Acosta Advanced Training Hub +18 (year 3)

The only pre-professional programme in the UK offering up to 10 tuition-free places per year.

Pre‑Professional Year (AATH Year 3) | Academic Year 2026–2027

The Acosta Advanced Training Hub +18 is the third year (Year 3) of the AATH programme. A prestigious, one (1) year‑long pre‑professional course in ballet and contemporary dance. Designed to bridge the gap between advanced training and a professional dance career, the AATH +18 offers a fully immersive experience that prepares exceptional young dancers for the demands of the international stage.

This highly selective programme is open to graduates of AATH Years 1–2 (or by audition/invitation for external candidates) who have demonstrated the highest artistic, technical, and professional readiness.

Under the artistic leadership and vision of Carlos Acosta, the AATH +18 provides:

  • Intensive daily training in ballet and contemporary dance
  • Individualised coaching and mentoring
  • Performance and choreography opportunities in professional contexts
  • Career development guidance, including audition preparation and industry networking
  • Exposure to guest artists, creative residencies, and masterclasses with leading professionals

The programme’s curriculum integrates advanced technique, artistry, and professional practice to equip dancers for a smooth transition into company life or further career opportunities in the performing arts sector.

Delivered at the Acosta Dance Centre in London, the AATH +18 embodies the Acosta Dance Foundation’s commitment to accessibility, excellence, and opportunity. Each year, the Foundation allocates a number of full scholarships to support dancers undertaking this pre‑professional year of training, ensuring that talent and potential  -not financial limitation- define who can access this transformative experience.

Deadline

Applications for the AATH Sept 26 – Jul 27 are now OPEN

Course Length

AATH will run from September 2026 to July 2027

Course Fees

Application Fee £25

While we have an application fee of £25 to cover administrative costs, we also invite those students who are accepted into the programme for free, to support our charitable mission with an additional voluntary donation of £245 for us to continue our work of creating a dancer in every home.

Auditions

April 11 2026

A Solid Cuban Curriculum

Carlos Acosta’s curriculum is the central pillar of our training hub, offering a unique and unparalleled approach to dance training. Through a combination of Cuban dance and ballet culture, our programme focuses on developing strong technique, versatility, and performance skills.

As a Cuban-born dancer, Carlos Acosta brings a unique blend of Cuban dance and ballet culture to the Acosta Advanced Training Hub curriculum. Our comprehensive training program encompasses contemporary classes, ballet techniques, Cuban folklore, supplementary pointe work sessions, coaching, conditioning, pas de deux (PDD) classes, mentoring, and repertoire from Acosta Danza and other esteemed guest choreographers. This multifaceted approach aims to cultivate students’ technical prowess, artistic expression, versatility and create a pathway for future job opportunities.

Our Purpose

Our mission is to empower the community through dance, fostering a vibrant dance sector that thrives alongside the ever-changing global dance landscape. We aim to ignite a deep passion for the transformative power of dance, inspiring individuals to embrace its potential and actively participate in its growth.

Programme Structure

The AATH +18 Pre‑Professional Programme is built upon a comprehensive curriculum designed around four essential pillars:

  1. Performance – Regular stage and studio performance opportunities to develop versatility, confidence, and artistry.
  2. Audition Preparation – Intensive focus on audition techniques, repertoire selection, and career planning to support a successful transition into professional companies.
  3. Mentoring & Apprenticeship – Personalised guidance from mentors and opportunities to shadow professional artists, bridging the gap between training and industry practice.
  4. Choreographic Workshops – Exclusive, hands‑on sessions with renowned choreographers, offering unique insight into their creative processes while helping dancers build meaningful professional networks.

These pillars are enriched through collaborations with guest choreographers and teachers who are active leaders in today’s dance industry. This dynamic exchange of expertise helps dancers thrive in diverse professional environments and fosters connections that support long‑term career development.

Entry Requirements

Admission to the Acosta Advanced Training Hub +18 is by application and workshop‑based audition. Candidates must be 18 years of age or older at the start of the course.

This pre‑professional year is primarily designed for dancers completing Years 1 and 2 of the Acosta Advanced Training Hub, providing them with a natural progression into AATH Year 3. However, a limited number of places are also available each year to external candidates, either through audition, direct invitation, or on the basis of scholarship selection for outstanding artistic talent.

The +18 programme offers an immersive experience in pre‑professional training, combining rigorous ballet and contemporary techniques. Delivered by experienced teachers and dance artists from the Acosta Dance Foundation and the Acosta team in the UK, the programme nurtures technical mastery, artistic maturity, and the professional mindset needed for a sustainable and successful career in dance.

Team

Javier Torres

Managing & Creative Director

Javier Torres, hailing from Cuba, is widely recognized as one of the finest Cuban dancers of his generation. With a deep passion for dance and a keen understanding of its business aspects, Javier has stablished himself as an
exceptional artist. Over his two-decade-long career, he has demonstrated his expertise in the performing arts industry, evolving from an acclaimed professional dancer to an executive cultural manage.

Javier possesses a wealth of skills and knowledge in research, dance education, dance leadership, communication, and business strategy. He currently serves as Vice-Chair with Serendipity-UK and is a Fellow of the Royal Society of Arts. Additionally, he is a member of the International Dance Council (CID-UNESCO). These roles reflect his commitment to furthering dance and cultural initiatives on a global scale.

Academically, Javier holds a Bachelor of Arts (Hons) in Business Management and Leadership Practices from The Open University in the UK. He has also earned a Master's in Business Administration (MBA) from the University of Cumbria, further enhancing his ability to navigate the complexities of the dance industry. His adaptive nature and professional competence make him well-suited to excel in the demanding world of dance.

Javier's education in dance began at the Elementary Ballet School "Alejo Carpentier" in Havana, Cuba. He then continued his training at the National Ballet School Fernando Alonso, where he graduated with honors as a ballet dancer and ballet teacher. This solid foundation laid the groundwork for his subsequent achievements.

In terms of administrative and executive experiences, Javier has held several noteworthy positions. He currently serves as the Managing Director of the Acosta Dance Foundation and Acosta Dance Centre in the UK. Prior to this, he was the Executive Director of OG ART & PRODUCTIONS and the Executive Director of Dance Open America, an international dance competition. Additionally, he has worked in artists representation with We Dance Agency and as a Business Operations Manager with the Sansha Group across multiple countries.

Javier's career as a dancer began in 2000 when he joined the Ballet Nacional de Cuba under the artistic-technical guidance of Alicia Alonso. Throughout his tenure, he had the privilege of working closely with esteemed ballet coaches and mentors. He was promoted to Principal Dancer in 2004 and eventually became a Premier Dancer in 2009. Javier's performances with the Ballet Nacional de Cuba have taken him to numerous countries across the Americas, Europe, and Asia. He has also graced the stage as a Guest Star in international galas and festivals, showcasing his talent and artistry.

In 2010, Javier joined the Northern Ballet under the artistic guidance of David Nixon OBE. As a Premier Dancer, he has played leading roles in various productions, including The Nutcracker, Swan Lake, Ondine, Beauty & the Beast, Hamlet, Madame Butterfly, Wuthering Heights, Peter Pan, Cleopatra, and more. His repertoire extends to classical, contemporary, and neoclassical works, demonstrating his versatility and technical prowess.

Throughout his career, Javier has garnered numerous awards, honors, and citations. He has received mentions in the Honour Book of the Havana Grand Theatre for his exceptional performances. He was also recognized with the Cuban Artists and Writers Union Villanueva Prize and received the "Constructores de la Danza" award for his contributions to the culture of Ceara in Brazil. In the UK, he has been nominated for prestigious awards such as the Dancing Times Award for Best Male Dancer and the One Dance UK Dance Personality of the Year. Notably, he has won the One Dance UK People's Choice Awards multiple times, solidifying his standing as a beloved and celebrated dancer.

Javier Torres is a proud member of One Dance UK, the International Dance Council CID,
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Ludovic Ondiviela

AATH+18 Artistic Lead

Originally from France, dancer and choreographer Ludovic Ondiviela is a former dancer of The Royal Ballet. Ondiviela was born in Perpignan. At the age of 11, he entered the Paris
Opera Ballet School, and at the age of 13, he joined the Marseille Studio Ballet Colette Armand. He later continued his training at The Royal Ballet Upper School on a Prix de Lausanne scholarship. Among his other awards are: Silver medal at the 2000 Concours International de Danse, Paris. Gold medal at the Roseta Mauri Competition in 2002. In his graduation year, he performed the lead role in Christopher Wheeldon’s “Le Voyage” and the first couple in Kenneth MacMillan’s “Concerto” at the School’s annual matinee. Ondiviela’s repertoire with the Royal Ballet included roles such as the Bronze Idol in “La Bayadère,” Hans-Peter/Nutcracker in “The Nutcracker,” Tom Thumb in “Tales of Beatrix Potter,” Alain in “La fille mal gardée,” Kolia in “A Month in the Country,” and Puck in “The Dream.” He also performed in “Symphonic Variations,” “Swan Lake,” “Pas de trois,” “Les Patineurs,” and “Blue Boy.” Additionally, he created principal roles in Alastair Mariott’s “Children of Adam,” Wayne Macgregor’s “Chroma,” “Infra,” and “Limen,” as well as Christopher Wheeldon’s “Alice in Wonderland.” Since leaving the Royal Ballet, Ludovic has choreographed several works, including “Dopamine” for Ballet Black, “Lost” for Ballet Ireland, “Cassandra” for the Royal Ballet at the Royal Opera House, “4 times 4” for Gandini Juggling, “Sliver Of Sky” for Amnesty International (featuring the Royal Ballet, ENB, and Rambert), an Activia commercial directed by Jordan Scott, Julien David’s catwalk show at Paris Fashion Week, “La Ronde” (ROH rehearsal and development), “Giselle” for Ballet Ireland at the Edinburgh festival, “Insomniac Fables” for Makeshift Company in Helsinki, and “Untitled” for Scottish Ballet (rehearsal and development) and Huis Clos at the Montreux Festival (Paris Opera). He has also worked on “Systeme AI” for Men In Motion/Ukrainian National Ballet at Sadler’s Wells. Ludovic has completed a professional drama training course at the Actors Temple in London, where he learned the Meisner technique of acting. Furthermore, Ludovic has been teaching ballet and choreography classes for Enavant Ballet School in London, Danceworks London, Vanessa Palmer School of Dance, the Royal Ballet School, Ballet Ireland, Scottish Ballet, and the Royal Ballet.
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Yaday Ponce

Cuban curriculum & Teacher

Yaday Ponce, a talented dancer and teacher, embarked on her dance journey at the Vocational Art School "Alfonso Perez Isaac" in Matanzas, her hometown, in 1990. There, she honed her skills in classial ballet and
contemporary dance. After three years of study at the National School of Dance in Havana, she graduated in 1998 as a dancer and teacher, specializing in Modern and Folkloric Dance. She joined the esteemed cast of Contemporary Dance of Cuba, led by maestro Miguel Iglesias, where she excelled as a first dancer and also worked as a Maitre.

Between 2009 and 2014, Yaday pursued her studies at the University of Arts (ISA), earning a degree in dance with a focus on Contemporary Dance. Throughout her career, she has received training in classical and modern techniques from renowned masters such as Isidro Rolando, Manolo Vazquez, MatsEk, Ana Laguna, Keneth Kvamström, Juan Kruz, Itzik Galili, and Pedro Ruiz.

Yaday Ponce's talent has been showcased in various festivals worldwide, including Movements and Festwochen der Autostadt in Wolfsburg, Germany; Festival of New Dance, Balance, Italy; Festival Szeged, Hungary; the II Dance Biennial of Venice; the Dance Biennial in Martinique; and the International Ballet Festival of Havana. She has graced prominent stages such as Sadler's Wells in Great Britain, La Fenice in Italy, and the National Auditorium in Mexico. Yaday has shared the stage with esteemed figures in the international dance scene, including Carlos Acosta, Hernan Cornejo, Rasta Thomas, and Jose Manuel Carreno. Her talents have also extended to the realm of film, television, and advertisements.

In addition to her performing career, Yaday has devoted herself to teaching. She has conducted classes and workshops on Modern Technique and provided artistic guidance to various groups and institutions, including the National Dance Company of Venezuela, University of The Arts Tish School in the United States, and Group Piel Canela in Cuba. She has also participated in methodological meetings in Cuban art schools and served as a jury member in examinations and evaluations across the country.

Yaday Ponce has received numerous awards and recognitions both individually and as part of the Contemporary Dance of Cuba. Some of her accolades include the Ramiro Guerra Award for feminine interpretation from the Hermanos Saiz Association, Recognition for her invaluable contribution to Contemporary Dance of Cuba, Recognition from the Hermanos Saiz Association, Moon Award for the staging of Carmina Burana in Mexico, and the Lukas Prize for best production on UK stages at the Latin UK Awards.

Since 2016, Yaday has been working as Artistic Director & teacher of Modern Dance and Maitre in the renowned Acosta Dance Company under the direction of Carlos Acosta. Her professional repertoire boasts an impressive collection of choreographies, including Genesis for a carnival by Narciso Medina, Yerma by Roberto Blanco, Folía and Compass by Jan Linkens, Crystal Cave by Lidice Nunez, and Tocororo, Cuban fable by Carlos Acosta, among others. She has performed on stages across England, Portugal, Austria, Venezuela, Spain, the United States, Italy, and China, captivating audiences with her exceptional talent and artistry.
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Miguel Altunaga

Guest Teacher/Choreographer

Miguel Altunaga trained at the National School of Art, which led to 6 years of performing as a principal dancer for the National Contemporary Dance Company. He joined Rambert in 2007 and has served inworks by Gary
Stewart, Christopher Bruce, Itzik Galili, and many others. In 2021 he joined the Hofesh Shechter Company for the Double Murder tour. He has worked with the Akram Khan Company. As a choreographer and movement director, Miguel has created works for Danza Contemporanea de Cuba, Rambert, Phoenix Dance Theatre, Simply Red, Carlos Acosta and Acosta Danza. The Royal Ballet commissioned him to create Dark Eye for the Deloitte Ignite Festival in 2014 and for Birmingham Royal Ballet in 2021. Miguel won the Cuban Best Male Solo Award in 2002, and in 2003 was chosen by Carlos Acosta to perform in Tocororo, which toured internationally from 2003 to 2007. In 2014, 2016, 2017 and 2018, he was nominated for Outstanding Male Performance and Best Dancer by the Critics’ Circle National Dance Awards UK.
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Estela Merlos

Contemporary teacher

Born in Barcelona, and of Spanish-Filipino heritage, Estela trained at Escola de Dansa Madó and Central School of Ballet in London. Upon graduating in 2004 she danced with Cannes
Jeune Ballet RosellaHightower and IT Dansa, before joining Rambert (2008 - 2014). Throughout this time she performed repertoire by acclaimed choreographers such as Jiří Kylián, Nacho Duato, Christopher Bruce, Carolyn Carlson, Itzik Galili, and contributed to the creation of new works by Alexander Ekman, Rafael Bonachela, Javier de Frutos, Marguerite Donlon, among notable others.

Since 2014 she has worked on projects across dance, film, theatre and opera, collaborating as a performer, rehearsal director and assistant choreographer with artists and organisations including Shobana Jeyasingh, Marcos Morau | La Veronal, Boris Charmatz, Didy Veldman, Russel Maliphant, Opera National du Rhin, New Movement Collective, Miguel Altunaga, Avatâra Ayuso. In April 2019 she was invited by the Merce Cunningham Trust to perform in the worldwide presentation Night of 100 Solos: A Centennial Event in celebration of Cunningham's 100th birthday at the Barbican Theatre.

As a choreographer she has received commissions to present her own work across a variety of theatres, public spaces and online platforms across the UK and Spain.

Estela has delivered a wide range of classes, workshops and one-to-one sessions for professionals, vocational and pre-vocational students and community members across Europe, China and South Africa. As a certified teacher of the Feldenkrais Method ®, her ongoing research is rooted in promoting awareness through movement to cultivate health and sustainable practice in the dance sector and in the wider community. Estela currently teaches at The Royal Ballet School and has been third year core contemporary tutor at English National Ballet School since 2022.
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Luanda Pau

Afrocuban Teacher

Meet your teacher Luanda Pau: From Cuba, Luanda comes from a legendary dance family in Havana. Her mum Rosa Baquero was the artistic director and choreographer of the famous
Cabaret “Parisien & Tropicana de Cuba“, and her dad is the legendary Afro-Cuban dance Maestro Domingo Pau.

Before starting her dance career, Luanda was in athletics. In 1991 she began her studies at the National School of Arts, where she remained untl 1994. Later she entered the renowned National Folkloric Ballet of Cuba (NFBC), where she danced as a soloist and principal dancer. She is a master in the role of Oya and Yemayá. She was also a solo dancer in the cabaret show at the Casino de Montecarlo in Monaco.

She graduated with a bachelor’s in cultural activities and sports & education and has an extensive history working with children and adults as an independent dance teacher.
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To explore audition dates and registration details for the AATH +18, please visit our Auditions page.

Consider supporting the AATH

If you share our passion for nurturing the next generation of dancers, we wholeheartedly welcome you to be a part of our mission to create a dancer in every home. By supporting the Acosta Advanced Training Hub programme, you can make a significant difference in the development of future dancers.

One way to support us is by giving a student the opportunity to thrive. Your contribution will directly contribute to the success of this program, which incurs an approximate cost of £66,750 per year for the Acosta Dance Foundation. By investing in a student’s training, you will play a crucial role in shaping their future and empowering them to reach their full potential.

SUPPORT THE AATH

F.A.Q

Any vocationally trained aspiring dancer aged 18 at the start of the course.

The Acosta Advanced Training Hub is a platform designed to offer high-quality training and pre-professional development opportunities in the field of dance. It provides an enriching and challenging environment for participants to enhance their skills and knowledge. However, it’s important to note that participation in the Acosta Advanced Training Hub does not guarantee or imply job placement. The program’s focus is on education and development, and any future professional opportunities will be based on individual merit and performance.

Nothing at all – just bring the best version of you on the day and try not to be too nervous.

Please visit our audition page.

This programme is not free and is delivered as a professional, full-time training experience. Each year, we offer 10 fully funded scholarships to outstanding candidates based on merit and need.

All applicants are required to pay a £25 application fee, which covers administrative and audition processing costs.

For students who are not awarded a full scholarship, the tuition fee is £14,000 for the academic year.

Students who are accepted with full tuition covered are invited, voluntarily, to support our charitable mission with a £245 contribution. This donation helps us continue our work to make high-quality dance training accessible and to advance our vision of creating a dancer in every home.

The AATH program covers a comprehensive range of aspects necessary for a professional career in both classical and contemporary dance. Participants will have the opportunity to engage in ballet classes, contemporary dance training, partnering work (PDD), pointework, Cuban Folklore, creative workshops, virtuosity training, audition and performance skills development, mentoring, apprenticeships, collaborations with guest choreographers, and various other valuable opportunities. We aim to provide a well-rounded training experience that equips participants with the necessary skills and knowledge to enhance their employment prospects in the dance industry.

We will present to you a graduation certificate stating you have completed the course.

While this course covers various elements connected to the work of Carlos Acosta in Acosta Danza, it is crucial to emphasize that participation is contingent upon auditions and aims to offer an equitable opportunity to all applicants. We are dedicated to maintaining a transparent selection process that welcomes individuals from diverse backgrounds. It is important to note that successful completion of this course does not guarantee direct entry into Acosta Danza.

Although the foundation has made a substantial financial commitment to cover most of the costs associated with this course, it is important to note that participants will be responsible for their accommodation, travel expenses, and daily transportation to the Acosta Dance Centre for training. We encourage prospective participants to ensure they have the necessary resources to cover these expenses before applying.

Yes. We can accept video auditions from those international participants who can’t attend in person.

By 1st June, the AATH team will send you an email notifying you of the results of your audition. We understand that waiting for the outcome can be an anxious time, but rest assured that we will work diligently to review all auditions and provide timely feedback.
The quick answer is YES.

The next intake will take place from September 2026 to July 2027.

TERMS AND CONDITIONS

Acosta Advanced Training Hub (AATH +16/17/18)

These Terms and Conditions apply to all classes, courses, programmes, auditions, workshops, events, performances, and ticket sales organised or delivered by Acosta Dance Foundation through the AATH course whether in person or online.

By enrolling, booking, purchasing tickets, attending auditions, masterclasses, or attending any AATH activity, participants (and/or their parents or legal guardians if under 18) confirm that they have read, understood, and agree to be legally bound by these Terms and Conditions.

Relationship with Acosta Dance Foundation

AATH operates in collaboration with, and in alignment with the educational ethos and artistic standards of, the Acosta Dance Foundation (ADF).

These Terms and Conditions are to be read in conjunction with any applicable policies, codes of conduct, safeguarding policies, or regulations and any other policy issued by the Acosta Dance Foundation where expressly referenced.

Where a programme, event, or activity is delivered jointly with, or on behalf of, the Acosta Dance Foundation, participants agree to comply with both AATH’s Terms and Conditions and the relevant Acosta Dance Foundation policies.

In the event of any conflict between documents, the specific programme Terms and Conditions shall take precedence unless otherwise stated in writing.

1. Definitions

-“AATH” refers to Acosta Advanced Training Hub.

-“Participant” refers to any student, dancer, attendee, or ticket holder.

-“Parent/Guardian” refers to the legal guardian of any participant under 18 years of age.

-“Programme” refers to any class, course, intensive, audition, event, or performance

organised by AATH.

2. Eligibility

a. Participants must meet the minimum age and level requirements stated for each

programme.

b. AATH reserves the right to refuse or withdraw participation if eligibility requirements are not met.

c. Acceptance onto any programme does not guarantee progression, promotion, or future acceptance.

3. Applications, Registration, and Acceptance

a. All participation is subject to registration and acceptance by the AATH artistic team.

b. AATH reserves the absolute right to accept or reject any application at its discretion, without obligation to provide a reason.

c. Submission of an application does not constitute acceptance until written confirmation is issued by AATH.

d. Applicants are advised not to book travel or accommodation until written confirmation is received.

4. Fees and Payments

a. All programmes are fee-paying unless explicitly stated otherwise.

b. Fees must be paid in full by the stated deadlines.

c. Application, registration, acceptance and administration fees are non-refundable under all circumstances.

d. Fees are non-transferable to another participant, programme, or date unless explicitly agreed in writing by AATH.

e. Failure to pay fees on time may result in withdrawal of the participant’s place. Tuition fees are subject to change due to factors including, but not limited to, increases in operational costs, faculty fees, studio hire, inflation, or changes to the programme structure.

5. Withdrawals, Cancellations, and Refunds

a. All withdrawals must be notified in writing at least one term in advance (email is acceptable).

b. Refunds, where applicable, are calculated from the date AATH receives written notice.

c. Unless otherwise stated in programme-specific information:

-Fees are non-refundable once a programme has commenced.

-No refunds are issued for missed classes due to illness, injury, holidays, or personal circumstances.

d. AATH reserves the right to cancel or reschedule any programme due to unforeseen circumstances, insufficient enrolment, or force major. In such cases, AATH’s liability is limited to refunding fees paid for the cancelled element only.

6. Attendance and Commitment

a. Participants are expected to attend all scheduled classes, rehearsals, and activities.

b. Repeated absence, lateness, or lack of engagement may result in removal from theprogramme without refund.

c. AATH does not guarantee participation in performances, showcases, or public events.

7. Code of Conduct

Participants must:

-Act with respect toward faculty, staff, and fellow participants

-Follow studio rules, safeguarding policies, and health & safety instructions

-Maintain appropriate behaviour on and off the premises

AATH reserves the right to refuse admission or remove participants whose behaviour is deemed inappropriate, unsafe, or disruptive. In such cases, no refund will be given.

8. Health, Fitness, and Injury

a. Participants confirm they are physically and mentally fit to take part in dance training.

b. Participation is entirely at the participant’s own risk.

c. AATH accepts no responsibility for injury, illness, or loss except where required by law.

d. Participants with existing injuries or medical conditions attend at their own risk and must

disclose relevant information in advance.

e. AATH strongly recommends appropriate personal insurance.

9. Physical Contact

a. Dance training may involve physical contact for artistic, technical, or safety reasons.

b. By enrolling, participants (and/or parents/guardians) consent to such contact in a

professional teaching context and following the safeguarding policy of the Acosta Dance Foundation.

10. Photography, Filming, and Media Rights

a. AATH reserves the right to photograph, film, or record participants during classes, rehearsals, performances, or events.

b. These materials may be used for educational, promotional, marketing, archival, and commercial purposes, in any media, worldwide, without time limitation and without payment.

c. Participants waive any rights to inspect or approve the finished material.

d. Recording or photography by participants or audience members is strictly prohibited unless expressly authorised.

e. Any objection to media usage must be submitted in writing prior to participation.

11. Performances and Ticketed Eventsa. All tickets are sold subject to availability and these Terms and Conditions.

b. Tickets are non-refundable and non-transferable, except where an event is cancelled.

c. AATH reserves the right to:

• Change seating arrangements

• Refuse admission on reasonable grounds (including safeguarding or safety)

d. Performance start times are not guaranteed; AATH accepts no liability for travel or accommodation costs.

12. Intellectual Property

a. All choreography, teaching materials, course content, branding, and recordings remain

the intellectual property of AATH or its licensors.

b. Participants may not reproduce, share, or distribute AATH materials without written permission.

13. Personal Property

a. Participants are responsible for their own personal belongings.

b. AATH accepts no liability for loss, theft, or damage to personal property.

14. Data Protection

a. AATH processes personal data in accordance with UK data protection law.

b. By registering, participants consent to the use of their data for administrative, safeguarding, and communication purposes.

c. Please refer to AATH’s Privacy Policy for further details.

15. Access Requirements

Participants with access or learning requirements must notify AATH before enrolment so reasonable adjustments may be considered.

16. Force Majeure

AATH shall not be liable for failure or delay in performance due to events beyond its reasonable control, including but not limited to natural disasters, pandemics, government restrictions, or venue closures.

17. Governing Law and Jurisdiction

These Terms and Conditions are governed by and construed in accordance with the laws of

England and Wales.

Any disputes shall be subject to the exclusive jurisdiction of the English courts.

18. Legal Binding AgreementBy enrolling, booking, purchasing tickets, or participating in any AATH programme, participants (and/or parents/guardians) confirm that they have read, understood, and agree to be legally bound by these Terms and Conditions in full.

Contact

info@acostadancefoundation.org.uk

Register HERE

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I agree to the Acosta Advanced Training Hub +18 Application/Audition fee and Terms & Conditions
Terms and Conditions for the Acosta Advanced Training Hub (AATH) Eligibility: a. The Acosta Advanced Training Hub is open to dancers aged 16+ who have successfully partly or fully completed their vocational training. a.aa The programme will run from September 2025 until July 2026. b. Applicants must demonstrate a strong passion for ballet and contemporary dance and show potential for a professional dance career. Application Process: a. Entry into the AATH is subject to an application and workshop-based audition process. b. All applications must be submitted within the specified deadline. c. The Acosta Dance Foundation reserves the right to accept or reject any application at its discretion without providing a reason. Programme Structure: a. The AATH consists of two distinct programmes: Audition Preparation and Performance. Curriculum and Training: a. The AATH curriculum is meticulously designed, drawing inspiration from Carlos Acosta's Cuban dance and ballet culture. b. Students will receive comprehensive training in classical and contemporary techniques, including ballet, Cuban folklore, pointe work, coaching, conditioning, improvisation, and repertoire from Acosta Danza. c. The programme aims to enhance students' technical abilities, artistic expression, and versatility in dance. Venue and Facilities: a. The AATH will be conducted at the Acosta Dance Centre, located in Woolwich Works, Royal Arsenal, London. b. The Centre boasts state-of-the-art dance studios, providing an ideal learning environment for participants. Fees and Expenses: a. The Acosta Advanced Training Hub +18 is a tuition-free programme offered by the Acosta Dance Foundation. While we have an application and audition fee of £25 to cover administrative costs, we also invite you to support our charitable mission with an additional voluntary donation of £245 in order for us to be able to keep our work of creating a dancer in every home. b. Participants are solely responsible for their own accommodation, travel, and personal expenses. Commitment and Attendance: a. Students accepted into the AATH are expected to commit to the duration of the programme fully. b. Regular attendance and active participation in all classes, workshops, and performances are mandatory. Code of Conduct: a. Students are required to adhere to a professional code of conduct, including punctuality, respect for instructors and fellow participants, and the cultivation of a positive and supportive learning environment. Media Release: a. The Acosta Dance Foundation reserves the right to use photographs, videos, and other media materials captured during the AATH +18 for promotional and educational purposes. Changes and Cancellations: a. The Acosta Dance Foundation reserves the right to make changes to the programme schedule, curriculum, or teaching staff if necessary. b. In the event of unforeseen circumstances or insufficient enrollment, the Foundation reserves the right to cancel or postpone the AATH, with appropriate notification provided to participants.

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