Annual Review & Report 2011/12 Royal & Report Academy of Dance Annual Review

Royal Academy of Dance Annual Review & Report 2011/12

Royal Academy of Dance Patron: Her Majesty Queen Elizabeth II

Headquarters Royal Academy of Dance® 36 Battersea Square London SW11 3RA

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Royal Academy of Dance® is a charity registered in England and Wales No. 312826 Royal Academy of Dance Annual Review & Report 2011/12 1

As the professional membership body Contents Chairman’s report 02 employees12 in UK and Republic 3 of Ireland Chief Executive’s review 04 for dance teachers, we will inspire and RAD leadership 06 The Trustees 10 empower dance teachers and students, Looking to the future 12 members and staff to make innovative, The Academy 14 employees108 and representatives in Examinations 16 international offices Education 18 artistic and lasting contributions Continuing Professional Development 20 Benesh Movement Notation 22 to dance and dance education The Philip Richardson Library 24 Membership 26

Student activities 28 throughout the world. 197freelance examiners Step into Dance 30 Enterprises 32

Annual General Meeting 34

Summarised financial statements 35

Key performance indicators 36 freelance300 teachers / guest lecturers At a glance 37 Statement of the Board of Trustees’ responsibilities 38

Auditor’s statement to the Trustees of the Royal Academy of Dance 39

Group consolidated statement of financial activities 40 350mentors Group and charity balance sheets 41 Accounting policies 42 Scholarships, awards, bursaries & fundraising 44

Corporate governance 46

practical200 teaching supervisors

Our highlights of the year are produced in full in a separate publication, Your stories – Our highlights, created in conjunction 80tutors with this Annual Review & Report.

c o v e r p h oto : j o n x p i l l e m e r 2 Royal Academy of Dance Annual Review & Report 2011/12 3

Chairman’s report

In a year characterised by a remarkable amount You may recall that we made the decision in 2011 The year under review also witnessed considerable of activity, one of the more significant events was to support the first-ever Dance Proms at the Royal progress and innovation in how we communicate acknowledging the retirement of Dame Antoinette Albert Hall in London, which was held to showcase with our members. We virtually re-invented Sibley DBE as our President. It has been a particular the impact of dance on young people all over the Dance Gazette by making it more general in ‘ Looking ahead, I was delighted when privilege for me to have worked closely with Dame country. The event was so successful, in terms of content while retaining focus on the interests Darcey Bussell CBE, recognised as one Antoinette over the past 6 years of her 21 years numbers of participants, size of the audience and of our members. We are also employing new in the role and to host a gala retirement lunch. degree of press coverage, that we elected to technology (e-newsletters, social media) to of the defining prima ballerinas of her This took place in a cleverly re-imagined and renew our support in 2012 in the belief that it ensure that we maintain the closest possible generation, accepted our members’ imaginatively dressed Genée Studio at our will become an increasingly important occasion contact with our worldwide membership. Battersea headquarters. in the dance calendar. The event has also resulted invitation to become our new President in the creation of a valuable and close working All of the above notwithstanding, this past year has The occasion was attended by many of Dame relationship between our colleagues at the Imperial also had its disappointments. The most concerning and I look forward to working with her Antoinette’s long-time associates, former Society of Teachers of Dancing (ISTD) and the being that the combination of a relative ‘softness’ in what promises to be a challenging dance colleagues and family. At her table, International Dance Teachers Association (IDTA), in the number of examinations (although still in Dame Antoinette was joined by Sir Anthony as well as the Royal Albert Hall. excess of 200,000) held together with a number of and exciting future for the Academy. ’ Dowell CBE, Dame Monica Mason OBE, Dame one-off costs has resulted in a financial operating Vivienne Duffield DBE and other witnesses to Our decision of several years’ standing to stage position below that which we have experienced her illustrious career. The doyen of dance critics, the Genée International Ballet Competition over the past several years. You will read the Clement Crisp, gave the keynote address, which around the world took the event to Cape Town details in the reports from our Chief Executive was followed by the unveiling of a bronze bust of in 2011. Not only did the competition attract and the Director of Finance, but it is right for me Dame Antoinette that now takes pride of place entrants and supporters from a number of RAD to assure you that we are examining the options in the foyer of the Academy’s headquarters. countries, but our International Advisor for Africa we need to embrace to ensure that our financial Dame Antoinette was noticeably moved by has since reported that its legacy has resulted in position is strengthened in the year ahead. the occasion and I believe it was an appropriate an upsurge in the number of children engaging in farewell to one who has had such an impact regular dance lessons – particularly children from In closing, I would like to acknowledge and thank on the Academy over the last 20 years. the townships around Cape Town. This is indeed our worldwide staff and our Senior Management welcome news as introducing young people to the team at Battersea Square for their dedication and Looking ahead, I was delighted when Darcey Bussell joy of dance is one of the RAD’s key objectives. hard work, and to say again how privileged and CBE, recognised as one of the defining prima grateful I am to have such an active and supportive ballerinas of her generation, accepted our members’ Board of Trustees. invitation to become our new President and I look forward to working with her in what promises to be a challenging and exciting future for the Academy.

Kerry Rubie Chairman 4 Royal Academy of Dance Annual Review & Report 2011/12 5

Chief Executive’s review

2011/12 was an extremely busy year, and one in In June, the Academy, together with the Royal After six years of relatively good financial which we saw a healthy growth in the Academy’s Academy of Arts, the Royal Academy of Dramatic results, it is, however, disappointing to record worldwide membership base to almost 13,000. Art and the Royal Academy of Music staged and a less successful outcome to the financial year Our trading and licensing activities through hosted the largest gathering ever assembled in under review. As the Chairman mentions in his ‘ Around the world, an extraordinarily RAD Enterprises also saw an increased turnover. London of dancers, artists, musicians, actors, foreword and as the Director of Finance & diverse programme of competitions, Examination entries have held steady, although directors, designers and architects in tribute to Administration explains in his report, our failure there was a modest fall in some Grades and this Her Majesty the Queen in her Diamond Jubilee. to meet our budgeted surplus is the result, in workshops, courses, summer schools may be linked to the introduction of the new The gala was held at Burlington House in Piccadilly, the main, of incurring a number of exceptional and many other events attest to the syllabus and will, we believe, correct itself in the home of the Royal Academy of Arts, and one-off item costs rather than in a reduction of subsequent years. during the glittering event Her Majesty the Queen our core business. We can at least take some vibrant and growing role that the presented special Jubilee Awards to each Academy consolation from this and we will redouble our In September 2011, the Genée International to benefit students in training at each institution. efforts to ensure a better result at the end of Academy plays.’ Ballet Competition was held in the spectacular The Academy’s award was generously provided by the current financial year. surroundings of Cape Town. Once again, the the Linbury Trust. host country stamped its particular personality Finally, I must express my gratitude to the on the Genée and the staging of Sizodanisa (Let’s Throughout the year under review, work has Academy’s worldwide team of staff, especially my Dance!), involving over 100 children and young continued on two major initiatives – our CPD colleagues Anne Hogan, Andrew McBirnie, Melanie people from Cape Town’s townships, culminated scheme, which will become operational in July Murphy, Richard Thom and Lynn Wallis, who work in a thrilling performance that will be etched on 2013, and the design of the proposed new tirelessly and with extraordinary commitment to the memories of all who attended. Likewise, the Professional Dance Teachers’ Registration Scheme. support, protect, develop and grow the Academy. Genée Dance Challenge attracted and embraced The work on the registration scheme follows Their hard work, their imagination, their skills and young dancers from all over South Africa. extensive consultation with members around the unfailing good humour is the fuel that stokes the world and it is hoped that the final proposal will Academy’s engines. I consider myself privileged to The highly successful Step into Dance programme be approved by the Board of Trustees at the end be part of such a team. I must also thank Kerry is now in the second year of its three-year grant of 2013, and launched in September 2014. Rubie and our Board of Trustees whose wise from The Jack Petchey Foundation and it goes from counsel and constant support makes the task strength to strength. There is an increased focus Around the world, an extraordinarily diverse of management so much easier. on developing new training and performance programme of competitions, workshops, courses, opportunities for gifted students taking part in summer schools and many other events attest to The Academy is in good shape in spite of the the programme. the vibrant and growing role that the Academy challenging environment in which we operate. I plays as it seeks to establish itself as the leading hope this Annual Review and Report – along with The great success of Step into Dance looks as international body for professional dance teachers. the accompanying Highlights booklet – offers its if it will be echoed by another exciting dance Our international standing has been further readers a glimpse of the achievements of which project, Dance Proms, to which the Chairman enhanced by the election of Darcey Bussell I believe we can all be proud. has already referred. Its success, greater than as President. I echo the Chairman's delight, we dared to hope, leads me to think that this expressed in his foreword to this report, at glorious celebration of young dancers is set to the appointment of our new President. become a permanent fixture in Britain’s annual dance calendar.

Luke Rittner Chief Executive 6 Royal Academy of Dance Annual Review & Report 2011/12 7

RAD leadership

1. Darcey Bussell cbe 2. Kerry Rubie president chairman of the executive committee 1. 2. Darcey Bussell was born in London and trained Kerry Rubie became Chairman of the Executive at The Royal Ballet School. It was here that the Committee (now the Board of Trustees) in May late Kenneth MacMillan noticed her exceptional 2006. Born in Australia, he was recruited by the technique and in 1988 gave her the leading role Leo Burnett Company of Chicago in 1964. in his ballet The Prince of The Pagodas, causing her to move to The Royal Ballet. A year later, on the He became CEO of Burnett’s Canadian opening night of the show, she was promoted to operation in 1978 and subsequently moved to Principal, at the time the youngest ballerina to be Hong Kong as Regional Managing Director for given this honour. In 1990 she was voted Dancer the Agency’s Asia Pacific operation. Leaving 3. 4. of the Year by readers of Dance and Dancers Hong Kong in 1987, he relocated to London as Magazine, Winner of the Evening Standard Award head of Burnett’s Europe/Middle East/Africa for Ballet and Winner of the Variety Club’s Sir group and in 1992 moved to Chicago as Group James Garreras Award for The Most Promising President. He was appointed Group President Newcomer. She has been featured in television Leo Burnett Worldwide Inc. in 1997 and retired documentaries including the BBC's Britain’s as Vice Chairman in 2004 leaving an agency with Ballerina (2005) and appeared in numerous operations in 87 countries, employing over televised ballet galas and TV programmes. In 1995 6,000, with billings in excess of US$900 million. 5. 6. Darcey was awarded an OBE and subsequently His other charity roles are Chairman of Friends a CBE in 2006. Darcey retired from ballet with of the Elderly and reading assistant at St Mary’s a final performance of MacMillan’s Song of the Primary School East Row. Earth performed at the Royal Opera House and broadcast on BBC Two in 2007. The same year, Darcey teamed up with Welsh Opera sensation 3. Luke Rittner Katherine Jenkins with whom she created and chief executive performed in the musical Viva La Diva, released Luke Rittner took up his appointment as Chief on DVD in 2008. She collaborated with an Executive of the Academy on 1 September 1999. 7. 8. experienced author to create the Magic Ballerina He was Secretary General of the Arts Council books for young girls, released in October 2008. of Great Britain (1983–1990), Communications Darcey is a member of the Board of Directors, Director for Sotheby’s Europe (1992–1998) Sydney Dance Company. In 2012 she was and in previous years has run the Bath Festival appointed President of the Royal Academy and was Founder-Director of the Association for of Dance. Business Sponsorship of the Arts (now Arts & Business). Luke has served on many arts boards, including the Victoria & Albert Museum and the British Council. He was a non-executive Director of Carlton Television until 1993. He is currently Chairman of the London Academy of Music and Dramatic Art (LAMDA). 8 Royal Academy of Dance Annual Review & Report 2011/12 9

Comparative Literature and was Director of He studied music at the University of Bristol, 4. Richard Thom ba (hons) fca 8. Lynn Wallis fistd director of finance and administration Alumni Relations at The American University gaining a BA with first class honours, followed by artistic director of Paris, and was previously the Head of Dance postgraduate study in composition at the Royal Richard Thom joined the Academy in 1988 and was Studies at the University of Wolverhampton, and Academy of Music. He was awarded a PhD in Lynn Wallis graduated from The Royal Ballet appointed Director of Finance and Administration Head of Postgraduate Studies and Research at composition from the University of London in Senior School in 1965 into The Royal Ballet in 1991 with responsibility for Finance, Facilities, London Contemporary Dance School. Prior to 1997. He taught music in the UK independent Touring Company, becoming Ballet Mistress at Human Resources and Information Technology. joining the RAD, she was an Associate Dean in schools sector, and was Director of Music at the school in 1969, a position she held until 1982 He is also responsible for and a Director of Royal the Faculty of Humanities, Arts, Languages and The Oratory School, Reading. As a composer, when she was made Deputy Principal. During this Academy of Dance Enterprises Ltd. Education at London Metropolitan University. Andrew has received commissions, performances, time she reproduced a great many ballets from broadcasts and recordings by a variety of professional classical repertoire for the school performances at the Royal Opera House, Covent Garden, and Graduating in 1972 with an Honours degree in Anne has taught English and Comparative Literature, orchestras, ensembles and soloists, both in the other venues. In 1984, at the invitation of Erik Business and Administration from the University specialising in Shakespeare in performance, as UK and worldwide. Bruhn, she joined The National Ballet of Canada, of Portsmouth, Richard qualified as a Chartered well as both theoretical and practical courses in as Artistic Co-ordinator, and in 1986 she became Accountant in 1976 and became a Fellow of the performing arts, specialising in dance. Her research Associate Artistic Director, with Valerie Wilder, Institute of Chartered Accountants in 1982. interests include the role of ‘alternative somatic and Co-Artistic Director from 1987 to 1989. practices’ within classical and contemporary 7. Melanie Murphy In 1990, she was appointed Deputy Artistic He has represented the RAD on the Council of dance training, the choreographic legacy of ba (hons) mcim dip ipr mcipr director of marketing, communications Director of English National Ballet with special Dance Education and Training’s Awarding Body George Balanchine, and Shakespeare and Dance. & membership responsibility for mid-scale touring, the Education Committee and in the 1990s was the Chairman Anne’s publications include Balanchine Then and and Community Unit, Choreographic workshop of the Registration Board, as well as Honorary Now (Sylph Editions, 2008) and she contributes Melanie Murphy joined the Academy in May 2003 and English National Ballet School. Treasurer. He is now the longest-serving Director reviews on dance and arts publications and as Press & Marketing Manager. In 2006 a new of the RAD, having surpassed Miss Gordon’s performances to the Times Higher Education. department was created and Melanie became 20 years. Head of that department. She was appointed Lynn joined the Academy in 1994 as Artistic Director of Marketing, Communications & Director and is responsible for setting and Membership and a Director of the RAD at maintaining the standards of dance training Within the Group, he is a Director of Royal 6. Andrew McBirnie ba mmus phd ltcl the end of 2007. Melanie graduated with Joint worldwide, developing the RAD’s syllabus and Academy of Dance asbl, RAD Dancing (Malaysia) director of examinations Sdn Bhd and Royal Academy of Dance Singapore BA (Hons) in English & Law in 1995. She has planning courses internationally for students. Pte Ltd; and Company Secretary for Youth Dr Andrew McBirnie was appointed Director of a postgraduate diploma in Public Relations Lynn led the Creative Panel for Pre-Primary in Dance England. Examinations at the Academy in January 2010. (Chartered Institute of Public Relations) and is Dance, Primary in Dance, Grades 1–3, Intermediate Previously he was Chief Examiner in Music for also a professional member of the Chartered Foundation and Intermediate and chaired the London College of Music Examinations, based at Institute of Marketing. Since 2008 she has been Artistic Panel of Dance Professionals who wrote the University of West London, where he also actively involved with ENYAN; is a mentor with The Foundations of Classical Ballet Technique and 5. Anne Hogan ba ma phd director of education taught on the BMus course. Subsequently he spent the AMA and sits on the Dance Takes the Lead The Progressions of Classical Ballet Technique. She some time in the USA, where he was syllabus Steering Group. is currently working on Grades 4–5, as well as Dr Anne Hogan took up her role as Director consultant and North American promotions Advanced Foundation (Male and Female) and of Education on 30 August 2011. officer for LCM Examinations, and an adjunct Advanced 1 and 2 (Female). professor in music at Oklahoma City University. A former member of the Boston Ballet Company He remains a Senior Examiner for LCM In 2001 Lynn was nominated and shortlisted and Pacific Northwest Ballet, Anne holds a BA in Examinations, and is also on the board of the for the European Women of Achievement English Literature from Harvard University, and Council for Dance Education and Training. Awards. In 2004 she was nominated for an an MA and PhD in English Literature from Brown Isadora Duncan Dance Award in the category University. She taught in the Department of of Reconstruction/Revival/Restaging for her work on Monotones I and II, Sir Frederick Ashton, San Francisco Ballet. Lynn is a Trustee of the Dance Teachers' Benevolent Fund. 10 Royal Academy of Dance Annual Review & Report 2011/12 11

1. Kerry Rubie The Trustees Chair of the Board of Trustees 2. Chair Leigh of Finance sub-CommitteeCollins

3. Adv TchDeborah Dip RTS Chair of Regional Coultish sub-Committee

4. Chair Nigel of Education Hildreth sub-Committee and Vice-Chair of the Board of Trustees

5. Chair of ArtisticDerek and Examinations Purnell subcommittee 1. 2. 3. and Vice-Chair of the Board of Trustees 6. ARAD Kathryn Chair of Benesh sub-Committee Wade

7. NigelDirector andWreford-Brown Chair of RAD Enterprises

4. 5. 6. 8. Chair of Marketing Aliceson and Membership Robinson sub-Committee (co-opted)

9. KarenAdv Tch Dip Berry RTS

7. 8. 9. 10. Julia Bond 11. Brian Brodie 12. Thérèse Cantine 10. 11. 12. ARAD Dip PDTC RTS 13. SarahARAD Adv Dickinson Tch Dip RTS

14. Anders Ivarson 14. 15. AI Chor 13. 15. LouiseARAD RTSMurray

16. Lynne Reucroft-CroomeLRAD

16. 17. 18.Trustee not present: 17. Helen Taylor Cheryl Thrush ARAD RTS RAD RTS

18. CherylARAD RTS Thrush 12 Royal Academy of Dance Annual Review & Report 2011/12 13

Looking to the future When in April 2012 the position of President of the RAD became vacant for only the fourth time in the Academy’s 92-year history, there was one person who was the obvious – and overwhelming – choice. Enter prima ballerina Darcey Bussell CBE.

‘I was absolutely delighted when I was asked For Darcey, the key to maintaining the RAD’s to follow in the footsteps of iconic ballerinas place in dance is to remain up to date and Margot Fonteyn and Dame Antoinette Sibley’, accessible by embracing all dance styles. ‘There explains Darcey. ‘It’s extraordinary – and are very few places that do what the RAD does. wonderful – to think that I was voted in by By working on projects like Dance Proms and the worldwide membership.’ Move It! it is developing passion for all dance forms. Dance changes the way you look at life Although the position of President is a non- – it lifts you and keeps you motivated, giving executive support role, Darcey still has a very you the discipline and strength to achieve in clear vision about her duty as ‘an ambassador’ of many other areas.’ the Academy. ‘I love to sell dance. It feels like the most natural thing for me to be part of the RAD. And it’s not only Darcey who is excited about I wouldn’t want to shape policy. But then, I her future as President. ‘I am personally delighted wouldn’t have agreed to be President if I didn’t that she accepted the position,’ says an equally feel the RAD was moving with the times, always enthusiastic RAD Chief Executive Luke Rittner. advancing in what they get from their students ‘Darcey is one of Britain’s most distinguished and the teachers they teach, and achieving the ballerinas, and her passion for dance makes her best results.’† the ideal role model to lead the RAD towards its centenary in 2020.’ Despite the new Presidency coming at a busy time for Darcey (2012 also saw her join the Strictly Come Dancing judging panel and perform at the Olympic Closing Ceremony) she has taken the presidency in her stride. ‘I’m very lucky to be a worldwide figure in dance and my role is to represent the RAD because of their international reach – I think we’re both on the same path there.’

p h oto : † This quote has been taken from Nadine Meisner's article c h a r l ot t e m a c m i l l a n ‘Madam President’ in Dance Gazette issue 3, 2012 14 Royal Academy of Dance Annual Review & Report 2011/12 15

The Academy The Royal Academy of Dance exists to promote and enhance knowledge, understanding and practice of dance internationally by educating and training teachers and students and by providing examinations to reward achievement, so preserving and extending the rich, artistic and educational value of dance for future generations.

p h oto : j o n x p i l l e m e r 16 Royal Academy of Dance Annual Review & Report 2011/12 17

Highlights Teachers enter candidates Examinations for the Intermediate Foundation and Intermediate Examinations in Approved The Royal Academy of Dance offers an internationally Examination Centres around recognised portfolio of examinations and assessments the world. designed to encourage, motivate and reward students The RAD Examinations Board was successful in of all ages and abilities, outlining a progressive structure its application to the SQA for accreditation for learning and achievement in dance. in Scotland. Results emailed directly to teachers from the UK, cutting down on paper To review and publish new Specification and postage and speeding Objectives & Achievements documentation for the Academy’s full suite up the process. To successfully implement the necessary processes of assessments in dance The new Grades 1–3 to support the new policy of Intermediate Foundation A full set of Specifications for the Academy’s syllabi were launched in and Intermediate Examinations being examined in regulated qualifications Grades( 1–8 and Intermediate front of 500 delegates in London and Sydney. Approved Examination Centres Foundation – Advanced 2 Examinations), incorporating From January 2012, Intermediate Foundation and the associated (non-regulated) Class Awards, Comparative results statistics Intermediate Examinations were successfully held in a Presentation Classes and Solo Performance Awards, for all countries were number of Approved Examination Centres around together with the overarching document Examinations To achieve compliance with Ofqual’s General To refine a marketing and communications published for the first time. the world. Information, Rules and Regulations, was published in Conditions of Recognition and issue a Statement strategy for RAD Examinations January 2012. A separate suite of documentation of Compliance by 18 May 2012 A flyer related to RAD Examinations is included was produced for the Academy’s new Scottish A self-evaluation exercise against Ofqual’s General as part of the Marketing Tools for Teachers online To refine and implement an Examinations qualifications. During the remainder of the year, Conditions of Recognition was completed by June resource; work was taken forward to adapt this Facts & Figures Feedback model work was undertaken to revise the documentation 2011. Between July and February, the Examinations design for generic purposes. Advertisements Trial Examinations Feedback Seminars took place in for the remainder of the Academy’s non-regulated Board implemented an action plan which was highlighting RAD Examinations were placed the UK, Australia, New Zealand and Canada during 66 provision (‘Dance to Your Own Tune’, Pre-Primary in designed to achieve compliance with the Conditions in Dance Gazette during the year. countries held rad the first part of the year under review. The trials Dance and Primary in Dance, and the Solo Seal Award). by the time the Board of Trustees met in March, so exams in 2011/12 were evaluated; feedback from teachers was very that the Statement of Compliance could be signed positive and Examiners proved adept and professional off by the Chair of the Board of Trustees. By this To implement a more robust procedure for in delivering the Seminars. The model was refined, To support the successful launch of the new date, the Examinations Board remained non- reviewing and revising policies and other and by the end of the year, the Feedback Seminars Grades 1–3 syllabi compliant with one Condition, related to risk documentation 206,405 were ready to be launched as a service to members The new Grades 1–3 syllabi were launched management: accordingly this was reflected in the A Document Control Process was completed candidates entered for throughout the world. graded examinations, successfully in London and Sydney in January 2012. In Statement that was sent to the regulators. During as part of the requirements of accreditation in presentation classes, connection with the development of the new syllabi, the remainder of the year under review, the Scotland. All Examinations policies and guidelines class awards and the Examinations Board administered trial exams, Examinations Board worked to achieve compliance are now subject to an annual review by the demonstration classes produced documentation such as Specifications, with this Condition. Examinations Quality Assurance Committee. marksheets and results forms, carried out comprehensive training for all Examiners, and implemented the required changes to IT systems. To achieve accreditation for the RAD’s 21,426 examinations in Scotland and comply with candidates entered for vocational graded all associated conditions examinations Notification of the accreditation of the RAD’s examinations in Scotland was received from SQA Accreditation in October 2011. In July 2012 the Examinations Board received its first audit from SQA Accreditation; the outcome of this audit was awaited at the end of the year under review.

p h oto s : d av i d t e t t 18 Royal Academy of Dance Annual Review & Report 2011/12 19

The Faculty of Education was represented at a wide range of national and international Highlights conferences, including Move It. Other The FoE was awarded a Education £50,000 two-year bursary conferences included: support grant from the Headley Trust (part of the The Academy offers a unique portfolio of internationally acclaimed • A ssociation for Research in Dance Sainsbury Family Charitable dance and dance teaching qualifications. The degrees, diplomas and (ARHE) (UK) Trusts). certificates that we offer enable students, teachers and professional The RAD also received • C ongress on Research in Dance three Diamond Jubilee dancers to gain qualifications. (CORD) (UK) Awards of £2,000 each year over three years for BA • E uropean Association of Dance Historians Ballet Education students. (EADH) (UK) The first event in the new Guest Speaker • International Association for Dance Medicine Series featured acclaimed and Science (IADMS) (USA) Our student allocation for the PGCE: DT choreographer Christopher Objectives & Achievements programme is the highest in England within Hampson. • International Conference for Kinetography To provide a full portfolio of initial and continuing the discipline of dance. The FoE presented an dance teacher and teacher education and training Laban (ICKL) overview of the new programmes, including University validated Successful Period Reviews were held in March 2012 Professional Dancers’ Undergraduate Degrees, Diplomas, Certificates, for the PGCE: DT and in May 2012 for the MTD. • N ational Dance Teachers’ Association Postgraduate Teaching Postgraduate Awards and Professional Awards of Both Periodic Review Panels congratulated the (NDTA) (UK) Certificate (PDPTC) at a Dance Summit in Berlin. the RAD, that are internationally renowned for respective tutoring teams for their delivery of the highest standards of teaching and learning rigorous, high-quality programmes. • S ociety of Dance History Scholars The revised Certificate (SDHS) (USA) A total of 534 students from 34 countries in Ballet Teaching Studies Students on the BABE programme appreciated (CBTS) programme was graduated from the Faculty of Education and • S ociety for Dance Research launched with 367 students Benesh Institute programmes, their success being the opportunity for additional, optional practical To produce and disseminate to the international (SDR) (UK) studying in 16 international celebrated in three ceremonies: the University of sessions, ranging from pointe work, floor barre, training centres. Surrey Postgraduate Graduation on 20 April, the ballet-based pilates and body conditioning, and teaching community a broad range of research • Y outh Dance England Undergraduate Graduation on 20 July and the this year’s recipient of the Philip Nind award for outputs designed to inform, engage and inspire (YDE) (UK) RAD Awards Ceremony on 11 July, at which the best undergraduate dissertation went to a (including practice-based projects as well as Julia Farron OBE, delivered an inspiring address. BADE graduate. publications, targeted as appropriate within Facts & Figures the academic sector and more broadly among dance professionals) Employability success rates for the Faculty of All students on the PDTD achieved either a Staff Qualifications Distinction (7) or Merit (10), and all graduates 989 Education’s Postgraduate Certificate in Education: 2011/12 saw the implementation of the Faculty students from 47 Dance Teaching (PGCE: DT), BA (Hons) Ballet have gone on to employment and/or to undertake of Education’s Research Strategy, which included This year, a member of staff gained a countries enrolled Education (BABE) and BA (Hons) Dance Education further higher education qualifications. the introduction of a mentoring scheme and more PhD, bringing the number of the Faculty of on foe programmes (BADE) programmes rank with the highest in the flexible procedures for staff to conduct research Education’s staff holding a PhD to five, with UK higher education sector for dance (100 per In November 2011, 281 awards for the Certificate off-site, a broadening of the remit of the Research two members of staff completing a doctoral cent go on to employment or further study), and in Ballet Teaching Studies (CBTS) programme were Ethics Committee, further support and guidance for degree, and one with an honorary doctorate. our RAD professional awards enjoy comparable agreed, marking the largest number of graduates applying for external funding, and the inauguration In addition, another member of staff gained 100% since the programme was launched. January 2012 of dance teaching success rates. of the Faculty of Education Guest Speaker Series. an MA Dance Studies, meaning that almost (pgce: dt), ba (hons) saw the inauguration of the revised CBTS Focus on Education, the Faculty of Education’s online all Faculty of Education teaching staff now ballet education The Master in Teaching (Dance) continues to programme, with delivery in 17 countries. publication, was launched and has received excellent have a postgraduate qualification. and ba (hons) dance welcome students who have progressed from the feedback as a vehicle for communicating Faculty education graduates Recruitment commenced for two new RAD went on to employment Faculty of Education’s PGCE: DT, the BA (Hons) of Education activities and initiatives to a wider or further study Dance Education (BADE) and the Professional professional awards, the Diploma in Dance Teaching community and for providing a forum for Dancers’ Teaching Diploma (PDTD) programmes, Studies (DDTS), and the Professional Dancers’ staff publications. as well as attracting teaching members of the RAD Postgraduate Teaching Certificate (PDPTC), with and increasing numbers of international students. initial delivery anticipated for January 2013.

p h oto s : e r i c r i c h m o n d 20 Royal Academy of Dance Annual Review & Report 2011/12 21

Facts & Figures Continuing Professional 290 the number of cpd workshops set up Development and delivered this Through Continuing Professional Development (CPD), year worldwide the Academy provides members with the resources and opportunities to develop their creative, teaching 5,958 the number of delegates and business skills. who attended cpd workshops worldwide

To support lifelong learning by offering Continuing CPD continues to evolve with the breadth and Professional Development (CPD), ensuring that depth of offerings increasing from month to month. teachers keep up to date with their professional To ensure that CPD delivered by the RAD meets practice and are able to meet the challenges of the needs of its teachers, we have been exploring, changing educational and professional requirements trialling and evaluating approaches to CPD at every possible opportunity. Feedback from RAD teachers As CPD is of strategic and corporate significance, provides a useful insight into the perception of the the team has been working cross-departmentally RAD’s CPD scheme, and continues to inform the to ensure that policies and procedures meet the way in which the Faculty of Education provides needs of key stakeholders including members, information about the scheme and its activities. RAD London and National Offices. Feedback has also provided vital information about The CPD team continues to work closely with all the types of activities teachers would like to see in departments at the Academy to develop CPD the CPD scheme. 2011/12 workshops have featured activities and to ensure that the RAD offers CPD a range of activities, including Focus on Variations experiences for its diverse membership. Internal at Intermediate Foundation and Intermediate level, collaboration utilises the expertise within the piloted in July 2012. This workshop was developed Academy, and is also a cost-effective development in response to feedback from the Introduction to of content and delivery of CPD offerings. the new Intermediate Foundation and Intermediate syllabi teachers’ courses. CPD workshops have also During 2011/12, the team was responsible for the explored non-syllabus topics, including workshops administration and organisation of 61 workshops on ‘Dance Practice for Adults’ and ‘Strong and in the UK, which included syllabus and non-syllabus Healthy Voices for Dance Teachers,’ all of which topics. The workshops were attended by some were well received. 1,300 delegates. Internationally, the RAD delivered 290 workshops. Over 1,000 delegates in the UK attended the ‘Introduction to Grades 1–3 Syllabi’ teachers’ courses, with an additional 4,008 attending 230 courses worldwide.

p h oto s : e r i c r i c h m o n d 22 Royal Academy of Dance Annual Review & Report 2011/12 23

Benesh Movement Notation 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.

The Certificate in Benesh Movement Notation and Objectives & Achievements the Diploma for Professional Benesh Movement To incorporate BMN into the new Grades 1–3 Notators are now offered on flexible, individual Graded Examinations in Dance Syllabi to be timetables, which serves to widen access to published in 2012 these programmes. The new Grades 1–3 Graded Examinations in Dance Library staff continued the process of checking all Syllabi book was published in January 2012. records and updating the 1998 Benesh Movement Notation Score catalogue with a view to making it To incorporate BMN into the new Advanced accessible through the online library catalogue. Foundation Advanced 1 and Advanced 2 examination syllabi, to be published in 2013 To publish the Encyclopaedia of Benesh Movement Work to incorporate BMN into the new Advanced Notation in 2012 Foundation, Advanced 1 and Advanced 2 examination Work continues on the Encyclopaedia of Benesh syllabi continued, and is on schedule for publication Movement Notation, made possible with generous in September 2013. funding from the Benesh Institute Endowment Fund and the Linbury Trust. Due to the complexity of the Notation of the set work is included within the Highlights task it is now anticipated that it will be published in printed syllabi for RAD examinations (all the To promote accessible learning of BMN through A distinction goes a long a revised Distance Learning Course One and September 2013. Vocational Graded examinations and increasingly way: having completed new web-based learning resources within the Graded examinations syllabi) as a resource his placement with the for teachers and students. Since 2008, the new work Work continued to revise the Distance Learning Royal Ballet, Diploma To continue to liaise ever more closely with dance created by the commissioned choreographer for the for Professional Benesh Course One in BMN in order to make time spent companies, choreographers and notators to ensure Genée International Ballet Competition has been Movement Notators studying it eligible for CPD points. that we continue to serve their needs as effectively notated using the Benesh system. Programme graduate as possible Gregory Mislin – who The Score Reading for Dancers programme is now Benesh provides an important link between the gained a rare distinction – fully established at English National Ballet School and Academy and professional dance companies and returned to the Bayerisches Elmhurst School for Dance. Staatsballet (Munich) where the Benesh scores of numerous choreographic he stood in for their injured works, available to study in the Academy’s Philip ballet mistress, helping to Richardson Library, make a valuable contribution b e n e s h m o v e m e n t n otat i o n : stage Swan Lake. Gregory to an already impressive archive and collection. s w e e t v i o l e t s – s c e n e i , t h e c a m d e n tow n m u r d e r then travelled to Helsinki to Choreography © Liam Scarlett, London, 2012 Notated by Gregory Mislin, 2012 stage Ivan Liska’s production Score owner The Royal Ballet of Le Corsaire for the Finnish National Ballet.

p h oto : s a k a r i v i i k a 24 Royal Academy of Dance Annual Review & Report 2011/12 25

Highlights New acquisitions: The Philip Richardson Library The family of Peggy Whitely, one of the first probationers to be accepted as a member The Philip Richardson Library aims to promote the of the Association of Operatic widest possible access to its resources and is committed Dancing, donated documents and correspondence relating to the professional management and preservation of its to Peggy’s career as a ballet teacher – and as Chief Officer collections for future generations. for the Women’s Royal Naval Service during the Second World War. The Peggy Whitely Collection includes diaries, notebooks and press cuttings about RAD overseas To draw up guidelines for the acceptance of tours between 1956–61. Objectives & Achievements bequests and donations, and instigate a form In September 2011 the To extend the Library catalogue availability to to be filled in by donors to ensure that all Library received several the public through access via the RAD website acquisition information is obtained boxes of ballet material from the estate of the With phase II of the global database development Previous donations have been retrospectively underway, the library will continue to work with late Rachel Cameron. The recorded on the catalogue and information bequest included a large the Marketing, Communications & Membership required for our records has been collected. number of books, some department to extend the Library catalogue availability. A form to accompany donations and bequests of which are new to will be developed. our collection, alongside journals, programmes To improve the profile of library collections and photographs. and services both internally and externally To begin to reorganise the library space, with Interest has been generated in the library’s a view to improving housing and preservation collections through social media, with tweets of the collection posted on the RAD’s Twitter feed and photos A number of Special Collections have been Facts & Figures posted on Facebook. The library also created re-housed in new, archive-quality cupboards and an updated Academy tour, generated a greater boxes. Extra storage space has been utilised and presence in newsletter communications, and plans drawn up for moving some material out of 550 books and 40 journal has mounted several themed displays of archive the library to install new shelving to house the titles were sent to help material for the benefit of staff and students. growing book collection. rad canada expand These measures have led to an increase in the their reference library number of enquiries made by external users and a greater number of enquiries relating to Archives and Special Collections. 170 new titles and editions To work towards compiling a subject thesaurus were added to the dance collection to be used for indexing and searching within the during the year Adlib library database, using the new classification scheme to define subject terms Work on the subject thesaurus has been postponed in favour of reclassifying the audio-visual collection in 51 new audio-visual items order to bring it into line with the book classification were added to the scheme. Work on the subject thesaurus will now dance collection start in 2013. during the year

p h oto s : to p : j o h n n y c a r r a b o v e : p h i l i p r i c h a r d s o n l i b r a ry 26 Royal Academy of Dance Annual Review & Report 2011/12 27

Facts & Figures Membership 12,794 Membership sits at the heart of the Academy. It has been designed members worldwide to support teachers, students, notators, dancers and professionals throughout their careers, and membership categories have been 1,544 life members listed on carefully tailored to suit their needs. the new life members’ area of the website 4,200 people had joined the To work with IDTA, ISTD and the Royal Albert genée online community Objectives & Achievements Hall towards staging Dance Proms by the end of the To devise and implement member surveys reporting year The inaugural Dance Proms was held at the Royal to gauge member satisfaction levels and to Albert Hall in partnership with the IDTA and ISTD, communicate the results effectively to the showcasing the work of dance teachers and over membership, taking action where necessary 450 students from across the UK and Ireland. The to improve the service we provide 49 event, which celebrates dance in all its forms, members entered the Ninety-one recipients took part in a New Member created a solid foundation from which to build first membership photo Satisfaction Survey and sixty in a Membership Exit a sustainable legacy for the future. competition Survey. The feedback will help to shape future improvements to the RAD’s membership scheme. To hold a successful Genée International Ballet Competition 2011 39,000 To develop and promote new, improved and facebook fans by july Thirty-six candidates from fifteen countries took 2012, an increase of relevant UK and international benefits and services part in the Genée International Ballet Competition 14,000 from july 2011 specific to each membership category 2011 in Cape Town. Six finalists were awarded Marketing Tools for Teachers and the Life Members’ medals. 2011's competition saw the inclusion of Area were both launched during the year under an outreach project on a scale not seen before. review. The Membership department also began Sizodanisa (Let’s Dance!) gave local community 6,300 meeting with third party organisations to secure followers on twitter, groups a platform to learn, take part in and perform an increase of 3,800 new savings for members and friends. ballet, mime and hip hop. The project left a real from july 2011 legacy – Cape Town City Ballet recruited record numbers of students from the townships into To revise the Code of Conduct and Professional their community projects in 2012. Practice to ensure that it is robust enough to promote and safeguard the professional standards of our teaching members To continue promoting the Dance Gazette During the year under review, monthly project subscription scheme and develop a strategy meetings took place between the Faculty of Education to increase sales of the magazine and Membership departments and work began on A new marketing campaign to promote the Dance revising the Code of Conduct and Professional Practice Gazette subscription began with an advert offering for Teachers registered with the Royal Academy subscribers a 20 per cent discount on the cover price. of Dance. Further marketing material included a flyer sent out with a members' mailing and inserted into third party publications, and a secondary advert and flyer created towards the end of the reporting year.

p h oto s : to p : d av i d t e t t a b o v e l e f t : pat b ro m i l o w - d o w n i n g a b o v e r i g h t : m a r k l e e s 28 Royal Academy of Dance Annual Review & Report 2011/12 29

Facts & Figures Student activities £20,000 of funding awarded The Academy continues to extend its links across international to the RADiate project for use in the next communities, offering a range of training opportunities for three years students of all ages and abilities. It aims to provide a high- quality programme of activities that is engaging and inclusive. 100% pass rate a*–c at gcse, 86% pass rate a–c at as level, and 80% pass rate a*–c at a2 level

To augment dance training by creating Objectives & Achievements opportunities to work with and learn from To continue to offer a high-quality, diverse range of teachers, dancers and choreographers from 2,577 opportunities for people to participate in dance all over the world; developing musicality and students attended the academy's easter and and experience new genres stage craft skills summer schools In 2011/12, 10 Summer Schools took place worldwide, Activities are led by highly skilled teachers, many of offering students classes in ballet, repertoire, group who combine teaching with careers within the dance dance, character, classical mime, jazz, musical theatre, profession, enabling them to pass on invaluable street dance/hip hop, contemporary/creative dance, knowledge and expertise to students. 129 singing, Benesh Movement Notation, stage hair and students took part make-up, and drama. In addition, an Easter School The London Performance Course ran with 75 in the first block of students from 20 different countries. An audience rad associate classes, was held in Luxembourg offering students classes in successfully piloted a range of dance styles. Two international Intensive of 215 watched two performances of choreography in birmingham Examination Syllabus Courses covering the Intermediate specially created for the students including repertoire, Foundation through to Advanced 2 syllabi also took contemporary dance and jazz pieces in the Genée place in Italy and the USA. studio at headquarters. 200+ Five Boys Only! courses took place in the UK: Genée Dance Challenge competitions took place students performed in the South East, Midlands and East of England, at Northern Ballet, Leeds in December 2011 and syllabus and non- Northern region, Scotland and at headquarters, Birmingham Royal Ballet in July 2012. In Leeds, 14 syllabus work in front London. The courses were subsidised with proceeds candidates entered the competition at one level of an audience at the and 63 entered the competition in Birmingham first dance school from the Billy Elliot gala performance. Across all of presentation of work these courses, a total of 225 boys aged between 8 across four levels. The two winners selected at the in april 2012 and 18 years took part in ballet, creative dance and Leeds competition had the opportunity to perform street dance classes, culminating in a presentation of their solos at the Phyllis Bedells Bursary in March To continue to offer grants, bursaries and work for parents and guardians. 2012. Two winners from each of the four levels at the Birmingham competition have been invited scholarships to widen participation in dance The RAD ran its fourth Adult Summer Course , to perform at the Phyllis Bedells Bursary in internationally offering classes in ballet and pilates, which attracted March 2013. In the UK, five Summer School tuition awards 41 students. The RAD was part of the Dance: Make Your Move provided the opportunity for students to receive competition run by the British Red Cross in 2012, one week’s tuition at an Academy-run Summer offering prizes of dance workshops, RAD membership School anywhere in the world within two years of and RAD products to the two winning schools. In receipt of the award. Scholarships awarded in Japan, return, the RAD received 20,000 free adverts through Italy and Toronto as well as UK regional scholarships the marketing for the competition and mentions in also provided students with further opportunities 67 pieces of associated press with a reach of over to continue their dance experience. In 2011/12, 675 1.5 million. students took part in UK regional Scholarship and Award Day events and 30 students won prizes that included tuition on Summer Schools and Masterclasses. Forty-two candidates from the UK, China, Japan, Portugal and South Africa entered the Phyllis Bedells Bursary. The £1,000 bursary was awarded to a female candidate from The Royal Ballet. p h oto : e l l i ot t f r a n k s 30 Royal Academy of Dance Annual Review & Report 2011/12 31

Facts & Figures Step into Dance 5,720 students are engaged Step into Dance is a partnership programme between The Jack with the programme, an increase of 2,150 Petchey Foundation and the Royal Academy of Dance. It is the students from last year largest ongoing, inclusive secondary school community programme in London and Essex. 187 schools across 31 london boroughs and essex, an increase of 37 schools from last year

To pursue the idea of forming a dance-in-education Objectives & Achievements group (made up of professional dancers) that will To deliver the programme to 200 schools across present workshops in schools, followed by a 41 all London Boroughs, reaching a target number of performance to involve the students sen schools on the programme, an increase 4,500 students A new programme developed for schools where of 14 schools from By the end of the reporting year, 187 schools were teachers both perform and then deliver a relevant last year participating in the programme – 13 schools short workshop was launched during the year. The of target. However, the target for the number of programme provides examples of choreography or students taking part in the programme was met, workshops on topics relevant to GCSE or A level Delivering weekly dance classes in 187 schools with 5,720 involved – 1,220 over the target. There 27% dance programmes. The Step into Dance website across all London boroughs and Essex, Step into were 31 students per class (including classes in of step into dance includes promotional video footage for each of Dance is the biggest ongoing inclusive secondary students are boys Special Educational Needs schools) – an increase the workshops. school dance programme in the UK. The of 6 students per class. programme offers over 20 performing opportunities annually, which include street To continue the Gifted and Talented programme dance battles, contemporary dance workshops, To continue to offer performing opportunities in the with a view to developing it into a Step into Dance borough events and a celebratory performance form of Step into Battle, Watch this Step, Borough Youth Dance Company that will perform at Step at the end of the year, Step LIVE! Step into Dance Events and Step LIVE! and encourage students to into Dance and The Jack Petchey Foundation was awarded funding from The Jack Petchey participate in other events, competitions and events and others, so promoting the work of the Foundation for three years totalling £1.5 million. festivals, in venues such as Southbank Centre, programme, the Foundation and the Academy to Trinity Laban, GDA, Big Dance and Move It a wider audience Step into Dance continued to offer performing Step into Dance launched the Step into Dance Youth opportunities to all its students, including holding Company, arising from the Gifted and Talented Step LIVE! at Southbank Centre. The new Step programme. The youth company featured in both into Dance Youth Company also contributed to Step into Dance events and external events. programmes outside the Step into Dance programme.

To create a video resource for both those who To cement Step into Dance Satellite Summer teach on the Step into Dance programme as Schools (both SEN and other) in the Step into well as the students, to offer support for both Dance calendar and expand according to need learning and teaching Step into Dance built on the success of the first Several short videos to aid teaching have been summer school held in 2011, to run a second SEN completed and are available via the Step into Dance Summer School at Shirley High School. By holding website. Step into Dance will continue to develop this workshops in SEN schools, Step into Dance aims to resource by adding to the collection of videos online. create an inclusive dance company that provides a platform for those with disabilities to perform.

p h oto s : to p : z o e m a n d e r s a b o v e : m a r k l e e s 32 Royal Academy of Dance Annual Review & Report 2011/12 33

Highlights The launch of support Enterprises material for the new Grades 1–3 syllabi, which included a book, CD, DVD RAD Enterprises (RADE) was established in 1992 as the and props, was the most commercial and trading arm of the Academy. It Gift Aids its successful syllabi resource material launch to date, profit to the charity in support of its work. There are five outlets with pre-orders and sales of material outperforming located within the Academy's branches in Australia, Canada, all previous launches by South Africa, New Zealand and USA. 35 per cent.

Facts & figures To explore product digitisation and web-based Objectives & Achievements retail strategies To complete the final stages of the five-year The RADE website was redesigned to improve the £1.32 m syllabus review with the publication of the new customer experience. Enterprises also investigated 2011/12 turnover Grades 1–3 syllabi due for launch in January 2012 the opportunity to produce apps and digital The new Grades 1–3 syllabi exceeded sales of resources as additional resources for the customer. Pre-Primary in Dance and Primary in Dance by 35 per cent. Licencees To continue to contribute 2 per cent of net Adagio Tunics pre-tax turnover to the Academy’s Social To identify further opportunities to increase the Responsibility Fund designated for the creation Freed of London global accessibility of uniform wear in support of of bursaries and awards J Bloch Pty Ltd the syllabus RADE exceeded the previous year’s Social Katz RADE gave Bloch Australia the licence to develop Responsibility Fund contribution. a brand of examination wear for the Australian Little Ballerina and New Zealand markets. RADE commenced Mondor of Canada negotiations in other territories to supply customers with branded examination wear.

r a d enterprises w e b s i t e

p h oto : to p : d a n i e l a g a r a u 34 Royal Academy of Dance Annual Review & Report 2011/12 35

Annual General Meeting Summarised financial Notice is hereby given that the 77th Annual General Meeting of members of the statements Royal Academy of Dance will be held on Thursday 18 April 2013 in the Genée Studio of the Royal Academy of Dance, 36 Battersea Square, London SW11 3RA, England. The meeting will start at 11.00am with registration commencing 30 minutes beforehand.

The following business will be transacted: 1. I ntroduction and Trustees Report – Kerry Rubie, Your trustees List A (10 positions) Chairman of the Board of Trustees Thérèse Cantine arad dip pdtc rts 2. O perational Review – Luke Rittner, Chief Executive Sarah Dickinson arad adv tch dip rts 3. Financial Review – Richard Thom, Director of Finance and Administration Lynne Reucroft-Croome ba(hons) ma lrad 4. Ordinary Business – Resolutions Helen Taylor rad rts 4.1 T o consider and approve the minutes of the 2012 Cheryl Thrush arad rts Annual General Meeting 4.2 T o receive and adopt the Annual Review and Report of the Trustees for the year ended 31 July 2012 List B (10 positions) 4.3 T o receive and adopt the audited Financial Report Julia Bond and Statements for the year ended 31 July 2012 Brian Brodie 4.4 To re-appoint Deloitte LLP as auditors for the Derek Purnell ensuing year Katie Wade arad 4.5 T o re-elect Kerry Rubie who is retiring in accordance Nigel Wreford-Brown with Bye-Law 34.2, whereby three quarters of the Trustees have agreed to waive Bye-Laws 34.1 and The nominations in Resolution 4.6 will, if successful, fill 34.2, and is offering himself for re-election three vacancies under List A, leaving two vacancies. The 4.6 T o re-elect the following Trustees who are retiring nominations in Resolutions 4.5, 4.7 and 4.8 will, if successful, by rotation in accordance with Bye-Law 36.1 and is fill four vacancies under List B, leaving one vacancy. offering herself for re-election under Bye-Laws 33.1(a) (List A) and 35.1 (a) - Karen Berry BSc BA(Hons) Adv Tch Dip RTS - Deborah Coultish Adv Tch Dip RTS - Louise Murray ARAD RTS 4.7 T o re-elect the following Trustees who are retiring by rotation in accordance with Bye-Law 36.1 and are offering themselves for re-election under Bye-Laws 33.1(b) (List B) and 35.1 (a): - Leigh Collins - Anders Ivarson AI Chor 4.8 To elect Aliceson Robinson to fill a vacancy in accordance with Bye-Laws 33.1(b) (List B) and 35.1 (b) 5. A ny Other Business in accordance with Clause 14.6 A question and answer session will follow the conclusion of the AGM. Luke Rittner Chief Executive By order of the Trustees p h oto : 4 March 2013 ro b e rt g r i f f i n photography 36 Summarised Financial Statements 2012 Royal Academy of Dance Annual Review & Report 2011/12 37

Key performance indicators At a glance

No. of teachers and members The Trustees are disappointed to report a small surplus or net incoming resource in unrestricted funds of £153,977 after five Asia & years of growth, before exceptional items of £376,446. After these costs, there was a net outgoing resource or loss of £223,470. Australia Middle The year in question had been expected to turn in a surplus of £390,025, smaller than the year before but reflecting the world Members UK Europe East Americas Africa NZ Total economy and the transition between new syllabi. In the event, the actual result before exceptional items fell short of this target Registered Teachers 2,134 1,792 950 1,280 353 1,165 7,674 by £237,048 and by £613,494 after exceptional items. All other members 1,667 559 525 648 292 1,429 5,120 Restricted funds benefitted from net incoming resources of £166,022, of which £99,074 related to the transfer of the Christel 2011/12 Actual 3,801 2,351 1,475 1,928 645 2,594 12,794 Addison funds to the Academy in South Africa having been previously managed by Deloitte’s Financial Division. Registered Teachers 2,061 1,679 859 1,205 348 1,106 7,258 All other members 1,731 564 479 662 308 1,335 5,079 The Trustees were naturally concerned that the underlying business and business model might have been adversely affected by this year’s results, but feel confident that this does not appear to be the case. The cause of the reduced surplus can be attributed to 2010/11 Prior year 3,792 2,243 1,338 1,867 656 2,441 12,337 reduced volumes arising out of the transition between new syllabi, higher unemployment in southern Europe causing a reduction in entries put forward by teachers, decisions by parents to continue with classes but not examinations, higher service costs for hotels No. of candidates taking examinations, class awards, presentation and demonstration classes and travel, some non-recurring costs, and mixed results among the basket of economies. The Trustees believe that the business model remains strong but that the Academy needs to consider the future growth potential of existing and new markets. Asia & Middle Australia Examinations UK Europe East Americas Africa NZ Total Financial Highlights1 Graded 56,106 39,221 49,648 29,305 8,373 23,752 206,405 Unrestricted funds Restricted funds Vocational 2,707 4,306 4,694 4,879 859 3,981 21,426 2012 2011 2012 2011 2011/12 Actual 58,813 43,527 54,342 34,184 9,232 27,733 227,831 Statement of Financial Activities £000 £000 £000 £000 Graded 56,246 42,564 47,538 28,314 8,019 24,277 206,958 Total incoming resources 19,340 18,857 799 599 Vocational 3,220 4,886 3,953 4,519 916 4,375 21,869 Net incoming (outgoing) resources before exceptional items 154 980 166 (12) 2010/11 Prior year 59,466 47,450 51,491 32,833 8,935 28,652 228,827 Net (outgoing) incoming resources after exceptional items (223) 980 166 (12) (Loss) gain on revaluation of assets and investments (410) 437 1 1 Education programme recruitment (continuing and current) Movement on exchange arising from the consolidation of branches 136 313 (1) - Asia & and subsidiaries Middle Australia Net movement in reserves (497) 1,730 166 (11) Faculty of Education1 UK Europe East Americas Africa NZ Total

Master of Teaching (Dance) 28 2 - 4 - 1 35 Balance Sheet PGCE: Dance Teaching 20 - - - - - 20 Tangible and intangible fixed assets (excluding freehold property) 522 428 - - BA (Hons) Ballet Education 76 9 2 5 - - 92 Cash and other liquid assets2 5,495 6,262 846 680 BA (Hons) Dance Education 12 17 14 14 4 3 64 Working capital including provisions3 (3,116) (3,307) LRAD 57 10 3 5 - - 75 Readily realisable reserves4 2,379 2,955 846 680 PDTD 14 2 1 - - - 17 Accumulated funds 4,984 5,080 846 680 CBTS (UK based) - 24 2 - - - 26 Revaluation reserves 6,012 6,413 - - CBTS (Intnl based) 104 152 131 143 26 104 660 2011/12 Actual 311 216 153 171 30 108 989 Statistics 2012 2011 Master of Teaching (Dance) 25 1 1 4 - - 31 PGCE: Dance Teaching 20 - - - - - 20 Members 12,794 12,337 BA (Hons) Ballet Education 67 6 3 4 - - 80 Students enrolled on education programmes 989 1,065 BA (Hons) Dance Education 46 13 11 10 4 6 90 Candidates taking examinations, class awards, presentation and demonstration classes 227,831 228,827 LRAD 57 5 3 3 - - 68 PDTD 16 2 1 1 - 1 21 1 References to page 20, Notes 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, CBTS (UK based) - 25 3 - - - 28 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 1 All programmes show origin 2 Cash and other liquid assets is made up of cash held at bank less any bank overdrafts shown in Note 25 CBTS (Intnl based) 115 187 124 157 44 100 727 of students; other than CBTS 3 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 2010/11 Prior year 346 239 146 179 48 107 1,065 (Intnl) which shows students Note 25, and provisions for long service in Note 26 studying locally 4 Readily realisable reserves are made up of cash and other liquid assets less working capital including provisions as shown above and on page 20 of the full financial statements. 38 Summarised Financial Statements 2012 Royal Academy of Dance Annual Review & Report 2011/12 39

Statement of the Board of Auditor’s statement to the Trustees Trustees’ responsibilities 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 2012 which comprise the applicable law and in accordance with United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). summary group statement of financial activities, the summary group and parent charity 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 Accounting and reporting by charities: a statement of 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 recommended practice 2005. Our audit work has been undertaken so that we might state to the charity’s Trustees those matters we the Group for that period. In preparing these financial statements, the Trustees are required to: are 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, • select suitable accounting policies and then apply them consistently; or 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 2011, the We also read the other information in the Trustees’ Annual Review and Report. as described in the contents section and consider Charities (Accounts and Reports) Regulations 2008, and the provisions of the trust deed. They are also responsible for safeguarding the the implications for our report if we become aware of any apparent misstatements or material inconsistencies with the summary assets of the charity and the Group and for taking reasonable steps for the prevention and detection of fraud and other irregularities. financial 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 11 The 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 38–41 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 In our opinion the summary financial statement is consistent with the full financial statements and Trustees’ Review and Report of full financial statements which were approved by the Board of Trustees on 4 March 2013 received an unqualified Audit Report and the Royal Academy of Dance for the year ended 31 July 2012. 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 4 March 2013

Deloitte LLP is eligible to act as an auditor in terms of section 1212 of the Companies Act 2006 and consequently to act as the auditor of a registered charity.

Kerry Rubie Leigh Collins Trustee, Board of Trustees Trustee, Board of Trustees 40 Summarised Financial Statements 2012 Royal Academy of Dance Annual Review & Report 2011/12 41

Group consolidated statement Group and charity

of financialfor the year to 31 julyactivities 2012 balanceas at 31 july sheets 2012

2012 2011 Group Charity Unrestricted Restricted Total Unrestricted Restricted Total 2012 2011 2012 2011 funds funds funds funds funds funds £000 £000 £000 £000 £000 £000 £000 £000 £000 £000 Fixed assets Incoming resources Intangible Assets 10 5 1 1 From generated funds Tangible Assets held for charitable use 8,871 8,539 8,677 8,333 Voluntary income 14 99 113 13 - 13 Investments 44 32 162 109 Activities for generating funds 296 93 389 297 91 388 8,925 8,576 8,840 8,443 Investment income 61 2 63 80 2 82 Current assets From charitable activities Stocks 392 425 128 128 Examination fees 10,291 - 10,291 10,396 - 10,396 Debtors 953 1,103 1,492 1,357 Education and training fees 6,000 605 6,605 5,714 506 6,220 Cash at bank and in hand 6,928 7,195 4,584 4,731 Subscription income 1,082 - 1,082 967 - 967 8,273 8,723 6,204 6,216 Other primary purpose trading 1,322 - 1,322 1,073 - 1,073

Other incoming resources 274 - 274 317 - 317 Creditors – amounts falling due within one year (5,051) (5,083) (4,113) (3,893) Total incoming resources 19,340 799 20,139 18,857 599 19,456 Net current assets 3,222 3,640 2,091 2,323 Resources expended Costs of generating funds (188) (25) (213) (89) (107) (196) Creditors – amounts falling due after more than one year (305) (43) (303) (39) Costs of charitable activities (17,724) (605) (18,329) (16,520) (501) (17,021) Governance costs (892) (1) (893) (869) (1) (870) Net assets 11,842 12,173 10,628 10,727 Other resources expended (382) (2) (384) (399) (2) (401) Total resources expended (19,186) (633) (19,819) (17,877) (611) (18,488) Funds Restricted Funds 846 680 838 671 Net incoming resources before exceptional 154 166 320 980 (12) 968 items Unrestricted Funds Relocation costs (38) - (38) - - - Accumulated funds 4,984 5,080 3,869 3,749 Taxation and foreign exchange losses (339) - (339) - - - Revaluation reserves 6,012 6,413 5,921 6,307 arising out of the movement of reserves Total funds 11,842 12,173 10,628 10,727 Net incoming (outgoing) resources (223) 166 (57) 980 (12) 968 These financial statements were approved and signed on behalf of the Board of Trustees on 4 March 2013 by: Other recognised gains and losses On investments held for investment purposes Realised gains (16) - (16) - - - Unrealised gains - 1 1 - 1 1 On revaluation of tangible fixed assets (394) - (394) 437 - 437 Kerry Rubie Leigh Collins Movement on exchange arising from the 136 (1) 135 313 - 313 Trustee, Board of Trustees Trustee, Board of Trustees consolidation of branches and subsidiaries Total other recognised gains and losses (274) - (274) 750 1 751

Net movement in funds (497) 166 (331) 1,730 (11) 1,719 Fund balances brought forward at 1 August 11,493 680 12,173 9,763 691 10,454 Total funds carried forward at 31 July 10,996 846 11,842 11,493 680 12,173 All activities derive from continuing operations 42 Summarised Financial Statements 2012 Royal Academy of Dance Annual Review & Report 2011/12 43

Accounting policies year ended 31 july 2012

(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 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 Unrestricted expenditure is accounted for on an accruals basis. Expenditure is allocated directly to the activity to which it relates, uncertainties arising from current economic conditions. Page 20 of the full financial report and statements discusses these including support costs that can be identified as being an integral part of direct charitable expenditure. uncertainties and the trustees conclude that there are no material uncertainties as of the date of this report which may cast (a) C osts of generating funds: costs of generating funds include expenditure related to support departments and staff members doubt about the company’s ability to continue as a going concern. engaged in or contributing to those activities. (b) C osts of charitable activities: charitable expenditure includes all expenditure related to the objects of the charity and includes (c) Basis of consolidation expenditure related to support departments and staff members engaged in or contributing to charitable activities. The Charity accounts include the audited accounts of the Royal Academy of Dance in the United Kingdom and its branches for the year to 31 July 2012, and the Consolidated Group accounts include the audited accounts of the charity and its subsidiaries. (c) G overnance costs: these are costs associated with the constitutional and statutory requirements of the Group, and include expenditure related to the trustees and senior staff members engaged in or contributing to the governance of the Group. (d) Stocks and work-in-progress (d) I ndirect support costs have been allocated on the following bases: Stocks of goods for resale are stated at the lower of cost and net realisable value. Costs relating to the development of - Salaries and pensions: time spent or responsibilities examination syllabi and teaching aids are treated as work-in-progress until the product is ready for sale. - General administration: estimated or actual usage - Information technology: estimated or actual usage (e) Tangible fixed assets - Rent and property: space occupied or used All tangible fixed assets, other than freehold land, are stated at cost or valuation net of depreciation and any provision for - Depreciation: assets occupied or used impairment. Depreciation is provided on cost using the straight-line method over the estimated useful lives of the assets. Impairment reviews are conducted when events and changes in circumstances indicate that impairment may have occurred. If any (k) Pension costs asset is found to have a carrying value materially higher than its recoverable amount, it is written down accordingly. Freehold land Retirement benefits to employees are provided by defined contribution pension schemes. Contributions payable to the pension is not depreciated. Tangible fixed assets under £500 are not capitalised. The rates of depreciation are as follows: schemes in respect of each accounting period are charged to the statement of financial activities.

Freehold buildings 2%pa (l) Fund accounting Furniture and office equipment 10%pa Restricted income and expenditure is recognised on a receipts and payments basis. Funds can be classified as Restricted, Computer equipment 33%pa Designated or Project. They arise from a number of sources, which include: Motor vehicles 25%pa (a) D onations, legacies, scholarships, bursaries and trusts left to the Royal Academy of Dance and its branches and subsidiaries to administer in accordance with the conditions laid down therein. (f) Investments (b) G rants, sponsorship and project money awarded to the Royal Academy of Dance and its branches and subsidiaries where Listed investments are included in the Balance Sheet at market value. Investments in subsidiaries are included in the charity’s conditions are related to their expenditure. accounts at cost less provision for impairment. (c) F undraising events and appeals for monies for specific purposes set up by the Royal Academy of Dance and its branches and subsidiaries. (g) Revaluation of assets (d) F unds from unrestricted activities designated or set aside by Trustees to fund particular activities. Investments and land and buildings held by the group for restricted and unrestricted use are revalued annually where material. (e) I ncome and expenditure is treated as per notes (i) and (j). All expenditure in pursuance of the conditions is shown as The gain or loss is reflected in the statement of financial activities and, for land and buildings, includes the amount of restricted fund expenditure. depreciation provided in that year. (f) Scholarships and bursaries are paid at the time when the activity for which the award is made requires payment. (h) Overseas currencies (g) T ransfers of funds from unrestricted to restricted funds will occur where Trustees have agreed to fund an excess of expenditure over income. Income, expenditure, assets and liabilities of overseas branches and subsidiaries are translated into sterling at the exchange rates ruling at the balance sheet date. The exchange gains or losses arising from the retranslating of opening net assets of the (m) Regional advisory panels and committees overseas branches and subsidiaries are shown under Other recognised gains or losses in the statement of financial activities. All The charity carries out some activities through a network of regional advisory panels and committees that include the name of the other exchange gains or losses are dealt with through resources expended within the statement of financial activities. charity in their title, and are located in only some of the countries in which the charity operates. All regional advisory panel and (i) Recognition of income committee transactions are accounted for gross in the accounts of the charity, and all assets and liabilities are included in the charity’s balance sheet. Unrestricted income is recognised in the statement of financial activities on a receivable basis. This is when the Royal Academy of Dance has entitlement, reasonable certainty of receipt and the amount can be measured. If there are conditions that have to (n) Treatment of VAT be fulfilled before entitlement to income received the income is deferred and included under creditors. 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 applicable taxes in other parts of the world. Irrecoverable VAT is charged to the activity to which it relates or otherwise forms when receivable. If they form part of the fixed assets at the year-end they are included in the balance sheet at the value at part of the support costs and apportioned as per note (j). which the gift was included in incoming resources. 44 Summarised Financial Statements 2012 Royal Academy of Dance Annual Review & Report 2011/12 45

Scholarships, awards, bursaries & fundraising

Australia Advanced 1 Bursary Isobelle Dashwood Joy Beadell Trophy Award Jessica Williamson Benelux and Paul Watson Memorial Award Bregje van Daalen de Jel Nora Lycette Fearn Trophy Award Jodie Sunley France Scotland RAC Scotland Awards Cameron McDonald, Nicola Thomson, Lauren Rennie, overall Canada 2012 SunDance Scholarship Kathryn Phipps winner Natasha Watson 2012 Dorothy Cox-Scruton Bursary Sarah Klukas Caroline Newlands Award Katy Russell Germany RAD Dance Challenge 2012 Anouk Seppeler, Luisa Pollmeier Terry Darke Memorial Cup for Musicality Jenny Burr Italy Fondo Summer School Bursary Eleonora Sana, Alessandro Giacchetti South West, Wales Geraldine Lamb Memorial Fund Award Rachel Farr, Lily Madsen, Grace Walter, Olivia Parham, Leah Sara Aquarone first prize Maria Luisa Castillo Yoshida, Della Balda Virginia and Channel Lovell-Healy, Jake Sylvester, Karen Walker Sara Aquarone second prize Irene Mazza Islands Japan Chacott London International Performance Momo Kotake Course Scholarship Runner-up RAD Summer School Scholarship Maiko Okano Fundraising – Challengenée Tokyo Summer School Scholarships Sakura Enokido, An Fujii The Regional Advisory Committees of the Royal Academy of Dance in South Africa were challenged to raise SA Rand 225,000 New Zealand 2012 International Summer School Bonnie Hayvice towards the cost of the Genée International Ballet Competition Cape Town 2011. Performance Course Scholarship South Africa Friends of the Ballet – Southern African Olivia Parfitt SA Rand Advanced 1 Bursary RAD Border Regional Advisory Committee 2,470 United Kingdom Iris Truscott Scholarship Jayne Bennett, Carole Wright RAD Central Gauteng Regional Advisory Committee 59,759 Phyllis Bedells Bursary 2012 Chisato Katsura RAD Eastern Cape Regional Advisory Committee 5,000 London Summer School Tuition Awards 2012 Olivia Van Niekerk, Katelyn Wallis, Harriet Dey London Performance Course Tuition Award Michaela DeBono RAD Kwa Zulu Natal Regional Advisory Committee 26,556 2011 RAD Limpopo Regional Advisory Committee 787 Bournemouth Summer School Tuition Award Joshua Stuckes RAD Northern Gauteng Regional Advisory Committee 74,123 RAD Western Cape Regional Advisory Committee 25,000 United Kingdom Regional Awards Total raised 193,695 London and Sallie Lewis Award Emilie Bouet Conran Middlesex London Region Award Martha Wrench In addition the following grants and donations were gratefully received: Ruth French Award Emily Louise White Midlands and Margaret Brockway Scholarship Junior Award: Amy Daniels David Blair Memorial Trust (received at RAD London) 4,402 East of England Senior Award: Adam Davies Michel Tesson Performing Arts Trust 50,000 Overall winner: Athern Dallard Genee Dance Challenge 2012 Level 1: Alexandra Oliff, Gillie Whittall Rand Merchant Bank – RMB NGO Leadership Network 40,000 Level 2: Bethany Wareing, Tegan O’Brien ‘Dance in the City’ supported by: Cape Junior Ballet (CJB); Cape Town City Ballet (CTCB); Cape Dance Co; Cape 28,000 Level 3: Francesca Lynn, Briony Roberts Academy of Performing Arts (CAPA) and Dance for All (DFA) Level 4: Laura Santalomazza, Lucy Renouf Johannesburg Ballet Festival 5,000 Northern England, North West Scholarship Level 2/3: Lauren Molyneux, Bronte MacMillan Ackerman Family Foundation 25,000 Yorkshire and the Class Trophy Award Level 4/5: Julia Carlile, Imogen Read Humber The Carl & Emily Fuchs Foundation 5,000 North West Scholarship Breeshey Crookall Medway 5,000 Jean Brenda Johnson Award Miscellaneous donations and sales 5,500 North East Scholarship Level 2/3 Grant-in-Aid: City of Cape Town 250,000 Master Class Tuition Award Emily Breeze, Naomi Byard, Natasha Charles Leah Nichols, Emily Ogilvie-Donald, Stephanie Street, Freya Swinburne Level 4/5 Total raised before indirect expenses 611,597 Hannah Breeze, Emily Cooney, Charlotte Downes, Cora Drummond, Faye Garbutt, Ana Gonzalez-Castro, Kirby A net SA Rand 607,195 was applied to the Genée International Ballet Competition Cape Town 2011. Hanson, Jessica Williamson Level 6–8 Gabriella Guest, Charlotte Holmes, Somer Hook, Lydia Hurren, Sally Reynolds, Alice Robinson, Bronwen Stout, Kristin Thompson 46 Summarised Financial Statements 2012 Royal Academy of Dance Annual Review & Report 2011/12 47

Corporate governance

Patron HM Queen Elizabeth II

President Trustees Education sub-Committee Regional sub-Committee Darcey Bussell CBE Kerry Rubie (Chair) Nigel Hildreth MBE MMus PGCE (Chair) Deborah Coultish Adv Tch Dip RTS (Chair) Nigel Hildreth MBE MMus PGCE (Vice-Chair) (Northern England, Yorkshire & the Humber) Retired 26 April 2012 Lynne Reucroft-Croome BA(Hons) PGCE LRAD Derek Purnell (Vice-Chair) Dame Antoinette Sibley DBE Co-opted: Co-opted Karen Berry BSc BA(Hons) Adv Tch Dip RTS Professor Ting Tina Chen FISTD MA Dip RBS TTC ARAD Yvonne Gray RAD RTS (Scotland) Julia Bond Vice Presidents Simon Jarvis MSc Educ PGCE Nicky Jenks RAD RTS (South West England, Wales & Channel Islands) Brian Brodie David Bintley CBE Linda Jasper MBE MA Cert Ed Penny Parks RAD RTS (South East England) Thérèse Cantine ARAD Dip PDTC RTS Dame Beryl Grey DBE DMus DLitt DEd FRSA Hilary Moss MA BPhil (Hons) LRAD ARAD Paul Doyle Tch Cert RTS (Ireland & Northern Ireland) Leigh Collins Dr Ivor Guest MA DUNIV FRAD Maria Salgado Llopis PDTD (London & Middlesex) Deborah Coultish Adv Tch Dip RTS Resigned 26 June 2012 Gillian Lynne CBE Sandra Hartley ARAD Tch Cert RTS (Midlands & East of England) Anders Ivarson AI Chor Professor Rachel Fensham BA (Hons) GDMD MA PhD David McAllister OAM Sarah Dickinson ARAD Adv Tch Dip RTS Retirements during the year Wayne Sleep OBE Resigned 1 December 2012 Louise Murray ARAD RTS Nikki Forbes Tch Dip RTS Sir Peter Wright CBE DMus DLitt FBSM Susan Robinson Adv Tch Dip RTS Lynne Reucroft-Croome MA BA(Hons) LRAD Siân Dixon Tch Cert RTS Student representatives Sara Gannon-Perez Tch Cert RTS Advisory Council Helen Taylor RAD RTS Cheryl Thrush ARAD RTS Helen Linkenbagh (Postgraduate) Lorna Rookledge RAD RTS Joy W Brown Kathryn Wade ARAD Nicola Carroll (Undergraduate) Sue Lucas Tch Cert RTS Mary Clarke Nigel Wreford-Brown Barbara Fewster OBE FISTD Board of Directors of Royal Academy of Dance Enterprises Finance sub-Committee Dr Stanley Ho OBE GrOIH Chev Leg d’Hon DSoc Sc CStJ Resigned 21 June 2012 Ltd and Enterprises sub-Committee Leigh Collins (Chair) Philip Nind MA OBE Philip Pegler Dip RBS TTC ARAD AISTD AIDTA Lady Porter Nigel Wreford-Brown (Chair) (Trustee) (Director) Nigel Wreford-Brown Co-opted Leigh Collins (Trustee) Julia Bond Sir Roy Strong DLitt PhD FRSA FRSL Aliceson Robinson Helen Taylor RAD RTS (Trustee) Resigned 21 June 2012 Deceased 4 March 2012 Luke Rittner (Director) Philip Pegler Dip RBS TTC ARAD AISTD AIDTA The Rt Hon Lord St John of Fawsley Richard Thom BA (Hons) FCA (Director and Co Secretary) Co-opted International Advisers Management BMN sub-Committee Yvonne Gray RAD RTS Ross Brierton ARAD PDTC Dip (RAD London) Americas Chief Executive Kathryn Wade ARAD (Chair) Professor Susan Street MA Australasia Audit Committee Luke Rittner Anders Ivarson AI Chor Robin van Wyke Africa Leigh Collins (Chair) Co-opted Dr Christiane Theobald MBA Europe Director of Finance Julia Bond Elizabeth Ferguson Lee Suan Hiang BSc FCMI FCIM FWAPS Asia Richard Thom BA (Hons) FCA Kerry Rubie Gary Harris AI Chor Nigel Wreford-Brown Director of Education Christopher Hampson Advisers Dr Anne Hogan BA MA PhD Jeanetta Lawrence Artistic and Examinations sub-Committee Lady MacMillan UK Banker Director of Examinations Derek Purnell (Chair) HSBC Bank Plc Dr Andrew McBirnie BA MMus PhD LTCL Karen Berry BSc BA(Hons) Adv Tch Dip RTS Marketing and Membership sub-Committee 31 Holborn Circus, London EC1N 2HR Thérèse Cantine ARAD Dip PDTC RTS Director of Marketing, Communications & Membership Aliceson Robinson (Chair) (Co-opted) Cheryl Thrush ARAD RTS UK Solicitor Melanie Murphy Dip IPR MICPR Julia Bond Field Fisher Waterhouse LLP Kathryn Wade ARAD Co-opted: 41 Vine Street, London EC3N 2AA Artistic Director Co-opted: Vikki Allport de Orbe Tch Dip RTS Lynn Wallis FISTD Norman Gealy MA CPsychol FCIPD FCIEA Karen Harris Tch Cert RTS UK and Group Auditor Caroline Jenkins ARAD RTS Shelley Isaac-Clarke Tch Dip RTS Deloitte LLP Moira McCormack ARAD PDTC Dip (RAD London) 2 New Street Square, London EC4A 3BZ Ida Levine David Nixon Naomi Watson Catherine Weate BA DipEd LSDA FRSA Hon FLAM Stirling Wood

Retired 11 November 2012 Denise Winmill ARAD RTS 48

Corporate governance

Head Office United Kingdom 36 Battersea Square, London SW11 3RA

Representative Offices Caribbean PO Box 1433, 8 Rockhampton Drive, Kingston 8, Jamaica China 2nd Floor Tower 2, Dong Hai Commercial Building, 588 Yan An Dong Lu, Shanghai 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 Malta 8 Guze Ellul Mercer Street, Sliema SLM1281 Philippines British Council, F. Ortigas Jn Road, Ortigas Center, Pasig City 1605 Scandinavia Fagerheim Alle 85b, 7040 Trondheim, Norway South Korea 1703 Artnouveau Palace, 7–1 Songpa Dong, Songpa Gu, Seoul 138–848 Sri Lanka British Council, 49 Alfred House Gardens, Colombo 0030 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 2010 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 United States Marian Center for Nonprofits, 3211 South Lake Drive, Suite R317, St Francis, WI 53235

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., 43 Jalan BU 7/ 7, Bandar Utama, 47800 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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