Genée International Ballet Competition 2012

Genée International Ballet Competition 2019 Candidate Information Pack

Mission Statement The Genée International Ballet Competition is dedicated to promoting and rewarding standards of excellence in young ballet dancers internationally. This is achieved by offering aspiring dancers the unique opportunity to work with world-renowned choreographers and professionals, as well as the chance to perform on an international stage.

The Competition The Genée International Ballet Competition represents the pinnacle of achievement for young people trained in the Royal Academy of Dance syllabus. The competition identifies talented young dancers and often launches them into a professional career.

The competition originated quite humbly in 1931 as the ‘Adeline Genée Gold Medal’ and was introduced as an additional incentive for candidates who had passed the Solo Seal examination. Felicity Garratt was the first recipient of this award; other medals were later added: the silver (1934), bronze (1956), and gold and silver for male dancers (1938).

The award continued to progress and develop into a competition format and remarkably it has taken place almost every year since 1931, even during the Second World War. In 2002, Luke Rittner, the RAD’s Chief Executive, took the landmark decision to hold the competition outside London in order to embrace its international spirit, taking it to Australia where Sydney Opera House played host to a record number of candidates.

Since 2002, the competition has been held in cities across the world including Singapore, Cape Town, London, Sydney, Lisbon and Hong Kong. In 2019, we are delighted that the Genée will be returning to Toronto, after its debut there in 2008.

You can learn more about the Genée and its history at www.royalacademyofdance.org/the-genee

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Section 1: General Information

1.1 Venues and Schedule

The week of competition classes and coaching sessions will take place from Wednesday 21 August to Sunday 25 August and will be held at Canada’s National Ballet School, 400 Jarvis Street, Toronto, Ontario M4Y 2G6. Times of competition classes and coaching sessions will vary each day and candidates will be provided with a timetable at the Welcome Reception on Tuesday 20 August.

The semi-finals will be held at the Betty Oliphant Theatre, Canada’s National Ballet School, 404 Jarvis Street, Toronto, Ontario M4Y 2G6 on Monday 26 August (performance of class work for all candidates) and Tuesday 27 August (performance of Dancer’s Own solo and Classical Repertoire variation for all candidates) starting at 10.30am.

The final will be held at the Four Seasons Centre for Performing Arts, 145 Queen Street. W, Toronto, Ontario M4Y 2G6 on Thursday 29 August starting at 7.30pm.

1.2 Judges and Faculty

Judges and Faculty of international repute will come to Toronto for the competition.

This year’s judges will be:

Karen Kain, Artistic Director of The National Ballet of Canada (Final only) Read biography

Dame Monica Mason, Former Director of The Royal Ballet Read biography

Mikko Nissinen, Artistic Director of Boston Ballet Read biography

Magdalena Popa, Principal Artistic Coach of The National Ballet of Canada (semi- finals only) Read biography

This year’s Faculty will be:

Gerard Charles, Artistic Director of the Royal Academy of Dance Read biography

Hilary Clark, Freelance teacher, coach and Artistic Adviser to the Royal Academy of Dance Read biography

Raymond Smith, Teacher Read biography

Gioconda Barbuto, Commissioned Choreographer Read biography

Natasha Finlay, Benesh Choreologist Read biography

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Jonathan Still, Accompanist Read biography

Wen Yang Ho, Accompanist Read biography

Dobrochna Zubek, Cellist Read biography

1.3 Entry Qualifications

The competition is open to dancers who are current members of the Royal Academy of Dance and have passed examinations in RAD Intermediate, Advanced 1, as well as having achieved Advanced 2, in Classical Ballet (Advanced 2 with Distinction). Evidence is required of the relevant qualifications held.

Candidates must be aged 15 – 19 years on Monday 15 July 2019 and be of pre- professional status. They must not have been employed on a professional contract prior to entry of the competition, however students who have been offered a professional engagement that commences after the competition will still be eligible to enter.

For artistic reasons (to ensure that the Genée remains a high quality experience for those involved) there will be an upper limit of 100 candidates.

Should we receive more than 100 applications by the closing date, the Producer will undertake a process of selection based on the mark achieved in the Advanced 2 examination.

Candidates will be notified on Monday 15 July at 18.00 (UK time) whether or not they have secured a place at the Genée International Ballet Competition 2019.

1.4 Closing Date

The closing date for applications is Friday 28 June 2019 at 18:00 (UK time).

Applications should be completed via the online application form: https://torontocandidateapplication.eventbrite.co.uk

Upon receipt of your application, we will email you requesting further information which will be due by Monday 1 July at 18.00 (UK time). If we do not receive this information your application will be considered incomplete and therefore deemed invalid.

The information we will request from you is:

 Evidence of qualifications  Short biography (of no more than 60 words)  If in receipt of a Genée bursary: evidence of your bursary offer  Headshot – supplied as passport-sized JPG only (see example below)  Music for Dancer’s Own variation – supplied as .WAV file  Completed press and publicity permission form

Please note: the passport-sized photo provided will be printed in the official Genée souvenir programme. If you are unsure of what to provide, please send us any digital portrait of yourself in a large file size – we will crop and resize the jpg as needed.

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431 pixels wide x 531 pixels high minimum (or 35mm wide x 45mm high, 300dpi minimum)

Candidates who are waiting for their Advanced 2 examination result must still complete an application form to be submitted by the closing date.

1.5 Confirmation of place

We will confirm your place on Monday 15 July, 18.00 (UK time); it is only on receipt of this confirmation that you will know whether or not you will be competing at the Genée International Ballet Competition 2019.

1.6 Insurance

Applicants are advised to take out insurance, if available, to guard against withdrawal due to injury or sickness and for the cost of medical treatment throughout the duration of the competition. It is your responsibility to act on our advice. We do not endorse any providers, but we are aware of one provider and there may be others which we encourage you to research: https://www.dancesurance.com/

1.7 Visa to travel

You may require a visa to travel to Canada. To check whether you require a visa visit: http://www.cic.gc.ca/english/visit/visas.asp

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Section 2: Content of the Competition

2.1 Content and format

Into the Unknown: Variation 1 – Performed at the final only Each year, the RAD commissions a choreographer to create two (male and female) exclusive solos for the Genée candidates. This has become one of the most uniquely rewarding and challenging parts of the competition and as such, this section has been entitled Into the Unknown. Beginning on the second day of coaching, all candidates will work with the choreographer to workshop ideas that will eventually be incorporated into the finished solos. This reflects the way many choreographers create work today and all candidates will have the chance to contribute, and to benefit from, creating and perfecting the new solos.

Dancer’s Own: Variation 2 – Performed at the semi-finals and final Candidates will be invited to perform a variation between 1.00 – 1.30 minutes duration (performed in pointe shoes for females), choreographed by themselves, their teacher or a peer to a piece of music of their choice. This section, Dancer’s Own, puts the creative process right at the heart of the Genée.

Classical Repertoire variation: Variation 3 – Performed at the semi-finals and final Candidates will select one variation from the Classical Repertoire Variation list (see below at 2.4.1).

2.2 Semi-finals

Candidates will be assessed on a non-rehearsed classical class on Day 1 on 26 August. Their Dancer’s Own (Variation 2) and their chosen Classical Repertoire variation (Variation 3) on Day 2 on 27 August.

All candidates must take part in their allocated coaching classes to be considered eligible to take part in the competition’s semi-finals. Candidates must complete all sections of both days of the semi-finals in order to remain in the competition.

2.3 Final

The final will be held at the Four Seasons Centre for Performing Arts, 145 Queen Street. W, Toronto, Ontario M4Y 2G6 on Thursday 29 August starting at 7.30pm.

All finalists will be assessed on the Into the Unknown variation (Variation 1), Dancer’s Own (Variation 2) and their chosen Classical Repertoire variation (Variation 3).

2.4 Coaching

Competition classes and coaching sessions will take place from Wednesday 21 August to Sunday 25 August and will be held at Canada’s National Ballet School, 400 Jarvis Street, Toronto, Ontario M4Y 2G6. These sessions are compulsory for all candidates.

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2.4.1 Classical Repertoire Variations

th th The list of approved 19 century and 20 century Classical Repertoire variations is shown below. Candidates should select and rehearse ONE choice of variation provided from the list below prior to the competition.

th Females – 19 Century Variations Please note: as there are sometimes differences in the way that the female 19th century variations are titled in different productions, a guidance sheet showing the opening melody of each variation (numbered 1-9 below) is provided with this pack.

Music for variations Furthermore, please find below some YouTube links to help you identify the music for each variation. These are provided for your information only and are not recommended sources or tempi for the variations. The time listed next to the link indicates the starting point of the variation.

1. Sleeping Beauty Prologue Fairy Variation III 2/4 (miettes qui tombent) D major allegro moderato https://www.youtube.com/watch?v=73xEe5NRVNI 2: 02

2. Sleeping Beauty Prologue Fairy Variation V 2/4 F major, allegro molto vivace https://www.youtube.com/watch?v=73xEe5NRVNI 4:10

3. Raymonda Act I Variation I 2/4 allegretto D flat major https://www.youtube.com/watch?v=3CPxvmRYBtU 1:00:20

4. Raymonda Act I Variation II 6/8 allegretto A major https://www.youtube.com/watch?v=3CPxvmRYBtU 1:02:17

5. Raymonda Act II Variation II 6/8 allegretto B major https://www.youtube.com/watch?v=3CPxvmRYBtU 1:30:04

6. Raymonda Act III Variation I 6/8 prestissimo D major https://www.youtube.com/watch?v=3CPxvmRYBtU 2:10:55

7. La Bayadère Act III 1st Girl 2/4 allegro D major https://www.youtube.com/watch?v=i0bueru6X8I 1:45:21

8. La Bayadère Act III 2nd Girl 6/8 allegro G major https://www.youtube.com/watch?v=i0bueru6X8I 1:46:32

9. La Bayadère Act III 3rd Girl 2/4 moderato D major https://www.youtube.com/watch?v=i0bueru6X8I 1:48:03

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th Females – 20 Century Variations Danses Concertantes Principal Variation (MacMillan, 1955) 4/4 Risoluto

Cinderella Summer Variation (Ashton, 1948) 12/8 Andantino Sognando

th Males – 19 Century Variations

Music for variations Furthermore, please find below some YouTube links to help you identify the music for each variation. These are provided for your information only and are not recommended sources or tempi for the variations.. The time listed next to the link indicates the starting point of the variation.

Sleeping Beauty Act III Prince Florimund Variation I A minor 6/8 tarantella https://www.youtube.com/watch?v=RkAHSXki4eI 2:15:36

Swan Lake Act I Pas de Trois, Variation IV, C minor 6/8 https://www.youtube.com/watch?v=UHbM58HMXZ4 22:06

Swan Lake Act III Prince Siegfried A major, 2/4 https://www.youtube.com/watch?v=UHPAHa-i66Q

Coppélia Act III Franz https://www.youtube.com/watch?v=Mm48Lgc6scs 1:27:58

Raymonda Act III Jean de Brienne, Allegro Moderato A flat major https://www.youtube.com/watch?v=dggZDGaAVBk

Le Corsaire Act III A flat, ¾ https://www.youtube.com/watch?v=H877_tB207k 3:35

Don Quixote Act III C major ¾ https://www.youtube.com/watch?v=OT8Zk41TulU 9:13

th Males – 20 Century Variations Danses Concertantes Principal Variation (MacMillan, 1955)

Les Patineurs Blue Boy’s Variation (Ashton, 1937)

th If candidates choose a 19 century variation from the above list, the variation must th be taken from a traditional classical 19 century production. Versions must be rooted in classical 19th century vocabulary - contemporary interpretations using 20th or 21st century choreography will not be accepted.

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Candidates must identify which company and production their chosen 19th century variation is from. This will need to be stated on the application form.

th There is no video available for the 19 century variations.

The Faculty reserve the right to alter the 19th century Classical Repertoire variation if necessary.

th All candidates will receive a link to an online video of the 20 century variations. If th candidates choose any of the listed 20 century variations to perform, they should select and learn the choreography from these videos.

Benesh Movement Notation scores are available on request.

If you have any queries regarding the music for these variations, check the RAD website at https://www.royalacademyofdance.org/about-us/music-at-the-rad/

2.4.2 Into the Unknown – Commissioned Variations 2019

This year, Gioconda Barbuto has been commissioned to create a male and female variation with the female variation to be performed en pointe. These two variations will be premiered at the final. No music or notes will be provided to candidates in advance of the competition for either of these variations.

About Gioconda Barbuto

Photo: Michael Slobodian

Gioconda Barbuto is an internationally renowned Italian-Canadian dancer and choreographer. She trained in the professional program at the Royal Winnipeg Ballet School, The Banff Centre, and under the tutelage of Gladys Forrester in Toronto, her home city.

A long-time member of Les Grands Ballets Canadiens, dancing with the company for sixteen years and Nederlands Dans Theater III, for eight years, Gioconda was quickly recognized as a versatile and magnetic soloist. Her more recent performances are featured in Jiří Kylián’s dance films Birth Day and Car Men, Robert Wilson’s 2Lips and Dancers and Space, Margie Gillis’s M.Body.7, and Joe Laughlin’s 4OUR.

In 1996, Gioconda was nominated for The Kennedy Center Fellowship and received The Banff Centre’s Clifford E. Lee Choreography Award. Since then she has pursued her choreographic calling, creating detailed, dynamic friezes of full-bodied gesture, marked by her innate musicality. Her oeuvre now counts over fifty works, among them solos, duets, group pieces, and films. Her choreography has been commissioned by such prestigious dance companies as Les Grands Ballets Royal Academy of Dance is a charity registered in England and Wales No. 312826 8

Canadiens, Ballet BC, Les Ballets Jazz de Montréal, Alberta Ballet, Ballet Kelowna and many others.

As the recipient of the 2015 McKnight International Choreographer Fellow for the TU Dance company in Minnesota she created FOOTPRINT. Gioconda also recently obtained one of the choreographic positions for Oregon Ballet Theater’s Choreography XX competition, creating BRINGINGOUTSIDEIN — named 'Best in Premiere' in Dance Europe magazine for the success of the June 2017 performances (restaged in their 2018-19 season as Director’s Choice).

In recent years, Gioconda has been extending her methods for molding space and energy through her movement workshops. She is invited to teach actors, circus artists, vocalists, and dancers at academies, and institutions worldwide. She has recently been invited to choreograph for Alonzo King Line’s training programme and choreographs frequently for Arts Umbrella Dance in Vancouver, École supérieure de ballet du Québec, Dutch National Ballet Academy and École Nationale de Cirque in Montréal where she created and directed the graduating circus production L’abri. Gioconda shares her creative life in Montréal with her husband, the renowned dance photographer Michael Slobodian.

2.4.3 Dancer’s Own – Candidate’s own choreography (Variation 1):

2019 will see the continuation of the Choreographic Award (introduced in 2013), which will give the semi-final judges a formal opportunity to recognise the best of the Dancer’s Own choreography. The winning choreography will be announced alongside the announcement of the Finalists, and will be performed at the final on Thursday 29 August (whether or not the winning candidate is a Genée finalist).

Variations – Guidelines for Choreographer  Candidates should present a variation (performed in pointe shoes with ribbons for females) between 1.00 - 1.30 minutes’ duration, choreographed by themselves, their teacher or a peer to a piece of music of their choice.  Dances for female candidates must include pointe work.  The choreography should not make any reference to characters, storylines or films that are still in copyright (e.g. Harry Potter, Billy Elliot, Avatar, etc.), unless written proof of permission from the copyright owner of the story or underlying work can be provided in advance.  Candidates may wear a simple costume and use hand-held props if appropriate; however, no scenery or masks may be used.  The candidate’s costume must not make any reference to characters from films or musicals that are still in copyright (e.g. Harry Potter, Pirates of the Caribbean, Chitty Chitty Bang Bang etc).  The Faculty reserve the right to alter the Dancer’s Own variation if necessary.

Music – Guidelines for Variations  The music should be between 1.00 - 1.30 minutes’ duration.  The quality of the track you provide must be of professional standard and in .WAV format, as the version you submit will be played in the theatre to a live audience.  The music must be taken from a recording which has been purchased legitimately or recorded for and licensed to the candidate.  If desired, it can be an original composition by the student or teacher or the result of a collaboration, where permission to use has been granted by the composer.  There should be no internal cuts to the music as this will likely constitute an infringement of copyright.

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 Candidates are required to email ONE copy of their music to Maria O’Connor no later than Monday 1 July. The music should be supplied in .WAV format ONLY. No other file formats will be accepted. Alterations to this music will not be accepted after 1 July.  Candidates must bring one copy of their music with them on CD of a higher quality than mp3., with any cuts or fades already edited. This CD must be in audio CD format (i.e. it must be playable on a standard CD player).

Things to think about  How will your variation begin – before the music, after the music, with the music? How easy will it be for the sound equipment operator to know when you should start?  How does your music end? Remember it is easy to fade out music, but you cannot fade yourself out from the stage so easily!  You may choose any kind of music; however, if your music contains lyrics, these must not include any offensive material (i.e. sexist, racist or in any other ways defamatory).

2.5 Costume

 General Class, Coaching Sessions and Semi-finals class

Practice ballet attire should be worn and the leotard may be of any colour. Tights for females should be regulation exam colour. For class, females should wear soft pointe shoes. Pointe shoes with ribbons are required for the pointe work section of the class for females and for all coaching sessions. No jewellery is permitted, except for small stud earrings for females (these will be checked during the costume rehearsal day). Males should wear a leotard, tights or a unitard and flat ballet shoes.

 Semi-finals

Semi-finals classical class – as above

Dancer’s Own: Variation 2

Candidates may wear a simple costume and use hand-held props if appropriate; however, no scenery or masks may be used. The candidate’s costume must not make any reference to characters from films or musicals that are still in copyright. Pointe shoes with ribbons are required for females.

Classical Repertoire variation: Variation 3

Female

Pointe shoes with ribbons are required for females.

Chosen 19th century variation – The costume should be appropriate to the variation, and a head-dress may be worn; a leotard with tutu of any matching colour may be worn by females

Chosen 20th century variation – Females -

Summer Variation: Costume should be a plain coloured leotard and matching short, wrap around skirt. Tights should be a regulation exam colour.

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Danse Concertantes – A plain coloured leotard. Tights should be regulation exam colour.

Male

Chosen 19th century variation – The costume should be appropriate to the variation, and a head-dress may be worn

Chosen 20th century variation – Males -

Leotard and tights or unitard.

 Final

Into the Unknown: Variation 1

Candidates should wear the same practice attire as worn for the semi-finals class. There will be some flexibility to modify the practice attire – further guidance will be provided prior to the competition.

Costume as listed above for Dancer’s Own: Variation 2, Classical Repertoire: Variation 3

2.6 Criteria for Assessment

Candidates are assessed on the following criteria across both the class work and variations:

Technique Incorporating:  Secure posture and weight placement, use of turnout, articulated, clearly defined footwork  Co-ordinated and sensitive use of the arms and hands in balanced harmony with the whole body showing breadth of movement, use of épaulement, alignment, head and eye line  Rhythmical and controlled pirouettes  Controlled, sustained and co-ordinated adagio movements creating harmonious lines through the whole body  Effective use of elevation, accurate batterie, and the ability to reflect the dynamics and artistic qualities of the allegro steps  Use of space

Music  Rhythmical accuracy and timing  Response to musical atmosphere, dynamics and phrasing

Performance  Confident movements performed with ease  An ability to interpret and express the varying artistic qualities and appropriate styles

Criteria for Choreographic Award generously supported by the Lynn Wallis OBE Bursary

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The recipient of this award is the choreographer who demonstrates the highest standard of choreography within the variation. The choreography will be assessed on:

Structure Dynamics of movement Use of space Depiction of theme or story Use of music/sound.

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2.7 Awarding of Medals

Up to three categories of medal may be awarded – gold, silver and bronze – in each of the male and female categories.

Medals are awarded to candidates showing the highest levels of competency in the stated criteria. The judges’ decision is final.

The gold medal is only awarded when a candidate, in the judges’ opinion, demonstrates exceptional technical skills, an innate response to music, outstanding performance qualities and charisma.

The prize money will be awarded in Canadian Dollars to medallists in each category for female and male as follows:

Gold $‎8,500 CAD Silver $5,000 CAD Bronze $3,500 CAD

The judges may decide to award more than one medal in any category. In this event, the prize money for that medal and the next category down will be pooled and distributed amongst the selected candidates at the discretion of the Judges and Genée Artistic Team.

In addition to the above medals, a Choreographic Award will be awarded to recognise the best of the Dancer’s Own choreography. This award has a monetary prize of $450 Canadian Dollars generously supported by the Lynn Wallis OBE Bursary.

The Dame Margot Fonteyn Audience Choice Award will also be awarded on the night of the final following a public vote. This award has a monetary prize of $450 Canadian Dollars generously supported by the Dame Margot Fonteyn Scholarship Fund.

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Section 3: Candidate Fees, Accommodation & Travel

3.1 For Candidates

The all-inclusive candidate fee for 2019 is CAD $1,350.

At the time of submitting your application for the competition, you will be required to make a deposit payment of CAD $100. Payment should be made online via the Eventbrite platform as part of your application.

Once the RAD has confirmed your place in the competition on Monday 15 July, you will be contacted with regards to payment for the remainder of your fees ($1,250) which will be due in full by 21 July 2019.

In the event that your application is unsuccessful, your deposit will be refunded to you within 28 days after the application closing date.

Candidates in receipt of a Dame Darcey Bussell or Dame Margot Fonteyn Scholarship Fund bursary from the Royal Academy of Dance should email a scanned copy of the letter confirming that their fee is covered by the bursary, and do not need to submit payment.

The fee structure for the Genée International Ballet Competition is as follows:

Candidate fee (mandatory): $1,350 including applicable taxes, which covers:

 Accommodation in Toronto from 20 – 29 August (inclusive dates - to check out on 30 August) which is compulsory for all candidates.

 Five days of world-class tuition delivered by a Faculty led by Gerard Charles, Artistic Director of the Royal Academy of Dance and featuring Commissioned Choreographer Gioconda Barbuto.

 Two days of semi-final performance opportunities at the Betty Oliphant Theatre before a live audience and distinguished judging panel.

 For finalists: The opportunity to perform before a live audience and distinguished judging panel at the Four Seasons Centre for Performing Arts.

 For non-finalists: A ticket to watch the final at the Four Seasons Centre for Performing Arts on Thursday 29 August. You will be required to appear on stage at the end of the performance for the presentations. Smart attire to be worn.

 All candidates’ main meals - breakfast, lunch and dinner - will be provided (please note that non-finalists receive breakfast only on the final day – 29 August)

 Access for all candidates to a welcome reception

 Administrative costs, for example required permissions for use of Dancer’s Own music related to live performances

 All travel between the accommodation and event venues (where necessary) throughout the competition

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 Pastoral care throughout the competition (provided by RAD on-site chaperones)

3.2 Accommodation for Candidates

Candidates will be accommodated at: Canada’s National Ballet School, 400 Jarvis Street, Toronto, Ontario M4Y 2G6.

Shared accommodation will be pre-booked for all candidates and will be allocated at the Academy’s discretion. Accommodation will be provided from Tuesday 20 August (coaching begins on Wednesday 21 August) up to and including the night of Thursday 29 August (checking out on Friday 30 August)

3.3 Chaperones

The RAD will arrange chaperones who will be responsible at all times for candidates under the age of 18 years. Candidates under the age of 18 will not be permitted to leave the accommodation or coaching venue during the course of the competition, unless accompanied by a parent/guardian or teacher. The Royal Academy of Dance also encourages those candidates over the age of 18 to abide by this regulation.

3.4 Accommodation for Parents/Teachers

Parents/teachers accompanying candidates should make their own accommodation bookings. We have negotiated a limited number of rooms at the Grand Hotel in Toronto at a special rate of $179 CAD + tax (13% HST & 4% MAT - taxes subject to change).

The rate is per room, per night, based on single or double occupancy, and includes a hot breakfast in the Citrus restaurant. Rooms are available on a first come, first served basis.

To book a room, email [email protected] or call +1 416.863.9000 and inform the reservation agent that your booking is part of the Royal Academy of Dance Public Group.

Please note that rooms are available from 3pm onwards on the day of arrival and must be vacated by 12pm on the day of departure. Room cancellations must be made before 19 June 2019, otherwise, charges are incurred.

Alternatively, we have also negotiated a rate at the Sheraton Centre Toronto. The rate is $229 CAD plus taxes for a traditional room (with a $20 fee for each additional person in the room).

To book, call the Reservations Center at +1 8886277175 with the group name Genée Ballet Competition - Royal Academy of Dance or the group code GA8 or alternatively use the following link: Book your group rate for Genee Ballet Competition - Royal Academy of Dance

To take advantage of this special rate, your booking must be made before 16 July 2019.

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3.5 International Travel

We advise that you do not make inflexible travel arrangements until you have received confirmation that your entry for the Genée has been accepted, which will be on Monday 15 July 2019, 18:00 (UK time).

Please check your Visa entry requirements for Canada: http://www.cic.gc.ca/english/visit/visas.asp

3.6 Currency

The currency is Canadian Dollars. Candidates should carry sufficient money with them to convert to Canadian Dollars, or a credit card.

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Section 4: Further Information

Registration & Welcome Reception – Tuesday 20 August

Enrolment & Welcome Reception All candidates should make their own way to the National Ballet School (105 Maitland Street). Candidates may arrive between 14:00 – 16:30 for registration and room allocation.

You will be asked to meet at 105 Maitland Street at 17.45 and will then be escorted to Currie Hall (on campus) for the welcome reception which will be held in the Currie Hall at the National Ballet School (entrance at 105 Maitland Street) at 18.00.

Candidates may bring one guest (parent/teacher) to this event. If candidates wish to bring one additional guest there will be a suggested donation of CAD $20 cash which should be paid on arrival. At the welcome reception you will be introduced to your coaches for the week, the RAD Genée staff and other people who will be assisting with the organisation of the competition. Dress code is smart casual and suitable shoes must be worn.

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Section 5: Ticketing

Tickets & Booking Information for Parents/Teachers of Candidates

Tickets to watch the Genée semi-finals and final are available to purchase.

SEMI-FINALS

Monday 26 & Tuesday 27 August, 10.30am Canada’s National Ballet School, Betty Oliphant Theatre Tickets $50 - $85 (includes 13% HST)

BOOK NOW

FINAL

Thursday 29 August, 7.30pm Four Seasons Centre for the Performing Arts Tickets $50 - $175 (includes 13% HST and a $4 per ticket CRS charge)

BOOK NOW

Semi-finalists who are not selected as a finalist will each be allocated one free seat (for themselves) to watch the final with their peers.

CPD workshops

A series of CPD workshops will be offered on Wednesday 28 and Thursday 29 August at Canada's National Ballet School. For more details, timetables and to book a place, visit our CPD Workshops page.

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Section 6: Images and social media

6.1 All variations are covered by copyright law and therefore any type of recording (images, photographs, audio/video, etc.) taken by any type of device, in the studio is strictly prohibited throughout the competition.

6.2 The Royal Academy of Dance has a lively and engaged worldwide community of followers and fans on our social media channels, as well as a dedicated Genée Facebook page. During the competition, the communications team will be taking appropriate images and videos, using a selection to regularly publish on RAD’s social media channels, or to share with our sponsors and partners to post on theirs. We use our social networks in order to promote the competition, raising its profile worldwide, providing you with a platform to be seen by the dance industry and to help us to ensure a full audience during the semi-finals and final.

Candidates are encouraged to post their own tagged images and videos, using the official event hashtag #Genee2019 throughout the competition to share their experiences. Please only post and tag images/videos of other candidates with their knowledge and consent. Do not post anything inappropriate or offensive and please note that you cannot film any of the classical variations, commissioned variations or other candidates’ Dancers’ Own solos, due to intellectual copyright and music copyright. The communications team monitors this throughout the competition and will ask you to delete anything that is deemed inappropriate or in breach of copyright.

Our social media pages are listed below. Keep a lookout for the official event hashtag #Genee2019 and please also feel free to retweet, repost and share anything that we post on our official channels throughout the competition. http://twitter.com/radheadquarters/ https://www.facebook.com/GeneeInternationalBalletCompetition https://www.facebook.com/RoyalAcademyofDance https://www.instagram.com/royalacademyofdance/ https://www.youtube.com/royalacademydance

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Section 7: Contact for further information

Maria O’Connor, Royal Academy of Dance, 36 Battersea Square, London SW11 3RA, UK email: [email protected] tel: + 44 (0)20 7326 8024

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Section 8: Terms and conditions

1. Applications a) Acknowledgement of your application is not confirmation of a place at the Genée International Ballet Competition 2019; this will be confirmed on Monday 15 July. b) You are advised not to book travel unless you have received written confirmation of a place which will be sent out to you after the final closing date. c) Applications will be considered invalid if candidates do not send all the requested information by Monday 1 July.

2. Cancellation of the Genée International Ballet Competition The Genée International Ballet Competition may be cancelled by the Royal Academy of Dance in the unlikely event that it fails to attract a viable number of candidates or under certain other circumstances. Full refund of fees will be made in these circumstances.

3. Withdrawals and Refunds Candidates who withdraw will be subject to the clauses below:

a) Candidates who withdraw from the Genée International Ballet Competition after the closing date (28 June 2019) will not receive a refunded deposit, unless a medical certificate is produced. In this case 10% of the deposit will be retained by RAD as an administration fee and the remaining deposit will be refunded.

b) There will be no refund for withdrawals under any circumstance after 21 July 2019. If you withdraw after the 21 July but have not yet paid your final balance, you will still be required to settle the final total balance with the RAD. This is because the costs of your involvement cannot be recouped by the RAD after this date. It is for this reason that we strongly advise you to obtain your own insurance.

4. Insurance Candidates are advised to consider taking out insurance against withdrawal due to medical reasons, or due to personal reasons which might prevent them completing the competition. Candidates with an existing injury attend the Genée International Ballet Competition at their own risk.

5. Waiver Physical contact may be necessary by members of the teaching faculty. If you would like to discuss this matter, contact Maria O’Connor, Royal Academy of Dance, 36 Battersea Square, London SW11 3RA, UK, by e-mail: [email protected], or tel: + 44 (0)20 7326 8024.

6. Content The Academy reserves the right to alter the advertised programme, judging panel and Faculty without prior notice. The information in this and other printed or electronic brochures/notices was correct at the time of publication.

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Section 9: Data Protection Statement

The Student Activities Team hold information and contact details requested at the time of your booking that enable them to provide you with information relating to a participant’s registration for a workshop, course or competition. We will not disclose your information to a third party except where legally required to do so. For further details, please refer to the RAD Data Protection Policy accessible online on the RAD website. In addition, our new Privacy Statement and Company Privacy Policy are available to view and download. The Student Activities Privacy Statement is available to view below. The full RAD Privacy Statement is available to view online on the RAD website.

Student Activities Online Registration Privacy Notice The Royal Academy of Dance, including Royal Academy of Dance Enterprises Ltd is committed to protecting and respecting your privacy. This Privacy Notice explains: 1. how, when and why we collect personal information from people 2. how we use the information; 3. how long we keep it; 4. the conditions when we may share it with others and 5. how we keep it secure.

This Privacy Notice also tells you about your privacy rights and how the law protects you. We only use personal information if we have a proper reason to do so and this includes if we share information outside of the Royal Academy of Dance.

How do we collect information from you? We obtain information about you when you

or our mailing list

What type of information is collected from you? The personal information we collect may include your Buyer information:

ntbrite or over the phone)

Student information:

junior applicants only

relation to you

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film consent

How is your information used? We use your information to: study) or event

mpetition;

to you, which may include information about new products, services, events, and activities.

What is the lawful basis for processing my information? The lawful basis for Circumstances Lawful basis processing your information in these circumstances is explained below Your information Buyer information Buyer name, email To process your Contract address and registration and telephone number ensure you receive information related to the activity Buyer credit / debit To take payment for Contract card information (via the activity you have Eventbrite or over the registered to attend phone) Student information Student name, To process your Contract address and date of registration and birth ensure you receive information related to the activity Student medical To establish any Consent information medical information that organisers or teachers should be aware of and treat you

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in an emergency first aid situation Academic school To share information Consent details (name, with police and address) – Junior emergency services, students only where there are safeguarding concerns or in an emergency situation Emergency contact Contact your Contract name, number and nominated contact in relation to you an emergency

ROYAL ACADEMY OF DANCE, RAD and SILVER SWANS are registered trademarks ® of the Royal Academy of Dance. RAD PRE-PRIMARY IN DANCE, RAD PRIMARY IN DANCE, RAD INTERMEDIATE FOUNDATION, RAD INTERMEDIATE, RAD ADVANCED 1, RAD ADVANCED 2, RAD CLASS AWARD, RAD SOLO PERFORMANCE AWARD, CBTS, KARSARVINA SYLLABUS, DANCE TO YOUR OWN TUNE and DISCOVERING REPERTOIRE are unregistered trademarks™ of the Royal Academy of Dance. The use or misuse of the trademarks or any other content of this publication, without prior written permission from the Royal Academy of Dance is strictly prohibited.

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