Wednesday, 29 July 2015
On 20 June 2015 the Birmingham Royal Ballet celebrated the 25th anniversary of its move to Birmingham and the 20th anniversary of the appointment of its artistic director in Birmingham (see In Praise of Bintley 21 June 2015), Northern Ballet hosted a programme of events called Tell Tale Steps which included a company class, a panel discussion on narrative dance in ballet (see My Thoughts on Saturday Afternoon's Panel Discussion at Northern Ballet 21 June 2015) and English National Ballet presented Choreogaphics Live in London, I lamented at the time at being forced to choose between those three and I did manage to get to the company class and panel discussion in Leeds and the Bintley triple bill in Birmingham (see Three into Two won't go 20 June 2015). The reason I was able to see part of Northern Baller's offering and all of Birmingham Royal Ballet's was that English National Ballet recorded its performance on video which can still be seen on ArtStreamingTV's website and YouTube.
It will come as no surprise to my readers that my favourite work was Memory of what could have been by Renato Paroni de Castro which was danced by Guilherme and Vitor Menezes and Sarah Kundi. I have been following Kundi for a long time and she moves me in a way that no other dancer can. I should explain that I can say the same of other dancers but they move me in a different way. Last year I feared that we would lose her to Spain but thankfully she is now with English National Ballet.
Memory is a very good example of a plotless narrative ballet which was being discussed in Leeds at the very moment that it was being performed in London. This is an interaction between three dancers - the Menezeses dressed as sailors in summer whites and Kundi in a flowing orange dress. For the first part of the ballet Kundi is detached as the boys complete but this ballet is much more like Christopher Marney's War Letters (in which Kundi has also danced) than Gene Kelly's On the Town. One of the sailors disappears while the other changes into winter or navy blue uniform. What happened to him? Did the girl in orange simply make a choice or was he lost in action.
This is a haunting work sensitively danced by all three. It is very tense and very taught. Such relief as exists is at the beginning of the work. Though I admired the work I am very conscious that I am missing a lot by viewing it on a lap top rather than in the Lilian Baylis Studio where it was performed. The video goes on for one and three quarter hours including an interview with Tamara Rojo at the start. I hope to review the other ballet's presently.
Tuesday, 28 July 2015
Every ballet class that I have ever done, whether in Huddersfield, Leeds, London. Manchester, Sheffield or (half a century ago) St. Andrews, has followed a pattern. Usually there is a warm followed by 20 to 30 minutes barre consisting of pliés, tendus, glissés, ronds de jambe, fondus, cloches and either grands battements or développés, then a port de bras which is my favourite part of the class, followed sometimes by pirouettes (which still defeat me), sautés, grands jetés or temps levés and cool down. We did most of that yesterday as well as several steps that were quite new to me - but in a different way - and it was a lot of fun.
The class took place at Hype in Sheffield which I mentioned in More than just Hype - Beginners and Improvers Classes in Sheffield 14 May 2014. Our teacher was Emily Talks who has been on maternity leave over the last year. Mel had spoken very highly of Emily and I can quite see why. Emily and I had met briefly in August when Mel did her grands battements and we have been friends on Facebook for a while but this was the first time I had taken one of Emily's classes.
It was not a big class. Less than 10 of us. All women except for Ian (the gent I introduced in my review of Hype's Frightnight contribution (seewas Out of this World 3 Nov 2014)). Emily's warm up consisted of getting us to walk in random directions, then backwards trying not to turn round which resulted in my barging into Mel with great velocity, then walking forwards curtseying or bowing to each other as we passed.
Instead of pliés and tendus at the barre Emily called us into the centre and taught us a delightful enchainement consisting of pliés. rises, arms in open 5th, glissé, piqué, point, several steps forward and finally a port de bras all carried off with a smile. She drilled us several times at this exercise until we got it more or less right.
She sent us back to the barre briefly to practise glissés (3 in front followed by a plié, 3 to the side followed by another plié, 3 to the back followed by yet another plié, 3 more to the side followed by a snappy relevé). We did that in both directions a couple of times.
Next we tried fondus in the centre bending our left leg and raising our tight, then our tight raising our left, bending our left and stretching our right, bending once more and balancing on left in relevé running a few steps and balancing on our right legs in third arabesque. We marked it once without music and then with music. We divided into groups and had a go at the exercise several times. We then tried the exercise on the opposite feet. I have had trouble with my right foot for over a year and just can't hold demi-pointe for more than a millisecond which can't have impressed Emily. On the other hand I could make a much better stab at third arabesque balancing on my left leg. Emily drilled us in that exercise several times and I do think I improved slightly. Seeing my struggles Mel slapped me on my back by way of encouragement.
Our last enchainement was a weight shifting exercise for which we were given props. There was a big bag of toys and other goodies on one of the racks from which Emily selected some coloured wands with streamers for each of the women and a Union flag for Ian. My wand had green and white stripes with a green ribbon. The exercise consisted of waving our wands (or flag) in the air from left to right and back again as we shifted our weight from one side to the other pointing our unengaged toe a couple of rapid soutenus waving our wands (or flag) below our tummies, pliés, rising in the air, running (and then for me the new bit) jumping a rassemblé changing step and direction and ending with our rights arms and wands in the air and our left arms forming a continuous line. Or at least that was the idea. I don't think I ever got there but I did my best. Again, we tried that exercise in groups several times.
Finally. we did some conventional jumping - sautés and changements ending with some temps levés. Again we tried each of those exercises several times.
Then it was all over.
Emily's cool down consisted of some stretches on the floor followed by some stretches on out feet. We curtseyed to Emily, then to each other and we were on our way.
I don't think a class has ever gone so quickly. I have to think back to my first class with Annemarie to recall one that has been as much fun. The hour was more like a rehearsal than a class. By combining the exercises into enchainements we were able to understand the exercises in the context of a performance. By repeating them more than once each of us we improved a little - or at least (in my case) I thought I did. We were all bouncing and chatting as we exited the studio.
I shall certainly try to return to Sheffield for another of Emily's classes. Unfortunately, I don't know when. Emily's class clashes with meetings of the London Ballet Circle. Ernst Meisner was the guest last week, Marcelo Gomes the week before that and Li Cunxin is coming next week. There is no way I would miss the opportunity to listen to and afterwards shake hands with them. Moreover Sheffield is not a city I visit often. Traffic is terrible. Public transport is no better. Trains from Brockholes take forever and the tram does not go anywhere near Hype's studio. Off-street parking is outrageous and the council has the cheek to charge £1 for parking outside the Lord Nelson after 18:30. The only reason I was able to take yesterday's class was that I had a business meeting in the city followed by an invitation to the Wong Ting. Nevertheless, I have an incentive to return and return I will just as soon as I can.
Monday, 27 July 2015
A few days ago I wrote about Serendipity. Chantry Dance Company about which I have written a lot in the past is another example of serendipity. Formed in reaction to a Chinese bureaucrat's unfamiliarity with the concept of freelancing it has become a significant touring company attracting such guest artists as Dominic North whom I last saw in Matthew Bourne's The Car Man (see my review of Chantry Dance's Chasing the Eclipse 26 Sept 2014). The Company has always been engaged in education and indeed it was at one of their workshops that I made their acquaintance in the first place (see Chantry Dance Company's Sandman and Dream Dance 16 May 2015). Now it has put its educational activities on a formal basis by launching the Chantry School of Contemporary and Balletic Arts.
If I were young again with some ability and a vocation for dance (and could not be deterred by Matthew Henley's report that "Most professional dancers ‘earn less than £5k a year’" 24 July 2015 The Stage) this is one school that I would consider very seriously. The reason I would consider it seriously it is that it is run by Rae Piper and Paul Chantry who are young and still on an upward trajectory in their dancing careers. Paul Chantry is also a talented choreographer. The quality of their work has been recognized and rewarded with commissions in Rome, Japan and Covent Garden in the last 9 months alone. The best chance for a young dancer to make a reasonable living out of his or her career would be by taking some tips from Piper and Chantry.
What would give me some hope that I might find work at the end of my course is the curriculum which includes classes in nutrition for the dancer, audition technique and marketing as well as classical and contemporary ballet. modern and contemporary dance and acrobatics. How many other dance schools offer classes in the last skill? The fees at £4,500 a year are not beyond the range of most families and in the few cases where such fees just cannot be raised scholarships and bursaries are available.
If I were the parent of such a young dancer I would encourage him or her to consider the Chantry school because Chantry and Piper are persons of principle. I am not going to embarrass them by repeating their tweets and posts to Facebook but I have noted their posts about such things as literacy and other matters outside dance and strongly approve of them. I love reading about their little dog, about their wonder at their discoveries in Japan and Italy. In Chasing the Eclipse Piper expressed her wonder at the universe with an enormous smile. It is upon her more than any other dancer that I have tried to model myself on the two occasions that I have been inflicted on the paying public. I can imagine her viewing the lakes, mountains and temples and castles of Japan and the ruins and archaeology of ancient Rome with that same expression of wonder.
The vocational course is just one of the School's activities. There is also an associate programme whose show at Sadler's Wells I reviewed last year (Chantry Dance Associates: Lots of Promise 28 July 2014 ) and a summer school whose award ceremony last year I also attended (see Chantry Dance Summer School 2 Aug 2014). I have already mentioned the workshops in which I have participated and I woukd add that Gita and I are making enquiries with a view to facilitating one in Manchester on a convenient occasion.
This school fills a very obvious need and it deserves to do well. Its programmes have already been successful. I look forward to even more from them as Piper and Chantry develop this activity.
Sunday, 26 July 2015
I mentioned my Swiss friend Andrea who is into just about everything except ballet in 1984 on 28 Feb 2015. Last September she emailed me this link with the words: "This is one ballet I might actually want to see." I promised to look out for it and give her the dates as soon as they were announced which is what I din in February.
Now I can give her so much more information because Northern Ballet have recently posted the trailer to YouTube that you see above. They have also posted the story, photos, touring schedule and lots of other information about the ballet to their website. We now know that Tobias Batley and Martha Leebolt will dance Winston Smith and Julia and there will probably be at least one other cast. Also, meine liebe Andrea, Sie haben die Informationen. Wollen Sie diese Ballett sehen? Oder nicht?
I had some misgivings about whether Orwell would translate into dance but it is the same choreographer who made us laugh at Albert and the Lion in Sapphire. If anyone can pull this off it is Jonathan Watkins. So we await the first performance with bated breath. Where next for Watkins and Northern Ballet? Wigan Pier perhaps.
Saturday, 25 July 2015
President Obama's visit to Kenya has reminded me of Mike Wamaya's ballet classes in one of the toughest districts of Nairobi. I wrote about them in What can be achieved by a good teacher 3 March 2013 and Back to Africa 7 Jan 2015. I have found an interview with this remarkable teacher with this video of some of his students on the International Performers Aid trust website.
In his interview Wamaya says:
"Since the set up of Anno’s Africa in Kenya seven years ago, we have experienced significant results. The children now find school fun and by this their levels of concentration while studying have gone up. The program explores their individual human potential and creativity in a much broader sense; who they are, what they think and believe, what they want for their futures. This has brought a lot of confidence and self-esteem in them."It is clear from the interview that Wamaya's students have learned some valuable lessons from his classes quite apart from pliés and tendus.
According to the About IPAT page of its website "the International Performers’ Aid Trust is a charity created for the relief of poverty amongst people involved in the performing arts in distress in all parts of the world." It supports projects in Africa, Asia, South America, Europe and the Middle East, Mike Wamaya's classes seem to be its only dance project.
Unless a student from Sub-Saharan Africa leaves for an advanced country at a very young age it is hard to see how he or she could make a career in ballet. There are very few schools and even fewer companies between the Mediterranean and the Cape and the few that do exist are concentrated in South Africa. But Africa is changing. It is becoming more prosperous and greater prosperity will provide a market for the performing arts. Even if few of Wamaya's students make it on stage a fair proportion of them should be able to afford the best seats in the auditorium and thereby provide a market for the next generation.
Thursday, 23 July 2015
Ballet Cymru is not one of the biggest national ballet companies in the world but it is certainly one of the most appealing. Today it welcomes Marc Brew as its associate artistic director. I featured him in my article Special Brew after I had seen his Exalt for Scottish Ballet and Indepen-dance 4 (see No Mean City - Accessible Dance and Ballet 26 April 2015.
Brew's first work for Ballet Cymru as assistant artistic director will be Traces Imprinted which will be premièred at Newport on 6 Nov 2015. This work will be performed with TIR to the beautiful singing of Cerys Matthews and Catrin Finch's Celtic Concerto.
If you want to see the première in Newport here is the link to the Riverside Theatre. The company will perform the same programme in Llandudno and Sadler's Wells which s where I shall try to catch them.
|Michaela DePrince at Danceworks ib 7 July 2015|
Photographer Jordan Matter
Copyright 2015 Jordan Matter
All rights reserved
On 7 July 2015, Michaela DePrince, now a coryphée with the Dutch National Ballet, gave a master class at Danceworks. Ciara Sturrock attended the class and wrote a note of her experience which I incorporated into my article Michaela's Masterclass 8 July 2015.
The well known American photographer Jordan Matter was in the studio and he photographed Michaela as she taught. Yesterday Danceworks sent me one of his photos and gave me permission to reproduce it in this post. I must stress that copyright subsists in the photo and no other person may reproduce it without Jordan Matter or Danceworks's consent. I am very grateful to Lesley Osman, general manager of Danceworks, and Jordan Matter for allowing me to publish this work.
If you visit his website you will see that Jordan Matter specializes in photographing dancers. Much of his work is published in book form. Dancers among Us was published by The New York Times last year. It includes my very favourite picture of DePrince. Matter has photographed her in the air wearing cut off jeans and yellow chequered top with her dog in a woodland clearing. Dancers After Dark will be on sale next year. Tiny Dancers Among Us, a portfolio of photographs of younger dancers, will be published in 2017.
Since the master class Michaela DePrince has danced in Cinderella at the Coliseum (see my review Wheeldon's Cinderella 13 July 2015 and Gita's Bend it Like Cinders 18 July 2015). DePrince has also been elevated to coryphée. This is a meteoric rise in that she joined the Junior Company only two years ago. I congratulate her on her promotion and wish her well for the future.
Many of DePrince's contemporaries in the Junior Company have also done well and I mentioned their successes in The Junior Company One Year On 18 July 2015. Ernst Meisner, the artistic co-ordinator of the Junior Company spoke to the London Ballet Circle on 20 July 2015. As a consequence of Ernst Meisner's visit plans are being drawn up to set up a British Friends of the Dutch National Ballet . I hope it will lead to even more opportunities to bring DePrince and the Company's other beautiful dancers to this country.
My next opportunity to see DePrince and those other dancers on stage will come with the opening gala on 8 Sept.
I have written a lot of articles on DePrince over the last two years and you will find links to most of them at Michaela DePrince at TEDx Amsterdam 28 Nov 2014.