New projects.

Frank Andersen, director of Royal Danish Ballet from 1985 to 1994, is now director of Royal Swedish Ballet in Stockholm. As a former RDB principal, will he present Bournonville technique and repertoire at RSB? "Not at all," says Andersen. "The school is and has been a major one, and there will be an exploration of ways to make it even better."

As for RSB repertoire, says Andersen, "It will have its own identity. Everyone has asked: `Will you produce Bournonville ballets?'the answer is `No.' We have to find our own tradition."

While choreographer Birgit Cullberg and others typify contemporary Swedish style, Andersen intends to go back to 1773 and Gustave III, whose ballet master, in 1792, was Antoine Boumonville, the father of August, in order to extend the heritage of Swedish ballet, as well as present contemporary choreography.

"So there is our link," Andersen explains. "I am going to investigate the restaging of some of Antoine's ballets that have been performed in the court theaters near Stockholm." He was referring to the restorations of ballets by Mary Skeaping, when she was director of RSB in the 1950s, as performed in Drottningholm Court Theatre.

Another link to investigate," adds Andersen, "is the short (1920-1925) but significant existence of Les Ballets Suedois (Swedish Ballet) founded by Rolf de Mare, with Jean Borlin's ballets created in 1920's avant-garde style.

"On our two hundred twenty-fifth anniversary in 1998, Stockholm will see the revival of some of these works in Drottningholm and other theaters. It will be Ballet City '98. This is the path of our identity."

Kathryn Wade, director of the English National Ballet School, has found a new facility for the institution. "I looked so hard throughout London for a suitable building," says Wade, "I could qualify for a taxi driver's test!"

Wade's school is best described as a finishing school for students, as young as fifteen years of age, who need correction and polishing in order to gain employment. "There is a diversity of backgrounds in our young dancers. They have been trained in the methodology of the Royal Academy of Dancing, the Cecehetti, or Russian systems. That is not a factor here. We provide instruction in whatever has been missing, give them performance opportunities, and help them get to the point of professional employment.

"And, of course," Wade adds, "our affiliation with the English National Ballet gives our dancers additional incentives and goals."

For brochure and other information, contact ENBS, Carlyle Building, Hortensia Road, London SWIO OQS, England.

Creating future dance audiences and rewarding the accomplishments of young dancers is the new project of Mignon Furman. Her American Academy of Ballet Performance Awards is a program that uses videos, audiocassettes, teachers' notes, and sheet music to set a standard that awards students who master each level, from I through 12. The material includes instruction and dances suitable to each level and age (approximately six to eighteen).

The award performance, ending in a presentation of medals, is an examination of a student's execution of class material and the quality of his or her performance of the designated dance.

"Learning stagecraft and artistry at an early age," says Furman, "at the same time the student develops technique, is necessary. The awards provide incentive and the joy of accomplishment."

For information on workshops, seminars, instruction in use of the performance award program, and purchase of awards material, write to AAB, 250 W. 90 Street, #3A, New York, NY 10024; or telephone [phone]; fax [phone].

Second Nureyev Competition

EuroDance Foundation and the Hungarian State Opera held the second International Ballet Competition in memory of Rudolf Nureyev March 9 to 17 in Budapest.

Awarded were: In the male category, first prize, Joaquin De Luz (Spain); two second prizes, Andrei Batalov (Russia), Tamds Nagy (Hungary); no third prize was given.

In the female category: first prize, Alexandra Kozmdr (Hungary); second prize, Elena Tumanova (Russia); third prize, Leila Alpieva Kazakhstan).

Special junior dancer award went to Vanessa Zahorian (USA); best partner, Andrei Batalov (Russia); and best noncompeting partner, Anna Resnik (Russia).

For information concerning the third competition, to be held in March 1998, contact: Roland Bokor, Andrassy it 22, Hungarian State Opera, H-1061 Budapest, Hungary.