The Royal Academy of Dance offers three syllabi in Classical Ballet. There are two examination syllabi, known as Grades Examinations in Dance and Vocational Grades Examinations in Dance. There is also a non-assessed syllabus known as Presentation Classes. All are designed to recognize the progress and achievement of children and young people.
Students may begin with the Grades Syllabus, and after Grade 5 can either continue to Grade 8 and/or opt to follow the Vocational Grades Syllabus. The Vocational levels are designed for students wishing to study Classical Ballet seriously, possibly with the goal of pursuing a career in dance or dance related subjects.


Why take exams with the Royal Academy of Dance? 

• To attain your personal best and have fun
• To have a goal to work towards
• To receive recognition from the world's largest examining body
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Students can only be entered for an RAD exam or Presentation Class by a qualified teacher who holds Academy Registered Teacher Status.

With over 13,000 members spread over 79 countries, the RAD is now an influential network in dance education worldwide. The Academy offers twosyllabi: a graded syllabus and a vocational graded syllabus. The grades are designed for the once-a-week child, whereas the vocational grades are suitable for students wishing to pursue a dance career. Additionally, the RAD's Faculty of Education trains dancers to work as teachers in private and public education. 

WHY STUDY IT? 

Karen Berry, an RAD registered teacher in Aberdeen, England, and a member of the RAD executive committee, explains that a dynamic, structured organization like RAD provides teachers and students "with support and guidance at every step along the way." Clear criteria are set for each grade, which students must meet before advancing to the next level. 

Stella Abrera, a soloist with American Ballet Theatre, trained exclusively in the technique from the age of 12. "Training all year for an exam made it possible for my teachers to make sure that I developed at a good but steady pace," she says. "It controlled my tendency to try steps that were beyond my capabilities at that time." Plus, Abrera notes that the vocational graded exams focused on good placement and on the correct use of epaulement. These eventually became second nature, freeing her up to explore different movement qualities and become the gorgeous dancer she is today. 

RAD training is known for technical proficiency and clean lines. A Balanchine trained dancer who works toward intense speed, for example, would benefit from studying RAD because it emphasizes correct placement and academic lines, which force the dancer to pace his or her dancing and give attention to each step. The use of the upper body is expansive and generous, allowing freedom of expression within an otherwise strict form. 

Because RAD training produces clean, technical dancers without any mannerisms, they can adapt to a wide range of styles. Legendary dancers like Lynn Seymour and Anthony Dowell; established artists like Darcey Bussell, Jonathan Cope, and Christopher Wheeldon; and rising stars Lauren Cuthbertson and Steven MacRae of The Royal Ballet and Nutnaree Pipit-Suksun of San Francisco Ballet have all blossomed because of their RAD training. 

KEY STEPS 

* RAD places great emphasis on posture, turnout, transfer of weight, line, coordination, elevation, articulated footwork, and secure leg extensions. 

* Musical elements such as rhythm and dynamics, along with performance elements such as expression, communication, and interpretation are given as much attention as technique. 

* The free movement section of the graded syllabus incorporates other dance styles such as natural movement, contemporary dance, and Greekfolk dance. This encourages relaxation, an awareness of weight and gravity, coordination, correct breathing, and the ability to cover space. 

* Character dance is another element of the syllabus, presenting national dances using original ethnic movements and music. Hungarian, Russian, and Polish styles are taught because of their appearance in classical ballets.