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Home , Marie Rambert, Northern Ballet, Rambert Dance Company, Royal Danish Ballet, Scottish Ballet, The Royal Ballet

Director: Ross McKim MA PhD NBS (IDP) Patrons: Lady Anya Sainsbury CBE Robert Cohan CBE

Prospectus 2 About Us Rambert School, is recognised internationally as one of the small group of first-level professional schools of the world. In order to remain so, and to support its students (given the demands they must confront), Rambert School provides a contained, bordered and protected environment through which an unusual and intense level of energy and professionalism is created, respected, treasured and sustained.

“Rambert School is a place of education and training in Ballet, Contemporary Dance and Choreography. It seeks to cause or allow each student to achieve his or her unique potential personally and professionally.

It encourages learning, reflection, research and creative discovery. Through these processes, as they relate to performance dance, all those at the school are provided with the opportunity to develop their vision, awareness, knowledge and insight into the world and the self. They may thus advance in terms of their art form and their lives.”

Principal and Artistic Director Dr Ross McKim MA PhD NBS (IDP)

Conservatoire for Dance and Drama

Clifton Lodge, St Margaret’s Drive, Twickenham TW1 1QN

Telephone: 020 8892 9960 Fax: 020 8892 8090

Mail: [email protected] www.rambertschool.org.uk 3 History began teaching in in 1919. In her autobiography she wrote, “In 1920 I collected the various pupils I had into a class and began teaching professionally.” This was the beginning of Rambert School which, in these early days, was based at Notting Hill Gate. Out of it grew .

The School began as it was to go on. It was, and remains, a place of dance innovation based on a sound technical training. While encouraging new choreography Rambert records, “[I] taught by insisting on the classical line with all my might.” Individuality was, as it is now, prized and encouraged. Rambert famously said her School was not to be “a sausage factory”. It has always been a place that fostered personal creativity, integrity, intuition, perhaps even quirkiness, and certainly work of the highest quality.

The emphasis on individuality and innovation naturally finds expression in choreography.

This has been, during most of its history, a principal concern at the School. Out of Rambert School have come a number of the most significant of British Choreographers such as , and Christopher Bruce. Graduates of the present School, like Thomas Noone, Ana Watkins, Mark Bruce, Antonia Graves, Theo Clinkard and Darren Ellis, continue to form their own companies and win choreographic awards.

Perhaps related to the fact that it has tended to be a place of innovation the School has, on a number of occasions, reinvented itself. On each occasion it has developed a distinct character while remaining within the Rambert tradition. The creation of the present incarnation of Rambert School was aided by the fact that by the late 1970s Ballet Rambert found it had grown away from what had been its School in a number of senses. The Company, and its supporters, thus founded what grew into the present School at Twickenham. There were indeed, for a while at this time, three schools operating under the name “Rambert”. Two merged and the third disbanded leaving only the Rambert School of today.

The School was formed within the West London Institute of Higher Education which was later subsumed into Brunel University. In 2003, for artistic, educational and financial reasons the School established its independence from Brunel University.

Deliberately remaining small the School, overall, is one of the world’s great centres of professional dance education and training.

4 5 Marie Rambert Photographed by Lord Snowdon Richmond and Twickenham Rambert School is located on the edge of London in one of its most beautiful corners, a minute’s walk from the River Thames within an area called Twickenham.

The School has chosen to remain in the special green and leafy part of London because the environment has proven, over some twenty years, to be ideal for dance training. Here the students, while with access to London, can live close to the School. They can thus spend more time in the studios and less time and money on travelling. They are able to work in the studios during the evenings and on weekends. This is crucially important because dancers cannot practise at home. They can only, to a very limited extent, work on choreography at home.

6 London The location of Rambert School provides the perfect balance between quietness and security, and the hustle and bustle of London just a short trip away. London, being one of the greatest cities in the world, offers high-quality dance, drama and music performances on an almost daily basis.

Importantly, London is also the base for most major English dance companies. Students have the chance to attend their company classes, workshops and auditions. Many theatres, galleries, historical sights and dance studios offer reduced-rate tickets for students. Rambert School is registered with Transport for London (TfL) which offers Student Photocards for savings of up to 30% on travel via rail, bus and tube.

7 Courses

8 FD/BA (Hons) Ballet and Contemporary Dance (Validated by the University of Kent)

The heart, root and centre of the School is its dance technical training. The full title of the School is Rambert School of Ballet and Contemporary Dance, with the terms “Ballet” and “Contemporary” listed in this order because it is alphabetical. At Rambert School both these major genres of western theatrical dance are treated equally and as major studies. Neither is undertaken largely or only to supplement the other. This approach, which is unique in the UK, is adopted because – as the record of former students of the School shows – it provides young dance artists with an education and training that allows them, with great success, to enter, enjoy and improve the professional dance job market of today.

Focus is on the processes of learning and applying a progressively sophisticated body of dance knowledge, understanding and related skills, so that students are able to dance Ballet and Contemporary Dance to at least a professional level and, in many cases, well beyond that.

Other aspects of the programme either derive from or support this central process. The study of choreography within the courses is grounded in the process of learning to dance and in a choreographer’s expertise as a dancer.

In Critical Studies students study a range of relevant subject areas which enhance and supplement their physical work in the studio. All students are brought to a graduate standard in the use of traditional or conventional academic skills and conventions.

9 10 FD/BA (Hons) Ballet and Contemporary Dance Principal Subject Areas

Ballet Dance Improvisation Pas De Deux Contemporary Solos Classical Solos Music Pointe Coaching Ballet Repertoire Body Maintenance/Biomechanics Choreography Critical Studies Contemporary Dance Performance

Performance

There are four performance periods each year, held in the Anya Linden Studio Theatre. Additional performances are given in other theatres such as the Linbury Studio Theatre within House and the Studio at Sadler’s Wells.

Two in-house performance weeks, and the ‘Design for Dance’ Season (with Central St Martins College of Art), consists entirely of student works. Other performances are comprised of student work and pieces choreographed by respected members of the profession.

Entry Requirements

To qualify for entry, all students must be 16 or over by 1st September in the year they wish to start. Candidates who are successful at audition show their talent in varying ways and come from various backgrounds.

Female applicants do not need to have passed exams, but should usually be at an intermediate level of Ballet, to include Pointe work.

Male applicants will usually have completed a minimum of one year of training in Ballet and/or Contemporary Dance, although typically will have more training, to include the vocabulary of intermediate ballet.

For all applicants, prior experience of Contemporary Dance is not essential, however it is always beneficial.

11 Postgraduate Study 12 MA in Advanced Dance Performance with Specialisation in Ritual and Related Somatic (Chi) Studies (Validated by the University of Kent)

The MA provides for those with intellectual ambition and research interests. Of equal significance, the programme, from a vocational perspective, develops dancers in terms of their technical skills, performance skills and expressivity.

Through a year of study and practice, the programme combines dance performance improvement with intellectual expansion and research accomplishment.

Ritual

Danced ritual is understood within the following context of hypothetical thought:

There exists a distinct category of experience identified as “the numinous” (Otto, R, 1958). This, in the past and at present, has been understood as the experience of the divine. This experience is available to individuals who do not believe in conventional notions of God or of Gods as well as to those who may. It is available even if such divinity is absolutely non-existent. Such experience is, in C. G. Jung’s terms ‘psychically hygienic’ (Jung, C. G. Collected Works, Vol 10 p 532).

Ritual is understood here as a process through which such experience can be accessed as a regular and devised practice.

The Performance Company (Moving Visions Dance Theatre)

Participants as a company, rehearse, produce and perform danced ritual or pararitual events. Performance venues will include theatres and cathedrals. The work is informed by, and informs, a study of research and scholarship.

13 14 Significant experiments in the creation of modern theatrical ritual are of concern like those of Jerzy Grotowski, Peter Brook, Antonin Artaud and their schools. The nature of religious and mystical experience and the relation of this to ritual is examined. Thus the work of thinkers within this area like Victor Turner, Richard Schechner, Gennep and C G Jung will be important.

Attention will be upon surviving traditional ritual and on anthropological accounts of ancient ritual. The relation of these to myth and religion is clearly of importance with modern and ancient dance and theatre ritual and ritual- like practice.

The Cathedral Dance Research Tour is the final performance project. The work revolves around a theory concerned with numinous experience and expression through dance. The work culminates in performances at a number of Cathedrals.

Postgraduate Diploma The option of a Postgraduate Diploma is available. This route involves taking only the first three of the four modules and so engaging in little written work. Entry Requirements

Students normally require:

• a genuine interest in the subject • a good BA (Hons) degree or equivalent • a professional standard in dance technical ability • developed performance quality and dance expressivity

15 16 Research Research Research at the School is grounded in the recognition that dance academics and dance professionals are usually competent (in terms of innovation and research) to do different things. These two categories of people tend to realise different areas of expertise and personal potential through different training and post-training (or post-graduate) experiences.

Rambert School, in many cases but not exclusively, supports projects that include Practice as Research engaged in by individuals who have, or can acquire, the highest level of sophistication in both established academic and dance professional areas.

The outcomes of these projects, insofar as they are made up of dance practice, are of a professional level. No less important, each project includes a significant body of conventional academic work. This demonstrates, primarily through writing, the use of recognised academic conventions as regards the skills of thinking, reflection, analysis, interpretation and evaluation.

Thus it is a characteristic of each Research Project involving dance practice, that not only are the highest professional standards in that practice displayed, but the application of established academic conventions, at a sophisticated level, are also demonstrated.

Research is led within the School by its director Dr Ross McKim MA PhD NBS.

PhD Study This is an indicative list of possible subject areas for PhD Research and Rambert School:

Kinesiology and Dance

Dance Education and Training

Dance and Music

Choreography

Dance and the Numinous

Dance in Mythology

Dance in Ritual

17 The Cathedral Dance Research Project www.cathedraldanceresearch.co.uk

The Cathedral Dance Research Project is the principal Research Project of Rambert School and is closely related to the MA Degree Programme.

The work revolves around a theory concerned with numinous experience and expression through dance. This theory proposes that dance may potentially be naturally numinous. The made through the project attempt to realise this potentiality through two means:

• The act of dance itself. • The taking on of mythic archetypal roles.

Since the project is trying to move away from performance and towards rituals the works made are called ‘pararituals’.

Moving Visions Dance Theatre, as the research vehicle of the project, has toured to the medieval cathedrals of Canterbury, Gloucester, Winchester, Chester, Ely, Norwich, York, Ripon, Durham, Oxford, Carlisle and St Davids as well as to the Anglican cathedrals of St Paul’s, Southwark, Coventry, Liverpool, , Manchester, Newcastle, Edinburgh, Salisbury, Lincoln and Vancouver. The company has also performed in churches in the UK, Canada and the United States.

18 The Cathedral Dance Research Project (Moving Visions) in the grounds of the Bishops Palace at St. David’s Cathedral, Wales 19 The People 20 Principal Staff Principal and Artistic Director Ross McKim MA PhD NBS (IDP)

Ballet Musician Hilary Clark ARAD dip PDTC Frans Linthorst

Ballet Musician Paul Clarke BA (Hons) PDTD Dip Alan Lisk MA, Cert Ed

Ballet Musician Ayumi Hikasa ARAD BBO Dip Tom Pender-Cudlip

Ballet Musician Stephen Sheriff Curtis Probel

Classical Solos Coach Musician Anya Sainsbury CBE Irina Moiseeva

Contemporary Dance Musician Ross McKim MA PhD NBS (IDP) Jenny Mumford Cert Ed (Dist)

Contemporary Dance Musician Amanda Britton MA Neil Shaw

Ki-Gong Studies Musician Master Tae Yong Lee 8th Dan David Walters

Head of Musical Studies Assistant Director and Head of Barry Ganberg BA Undergraduate Academic Study Amanda Britton MA Musician Jill Barnes LRAM Osteopath Peter Dunleavy BSc (Hons) Ost Musician Chris Benstead Pilates Kio Tomiyama Musician Philip Enscot D.R.S.A.M., L.T.C.L., D.L.O.C. Student Support Officer Michelle McKim BA Musician John Hoskins

21 Patrons: Finance Director Robert Cohan CBE Michael Jarvis Lady Anya Sainsbury CBE Project Manager Trustees: Sarah Rowe FRSA Richard Cooper (Chairman) Administrator James Barnard Rosemary Kilbride Richard Butler Adams Bamber Gascoigne School Secretary Hope Keelan Michelle North Lesley Payne Accounts Clerk Michael Pender-Cudlip Julie French Jane Pleydell-Bouverie Projects Officer Lady Anya Sainsbury Heidi Spicer

22 The Faculty

Ross McKim MA PhD NBS (IDP) Principal and Artistic Director, Ballet & Contemporary Technique, Choreography

Ross Mckim danced with the National Ballet of Canada, the and London Contemporary Dance Theatre as a . He founded Moving Visions in London in 1976, moving the company to the north of as English Dance Theatre in 1978. In 1982, he established Chamber Dance Theatre in Canada. In 1985 he was appointed Director of Rambert School and re-established Moving Visions as a research venture. He has choreographed for a number of companies including London Contemporary Dance Theatre, National Ballet of Canada (his first professional work in 1968), and several theatre companies. He has taught for the major London professional schools, Rambert Dance Company and London Contemporary Dance Theatre. He has won the Edinburgh Festival Critics Award and The Guardian Critics Choice for choreography. Ross Mckim has an MA (Dance Studies: University of Surrey) and a PhD (Theology: University of Durham). He has authored 3 books.

Anya Sainsbury CBE Classical Solos

Born in Manchester, Anya Sainsbury started ballet training in Berkeley, California with Dorothy Pring and Theodore Kosloff. In 1947 she returned to England with her family and joined Sadler’s Wells Ballet School (now School). She joined The Royal in 1951 as Anya Linden and started dancing principal roles in 1957 including Coppélia, , , , Sleeping Beauty, , and .

She married John Sainsbury in 1963 and she retired in 1965. They have three children and eight grandchildren. She has organised and worked on the production of five ballet galas in aid of One Parent Families, the most notable being ‘A Good Night’s Sleep’ with , and the ‘ Ballet Gala’. She continues to coach at The and Rambert School. In 1987 she founded the Linbury Prize for Stage Design and was its chairman until 2010.

Barry Ganberg BA Music and Choreographic Studies

Born in New York City, Barry Ganberg graduated from City University of New York with degrees in Music and Psychology. He further studied music and composition with John Corigliano, baritone horn with Jack Hyatt and voice with Sylvia Friedrich. He has performed and composed for many dance and theatre companies including London Contemporary Dance Theatre, Scottish Dance Theatre, Ballet de San Marcos and Moving Visions for whom he is Music Director. He is particularly concerned with research into the use of percussion and voice with continuing projects in Ethiopia, Senegal, and Peru.

23 Amanda Britton MA Critical Studies, Contemporary Dance

Amanda Britton has over 25 years of experience as a dancer, teacher, rehearsal director, mentor and course leader. Following her training at Rambert Academy, she joined Ballet Rambert in 1984. She went on to become a leading dancer, creating roles in works by Christopher Bruce, Merce Cunningham, Richard Alston, , Ashley Page, Glen Tetley and amongst others. She left Rambert in 1993, moving on to create and perform work with Siobhan Davies Dance Company, including the Olivier Award winning ‘Art of Touch’ (1995). Amanda has taught extensively in both schools and companies throughout the UK, including three years on the faculty at London Contemporary Dance School, where she completed an MA in Dance Education and Training.

Amanda took up her current post as Head of Undergraduate Critical Studies at Rambert School in 2005. She has retained her links with Rambert Dance Company, and regularly teaches company class. She has also worked as an External Examiner for several schools and currently fulfils this role at Trinity Laban.

24 Hilary Clark ARAD Dip PDTC Ballet and Related Disciplines

Hilary trained at Rambert School and after graduation joined , performing in all the major classics and new works with the main company and Education Unit. On returning to London, Hilary toured extensively with London City Ballet and then graduated with Honours from the Professional Dancer’s Teaching Course at the .

Hilary has extensive teaching experience and prior to teaching full-time at Rambert school held posts at London College of Dance, Bush Davies, Elmhurst, , Laine Theatre Arts and London Junior/ Senior Ballet. Throughout her career she has also been a faculty member and Tutor for the RAD, has taught the Phyllis Bedells Bursary class twice and she has worked as the senior tutor for the Professional Dancer’s Teaching Course. Hilary has taught student and teachers’ courses throughout her work, most recently in USA, Japan and Portugal.

Paul Clarke BA (Hons) PDTD Dip Ballet and Related Disciplines

Paul Clarke trained at Rambert School and Central School of Ballet at The Place. Upon graduation he joined the Deutsche Oper Am Rhein Ballet – Dusseldorf, Germany, dancing in ballets by , Jiri Kylian, Heinz Spoerli, Erich Walter and Roland Petit. He also danced with Malmö Staats Theatre Sweden and Hanover State Theatre, Germany, where he was a first soloist performing leading roles in both classical and contemporary ballets.

Paul also has a BA (Hons) Degree from Wimbledon School of Art in Theatre Design. His design credits include operas, ballets, contemporary dance, children’s theatre and several West End musicals. Paul graduated with Distinction from the Professional Dancers Teaching Diploma course at the Royal Academy of Dance. Paul is currently External Examiner on the Professional Dancers Teaching Diploma course for the Royal Academy of Dance.

Ayumi Hikasa ARAD BBO Dip Ballet and Related Disciplines

Ayumi Hikasa trained at the Noriko Kobayashi Ballet School and The Royal Ballet School. Upon graduating Ayumi joined the National Ballet of Portugal where she performed many soloist and principal roles in ballets such as La Bayadere, Swan Lake, Serenade and Theme and Variations.

She later danced with London City Ballet as Principal dancer performing many of the major roles in the company’s repertoire including title roles in Cinderella, and Odette/Odile in Swan Lake. She has also worked and guested with many companies including Stars of British and Russian Ballet, Wiener Ballet Theatre, European Ballet, the 3rd Seoul Festival in Korea and with Theatre. She has also been in the cast of The Phantom of the Opera in the West End. She has choreographed and co-produced two full length ballets in Japan.

25 Stephen Sheriff Ballet and Related Disciplines

Stephen trained at the Royal Ballet School and subsequently joined the Royal Ballet. He left in 1982 and went to the Netherlands Dance Theatre. Having always enjoyed working with choreographers at The Royal Ballet he worked with Sir Kenneth MacMillan, Sir Frederick Ashton and, at Netherlands Dance Theatre, Jiří Kylián, Glen Tetley, , William Forsythe and many others.

Stephen has performed all the male principal roles in the balletic repertoire. He also danced in Rambert Dance Company for Richard Alston in Glen Tetley’s Pierrot Lunaire and with Scottish Ballet in Peter Darrell’s Cinderella. He taught at the as , Cullberg Ballet, Netherlands Dance Theatre, Rambert Dance Company and the National Ballet Spain before joining Rambert School of Ballet and Contemporary Dance.

Peter Dunleavy BSc(Hons) Ost Osteopath

An ex-dancer, Peter Dunleavy started his working life as an Engineering Draughtsman. Changing to dance he worked with independent artists, Jane Dudley, Inge Longroth and Micha Bergese before a decade with the UK’s leading contemporary dance company, London Contemporary Dance Theatre. He then studied Osteopathy and once graduated ran a private practice specialising in professional bodies – athletes, dancers, fighters etc. On leaving private practice, he began working for the Conservatoire for Dance and Drama and devised and set up the Screening, Treatment and Rehabilitation Unit at Rambert School in 2006. He lectures in Anatomy at undergraduate level and assists in delivering academic lectures to the students and is currently part of the Dance UK Medical Advisory Group. Apart from dance, Martial Arts have been a consistent physical interest.

Kio Tomiyama Pilates

Kio Tomiyama was born in Japan and trained there in . She came to the UK to study at Rambert School in 1993. From 1996-2002 she danced professionally in Japan. In 2002, she qualified from the Pilates Teacher Training Course at Alan Herdman Studios and since then has been teaching Pilates at Alan Herdman Studios, Chelsea Harbour Club, Royal Academy of Dance and Millenium Dance 2000. Kio teaches Pilates, rehabilitation after injury and injury management as part of the Screening, Treatment and Rehabilitation Unit at Rambert School.

26 Master Tae Yong Lee 8th Dan Ki Studies (Somatics)

In 1990, Master Tae Yong Lee was Champion of Korea and National Representative in Kung-Fu, ranking second in the World Kung-Fu Championships. He studied disciplines including Hapkido, Kickboxing and Taekwondo. In 1999 he established the Sungji musical company where he created the musical ‘’. In 2001 ‘Action Musical: the Former Life’, was staged at the Korean National Theatre. In 2003 he choreographed the martial arts for ‘Show Taekwon’ and ‘Jump’, a show ranked No.1 at the Edinburgh Fringe Festival in 2005. He was Artistic Director for the ‘2003 World Culture Opening’ ceremonies. He studied acupuncture and oriental philosophy under monk ‘Mook-jeong’ after which he travelled to the UK via America. He opened Sungji Action School in Isleworth, London and was appointed UK Commissioner for the International TGMS Federation. He also currently volunteers at The ARNI Trust (Action for Rehabilitation from Neurological Injury) and in 2012 he established Sang Moo Educational Trust LIMA (London Institute of Martial Arts).

27 28 Recent Guest Teachers and Choreographers Joss Arnott (Joss Arnott Dance Theatre)

Jackie Barrett (Royal Ballet, Christopher Wealdon)

Carly Best (Vincent Dance Theatre)

Adam Blanch (Australian Dance Theatre)

Kerry Biggin (New Adventures Dance Co.)

Neil Brown (Random Dance Co.)

Jacqueline Bulnes (Martha Graham Co.)

Theo Clinkard (Co-Founder, Probe Dance Co.)

Julie Cunningham (Merce Cunningham Dance Co.)

Malgorzata Dzierzon (Rambert Dance Co.)

Jonathan Goddard (Rambert Dance Co.)

Dane Hurst (Rambert Dance Co.)

Hope Keelan (Royal Ballet School)

Luc de Larresse (Balettoday Belgium)

David Lloyd (Jasmin Vardiman Co.)

Leila Mcmillan (Flying Low Technique)

Lloyd Newsome (DV8)

Gemma Nixon (Rambert Company)

Patricia Okenwa (Rambert Dance Co.)

Veli Peltokallio (Cullberg Ballet)

Adam Pudney ()

Pompea Santoro (Cullberg Ballet)

Pieter Symonds (Rambert Dance Co.)

Douglas Thorpe (Mad Dogs Dance Theatre)

Sharon Watson (Director, Phoenix Dance Co.)

Jenny White (Russel Maliphant Co.)

Renaud Wiser (Bonachela Dance Co.)

Paul Zivkovich (Ahram Khan Co.) 29 Professional Opportunities To date, over 90% of Rambert School graduates have gone on to enter the profession, usually at a high level. Many now dance with some of the world’s most respected companies, but the range is wide as shown by the list of examples below.

Options are not limited to large-scale touring companies however. Students often choose to work with independent or new and emerging project groups, and Rambert School has a reputation for producing dancers and choreographers who have gone on to make significant contributions within the Independent dance scenes in Europe and Australia as well as the UK.

Indicative Ballet Companies Indicative Contemporary Companies

Dutch National Ballet Rambert Dance Company English National Ballet National Dance Company Wales Northern Ballet Merce Cunningham Dance Company Scottish Ballet Netherlands Dance Theatre Richard Alston Dance Company BalletBoyz Phoenix Dance Company National Ballet of Portugal Munich Dance Company Cape Town Ballet Siobhan Davies Dance Company Seoul Ballet New Adventures Peter Schaufuss Ballet Russell Maliphant Company K Ballet (Toyko) Hofesh Shechter Company

30 31 Applications and Auditions Applications

Entry to the School is by application and audition. There is a one-time, non-refundable administration fee of £45. This fee covers the cost of processing the application and is not refundable if an audition offer is not made.

Rambert School of Ballet and Contemporary Dance welcomes applications from disabled people and offers places solely on the basis of potential and suitability for a career in the profession. You are encouraged to disclose any impairment or condition (for example, dyslexia, a physical, sensory or mental health condition) at the earliest opportunity so that we can endeavour to meet your needs at audition and during the course. All applicants, who meet the criteria for entry to the School, will be invited to audition. Open Days

Rambert School does not hold formal open days, however, visits can be arranged to tour the facilities. Please contact the School to find our more. Auditions

Formal audition dates are offered every year. These auditions consist of a Ballet class (with pointe work for the women) and a Contemporary Dance session for all applicants. Some auditionees will be asked to perform a solo. Some will be given a physical check-up and interview. Prospective students and their parents will have the opportunity to talk to the Principal, Dr Ross McKim, following the audition.

Alternatively, students who are resident outside the UK may submit a DVD audition with their application form and this should include: why you are auditioning (approximately one minute), barre work (approximately 20 minutes), centre work to include adage, pirouettes and allegro and a short ballet or contemporary solo.

Applications can be downloaded from www.rambertschool.org.uk.

32 33 Finance Fees

FdA/BA (Hons) UK/EU students are required to pay standard university tuition fees. Non-EU international students will be required to pay the full cost of their tuition. Information on the current fees can be found on our website. Student Finance

Detailed information about fees and financial support for your training is available from the Conservatoire for Dance and Drama where you can download the CDD booklet on Fees and Financial Assistance.

If you are new to higher education, you can apply for a tuition fee loan from the Government and you will not have to pay anything up front. You will not have to pay back your loan until after you have graduated and are earning over £21,000.

Students may be eligible for the following financial support; • Government loans to cover tuition fees and living costs (through Student Finance England), • Government maintenance grants to help with living costs (for students from a household income of below £42,875 which does not have to be paid back), • Conservatoire Scholarships. Many students will be eligible for fee discounts and will not have to pay the full £9,000, • Career and Professional Development Loans, for students who already have a degree.

All students may apply for a Rambert School bursary, which can cover some of the fees. However, these will not normally cover the whole of the fee requirement. Students must have started their course at the School before being eligible to apply for a bursary. Student Finance England

In order to apply for a Conservatoire Scholarship, you will need to be income assessed by Student Finance England. However, because this is a new system, it is likely that you will not be able to apply for income assessment or for a student loan before February 2013. This will not affect your application.

34 35 36 Rambert School and Rambert Dance Company

During 2012-13 two recent graduates of Rambert School secured apprenticeships with The Rambert Dance Company. The schools was also delighted when four additional dancers were selected to dance with the company for ‘A Linha Curva’.

Mark Baldwin, Artistic Director of The Rambert Dance Company, will choreograph ‘Sacre De Printemps’ for the students. They will perform this work along with Martha Graham’s ‘Steps in the Street’ at the opening of the Rambert Company’s new premises on the South Bank in October 2013 The Conservatoire for Dance and Drama

Rambert School is an affiliate school of the Conservatoire for Dance and Drama. The Conservatoire was established in 2001 as a new higher education institution, receiving a grant from the Higher Education Funding Council for England. Students are jointly registered with Rambert and the Conservatoire for Dance and Drama.

The Conservatoire is composed of eight affiliate schools, collectively offering world-class higher education training in dance, acting, circus arts, and technical theatre. The Conservatoire’s unique structure gives students opportunities for collaboration beyond the individual affiliate school.

Further information about the schools and the Conservatoire is available at www.cdd.ac.uk

37 PHOTOGRAPHY CREDITS

All photography John Pridmore, except: Lord Snowdon – page 5 Stephen Berkely-White – page 28 and page 39 (top) Rambert Dance Company – page 36 38 Colin Hoskins – pages 6-7 39 Rambert School of Ballet and Contemporary Dance is a Company limited by Guarantee registered in England and Wales under company number 4713720 and registered as a charity under charity number 1098900. Registered office: Clifton Lodge, St Margaret’s Drive, Twickenham TW1 1QN