Everything you need to know about the Royal Ballet School’s 2024 Diploma of Dance Teaching

Applications are open for The Royal Ballet School’s Diploma of Dance Teaching (DDT), which starts in September. The application deadline for the two-year, part-time course is 26 February 2024.

The DDT prepares dance teachers and professional dancers to teach classical ballet at a world-class level. The course takes place every two years at The Royal Ballet School’s studios in London. Trainee teachers learn technical and creative ballet teaching approaches from the School’s expert staff and visiting lecturers.

Read on to discover details of the course and three DDT graduates’ experiences of learning with The Royal Ballet School.

Diploma of Dance Teaching overview

The DDT spans six academic terms, with weekly classes taking place during term time.

Classes usually take place on Fridays at Upper School in Covent Garden, where The Royal Ballet School’s 16-19-year-old students train. However, certain components of the course may take place at White Lodge in Richmond Park, which is home to the School’s 11-16-year-old students.

Trainee teachers also spend one day each week on independent learning.

In Year 1, participants attend additional workshops, observations, and teaching practice placements on select weekends and weekdays through the year.

In Year 2, participants engage in further teaching practice placements at The Royal Ballet School and other schools and training institutions. These placements take place on different days from normal lessons.

DDT participants learn about:

• Classical ballet technique.
• Psychology and child development.
• Education, reflective, and teacher practices.
• Workplace context.
• The healthy dancer.

The course uses The Royal Ballet School’s vocational vocabulary and methodology, which draws on the latest pedagogical research. Participants can specialise in vocational or pre-vocational settings.

Approximately 60% of the course is practical, while 40% involves written work. Staff deliver course content through lectures, workshops, and practical lessons.

Participants must have a sufficient level of English language comprehension and literacy to fulfil the course’s written requirements. Individuals who speak English as a foreign language must have English writing and speaking skills equivalent to Band 6 or higher on the British Council IELTS General English Test.

Eligibility

Participants entering the course typically have at least three years’ professional experience as a dancer with The Royal Ballet, Birmingham Royal Ballet, and/or other internationally acclaimed classical ballet company, and/or:

• A dance degree.
• A qualification from an accredited dance training organisation equivalent to a dance degree.
• At least three years’ professional experience as a dancer or teacher.

DDT participants must also:

• Successfully complete an interview with The Royal Ballet School’s Head of Training and Access and Teacher Training Manager.
• Pass a Disclosure and Barring Service (DBS) check before starting the course.
• Demonstrate various attributes necessary for vocational ballet teaching. These attributes include skills in teamwork, organisation, and communication.

Course fees and available funding

The course costs £8,600 (£4,300 per year). However, The Royal Ballet School will offer two fully funded positions on the course commencing in September 2024. To be eligible for funding, applicants must be a UK resident, have a confirmed place on the course, and belong to one of the following ethnic categories:

• Black British.
• Black African.
• Black Caribbean.
• Black other.
• Mixed — White and Black British.
• Mixed — White and Black Caribbean.
• Mixed — White and Black African.
• Other mixed Black heritage.

Current or former professional dancers can also check their eligibility to access funding for the School’s teacher training courses through Dancers’ Career Development.

Ddt graduates share their course experiences

Kevin Emerton, Mark Hindle, and Amber Doyle are passionate dance teachers and DDT graduates. Here, they share:

• What makes the DDT different.
• Their overall experience of the course.
• Their favourite aspects of the course.
• Key takeaways from the course.
• Advice for dance teachers considering the course.

What makes the DDT different

Hindle considered several teacher training courses before he decided The Royal Ballet School’s DDT was “the right fit.” He appreciated that the course doesn’t have a “strict syllabus,” unlike many other training providers’ courses. Instead, the DDT prioritises autonomy, allowing trainee teachers to create their own content.

Hindle says this autonomy is “massively important,” as it helps teachers learn to educate the students “in front of them to maximum effect.”

Meanwhile, Doyle found herself drawn to the DDT because of The Royal Ballet School’s system of training. She enjoyed getting to grips with this  “wonderful way of training,” which honours traditional training methods while embracing the modern demands of classical dance technique.

Emerton applied for the course as he felt it offered a novel, collaborative approach to teaching ballet. This approach stood in contrast to the “rigid structure” many have traditionally associated with the art form.

The range of modules also appealed to Emerton, as the DDT encompasses “all the different aspects of dance” in one course. For example, the course includes a psychology module that covers information on different child development stages.

“That was the really big difference; it wasn’t just focused on ballet,” Emerton explains. Rather than fixating on vocabulary or terminology, the course focuses on how teachers can “approach the whole student, give feedback, [and] reflect on [their] own practice.”

Hindle agrees that the course teaches “so much more than a tendu or a plié.” It shines a light on how participants teach, pushing them to “think creatively to reach every student and meet their learning needs.”

The overall experience

The three graduates describe their DDT experiences as “full-on,” “fun,” and “life-changing.” Hindle says that, while he found the course “exceedingly challenging,” he needed the challenge to help him become the teacher he is today.

Doyle also found the course challenging, but says it was “fascinating” to delve into different teaching methods. She stills refers to notes she made during the DDT and draws on “all these gold nuggets of information.”

On top of this, Doyle found the flexibility of the course hugely beneficial. When she started rehearsals for an opera towards the end of Year 2, The Royal Ballet School team allowed her to adapt her timetable so she could continue rehearsals and submit her assessment.

“I think a lot of dancers thinking about teaching might look at [the course] and think, ‘Oh gosh, that’s two years out; I can’t do anything else,’ but it’s not like that,” Doyle explains.

Emerton also received support from The Royal Ballet School team as he balanced his diploma studies with the demands of his professional dance career. This support allowed him to manage his “heavy schedule.”

After graduating from the course, Emerton gained an “understanding of how teaching should be and why it is incredibly important.” The Diploma has also given him the confidence to continually push himself constructively and not fear vulnerability.

Favourite aspects of the course

Hindle’s favourite aspect of the course was learning about the art of teaching. This has helped him better communicate his ballet knowledge to students and, as a result, enhance their learning experience.

Additionally, taking part in the course allowed Hindle to “build some incredibly special friendships.” Doyle also made a supportive community of friends on the course that she remains in contact with.

Emerton’s favourite aspect of the course is the reflective practice model. This model gave him “a new outlook on life.” He explains that dancers are often highly self-critical, as many strive for perfection. The course empowered him to embrace a constructive approach to self-reflection.

Key takeaways

Doyle’s key takeaway from the course is how to “plan a class, back to front, [with] a learning outcome threaded through.” The essay-writing components of the course have also inspired her new-found love for creative writing.

Hindle’s key takeaway is that clear learning outcomes are essential for successful teaching. “Learning outcomes make my life and the students’ time in the studio much easier,” he explains. “Classical ballet is overwhelming, but having clarity of your expectations of the students in that class really helps measure their progress.”

Advice for dance teachers considering the course

Hindle and Doyle both encourage dance teachers who are considering enrolling in the course to “go for it.”

“[The course] made me feel more alive and more present,” Doyle says. “As a performer, it’s just as much of a euphoric high when you have a student learn a chassé pas de bourrée double pirouette because you’ve guided them in the right way. It’s a wonderful feeling, and it’s also something that you can do for many years.”

“Make sure you can fully commit to getting the maximum out of the course,” Hindle advises, “as it is so rewarding and will challenge you in ways you did not think were possible.” He adds: “I still believe the course is ahead of its time.”

Learn more about The Royal Ballet School’s Diploma of Dance Teaching.

About the Royal Ballet School

The Royal Ballet School prepares exceptional young dancers for prestigious careers with The Royal Ballet, Birmingham Royal Ballet, and other world-renowned dance companies. The School’s broader aim is to consistently elevate the global standard of classical ballet training.

The School’s outreach programmes provide dancers and dance teachers worldwide with access to nearly 100 years of classical ballet knowledge and expertise.

Notable alumni of the School include Darcey Bussell, Kenneth MacMillan, Margot Fonteyn, Christopher Wheeldon, Lauren Cuthbertson, and Marcelino Sambé.

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