Avenue East, Suite No 500, Toronto, Ontario M2K 2S5 Israel Hadar Str. 491, Neve Yamin Japan Commerce Building 5f, 2-39-3 Mejiro, Toshima-Ku,Tokyo 171-0031 New Zealand Level 8 CMC Building, 89 Courtenay Place, Wellington Portugal Rua 4 Infantaria 86, 138 C/V Esq, 1350-241 Lisboa Southern Africa & Mauritius PO Box 200, Bramley 2018, Johannesburg, South Africa Thailand 121/12, Moo 10, Chiangmai-Hangdong Road, Tambon: Pae Dad, Ampur: Muang, Chiangmai 50100 United States 1412 17th St. Suite #259, Bakersfield, CA 93301
Subsidiary Offices Benelux & France Royal Academy of Dance Asbl., 21 Cite Joseph Bech, L-6186 Gonderange, Luxembourg Germany Royal Academy of Dance gGmbh, Waldenserstrasse 2–4, 10551 Berlin Indonesia Yayasan Royal Academy of Dance Indonesia, Jl. Angur III / no:1 Cipete, Jakarta Selatan 12410 Italy Royal Academy of Dance Srl., Via Vannetti 12, 38100 Trento Malaysia RAD Dancing (Malaysia) Sdn Bhd., PO Box 8344 Kelana Jaya, 46788 Petaling Jaya, Selangor Mexico & Central America Royal Academy of Dance de Mexico AC, Amates 18 Fracc Alconfores, San Mateo, Naucalpan CP 53240, Mexico Singapore Royal Academy of Dance Singapore Pte Ltd., Farrer Road Post Office, PO Box 106, Singapore 912804 South Africa Royal Academy of Dance s21 Company, PO Box 200, Bramley 2018, Johannesburg South America Royal Academy of Dance Brasil Ltda, R Dr Francisco A Tozzi, 180 Estância Suiça 13930 000 Serra Negra-SP, Brasil Spain, Andorra & Gibraltar Royal Academy of Dance SL., Ventura i Gassol, 3, 5è-3a, 43203 Reus, Tarragona, Spain Thailand RAD Dancing (Thailand) Co Ltd, 121/12, Moo 10, Chiangmai-Hangdong Road, Tambon: Pae Dad, Ampur: Muang, Chiangmai 50100 United Kingdom Royal Academy of Dance Enterprises Ltd., 36 Battersea Square, London SW11 3RA
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64 Royal Academy of Dance Patron: Her Majesty Queen Elizabeth II
Headquarters Royal Academy of Dance® 36 Battersea Square London SW11 3RA
Tel +44 (0)20 7326 8000 Fax +44 (0)20 7924 3129 Email [email protected] www.rad.org.uk www.radeducation.org.uk www.radenterprises.co.uk www.stepintodance.org
Royal Academy of Dance® is a charity registered in England and Wales No. 312826