Syllabus

The syllabus below contains all the information you need when entering the All England Dance Regional and National Finals, including Disciplines, Time Limits, Ages, Fees, Qualifying Marks, Awards & Teachers Notes.

Disciplines & Time Limits

Solos
Pre- Junior A B
Ballet*
1.5
Classical Greek
1.5
Contem-porary **
National
1.5
Character
1.5
Modern including Lyrical Modern
1.5
Song and Dance/ Musical Theatre
2
Tap
1.5
Solos
C
Ballet*
2
Classical Greek
2
Contem-porary **
National
2
Character
2
Modern including Lyrical Modern
2
Song and Dance/ Musical Theatre
2.5
Tap
2
Solos
D E
Ballet*
2
Classical Greek
2
Contem-porary **
2
National
2
Character
2
Modern including Lyrical Modern
2
Song and Dance/ Musical Theatre
2.5
Tap
2
Duets
Junior
Ballet*
2.5
Classical Greek
2.5
Contem-porary **
National
2.5
Character
2.5
Modern including Lyrical Modern
2.5
Song and Dance/ Musical Theatre
3
Tap
2.5
Duets
Int
Ballet*
2.5
Classical Greek
2.5
Contem-porary **
National
2.5
Character
2.5
Modern including Lyrical Modern
2.5
Song and Dance/ Musical Theatre
3
Tap
2.5
Duets
Sen
Ballet*
2.5
Classical Greek
2.5
Contem-porary **
2.5
National
2.5
Character
2.5
Modern including Lyrical Modern
2.5
Song and Dance/ Musical Theatre
3
Tap
2.5
Trios/ Q’tets
Jun
Ballet*
2.5
Classical Greek
2.5
Contem-porary **
National
2.5
Character
2.5
Modern including Lyrical Modern
2.5
Song and Dance/ Musical Theatre
3
Tap
2.5
Trios/ Q’tets
Int
Ballet*
2.5
Classical Greek
2.5
Contem-porary **
National
2.5
Character
2.5
Modern including Lyrical Modern
2.5
Song and Dance/ Musical Theatre
3
Tap
2.5
Trios/ Q’tets
Sen
Ballet*
2.5
Classical Greek
2.5
Contem-porary **
2.5
National
2.5
Character
2.5
Modern including Lyrical Modern
2.5
Song and Dance/ Musical Theatre
3
Tap
2.5
Groups
Jun
Ballet*
4
Classical Greek
4
Contem-porary **
National
4
Character
4
Modern including Lyrical Modern
4
Song and Dance/ Musical Theatre
4.5
Tap
4
Groups
Int
Ballet*
4
Classical Greek
4
Contem-porary **
National
4
Character
4
Modern including Lyrical Modern
4
Song and Dance/ Musical Theatre
4.5
Tap
4
Groups
Sen
Ballet*
4
Classical Greek
4
Contem-porary **
4
National
4
Character
4
Modern including Lyrical Modern
4
Song and Dance/ Musical Theatre
4.5
Tap
4

*All Ballet genres (classical, modern and stylised ballet) will be judged together in the class indicated. Only one dance from these disciplines may be entered. Ballet shoes should be worn. Pointe shoes to be worn by dancers over 13 years only.

** Dancers under 13 years may not perform in Contemporary sections.

Ages, Fees & Qualifying Marks 

Class
Solo Sections
Pre-Junior
Class A
Class B
Class C
Class D
Class E
Duets, Trios (including Quartets)
Junior
Intermediate
Senior
Groups
Junior
Intermediate
Senior
Age on 1 September 2021*
Solo Sections
6 & under
7 & 8 years
9 & 10 years
11 & 12 years
13 & 14 years
15 to 19 inclusive
Duets, Trios (including Quartets)
11 years & under
15 years & under
22 years & under
Groups
11 years & under
15 years & under
22 years & under
Fees
Solo Sections
£12
£12
£12
£12
£12
£12
Duets, Trios (including Quartets)
£10 per dancer
£10 per dancer
£10 per dancer
Groups
£5 per dancer
£5 per dancer
£5 per dancer
Qualifying Mark
Solo Sections
84
86
86
86
86
86
Duets, Trios (including Quartets)
86
86
86
Groups
86
86
86

* Accuracy in birth dates is essential when entering – see Rule 2

Awards

Regional Finals

At the Regional Finals the adjudicators will mark digitally on a tablet. Each adjudicator will mark out of 10. The final result will be out of 30. The marks will be sent to the scruniteer or Regional Director at the end of the section. The system adds the marks together. They will not be averaged.

All performances will be awarded the appropriate certificate which can be printed via the teacher portal.

Honours* – An outstanding performance technically, artistically with innovative choreographic quality and or entertainment value.

Honours – An exceptional performance both technically and artistically.

Distinction with Special Commendation – This award may be granted by the Panel of Adjudicators where they feel that the performance demonstrates a particular quality but are not able to give an Honours award.

Distinction – A very good performance demonstrating a full understanding of the work shown.

Commended – A satisfactory performance in terms of presentation and preparation.

SOLOS, DUETS, TRIOS & QUARTETS

Entry to the National Finals will be restricted to the 1st, 2nd & 3rd placed performances including ties.

  • The top three marks go to the National Finals without the requirement to achieve an Honours mark. If a performance qualifies for National Finals with a mark that is less than 21, this indicates further work is required, but has been selected to represent the region.
  • The marks for each performance will be available to the teacher via their own portal.
  • An Honours medal will be awarded to solos, duets, trios, and quartets which gain a mark of 21 (Honours) and above but is not in the first three places.

GROUPS

In Group sections only performances receiving 21 (Honours) and above will qualify for the National Finals.

  • Medals will be awarded in all Classes for 1st (Gold), 2nd (Silver) and 3rd (Bronze) Places
  • All group members will each receive the appropriate medal for 1st (Gold), 2nd (Silver) and 3rd (Bronze) Places.
  • Honours medals are not awarded to groups.

National Finals

Marks will not be awarded at the National Finals. Medals will be awarded in all Classes for 1st (Gold), 2nd (Silver) and 3rd (Bronze).

Important Notes for Teachers

The Regional Finals Adjudicating Panels will be looking for an outstanding and complete theatrical performance when awarding dancers Honours for entry to the National Finals. The following notes have been compiled in conjunction with the Regional and National Finals judges and it is hoped that teachers will find them helpful.

Adjudication

The three adjudicators on the panel will be judging separately, without conferring. Their individual assessments, supported by their knowledge and experience, are combined and the announced result represents a majority response to theperformance witnessed.

Performance

The adjudicators will be looking for a complete performance. It should display exceptional technique for the age group concerned and be strong, confident, theatrical and entertaining, with a good standard of body basics, appropriatecostuming and of an excellent musical standard.

Interest must be engaged at the outset and sustained until the very end.

Music

Avoid using popular music because unavoidable comparisons with professional performances will be inevitable. Musicshould be age appropriate and the use of inappropriate language is unacceptable.

The quality of musical recordings is crucial. They should be of a suitable length and without cuts that destroy the shape, development and ending of the music, spoiling the performance. CD recordings are not always reliable and, if used, it isessential to have a backup for use in an emergency.

Make-up

Theatrical make-up should be appropriate, enhancing the features to replace the colour the lights have removed.Avoid heavy make-up, blue and green eye shadows (which “close” the eyes), heavy brown blusher and pink, purple or brown lipsticks (which become grey under the lights) and the use of face and body glitter/oil, unless relevant to the theme of thedance.

Costumes

Costumes of the correct length should be well fitting with head-dresses and hairstyles that compliment the dancer.Choose a well-fitted tutu that sits on the hips. Simple tutus and headdresses are preferable to over-elaboration. Loss of an item of costume, or loose shoe ribbons, will mark down the performance. The correct underwear is essential in all sections.

Props

If props are to be used at all, they should be flame-resistant, not exceed 10 kg, be appropriate and be a fully integrated part of the performance. Hand props should be relevant to the situation showing appropriate size, shape, period, weight and texture of the article: judged by the way they are handled, they should be convincing. Dangerous props, such as naked flame, glass, rice and real flowers must not be used. Any props that require the stage to beswept after use are discouraged.

Dance Criteria

Ballet

To include Classical Ballet/ Stylised Ballet/ Modern Ballet. Any style of Ballet may be danced in this section. One dance only percompetitor.

Classical Ballet. Should include Adage and Allegro. Costumes should ensure that every aspect of Classical Technique isclearly visible. Repertoire is not allowed.

Stylised Ballet. A communication of an idea through movement, danced with Classical Technique when using hand props or with a traditional style, such as Hornpipe, Spanish, Tarantella. Soft or pointe shoes must be worn.

Modern Ballet. A fusion which combines Classical Ballet and Modern Ballet genres but may be danced with a parallelline of leg.

Please Note In This Section Soft Or Pointe Shoes Must Be Worn

Character

A dramatic, artistic or sometimes humorous presentation of:

  • A story /character from any book, poem, play, film, history, cartoon, original created theme,
  • The mannerisms and essential features of animals, birds, insects, reptiles, virus, and topical interpretations ofabstract

Appropriate technique for the character should be used. This is a classical dance style.

Contemporary

Technically the work may reference Limon / Horton / Graham / Cunningham / Release / Flying Low / GaGa or any other recognised Contemporary technique and should be underpinned with a strong classical base. The work should show an understanding of choreographic content and a clear reference to the defined principles of contraction and release, fall and rebound, use of breath and gravity and successive or initiated movement. Whilst there is an athletic strength to the work, acrobatic work should be minimal and used only to enhance the choreographic work. Floorwork should be embraced and used tomake clear transitions/patterning.

Music: The range of music choices for contemporary is very broad. Classical, contemporary, folk, world, popular music areacceptable. Spoken word, text, or found sound are all to be encouraged.

Costume: This should be considered to be part of the design of the overall piece of choreography and should complement and enhance the movement vocabulary. The style can be unique/original and should make the aesthetic look of the piece coherent.Socks may be worn if they are safe.

Titles: A title for the piece should be given to describe and inform the audience of the choreographic intention.

Greek

Following the technique of Ruby Ginner, classical Greek is performed barefoot and essentially showing the use of oppositionand relaxation through the movement which was core to Ms Ginner’s work.

Dances should reflect the title. Myths, studies from nature and modern-day themes are acceptable, together with the accompaniment of many different genres of music or the spoken word, provided the movements are given their appropriate interpretation and relate to one or more of the seven styles of this technique. (The seven styles of Greek dance are;

Lyric, Athletic, Bacchic, Pyrrhic, Choric, Ritual, Tragic)

There is an exciting world of Classical Greek beyond Lyrical to explore!

Modern/Lyrical Modern

The range of choreographic styles and techniques is diverse. Modern, Lyrical, Jazz, Commercial, Hip Hop and all styles of Modern Theatre Dance are appropriate. These styles are informed by the choice of music, and from that the choreography should reflect the movement vocabulary. Acrobatic/Gymnastic movements are acceptable but must be combined with a recognisable dance technique and a theatrical and artistic quality. However acrobatic ‘tricks’ should be minimal and not become the main focus of the choreography. All routines should observe safe dance practice and MUST be appropriate for the age andability of the performer. Suggestive music and choreographic content are not acceptable for a festival platform. Music withoffensive lyrics is also not suitable.

Lyrical Modern work should show flowing movements that purely express the emotion of the music. Gymnastic and acrobatic work is not allowed, and floor work should be kept to an absolute minimum. Music: The choice of music is most important within this genre in relation to the age of the performer. They should be able to understand the context of the lyrics or style of the instrumental in order for them to give a true interpretation of the music.

Costume: Costume choices should be relevant and appropriate for the style of music. There should be some coherence between the design, colour, embellishments and also a responsible and appropriate acknowledgement to the age of theperformer and what they are wearing.

Performance: Expression should complement the style of the music as reflected in the choreography and there should be ajourney in the storytelling of the dance.

National

All traditional music, songs and technique appropriate to the country of choice are acceptable. Younger competitors are expected to demonstrate traditional performances. Seniors may introduce theatrical performances that are clearly based on anational tradition.

Song & Dance (Pre-Juniors, A & B) and Musical Theatre (C, D & E)

The song chosen needs to be age appropriate. Generally, songs with a narrative work best, which usually come from musicals or movie musicals. Over-staging and gesturing of the song are discouraged. The performance should have a natural heightened feel that has spontaneity. The chosen song should be in a key that suits the performer; jumping up and down the octave if a song is toohigh really doesn’t work.

Performers should be encouraged to research the context and style of the song and use basic acting skills to tell the story,e.g. Who am I? Where am I? Why am I telling this story? What is my ‘want’?

The song shouldn’t be overly cut so that the text makes no sense.

Where dance is used, the dance should come as an alternative way of expressing the theme of the song, but there shouldn’t be dance for dance sake. Any dance choreography doesn’t have to have the kitchen sink in it and should express the content. For example, the song ‘Show Off’ could have split leaps in but ‘On My Own’ or “Why God Why?’ should not. The requirement is certainly NOT 50% dance 50% singing. Some songs really don’t merit too much dancing. The character of Eponine does not do split leaps in Les Miserables, but Billy Elliot does in Electricity. The character and story must be sustained and developed in the dance break, the audience should know more of the story and characterisation after the dance break than before.

Performances should not be copied from YouTube – individuality makes an interesting Musical Theatre performer. If the performer doesn’t have the vocal skill or stamina to do a reprise at the end, perhaps they shouldn’t BUT it is a really great wayof finishing a number.

Breathing for dance and singing can be different, singing breath technique tops dance breathing in this discipline. Festivals, on the whole, don’t mic song and dance. The more you push the voice the more out of tune you get. It is recommended to do all the singing towards the front of the stage (to help with projection; not all voices are big, loud isn’t necessarily better.

On the whole American songs should be sung with an American accent – otherwise the rhymes don’t work. In order to get clear end of lines, a performer could sing with American vowels and British consonants, so we get clear end of lines. Use of the punctuation of the text tells a performer when to breath so that you don’t take a breath mid-sentence or mid-thought.

Singing in a musical is because you can’t express yourself anymore by saying it! This is a heightened style of theatre that needs confidence and truth at the same time. Make sure you know what you are singing about! Communication is a winner!

Tap

All styles and developments in technique, including characterisation and humour, are encouraged providing the rhythms, clarity of beating and presentation of the routine is fully sustained and appropriate to the chosen musical style.