Ballet class: transference of weight
Developing accurate placement to aid transfer of weight.
£12.00
- 1 Class
- Suitable for 11+
This class will provide specific exercises to help students learn the importance of accurate placement in order to transfer the weight through movement with confidence. The exercises have been specifically crafted for this class and are not gender-specific.
Duration: 46 minutes
This lesson is also included in the Intensive course for 11+: Series 1 package.
What you will learn
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How to find correct postural and hip placement over two and one leg to achieve effective weight transference through movement
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To analyse proper weight distribution in the different classical ballet positions
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To understand, study and feel the importance of maintaining the supporting leg engaged in flat and in relevé to maximise static and dynamic positions
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To breakdown the concept of counter-pull to assist in the transference of weight and in overall movement patterns.
Your Tutors
José Carayol
Artistic Manager
José Carayol trained at the Real Conservatorio Profesional de Danza de Madrid on a National Scholarship and under the mentorship of Carmen Roche, Victor Ullate and Orlando Salgado. He went on to dance professionally with several companies around the world in leading roles including Basilio in Don Quixote, Prince Siegfried in Swan Lake, Don Jose in Carmen and Prince Florimund in Sleeping Beauty. He has performed in national and international tours dancing a versatile repertoire by numerous prominent choreographers and artists, among them Alicia Alonso, Marta Garcia, Jiří Kylián, Nacho Duato, William Forsythe, John Neumeier, Roland Petit, Mats Ek and George Balanchine.
Towards the end of his dancing career, Mr Carayol turned his focus to teaching and went on to complete American Ballet Theater’s National Training Curriculum teachers’ course in New York. Upon his graduation, he became an associate teacher of the ABT® Project Plié programme, which aimed to support diversity and inclusion around the United States of America, while spreading his passion for the art of classical ballet to the youngest generations. He was a teacher and Head of the Conservatory Program and men’s programme at Los Angeles Ballet Academy. During his time there, he was a key instrument in developing the men’s programme further while creating a nurturing environment for students in a professional track in Southern California. In 2017, he became Ballet Master and Assistant Artistic Director of the Los Angeles Ballet Academy Youth Ballet.
José Carayol has taught internationally at many different schools and has been a regular judge for international competitions including the Youth America Grand Prix. Being a passionate advocate of dance education, he has continued his pedagogical and teaching practices further by regularly attending seminars and teaching courses at The Royal Ballet School.
In 2019, upon invitation by Artistic Director Ashley Wheater MBE, he was appointed Head of Studio Company and Trainee Program at The Joffrey Ballet in Chicago. He worked closely with the artistic team to elevate the standards of excellence and equality, as well as create a competent curriculum that would help young dancers close the gap between school and company life.
Frequently Asked Questions
Who can participate?
This class is recommended for students aged 11+ and reflects the training given to students aged 11-13 studying at The Royal Ballet School. The class is not suitable for beginner students, students with limited experience or students under 11 years old.
For this class, we recommend that:
- Students are studying a syllabus delivered by a recognised classical dance awarding body, or if attending full-time vocational training, the method of training provided at their school
- Students have a good knowledge and understanding of ballet vocabulary.
What do I need to participate?
This class is designed so that it can be executed in a smaller space than a ballet studio. We ask that students/parents ensure that:
- The student meets the technical standards required for the class
- Any apparatus used for a barre is stable and safe
- The floor is not slippery, uneven or hazardous
- The area used for dancing is cleared of any items which could hinder the student’s ability to fully extend their arms and legs. There should be enough space for reasonable movement. If a student cannot fully execute an exercise, they should either adapt appropriately or not participate
- The student is able to clearly hear the teacher’s verbal instruction, see the teacher’s practical delivery and hear the music
- The student is appropriately dressed to safely execute a ballet lesson. Soft ballet shoes should be worn, not pointe shoes
- The student’s hair is suitably tied back
- The student is fit and well in order to take part.
