Last Sunday’s Observer magazine carried an article by dance critic Luke Jennings about young dancers at the Royal Ballet Lower and Upper Schools. His contention is that the number of British born and trained dancers graduating from the Royal Ballet School into the Royal Ballet Company is diminishing annually. Of the talented and dedicated young dancers entering the School at 11 years old, the majority will be progressively assessed out, the number of places squeezed as they are increasingly joined by young dancers from overseas. Of those British dancers who do succeed in winning a Royal Ballet contract few seem to make it to the top as principal dancers in starring roles.
Uncomfortable questions arise from these stark facts – about training methods and schooling, but also as to what companies are looking for in today’s international market. What effect does such ruthless selection have on the cream of British ballet talent during and after the training process? How important is it to develop a distinctive home-grown British style and dancers? And ultimately what is the argument for taxpayer support if British children have such statistically slim chances of making it into the national companies?
To read Luke Jennings’ thought provoking article and some passionate discussion emerging from it:
http://www.guardian.co.uk/stage/2012/mar/25/will-they-make-royal-ballet
Oxford Dance Writers 
March 29, 2012 at 12:52 pm
This article makes me wonder about the purpose of a national ballet company and its school. Nationalism is a dirty word nowadays, but the idea behind such institutions must surely be to develop and enhance the art form in a way that is in tune with national characteristics, temperament and artistic strengths. From this, there should emerge a style that is uniquely and identifiably of that nation, and which springs spontaneously from its own cultural heritage.
This is not a recipe for xenophobia: the UK has a long tradition of welcoming artists from overseas, learning from them and embracing their talents. In time what they teach us may become an intrinsic part of our national style (I’m thinking of Volkova here, but there are many others).
This incorporation of alternative cultural values is something that should grow organically from within, rather than being imposed from without by the continual replacement of children and students who have already been selected for their potential and excellence with others who come from different traditions. Of course some of those selected at age 11 will not make into the company, but the assumption throughout their training should be that they will, and that at the end of their schooling they will carry within themselves a unique understanding of a particular national style. What else is it all for?