English - Royal Academy Of Dance

Transcription

Exams
Focus on
Issue 1 – February 2013
Welcome
Examinations Department
36 Battersea Square
London SW11 3RA
United Kingdom
Welcome to Focus on Exams, an RAD publication
dedicated entirely to examinations matters. Issued
three times a year with Dance Gazette, Focus on
Exams allows the Examinations Board to
communicate regularly and directly with teachers
and candidates around the world, and is your first
point of contact for examinations news, updates on
syllabus content, exam procedures, policies,
regulatory information, and anything else of
relevance to anyone involved with, or planning on
entering for, RAD examinations. We hope you enjoy
reading this issue!
tel: +44 (0)20 7326 8000
fax: +44 (0)20 7924 3129
email: [email protected]
www.rad.org.uk/examinations
Original Design: Consider This
Typesetting/Translation: ITR
Printer: MWL Print Group Ltd
Photos: Elliott Franks (cover), David Tett (p2, p15),
Brian Slater (p6), Robert Hamlin (p8), Mark Lees (p14)
Focus on Exams is published by the Royal Academy
of Dance, a charity registered in England and Wales
No 312826 on behalf of the worldwide Royal Academy of
Dance Group. Contact details for RAD Group offices may
be found on pp16-17. VAT Registration Number:
GB 603 1763 71
ROYAL ACADEMY OF DANCE, RAD, RAD PRE‑PRIMARY
IN DANCE and RAD PRIMARY IN DANCE are registered
trademarks® of the Royal Academy of Dance.
RAD INTERMEDIATE FOUNDATION, RAD INTERMEDIATE,
RAD CLASS AWARD and RAD SOLO PERFORMANCE
AWARD 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.
Dr Andrew McBirnie
Director of Examinations
We are always keen to know what you think – about this
publication, the new syllabi or any other aspects of the
Examinations Board’s work. Please contact us at
[email protected]
REGULATORY AND EXTERNAL
Scottish Credit and Qualifications
Framework (SCQF)
The RAD’s examinations in Scotland have been
placed on the Scottish Credit and Qualifications
Framework (SCQF).
Louise Murray, RAD Registered Teacher and
Trustee, said: “I am delighted that RAD exams are
now aligned on the SCQF as it is another step
towards dance being valued as a legitimate subject
in its own right. RAD students are now able to gain
recognition for the hard work they put in to their
ballet classes.”
Like the Qualifications and Credit Framework (QCF)
in England, Wales and Northern Ireland, the SCQF
assigns a level (degree of demand or difficulty) and a
credit value (size or breadth) to each qualification,
creating a framework which provides meaningful
progression, comparison and recognition of different
types of learning and qualifications for learners,
teachers, educational institutions such as schools
and colleges, and employers.
The RAD Examinations Board currently awards QCF
qualifications for all candidates worldwide, with the
exception of Scotland where qualifications are
awarded on the SCQF. We continue to explore the
possibilities of aligning our examinations to other
national frameworks around the world, so that the
qualifications which candidates receive can become
more meaningful to them in the country where they
live.
Successful RAD exam candidates in Scotland will
now be awarded credit for their examinations. Credit
is a recognised unit of educational currency which
can be accumulated and transferred, both within the
framework itself and, on a discretionary basis,
elsewhere. For example, credit achieved as a result
of passing an RAD examination could potentially be
put towards another relevant Scottish qualification
such as a Higher in Dance, so long as this is agreed
by both providers.
The full details of the levels and credits assigned to
RAD examinations in Scotland are as follows:
Registered Teachers may use and be recognised by
a special Collective Mark: Royal Academy of Dance
Registered Teachers®
Examination
SCQF level
SCQF credit
value
Reproduction in whole or part, without written permission, is
strictly prohibited.
Grade 1
3
5
Grade 2
4
5
Grade 3
4
7
Grade 4
4
7
Grade 5
5
10
Grade 6
6
11
Grade 7
6
11
Grade 8
6
14
Intermediate Foundation
6
21
Intermediate
7
24
Advanced Foundation
7
24
Advanced 1
8
37
Advanced 2
8
37
SECTION 1
Contact details
Personal Learning Record
Following the article about the Personal Learning
Record (PLR) in the last issue of Focus on Exams,
we would like to draw your attention to the following
data protection information.
Where a candidate supplies us with a ULN (Unique
Learner Number), the RAD will normally contact that
candidate (via their teacher) to determine whether
the candidate wishes us to upload their details to
the PLR and/or the Diploma Aggregation Service
(DAS) in respect of the 14-19 Diploma in England.
With respect to the PLR, please note that some of
the information supplied will be used by the Skills
Funding Agency (SFA - which is responsible for
maintaining the PLR) to fulfil its statutory functions,
issue/verify the candidate’s ULN and update/check
their Personal Learning Record. The SFA may share
the candidate’s ULN and Personal Learning Record
with other organisations, such as their careers
service, school, college or university, Government
Departments and public bodies responsible for
funding their education. Further details of how
information is processed and shared can be found
at http://www.learningrecordsservice.org.uk/
documentlibrary/documents/privacynotice.htm
1
Teachers working in the UK may be interested to
note that the alignment of the RAD’s examinations
on statutory frameworks means that public funding
can sometimes be made available for learners
studying towards these qualifications.
Funding arrangements are complex, and there are a
number of requirements which must be met.
Students must be in full-time education, and
studying for their RAD exam as part of an
educational course offered by a recognised public
provider (i.e. not as an ‘extra’ or ‘after school’
activity). They must also normally be at least 16
years old.
In practice, RAD teachers would normally need to be
working in a publicly funded school or college (such
as a Further Education College), or form a
partnership with such an institution. It would be
virtually impossible in practice to receive public
funding for a private dance school. However, we
know of at least one example of an RAD teacher
who has entered into such a partnership
arrangement.
For more information please contact the
Examinations Department.
POLICY UPDATES AND REMINDERS
Specifications
Revised Specification documentation, including
Examinations Information, Rules and Regulations,
is now available and can be downloaded from
www.rad.org.uk/examinations and local websites.
Please ensure you familiarise yourself with these
important documents.
Policies and guidelines
The Examinations Board continually monitors all its
policies, both published and internal. Each policy is
subject to an annual review; in addition, policies may
need to be updated at other times due to the
requirement of the examination regulators. This
process is managed by the Examinations Quality
Assurance Committee, which is chaired by the
Director of Examinations, and reports to the Artistic
and Examinations sub-Committee of the Board of
Trustees.
Normally we will only alert you to the detail of
changes when there is a substantial impact on your
day-to-day involvement with the Examinations
Board.
In recent months, changes and updates to policies
have included:
• Malpractice and Maladministration Policy
(August 2012) – no significant changes.
Grades 1-3 Syllabi
The new Grades 1-3 syllabi are now being
examined. The previous Grades 1-3 syllabi ceased
being examined on 31 December 2012. Grades 1-3
are available as an Examination, Class Award
(replacing the Presentation Class at these levels),
and Solo Performance Award.
2
Candidates entered for a Solo Performance Award
must have passed the preceding Graded
Examination, or any higher grade (e.g. to enter for
Solo Performance Award at Grade 2, the candidate
must have passed the Grade 1 Examination, Grade
2 Examination, or any higher grade including
Vocational Graded Examinations). Candidates may
enter for the Solo Performance Award and the
qualifying Graded Examination in the same session,
but in this event, the award of the Solo Performance
Award will be dependent on the Graded Examination
being passed. More information about Solo
Performance Awards was given in the previous
edition of Focus on Exams.
SECTION 2
SECTION 1
Funding
Music in examinations: policy and advice
From January 2013, the policy of the RAD
Examinations Board with respect to music in
examinations will be as follows:
• For Pre-Primary in Dance Class Award, Primary
in Dance Examination and Class Award, and
Grades 1-3 Examinations, Class Awards and
Solo Performance Awards, live piano and/or CD
accompaniment may be used according to the
Specification requirements for each
Examination, Class Award or Solo Performance
Award.
• For Grades 4-8 Examinations and Presentation
Classes, live piano music must be used. The use
of CD at these levels is not acceptable.
• For Intermediate Foundation and Intermediate
Examinations, live piano must be used for the
Exercises and Studies, while CD
accompaniment must be used for the Variations.
There are no exceptions to this rule.
From January 2015, for Grades 4-5 Examinations,
Class Awards and Solo Performance Awards, live
piano and/or CD accompaniment may be used
according to the Specification requirements for each
Examination, Class Award or Solo Performance
Award.
3
The only CDs which are permitted to be used in
examinations are those which have been produced
specifically for this purpose. These CDs include
instrumental / orchestral tracks, which give
candidates the opportunity of performing to a range
of musical sounds and timbres other than piano. The
associated choreography has been created
alongside this music.
Other CDs produced by the RAD are essentially for
rehearsal purposes. They are not, and never were,
intended to be an effective substitute for the use of
live piano. Indeed, the RAD recommends that,
wherever possible, teachers use a live pianist in their
weekly classes, both to enable students to have the
important experience of dancing to live music, and
so that the use of a live pianist in the examination
– where this is the case – does not come as a shock.
We recognise that in certain localities, there is a
perception that it is becoming increasingly difficult
to find competent and experienced pianists to play
for dance classes and exams. However, it is also the
case that in most towns and cities, there are
accomplished pianists looking for work. Many of
these pianists may not be experienced in playing for
dance. We recommend that teachers form
partnerships with such pianists and invite them to
work in their schools, so that they can build up their
experience in playing for dance.
4
We recognise that there are economic
considerations here. However, in most cases this
should be to some extent offset by the benefits
afforded by extensive live music experience in
classes: not only specifically for those examination
candidates who will dance to live music in the exam,
but for all students, who will understand more about
the live interaction between musician and dancer,
and hence what ballet is as an art form.
Depending on the local market, costs can be built in
to the School’s business model. The most effective
method for managing this, and the one which the
Academy recommends, is to spread costs across
the standard lesson charge for all pupils attending
the school, rather to make a one-off charge to
particular students/parents on occasions when a
pianist is used.
This might be of particular relevance when, for
example, a school is presenting a number of
examination sets up to and including Grade 3, for
which the instrumental CD may be used, together
with a small number of sets at Grade 4 and above,
for which live piano must be used. As the
opportunities to use CDs in exams increase, there
are associated opportunities to keep these costs
down, and perhaps, therefore, to make use of
pianists in classes more than might have been
possible previously, and/or to pay a premium rate
where a pianist is contracted for a short amount of
time.
‘Host teachers’ and ‘guest teachers’
• Where a pianist is used, the guest teacher
should clarify whether he/she will bring his/her
own pianist, or if he/she needs to use the host
teacher’s pianist. If the latter, the guest teacher
should determine the preferred method of
payment, including whether this should be made
directly to the pianist or via the host teacher.
The guest teacher should not assume that the
host teacher will automatically provide a pianist.
If the guest teacher is bringing their own pianist,
he/she should check that there will be a piano
available at the studio.
• The host teacher should ensure that
refreshments are provided for the Examiner and/
or pianist as necessary. The guest teacher
should offer to provide some of these
refreshments (depending where breaks are
scheduled) and/or contribute towards their cost.
• The host teacher must ensure that a responsible
Examination Attendant is available at all times
(as per Examinations Information, Rules and
Regulations, 5.1.2). The host teacher should
advise the guest teacher of the name/contact
details of this person, if they are not themselves
performing this function.
In circumstances where Applicants join together to
hold examinations in one Approved Examination
Centre (AEC), the primary responsibility lies with the
Applicant who normally uses those premises for
examinations (‘host teacher’). Where neither
Applicant uses the premises in this way, primary
responsibility must be agreed between the two
parties and communicated to the relevant RAD
office. (Examinations Information, Rules and
Regulations, 4.6.3).
• The host teacher must make sure everything
necessary for the examination day is provided in
the studio, including: Examiner’s table/chair,
pianist’s stool, bell, water/glass, CD equipment,
‘Silence’ notices, etc. Any mirrors must be
covered.
The following informal guidelines are offered here as
a means of providing advice and clarifying some of
the issues which can sometimes arise in these
circumstances:
• If the guest teacher is not personally attending
the examinations, he/she should arrange for a
responsible person to be present and ensure
that their candidates are ready and prepared for
their examinations.
• A guest teacher should contact the host teacher
within one week of receiving confirmation of the
date/venue. If a guest teacher has any problems
contacting the host teacher they should notify
the relevant RAD Office as soon as possible.
• The guest teacher should clarify his/her share of
the costs and the amount of time necessary to
hold the examinations. It may be necessary to
speak to the venue manager in order to extend
the hire period.
Examinations Feedback Seminars
Examinations Feedback Seminars are now being
arranged as part of selected examination sessions
worldwide.
SECTION 2
SECTION 2
Also from January 2015, teachers will no longer be
permitted to be the CD operator in examinations.
This function will need to be performed by another
person. This is because Examiners have fed back
that candidates are frequently distracted by the
presence of their teacher in the examination. This
can affect their performance, particularly in respect
of the alignment of head and eyes, and can also
affect the smooth running of the examination.
These Seminars are led by an RAD Examiner who
will feed back information, in general terms, about
how marks were awarded during the examination
session. There will then be an opportunity to ask
questions. The focus of these Seminars is the way in
which Examiners award marks in examinations; they
will not cover advice on teaching.
Seminars are approximately two hours in length and
light refreshments will be provided. It is not a
workshop or class, so there is no need to dress for
practical work.
A fee will be charged for attendance, which covers
the administrative costs of holding the Seminar.
Please note that, owing to the generic nature of the
information given, nothing stated by an Examiner at
an Examinations Feedback Seminar may be used as
the basis for any enquiry, complaint or appeal about
an examination.
From July 2013 these Seminars will become part of
the Academy’s CPD Scheme, but we hope that all
teachers who attend find them of interest, and also
of practical use and benefit in terms of preparing
candidates for examinations and maximising their
chances of success.
• The host teacher is responsible for ensuring that
the venue is locked at the end of day, where
necessary.
5
At the time of writing, the Examinations Board was
in the process of redesigning its suite of Certificates.
The main change is the incorporation of the
signature of the new President, Darcey Bussell, on
all Certificates.
We are also planning to include information about
European Qualifications Framework (EQF) levels on
Certificates for regulated qualifications, and there
have also been some minor changes to the design
and layout, in order to ensure that all Certificates,
whether for regulated qualifications or other awards,
are consistent in the way they look.
Certificates in Scotland are also changing, in order
to reflect the new credit-bearing status of those
qualifications.
The Examinations Board is now awarding Medals to
all candidates who are successful in examinations
from Primary in Dance to Grade 8. Medals are
colour-coded according to the level of the
examination, and edged with bronze, silver or gold
according to the result achieved (Pass, Merit or
Distinction).
We are also awarding Medals for Class Awards, and
Bars for Solo Performance Awards. The colours of
Class Award Medals and Solo Performance Award
Bars correspond to those of the Examination
Medals; a new red medal for the Primary in Dance
Class Award will be introduced during the course of
2013.
Medals and bars are distributed free of charge along
with results and Certificates.
REPORT FROM THE PANEL OF EXAMINERS
From 2013 we will be including these Reports in
Focus on Exams, and will also make them available
on RAD websites.
This feedback is drawn from observations recorded
in Examiners’ Tour Reports throughout the world,
and is presented here with some associated
suggestions and advice.
General
Examiners have seen many candidates performing
the Intermediate Foundation and Intermediate levels
with much enthusiasm, and are now looking forward
to seeing the new Grades 1-3 in action this year.
UK School and Candidate Registration
Use of Performance Space is an important element
of assessment, especially for the Dances/Studies
and Variations, when these are performed as a solo.
Candidates should understand that the Examiner is
sitting centre front; this will help them to find the
centre easily. Candidates should be aware that there
are key moments in each Dance, Study or Variation
when they should be aligned with centre front.
A good example is Pirouettes en dedans in
Intermediate Foundation and Intermediate.
Candidates should run onto the imaginary stage in
time with the music and position themselves in the
centre for the beginning of the exercise. Examiners
have reported that many candidates run well beyond
the centre.
Secure Knowledge
The Pupil and School Registration email address has
been changed from
[email protected] to
[email protected]. All requests for school
or candidate ID numbers should be sent to this
address.
Examiners often comment that they see candidates
who appear to have an insecure knowledge of the
work. In these situations results are compromised,
as it is difficult for candidates to demonstrate the
required levels of technique when trying to
remember sequences throughout the examination.
A possible suggestion to help address this would be
to rotate students for each exercise at the barre
during rehearsals; this would give all students an
opportunity of being at the front, and to realise
whether they have been copying rather than taking
responsibility for knowledge of the exercise.
Similarly in the centre, we recommend that students
are allowed to rehearse regularly at the front of the
class, in order to gain confidence and assurance in
the examination.
6
Performance Space
SECTION 3
SECTION 2
Certificates, Medals and Bars
Entrance into the Examination Studio
At all levels the entrance to the examination is not
marked. However, it is most helpful for both the
Examiner and candidates if a positive atmosphere is
created with a swift energetic run into the
examination room and a cheery salutation.
Music
Most candidates generally dance in time with the
music, but fewer manage to obtain a high mark for
the music components, due to a lack of appropriate
response to the music. To help them achieve higher
marks, candidates should be aware of the criteria
used to mark the response to music. Examiners are
looking for phrasing, dynamics and atmosphere.
7
Primary in Dance: Transfer of Weight
SYLLABUS AMENDMENTS
Examiners report that candidates still tend to focus
and perform to the Examiner rather than up and
beyond to an imaginary, large audience.
The quality of movement required in this step still
appears at times to be misunderstood. It should be
lyrical. It is not an elevated step; the toes do not
come off the floor: the same principle as a glissade.
The following amendments have been made to the 2012 reprints of syllabus books as indicated. Corrections
have been shaded.
Primary in Dance and new Grades 1–3:
Groups of three
In sets of three, it is preferable if the teacher
organises, prior to the examination day, which
candidates are going to dance in a pair, and who will
dance solo or with one of the candidates who has
already danced. This provides familiarity for the
candidates and helps them to dance with more
confidence. Take care if asking the same candidate
to do all the extra dancing: this can compromise the
energy levels of this candidate. Giving all candidates
a chance to dance solo or have an extra turn with
another partner is the best approach.
Intermediate Foundation and Intermediate:
Révérence
SECTION 4
SECTION 3
Performance
Pre-Primary in Dance Class Award and Primary in Dance Examination and Class Award:
Exercises and Dances
(First published 2008)
p3 – PP2. LEGS AND FEET
The Révérence is performed by one candidate at a
time. At the end of each Révérence, the Examiner
will thank the candidate, giving the candidate an
opportunity to respond to the Examiner and thank
the pianist. The same procedure will follow for each
candidate; after the last candidate has performed
the students collect their things and leave the room.
Candidates should not come back into the centre to
perform another Révérence.
Description of correction: Changed ankle flexed from left leg to right leg in bar 1 beat 2. Word notes are
3
unaffected. Benesh notation as follows:
PP2. LEGS AND FEET
Music A: Andante con moto
per
(1 bar of notation = 1 music bar)
Music B: Andante con moto
per
(1 bar of notation = 1 music bar)
INTRO
P


or less
or
S
D
,C
C3
'hug legs'
%
m
Intermediate Foundation: Set Exercises and Dances
p5 – VOCABULARY
P
%
D
Description of correction: Addition of ‘Pivots à terre’ to the vocabulary list as follows:
8
Pirouettes
En dehors: single from demi-plié in 4th position
En dedans: single from 4th position en fondu
Pirouettes
En dehors: single from demi-plié in 4th position
En dedans: single from 4th position en fondu
Single from 4th position en fondu in parallel retiré
Pivots
Pivots à terre
Pivots
Pivots à terre
Pivot steps
Pivot step de côté en face
Pivot step en tournant
9
p72 - POINTE WORK BARRE
Description of correction: Addition of ‘Temps liés’ to the vocabulary list as follows:
Description of correction: Correction in the number of counts per bar as follows:
Temps levés
Temps levés in attitude devant
Temps levés with low développé passé devant
Temps levés in parallel retiré
Temps levés in retire derrière
Temps levés in 1st and 2nd arabesque
Temps levés
Temps levés in attitude devant
Temps levés in parallel retiré
Temps levés in 1st and 2nd arabesque
Temps liés
Basic temps lié en avant
Basic temps lié to 2nd
Temps liés
Basic temps lié en avant
Basic temps lié to 2nd
Tours en l’air
Single tour en l’air
SECTION 4
SECTION 4
p6 – VOCABULARY
RISESIF-22
2
4
2 counts = 1 bar
Commence:
Facing barre 1st position
Bras bas
p73 - POINTE WORK BARRE
Description of correction: Amendment to time signature in the notation which requires a complete re-layout of
the Benesh notation as follows:
RISES
p24 and 25 – CENTRE PRACTICE – PORT DE BRAS – MALE AND FEMALE
Moderato
Description of correction: Change of wording in 3rd counts 1-8 of Port de bras (IF-09) as follows:

&
Close 5th devant
Bras bas
1-4
Basic temps lié en avant closing en face
Basic port de bras
5-8
Basic temps lié to 2nd closing en croisé
Basic port de bras Head erect on count 8
INTRO
¡
%
p30 – PIROUETTE EN DEDANS – MALE AND FEMALE
Description of correction: Change of wording in 1st counts 5&a6 of Pirouettes en dedans (IF-11) as follows:
5&a6Chassé de côté toward 7 and pas de
bourrée dessous 
%
%
Arms through 2nd to bras bas Head to
right and erect
%
I
p38 – ALLEGRO 2 – MALE AND FEMALE
%
%
I
%
*
Description of correction: Insertion of ‘to 2nd’ in wording for 2nd counts 1-2 of Allegro 2 (IF-14) as follows:
1-2
10
Echappé sauté battu fermé to 2nd with
change of feet
IN SILENCE
Arms to demi-seconde and bras bas
8 BARS
11
Description of correction: Allegro 1 (I-15) 2nd counts 1-2 and 5-6 wording changes from ‘in 4th’ to ‘to 4th’ as
follows:
p4 – VOCABULARY
Description of correction: Insertion of ‘Fouetté à terre’ into the vocabulary list as follows:
Fouettés
Fouetté à terre
Fouetté of adage
Coupé fouetté raccourci sauté
Coupé fouetté raccourci en pointe
Fouettés
Fouetté à terre
Fouetté of adage
Coupé fouetté raccourci sauté
1-2
Echappé sauté fermé to 4th
Arms through 1st to 3rd right arm
forward Head to right hand
3-4
Arms 2nd and bras bas
Echappé sauté fermé to 2nd with change of feet to face 1 closing en croisé
5-6 Echappé sauté fermé to 4th SECTION 4
SECTION 4
Intermediate: Set Exercises and Dances
Arms through 1st to 3rd left arm forward
and bras bas Head to left hand
p28 – ADAGE
Description of correction: Allegro 3 (I-17) 1st count 2 add ‘en avant’ as follows:
Description of correction: Barre Adage (I-09) 2nd count &a7 wording change to ‘Fouetté à terre’ as follows:
&1& Coupé dessous posé en avant and temps levé in 1st arabesque facing 6
2
Chassé passé en avant
&a7
Fouetté à terre to face other side
Arm through 1st to 2nd
p39 – PIROUETTES EN DEDANS & POSE PIROUETTES – FEMALE
Description of correction: Pirouette en dedans (I-13). Slight change in the Benesh notation of chassé de côté
on 1st count 7 to better match word description, as follows:
PIROUETTES EN DEDANS & POSE PIROUETTES - FEMALE
INTRO
Tempo di Valse
I
%
%
%
I
%
I
Arms through 1st to 1st arabesque
p54 – ALLEGRO 4 – MALE
Description of correction: Allegro 4 (I-18) 1st count 1-2 add ‘to 2nd’ as follows:
1-2 Grand échappé sauté battu fermé to 2nd with change of feet
3-4 Repeat to other side
Basic port de bras
%
m
%
&
$
H
%
I
h
"
&
h
12
13
%
I
'
%
8 BARS
%
%
I
q
&
%
R
PANEL OF EXAMINERS
July 2012 to October 2012
It is with great sadness that we said farewell to seven Examiners at the end of 2012. In recognition of many
years of loyal service, the Royal Academy of Dance extends sincere thanks and appreciation to:
Congratulations to the following:
Australia
Robyn Begg
Harry Davis
Kendal Davis
Danika Lampitt
Latisha Sparks
SECTION 6
SECTION 5
SUCCESSFUL SOLO SEAL AWARD CANDIDATES
Heather Long, RAD Vocational Grades Examiner, UK
Jean Nuckey, RAD Vocational Grades Examiner, UK
Joahne O'Hara, RAD Vocational Grades Examiner, UK
Patricia Stirling, RAD Dual Examiner, Australia
Roberta Waal, RAD Examiner, Canada
Debra Wayne, RAD Vocational Grades Examiner, Spain
New Zealand
Jean Wong, RAD Examiner, Hong Kong
Ariana Hond
Olivia James-Baird
14
15
Director of Examinations
Dr Andrew McBirnie
[email protected] / t: +44 (0)20 7326 8088
Head of Examinations
Gillian Sowerby
Examinations Operations Manager
Harriet Grant
Examinations Results Manager
Mark Rogers
Examinations Resources Manager
Tatum Dunn
Examinations Officer
(London, Middlesex and UK Specials)
Sandra Elphinston
Examinations Officer (UK Vocational Graded)
Brenda Strong
Examinations Officer (International)
Sara-Jane Mulryan
Examinations Administrative Officer
Louise Marshall
Examinations Administrator
Joanna Pigeon
Examinations Results Officer
Monica Camara
Examinations Data Processing Supervisor
Andrew Milton
UK – Regional Offices:
Scotland
Regional Manager: Jennifer MacFarlane
Northern England
Regional Manager: Debbie White
16
Midlands and East of England
Regional Manager: Julie Bowers
South West England, Wales & Channel Islands
Regional Manager: Claire Marks
[email protected] / t: +44 (0)1984 667 533 / f: +44 (0)1490 460594
South East England
Regional Manager: Sue Morice-Jones
Northern Ireland
Area Organiser: Millicent Brown
International Offices:
Australia & Papua New Guinea
Examinations & Training Manager: Kathryn Hughes
[email protected] / t: +61 2 9380 1908 / f: +61 2 9360 6677
www.rad.org.au
Benelux and France
Royal Academy of Dance Asbl
National Director: Jacqueline Spence
[email protected] / t: +352 787225 / f: +352 787217
[email protected] / www.rad.lu
Bermuda
Examinations Officer (International): Sara-Jane Mulryan
[email protected] / t: +44 (0)20 7326 8000 / f: +44 (0)20 7924 3129
Brazil, Peru, Ecuador & Chile
Royal Academy of Dance Brasil Ltda
National Director: Maria do Carmo de Kenny
[email protected] / t/f: +55 19 3892 3985
www.royalacademyofdance.com.br
Brunei
Canada
Manager, Graded Examinations: Mary Jane Collins
t: +1 416 489 2813 ext. 224
Manager, Vocational Graded Examinations: Lenore Orantia
t: +1 416 489 2813 ext. 225
www.radcanada.org
Caribbean (Jamaica, Guadeloupe, Bahamas,
Trinidad and Tobago, Barbados, St Lucia and Antigua)
National Manager: Diane C Bernard
China
[email protected] / t: 86 21 6597 6399 / f: 86 21 6513 7188
Chief Representative: Professor Ting Tina Chen
[email protected] / t: 86 21 6598 9068
Shanghai & Eastern China: Miss Ying Wang
[email protected] / t: 86 21 62483326
All other areas: Miss Ying Xi Chen
[email protected] / t: 86 21 63600998 – 808 (General Enquiry)
Cyprus
National Manager: George Shantos
www.rad.com.cy
Germany, Austria and Switzerland
National Director: Horst Vollmer
Royal Academy of Dance gGmbH
[email protected] / t: +49 (0)30 39 40 466 60 /
f: +49 (0)30 39 40 466 69
www.royalacademyofdance.de
Ghana
Greece
The British Council
RAD Representative: Veta Anastasopoulou
Hong Kong
Hong Kong Examinations & Assessment Authority
International and Professional Examinations Division
[email protected] / t: +852 3628 8761 / f: +852 3628 8790
India
Indonesia
Yayasan Royal Academy of Dance Indonesia
National Director: Lala Salendu
[email protected] / t: +62 21 75 90 93 63 /
f: +62 21 75 90 93 70
Ireland
National Manager: Beverley Dinsmore
[email protected] / t: (353) 419 811 915
Israel
Royal Academy of Dance Israel
National Manager: Gali Zamir
Italy
Royal Academy of Dance Srl
National Director: Manuela De Luca
www.raditaly.it
Japan
National Director: Noriko Kobayashi
Jordan
Kuwait
Lebanon
Macau
Malaysia
RAD Dancing (Malaysia) Sdn Bhd
National Director: Mrs Zafriah Ahmad
Malta
National Manager: Sandra Mifsud
[email protected] / t: (356) 7993 8584
www.rad.org.mt
Mexico, El Salvador, Honduras, Costa Rica,
Guatemala, Panama
Royal Academy of Dance de Mexico AC
National Director: Julieta Navarro
New Zealand
National Director: Janet Taylor
www.rad.org.nz
Norway, Sweden & Denmark
National Manager: Mrs Karina Lund
[email protected] / t: +47 95920812
www.royalacademyofdance.no
Philippines
The British Council
Examination Services Officer: Lauren Ann Pascua
[email protected] / t: +63 (2) 9141011-14 ext 147 /
f: +63 (2) 6373231
www.britishcouncil.org.ph
Portugal
National Director: Margarida Sa Fialho
Singapore
Royal Academy of Dance Singapore
National Director: Mona Lim
www.rad.sg
South Africa, Botswana, Kenya, Mauritius,
Mozambique, Namibia, Swaziland & Zimbabwe
AEC Tour Co-ordinator: Lorraine Redmayne
RAV Tour Co-ordinator: Idalina Lume
[email protected] / www.rad.org.za
EXAMINATIONS – CONTACTS
EXAMINATIONS – CONTACTS
UK Headquarters
Royal Academy of Dance
Examinations Department
36 Battersea Square
London SW11 3RA
www.rad.org.uk
South Korea
RAD Representative: Hyun Joo Ham
www.radkorea.org
Spain, Andorra & Gibraltar
Royal Academy of Dance SL
National Director: Maria José Antón
[email protected] / t: +34 977 34 24 89 / t/f: +34 977 34 19 35
www.rad.org.es
Sri Lanka
The British Council
RAD Representative: Ranmali Mirchandani
[email protected] / t: +94 11 452 1538 /
f: +94 11 258 7079
Taiwan
National Manager: Shu-Yu Lin
www.rad.org.tw
Thailand
RAD Dancing (Thailand) Co Ltd
National Director: Glenn van der Hoff
[email protected] / t/f: +6653 274841 / mobile: +6681564 562
www.radthailand.org
Turkey
The British Council
RAD Representative: Merve Kalyoncu
[email protected] /
t: +90 212 355 56 26 – 355 56 57
United Arab Emirates, Bahrain, Qatar & Oman
The British Council
RAD Representative: Faza Ali
[email protected] / t: +971 4 4259 547 /
t: +971 600 529 995
www.britishcouncil.org/me
United States of America
National Director: Patti Ashby
www.radusa.org
17
www.rad.org.uk
www.radenterprises.co.uk
www.twitter.com/RADheadquarters
www.facebook.com/RoyalAcademyofDance
Royal Academy of Dance® is a charity registered in England and Wales No. 312826

English - Royal Academy Of Dance

Transcription

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