Eleven Days with Nunez

Author Fiora1913 Licence CC BY-SA 4.0 Source Wikipedia Commons

 

The latest Danceworks newsletter offers early bird discounts on a range of courses, masterclasses and intensives. One that grabbed my attention was an 11-day summer intensive with Marianela Nuñez and Alejandro Parente,  The course starts at 09:00 on Thursday 17 Aug 2923  and continues until 13:00 on 31 Aug 2023.  Dancers can attend the course at Danceworks' premises or online. The cost of attending the studio is £950 unless booked before 30 March 2023 in which case it reduces to £900,  The cost of attending online is £200.

My readers will need no introduction to Marianela Nuñez.  She has been a principal ballerina with the Royal Ballet for over 20 years.  One of my favourite clips on YouTube is the flower throw to celebrate her 20th anniversary with the company after she had danced Giselle.  Although Nuñez trained at the Royal Ballet School and has spent her entire career with the Royal Ballet, she was born in Argentina. As a Hispanophone, she would have been brought up on Don Quixote.  When cast as Carlos Acosta's first Kitri she dazzled audiences with her performance in that role.

Less well-known in this country is Alejandro Parente although he has already given classes at Danceworks.  He is a compatriot of Marianela Nuñez who dances with the Teatro Colón ballet as a principal.  When the International Bar Association visited Buenos Aires I attended a reception at the theatre and a tour afterwards which is massive.  I have yet to see a show there.  On both of my two visits to Argentina, the theatre was closed.  

Danceworks' intensive is not for everyone.   Attendees much have reached intermediate status or above,   Danceworks makes clear that this is no course for beginners.  Nor, I imagine, is it a course for those who started ballet 54 years ago when already an adult.  Although I try hard not to envy the attendees at this intensive I cannot help reflecting on how much I would have enjoyed this opportunity to dance with two of the greats when I was younger, stronger and more agile.

For those who do not know the studio, Danceworks is at 16 Balderton Street, London, W1K 6TN.  It is not far from Bond Street underground. The entrance to the street is almost opposite Selfridges.  The studio's phone number is 020 7629 6183.  

Muntagirov's Masterclass

Vadim Muntagirov and Alina Cojocaru

Author ASH Licence CCO 1,0 Source Wikimedia Commons 

 

I have just noticed that Danceworks has arranged for Vadim Muntagirov to give a 90-minute master class between 14:30 and 16:00 today.  Dancers in London can attend the class at Danceworks's studio at 16 Balderton Street which is just off Oxford Street almost opposite Selfridge's. It will cost £18 which is not much more than a 90-minute with any other teacher in London.  The rest of us can follow the class online for £9. Bookings can be made through the Danceworks website,

There is also a master class next week with Brandon Lawrence of Birmingham Royal Ballet followed by Jane Coulston of Beyond Repair Dance Company on 11 July, Alejandro Parente and Marianela Nuñez on 25 July, Alexander Campbell on 8 Aug Nathalie Harrison on 22 Aug and Claire Calvert on 5 Sept 2021. 

Michaela DePrince to return to London

Michaela DePrince in "A Million Kisses to my Skin"

Author Angela Sterling
(c) 2015 Dutch National Ballet, all rights reserved
Licensed with the kind permission of the company

Danceworks has just announced that Michaela DePrince will teach at its studios in London between 23 July and 3 Aug 2018.  According to the studio's press release:

"Michaela will be teaching our young dancers at the Danceworks Ballet Academy Summer Intensive, a two-week programme that offers young dancers from ages 6 up to pre-professional, the chance to be coached by leading ballet stars. Students will perform at the prestigious Lilian Baylis Studios, Sadler's Wells on the final day of the course."

She visited the studios in 2015 and 2016 and on each occasion Lesley Osman sent me some lovely photos of her with her students, including an account by one of them who showed a talent for journalism as well as dance (see Michaela's Masterclass 8 July 2015 and Michaela DePrince revisits Danceworks 7 Aug 2016).  If you or one of your offspring would like to attend one of Michaela DePrince's classes you should email balletschool@danceworks.com for further information.

I first heard about Michaela DePrince when she was still in America.  I was interested to learn that she was born in Sierra Leone because my late spouse and daughter manquée also came from that country.  When she joined the Junior Company of the Dutch National Ballet I attended its first performance at the Stadsshouwburg in Amsterdam.   In my review of that performance I described her as  "quite simply the most exciting dancer I have seen for quite a while" (see The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Nov 2013).  Michaela led me to the Junior Company who in turn led me to the mighty Dutch National Ballet which has been a source of great pleasure for me.

If you want to meet Michaela but are too old for her class at Danceworks you might do so at the opening night gala of the 2018/2019 ballet season.  The evening consists of a performance followed by a party in the Stopera and it was at that party that I encountered her (see The best evening I have ever spent at the ballet  13 Sep 2015).   Now there is quite a crowd at that party and I can't guarantee that you will meet Michaela as I did but you would be very unlucky not to make the acquaintance of at least one or two members of that brilliant company. 

Tickets for the gala will be on sale from the beginning of June and they are usually snapped up like hot cakes.  If any of my readers from anywhere in the world would like to join me at the Stopera on opening night do let me know and maybe we can form a party. If there are enough of us we may even be able to get some discounts and so some other fun things like take a day trip to IJsselstein for an adult ballet class at the Jos Dolstra Dance Institute.

Youth Ballet Company Launch in London

Standard YouTube Licence

Danceworks off Oxford Street has always been a lot more than just dance studios.  It is of course an excellent venue as I found for myself when I attended  Hendrick January's class in 2016 but I have also blogged about its Academy, its classes for the over 50s, Michaela DePrince's masterclasses and its workshops for the photographer, Jordan Matter and much, much more.  As I said in If ever I came back to London ................  "I think I'd spend a lot of my time in Danceworks. I doubt if I'd ever get any work done. My long suffering clerk would suck his teeth and lament 'We see less of you now than when you were in Yorkshire, Miss.' Because there is so much happening at that studio."

Its latest initiative is the Youth Ballet Company which will offer young people the chance to learn and perform ballet in London, throughout the UK and even internationally.  The company plans to stage  Peter Pan, Sleeping Beauty and The Nutcracker.   Getting on stage under the lights in front of a living, breathing, paying audience is a delicious experience which I tried to express in The Time of My Life 28 June 2014.  It is important for dancers of all ages and abilities because it makes all those pliés and tendus worthwhile. It is theatre. It is the je ne said quoi that distinguishes ballet from keep fit classes or working out in the gym.

If I as a 60 something experienced that delight by appearing on stage, think how much more significant it must be for a talented child or adolescent.  It is one of the reasons why I am doing all in my power to set up Powerhouse Ballet in Yorkshire and Greater Manchester  If I can't pull it off for whatever reason the Youth Ballet Company may be the next best thing for young people in the North.

Anyone who wants to find out more about the Youth Ballet Company should email Katie Bretherick at balletschool@danceworks.net.

Class Review - Adam Pudney Wednesday Night Beginners at Pineapple

Beginners' Ballet:  Adam Pudney, 8 Nov 2017 Pineapple  


One of my favourite dance teachers is Adam Pudney. He teaches at Danceworks and Pineapple.  I have had only three classes with him but these have been some of the most useful ever (see Pineapple 20 Nov 2013 and (Another Slice of Pineapple 12 July 2015). If I lived in London I would be one of his regulars.

The last time I attended one of Adam's classes was on 8 Nov 2017. I had travelled to London to do what I had expected to be a stinker of a case that turned out rather well.  As I had expected the case to go into a second day I had allowed myself an extra day in the Great Wen. Finding that I did not need it I had time to scurry off to 7 Langley Street for the beginners' class with Adam.

Every time I have attended Adam's class I have had to climb up from the basement to the very top of the building. I don't know whether Adam teaches in any other studio but that is where I have always found him.  Climbing those stairs is almost a workout in itself.  Unlike my teachers in Leeds who start off with a walk round the studio, followed by arm stretches, followed by a run (and in Jane Tucker's case a sudden change of direction), followed by jumping facing in, jumping facing out, jumping jacks and stretches in accordance with the Ichino method, Adam does not make us do any of that, but we are more than ready for the first exercise by the time we arrive.

Adam focuses on detail and he spends a fair proportion of the class getting the basics right.  The video, Ballet Tutorial: Port de Bras with Adam Pudney on the Pineapple YouTube channel shows just what his classes are like.  I was led back to ballet by Adam's compatriot, Fiona, over four years ago and although I am not exactly the right shape or size for ballet I was sure that I had picked up something. Too right I had.  The first 20 minutes with Adam showed me exactly how many bad habits I had fallen into each of which he pointed out with enormous courtesy and corrected with equal assiduity.

Once Adam was satisfied that we had mastered the basics (at least for the time being) he proceeded to some barre exercises. More bad news for me.  My pliés were terrible and my tendus not much better and as for my glissés and ronds de jambe, the less said the better.  But we finished the barre and then proceeded to a difficult but very beautiful enchainement in the centre.  There was time for pirouettes.  Mine are appalling but I think I could actually get them right if I could take Adam's class regularly because he breaks the exercise down into elements that even I can understand. Those who take to them easily are annoyingly well-coordinated types who just do not appreciate the metal effort of rising onto demi, bending the legs, positioning the arms and spotting all at the same time. Though I doubt that he ever had a problem with doing all that at the same time, Adam is sympathetic. He understands that some of us do.  And he really helps us to get it.

The class was over far in an hour.  That was far too soon.  I was just getting into my stride when Adam called us into the centre for cool down and reverence.   Classes in Pineapple are quite a bit more expensive than in the North because you have to take out temporary membership of the studio but they are worth the extra.  It was well over two years since my last trip to Pineapple.  I hope I do not have to wait quite so long for the next one.

The Ultimate Masterclass

Richard MacDonald working with Sergei Polunin

Author Richard MacDonald
Creative Commons Attribution 3.0 Unported licence

It will not surprise readers that Sergei Polunin masterclass at Danceworks between 13:00 and 14:30  on 18 July 2017 is sold out. There is a waiting list although I am sure that must be as long as the River Nile by now but if you want to put your name down in the hope that everyone ahead of your drops out you will find the link on Danceworks 2017 Ballet Summer Masterclasses page.

I have only seen him dance once at the Yorkshire Ballet Summer School Gala at Sadler's Wells in 2013 and I remember that he was pretty impressive (see More Things I do for my Art - Autumn Gala of Dance and Song  30 Sept 2013). He had just flown in from Moscow and had a taxi waiting outside the theatre to rush him back to Heathrow where he hoped to catch his flight home.

He has changed ballet companies quite a lot over the years which does not endear him to everybody but his formidable talent is undeniable as I noted in Sergei Polunin 3 March 2017 when I reviewed his film Dancer and his video Take me to Church.

If you miss Polunin's you can still attend a masterclass with Nathalie Harrison, Melissa Hamilton or Ivan Putrov later in July and they are also special.

Micheala DePrince Inspiration Scholarship for the Danceworks International Ballet Academy Summer School

Standard YouTube Licence


The Danceworks International Ballet Academy Summer School is an intensive summer school for dancers under the age of 18 that runs from 17 to 28 July 2017 ending in a performance in the Lilian Baylis Theatre at Sadler's Wells. According to the Academy's web page

"The day will start with a two hour technique class. A one hour lunch break. Afternoon classes will consist of boys/mens, pointe work or classes focusing on pirouettes, petit and grand allegro. A short 30 minute break . Lastly, a two hour performance class in preparation for the Danceworks performance on the final day for family and friends at the Lilian Baylis Theatre, Sadler's Wells.."

The normal fee for the programme is £750 though there is a 10% discount for students who have signed up for the termly class.

Not everyone's parents can afford that kind of money.  A scholarship has been established to enable one outstanding young dancer to attend the event. It is called the Micheala DePrince Inspiration Scholarship in honour of that fine soloist of the Dutch National Ballet. An audition will take place on 14 May 2017 to select the winner. Applications to take part in the audition should be made by email and addressed to  balletschool@danceworks.net.

I should like to wish all candidates every success in their studies and subsequent careers.

Another way to help the Kids in Kibeira

Just spotted this on Danceworks' Facebook page:

!The students of our International Ballet Academy are collecting shoes and clothes to send. If you would like to contribute, please bring to Danceworks Reception."

Thanks kids and thank you Lesley.

For those interested in helping, Danceworks, is at  16 Balderton Street, London W1K 6TN.

Back to Class

Author Lambtron
Source Wikipedia
Creative Commons Licence

With the honourable exception of Danceworks which has remained open for business throughout the Christmas holidays (see  Working off the Christmas Pud 21 Dec 2016) there have been no dance classes since the third week of December. In case there were other classes open in this period don't moan at me for not mentioning them. At the end of that article I wrote:

"Should any dance studio or accredited teacher run a class in any dance style anywhere in the UK between now and 9 Jan 2017 I will publicize it here, in Facebook and on twitter. Indeed, I shall even try to attend and review it if it is at all possible."

Did you get in touch with me?  Well then.

For most of us adult ballet classes start this week.  Yippee!  Not a moment too soon in my book. I attend improvers classes at Northern Ballet Academy and occasionally Dance Studio Leeds in Leeds and KNT in Manchester.

I am aware of excellent classes in Birmingham, Bradford, Bristol, Edinburgh, Glasgow, Liverpool, London, Newcastle upon Tyne, Newport and Sheffield and will put you in touch with them if you care to contact me.

"All very well for you" I hear you say, "you live close to three big cities but I live in the back of beyond."  Well, there are great classes even in rural neighbourhoods. Ballet West runs adult ballet classes in the Western Highlands and Terence Etheridge teaches ballet in Cornwall.  Ask around and if you still can't find one I am sure I can find you an RAD or ISTD accredited teacher with full insurance near a church hall, gym or community centre who can take you on.

"I would have loved to have done ballet when I was young but there wasn't time because .................." Usual  reasons are competing attractions, lack of time, pressure of exams or more immediate priorities on the family budget.
"That's OK, you can start now."
"But I'm much too old aren't I?"
"Rubbish! I reply. "I started when I was 64. I shall be 68 on Valentine's Day. I am a relative stripling. There are students years older than me in Leeds and the BBC reported that there was a student in Scotland who was over 100."
Northern Ballet run 4 classes in Leeds for students aged 55 or over and I am aware of similar classes in Glasgow, London and elsewhere. There is also the RAD's "Silver Swans" programme. No. You are never too old to take up ballet. Or even perform it.  I have danced twice in Northern Ballet's Stanley and Audrey Burton Theatre and once in the Dancehouse at Northern Ballet School.

"How much will these classes set me back?" About £6 or £7 a session in Leeds or Manchester. A little bit more in the Smoke but, even there, the cost of classes won't break the bank.

"But I'm not the right shape or size. I'd never fit into a leotard."

First, you don't need a leotard. Trackie bottoms or leggings and T-shirt will do and, at least for the first few classes, you can dance in bare feet. Secondly, I am not exactly sylphlike as anyone who has met me can confirm but I have bought kit to fit me from Just Ballet in Southend, Planet Dance in Batley and Mr Frog in Huddersfield.

You can spend a fortune on dancewear but you don't have to. All you need are a couple of leotards which you can get from £20 or less each, a couple of pairs of shoes, again for £20 or less, maybe some dancers' tights which are a bit more than you would pay for a pair of opaques in Tesco and a devil to put on and a ballet bag to keep them in. Oh and a towel.

"How long does a ballet class last and what happens?"

Between 60 and 90 minutes.

First, there is the warm up. Different teachers have different techniques. My favourite way is to start with a gentle walk around the studio, then move the arms in a clockwise and anti-clockwise direction, then a gentle run, then change direction 30 seconds in, skipping facing out, skipping facing in, Jumping Jacks up and forwards.  Warm up finishes with some stretching exercises.

The class starts with pliés. Plier means "to fold" in French and this exercise consists of bending the legs - like a badger or maybe a copper (the constables in this clip can also do some tendus, simple jumps and even lift their serjeant). Then there are leg and foot exercises known as tendus. After that there are glissés, ronds de jambe and several others that you can look.   In all of those exercises the student can hold a rail known as "the barre" to steady him or herself.

After about 20 to 30 minutes at the barre the teacher calls the class into the centre of the studio and repeats some of the tendu or other exercises so that the student can find his or her balance. The teacher then combines some of the steps he or she has taught the class into a simple exercise known as an enchainement which the students practise as a group and then try to repeat in smaller numbers.

Next come turns - either chaines or pirouettes which is a sort of pons assinorum in ballet - a bit like Pythagoras's triangle in maths. You either pick it up immediately if you are well co-ordinated or you struggle and I am sorry to say I am one of the strugglers.

Then there are the jumps and they are my favourite part of class. Simple ones to start with and then more complex ones with the evening ending in joyful soaring grands jetes or temps leves which I shall leave you to look up.

Quick cool down exercises. Bows or curtseys to the pianist and instructor.  Then everyone leaves chatting and giggling and wondering where the time went.

There's a picture of a dance classs circulating the internet with the words

"Money can't buy you happiness ....... but it can buy you a dance class which is kinda the same thing."

I'd go along with that.

Working off the Christmas Pud

Author Musical Linguist
Source: Wikipedia
Creative Commons Licence

Good old Danceworks. I could give Lesley Osman and her teachers a hug right now. The only days they will be closed will be Christmas Day, Boxing Day and News Year Day which is reasonable enough. The rest of the time between now and the first week of January they will be open for business and you will find their Christmas timetable here. I can't wait till Monday 9 Jan 2017 when Northern Ballet and KNT reopen so I shall be packing some shoes, leotard and tights when I trek down to London for my grandson's birthday on the 28 Dec.

The other studio that I attend in London is Pineapple and they will shut between 22 Dec and 3 Jan 2017. There are, of course, a lot of other dance studios and teachers in London which I have not checked out and many of them are listed by London Dance.

Outside London, term starts at Birmingham DanceXchange on 9 Jan as it does at Northern Ballet and KNT in Manchester. Dance Studio Leeds reopens on 3 Jan 2017 and there will actually be some classes on that day though most will re-start later in the month.  Term also starts on 3 Jan  2017 at Dancecity in Newcastle. In Glasgow, Scottish Ballet's classes appear to start on various dates from the second week of January.

Should any dance studio or accredited teacher run a class in any dance style anywhere in the UK between now and 9 Jan 2017 I will publicize it here, in Facebook and on twitter. Indeed, I shall even try to attend and review it if it is at all possible.

DIBA @ RADA

Royal Academy of Dramatic Arts

Author Chemical Engineer
Source Wikipedia
Creative Commons Licence

DIBA stands for Danceworks International Ballet Academy. It is the facility through which Darnceworks trains dancers under the age of 18. I featured it in Danceworks Academy  on 21 March 2015. As readers know, dance education is one of my special interests whether for the young and gifted, those such as I who take up dancing for fun at any age and everyone in between.

Towards the end of the year, DIBA students put on a show. Last year it took place in one of Danceworks's studios in Balderton Street (see Danceworks International Ballet Academy Christmas Show 3 Dec 2015). Demand for tickets was so high that DIBA had to run three separate shows. The Academy will stage another show this year but this time it will take place in the theatre where RADA (the Royal Academy of Dramatic Arts) trains its own students (see Join us for DIBA's Christmas Nutcracker Suite on DIBA's website).

The performance will take place at 17:00 on Saturday, 10 Dec 2016 at RADA Studio Theatre, 16 Chenies Street, London WC1E 7EY. Tickets cost £20  for adults and £12 for children of 12 years or under.  There is also a £2 booking fee if you book online.

Ballet is not just a good way of improving deportment and keeping fit. It is intended to be performed in the theatre which is a place of magic and excitement.  If the link with the stage is ever lost or never there in the first place children will quickly tire of ronds de jambes and grands battements - and who can blame them? How many times have you heard well-rounded, well-educated adults say "I've never actually been to a ballet but I was made to take lessons as a kid and hated them." "Made to take ballet" indeed. It should be a treat!

One of the reasons why I write a lot about DIBA and (Danceworks in general) is that it keeps that link.  It is one of the features that distinguishes DIBA from so many other ballet schools up and down the country. The remarkable young dancer, Michaela DePrince, grand sujet with the Dutch National Ballet, taught some of the children on her last visit to Danceworks (see Michaela DePrince revisits Danceworks 7 Aug 2016). Most of those who attended Michaela's class will decide not to become dancers for one reason or another but they will all benefit from working with her. Their love of theatre will be enhanced for a start and many more will be inspired by her life story to jump their own hurdles which may lie in quite different fields.

However, Danceworks is not just for kids. I took one of its adult ballet classes earlier in the year and had a great time (see Hendrick's Class at Danceworks 19 Jan 2016).  I am delighted that the studio offers classes for my age group (see Over 50s Ballet Classes at Danceworks 30 May 2015). Tasha Bertram will teach a new over 50 class at Danceworks from 13 Jan 2017 between 18:00 and 19:15 (see New Over 50’s Ballet Class at Danceworks on Danceworks's website).

The following passage appears at the bottom of the web page:

"Benefits of balletThere is no age barrier to learn to dance and the long-term flexibility benefits of ballet are excellent. Ballet classes will help to:
Develop and maintain your flexibility. The combination of strength and flexibility is what keeps a body healthier and stronger for longer, and more resilient to injury.

• Work both your body and your mind. The physical and mental challenges of ballet can improve vitality

• Gain confidence in your body You will feel more supple and poised

• Learn musicality Ballet is practiced in harmony with music. You will learn to draw energy from it, count it and live. 

• Feel a new energy and forget your problems in a relaxed and quiet environment.

Come and experience our ballet class and enjoy this graceful and timeless form of dance."

I have been taking ballet classes now for several years first in Huddersfield and more recently with the Northern Ballet Academy in Leeds and KNT in Manchester as well as the occasional class in London and other cities. I can attest to all those benefits from my personal experience. There are adult ballet classes in every part of the country (even in towns and remote villages in the West of Scotland thanks to Ballet West (see the Outreach and Short Courses page on its website)). Everyone can have a go and I hope that a few of my readers will be promoted by this article to do just that.

“No clothes, no arrests, no regrets” Jordan Matter's Book Launch of Dancers After Dark

Jordan Matter and David Murley, 12 Nov 2016

(c) 2016 David Murley: all rights reserved
Reproduction licensed by Mr Murley

David Murley

On Friday the 11th November 2016, I had the opportunity to attend the European Book Launch of Dancers After Dark by international dance photographer, Jordan Matter. The event took place at Danceworks studios in London near Bond Street in Mayfair. Photographing dancers for the last seven years, Matter’s most recent project (Dancers After Dark) took three years to complete. The photographic journey took Matter around the USA and Europe, including the UK. The finished product, in my opinion, is exquisite – full of beautiful healthy and ethnically diverse dancer’s bodies. The determination and dedication it took Matter and the dancers he collaborated with during the shoots, on location around the world, to achieve the final image is equally intriguing.

(c) 2016 David Murley: all rights reserved

“No clothes, no arrests, no regrets” was projected onto a screen in one of Danceworks studios before the launch took place. Indeed, the current book by Matter is of dancers in the nude in an array of public places around the USA and Europe. However, the naked shots are some of the most alluring, artistic, captivating and striking images I have personally seen. Having a brief glimpse of the behind the scenes really helped to appreciate and sketch out the stories behind the images. This compounded more depth to the final black and white, or colour, still I looked upon. During the shooting process, Matter himself said he would began by working with the dancer’s strength, e.g. a balance or a jump, and that is how the collaborative team work of the image between Matter and the dancers would begin to take shape.

Het Nationale Ballet dancer, Michaela DePrince, graces the cover of Matter’s newest work. In a short film the attendees of the launch watched, we were able to obtain insight into what happened behind the scenes. Before the actual nude picture taking would occur, practising the intended poses fully clothed wherever the dancers could would take place. From there, Matter and the dancer(s) would then scout for locations in the city they were in. Stumbling upon that serendipitous location could sometimes take up to four hours. In this particular instance, DePrince describes the immense intensity building up in her chest and heart before she had to disrobe for the camera and the passing New Yorker public. At first, it seemed unfortunate Matter didn’t choose a secluded spot in a private unknown corner of Manhattan. Instead, Matter opted for, and suggested, DePrince bare all to New York City’s 7th Avenue strutting across the pedestrian crossing en pointe. Heart racing, DePrince leapt into the shoot with style and elegance shedding her flowing wrap around in one fell and seamless movement. That in itself was a piece of innate choreography executed by DePrince – from the behind the scenes footage. One of Matter’s finished images of DePrince adorns the cover of the completed edition. DePrince said in an interview in the short film at the launch, that part of the nerves and gut-wrenching intensity she was experiencing paralleled to many of the past times she has contended with being a black ballerina. “It’s not easy”, said DePrince. However, after DePrince did the naked shoot on the streets of New York City, she stated it was a chance for her to show it is ok to go out there and be proud of yourself and your body and that you are beautiful.

During the three years Matter was compiling the images from the various photographic shoots in the USA and Europe for Dancers After Dark, he decided to document how many times he came close to arrest. It was 43. There were times Matter said he would engage in long chats with the Police and was often dealing with areas that were heavily guarded with security and surveillance. In the short behind the scenes documentary viewed at the launch, security and Police presence was evident, e.g. when shooting with Houston Ballet dancer Harper Watters and two other dancers around Rockefeller Center and Grand Central Station in New York City. Interestingly, Matter mentioned the locations when arrests were the closest, and they were in the assumingly more liberal cities, e.g. Amsterdam and Paris and not in Texas! – where one might expect. Matter did say quickly (with regard to being in the Southern United States), “If you can get a courtesy card, get one!”

Often, the dancers involved in couple or group shots had never met one another before the shoot. One young male dancer in particular from famed American dance company, Alvin Ailey, posed naked with a young female dancer in front of Paris’s Notre Dame cathedral. In the short film, he was explaining how he was going through the intended poses fully clothed with the young female dancer not exactly realising he was about to have to embrace her completely nude in close proximity. However, the dancers unanimously, on film and at the launch that evening, said the nudity really wasn’t the issue when in came down to the crunch. What was important was getting the shot right, holding it as long as possible, or sometimes not falling off the top of a telephone box and face planting on the concrete below. Matter made sure things ran smoothly as possible too with portable lighting. Other hurdles arose, like boyfriends (heterosexual and homosexual) having difficulty with their significant other posing nude. Matter even witnessed a break-up of one couple real time during this photographic expedition. There were also some recounts of drunk passersby. However, the inebriated observers soon lost interest when they realised what they were looking at was simply another human body that just happened to be completely naked – in some cases clad ankle below in only pointe shoes.

Jordan Matter's European Book Launch

(c) 2016 David Murley: all rights reserved

The energy in the studio that evening at Matter’s European Book Launch couldn’t have been more uplifting and positive. Much of the upbeat vibe comes from Matter himself. He radiates acceptance, endearment, empathy, passion and sheer undeniable positivism. It almost makes anyone in his presence, dancer, or not, want to leap in front of the camera and pose for Matter – not to be immortalised in one of his celebrated final images, but quite frankly just to have the opportunity to collaborate and spend some time around a genuine and appreciative individual. Without a doubt, it was an absolute pleasure to meet Matter. I was even lucky enough to snag the last two copies of each available edition that night, Dancers Among Us and Dancers After Dark. Matter, without hesitation, posed with me for a photo too, as he did with many of those present at the launch that evening. Matter exemplified unhurried generosity with his time that evening – just as all the dancers who volunteered their efforts, talent and time when collaborating with him on his photographic projects.

Matter chooses to work with dancers because of their dedication. He associates fearlessness with dancers. Matter said at the event on the 11th November at Danceworks London, that his admiration for dancers stems from their pursuit to dance with no guarantee of monetary gain. They dance purely because they need to.

In conclusion, I would like to thank Lesley Osman, General Manger of Danceworks London, for reaching out to Jordan Matter and getting him to the UK and Europe. Without Osman’s motivation to contact Matter, many of us might have missed out on a truly special evening at Danceworks that night, and the images Matter and his team of dedicated dancers worked together to produce this side of the Atlantic.

Important Matter

Jordan Matter is a US photographer who studies dancers around the world rather as Edgar Degas did in Paris over a century ago. One of my favourite works is his photo of Michaela DePrince in the woods. He has published a number of books of his work which sell very well.

Matter's latest work is Dancers after Dark  which is described as "a stunning photography collection of nude dancers at night."  Over 300 dancers took part in 400 locations in 7 countries including the UK "with no clothes, no arrests and no regrets."  The above video shows how Matter took those photos. The book will be launched in the UK at a party at Danceworks in London between 18:30 and 21:00 on 11 Nov 2016. Admission to the party costs £5 which will be refunded to anyone who buys a copy of the book.

The next day Matter will return to Danceworks to present two photography workshops.  The first is entitled Dancers Among Us which takes place between 13:00 and 16:00. The second is based on Dancers after Dark and takes place between 17:00 and 20:00. There was a similar workshop last year after which Matter tweeted:

“What happens when 25 photographers and 4 dancers come together for a workshop @Danceworks London? Pure magic. I’m already looking forward to next year’s workshop!”

Each workshop costs £90 to attend or £150 for two.

Readers will find Danceworks's address together with a map and comprehensive travel information on the "Contact Us" page on its website.  

Where can I get a Ballet Class in August?

Standard YouTube Licence

Not in Brum for a start!

"Classes are currently on Summer Break!" proclaims the DanceXchnage's website. "Our NEW autumn term starts Monday 19 September – Saturday 10 December 2016." And they try to make out they are the nation's second city.

No such problem in the real second city. Danceworks has classes through the summer as you can see from their timetable. Sodoes Pineapple.

Classes don't stop at Leeds, or Liverpool or indeed Newcastle-Under-Lyme according to Picturesinthefirelight. 

But in Manchester our modern Ithaca, there are classes throughout the year at KNT in the Dancehouse Theatre's studios. And for the next few days something wonderful will happen.

I don't know whether there are still places on these intensives. I suspect not. But if you don't enquire on info@kntdanceworks.co.uk  Tel: 07783 103 037 you certainly won't be able to come.

Michaela DePrince revisits Danceworks

Michaela DePrince with the Summer School Pupils

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

Michaela DePrince entered the Dutch National Ballet Junior Company less than three years ago and she is now a grand sujet or soloist of the company. As the rank does not exist in English ballet companies I asked Ernst Meisner, the Junior Company's Artistic Coordinator what it meant in Ernst Meisner’s Work with the Dutch National Ballet 2 Dec 2014 and this is what he told me:

“I danced some nice roles like Hilarion in Giselle, pas de six in Rudi van Dantzig’s Swan Lake, 5 Tangos by Hans van Manen and Zuniga in Ted Brandsen’s Carmen."

These are big roles that are generally performed by principals in England and as DePrince will be performing equivalent roles with one of the leading ballet companies in the world this is remarkable progress by one so young.

A meteoric promotion at an early age is not always a good thing but DePrince is a charming young woman. I met her at the opening gala of the Amsterdam ballet season last year and "I left the Stopera thinking how that exceptionally talented young dancer was as gracious off stage as she is magnificent upon it" (see The best evening I have ever spent at the ballet 13 Sept 2015).

Last year Michaela DePrince gave a masterclass at Danceworks which Ciara Sturrock, one of her students, reported for us in Michaela's Masterclass 8 July 2015. Last month she came back again to teach the Danceworks International Ballet Academy Summer School and hold anther masterclass. Imagine the excitement that those young students must have felt to take a class from someone like her.

Michaela DePrince with older students

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

The photo to the right shows Michaela DePrince with some older students. The timetable for the 18 July 2016 shows that she taught three classes that day between 09:30 - 10:30, 10:30 - 11:30 and 13:00 to 14:30. Lesley Osman, general manager of Danceworks, has very kindly sent me  photos of the day.

I should mention in passing that Michaela DePrince is only one of several distinguished teachers on the summer school which I discussed in Danceworks Summer School  31 March 2015.  It appears that the 2016 programme has been even more successful than last year in that it attracted 80 students aged between 6 to 18 from 25 countries.

Here is another photo of DePrince with the older students:

Michaela DePrince with older students

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

Here she demonstrates a position.

Michaela DePrince 

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

Here she appears to be making corrections.

Michaela DePrince 

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

Here she addresses the class.

Michaela DePrince

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

Michaela DePrince 

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

Michaela DePrince 

(c) 2016 Danceworks, all rights reserved
Reproduced with kind permission of the company

And I think you will agree that I have saved the best photo to last. A gorgeous portrait of an exceptionally talented young dancer.

My next opportunity to see Michaela DePrince on stage will come on the 7 Sept 2016 on the opening night of the 2016 - 2017 season. I also hope to see her in the Dutch National Ballet's production of La Bayadere and of Ted Brandsen's Coppelia. I will review all three performances for you in due course.

Want a class tomorrow?

Danceworks

Most dance teachers and students will take the day off tomorrow but Danceworks and Pineapple will be open.

You will find Danceworks's schedule here and Pineapple's here.

If you are a beginner or, like me, a show learner, I can strongly recommend Adam Pudney's class at Danceworks between 16:00 and 17:30. He has high standards and although he also has abundant patience he will expect the best from you and squeeze it out of you.   I have taken two of his classes (see Pineapple 20 Nov 2013 and Another Slice of Pineapple 12 July 2015) and enjoyed them both tremendously.

If you go to either studio you will need to buy at least temporary membership which entitles you to enter the building and then pay the instructor for his or her class. Fees vary but most seem to be about £8.

Another Masterclass

Michaela DePrince and her students, Danceworks, 7 July 2015

(c) 2015 Danceworks Ltd

One of the most popular articles that I have ever published was Michaela's Masterclass 8 July 2015. It was about a master class that Michaela DePrince gave at Danceworks on 7 July 2015.  Lesley Osman, the general manager, sent me some lovely pictures as well as an account of the class by one of the students, Ciara Sturrock.

Michaela DePrince will return to Danceworks for another master class on 18 July 2016.  Anyone who wants to attend the class should contact Lesley as soon as possible.

Michaela's classes are well beyond my capability but there are plenty of others in all dance styles for all abilities. I took one with Hendrick January in January which I thoroughly enjoyed (see Hendrick's Class at Danceworks 19 Jan 3016).

Theatre Street

The Vaganova Academy

Author: OperaJoeGreen
Source Wikipedia

Creative Commons Licence

What makes Russian ballet so special? In her memoirs Theatre Street, the great Russian ballerina Tamara Karsavina supplies at least part of the answer. The training that is given at the Vaganova Ballet Academy (formerly the Imperial Ballet School) in St, Petersburg and the Moscow State Academy of Choreography.

Theatre Street gave a remarkable picture of Russian training in the past. For a modern insight I can thoroughly recommend Tala Lee-Turton's beautifully written blog.

Those of us who lack Ms Lee-Turton's talent can still get an idea of the Russian tradition without travelling to Russia by taking Kristian Ratevossian's classes at Danceworks. These take place on Sundays between 16:00 and 17:30.   According to Danceworks's website:

"Kristian graduated from the world famous Vaganova Academy of St.Petersburg. He attended the full program from 1980 – 1990 under the direction of Oleg Sokolov and Benjamin Zimin directed by Constantin Sergeyev. Upon his graduation, having received outstanding accolades, Kristian was invited to join The Bolshoi Griogorovich Company."

I have another opportunity to take a lesson from a Vaganova graduate when I visit Hungary in two weeks time.  Mel Wong, who now lives in Budapest, has offered to take me to her adult ballet class which takes place the same day as the première of the Hungarian National Ballet's new production of Sir Peter Wright's The Sleeping Beauty (see The Hungarian National Ballet's Sleeping Beauty 24 Feb 2016). I can't pretend that I am not a little apprehensive but I am looking forward to the class with a Vaganova trained instructor at least as much as I am looking forward to the show.

Two Chances to meet Leanne Benjamin

In my article about Hendrick's January's class at Danceworks I mentioned some of the master classes that will take place at those studios soon:

"Roberta Marquez, Zdenek Konvalisa and Antonia Franceschi as well as Leanne Benjamin teaching a series of repertoire classes from February and Michaela DePrince in July."

 I promised to mention these again when I had more details.

Danceworks has just published details of Leanne Benjamin's course for advanced and professional dancers. The great ballerina will present four master classes between 09:30 and 12:00 on  22 Feb, 21 March, 18 April  and 16 May. Those who want to take the course must book all four classes at a cost of £160 plus a £3 booking fee. The blurb advises that numbers will be strictly limited to ensure personal attention. Participants are asked to make sure that they have appropriate technical training in order to get the most out of the experience. They must be 15 years of age or over. Places are offered on a first come first served basis and you can book through the web page.

If like me you are a million miles from "advanced/professional" standard you can still meet Leanne Benjamin on the 7 March at 19:30 in the Civil Service Club at 13-15 Great Scotland Yard when she gives a talk to the London Ballet Circle. That event, incidentally, is open the public as well as members of the Circle. If you are not already a member it is well worth joining even if you live well outside the metropolis. Tomorrow is the Circle's AGM and party by the way.

Returning to Danceworks I could not resist this photo of one of my favourite dancers on the poster for the studios' open day on 31 Jan which offers all sorts of free taster classes in  all styles of dance. Christina-Maria Mittelmaier will teach beginners' ballet between 10:30 and 11:30 after which she gives her regular class until 12:00 (see the the Sunday timetable). Oh and if you are wondering about Michaela DePrince I am assured that she is coming. Not on the 31 Jan alas but soon.

Hendrick's Class at Danceworks

Hendrick January

Well over a year ago Lesley Osman of Danceworks invited me to review one of her classes. I had intended to accept her offer much sooner but I don't get to London all that often and when I do it is nearly always for work. Last Saturday I decided to treat myself to a matinee at Covent Garden (see The Royal Ballet's Double Bill 18 Jan 2016) and Hannah Frost's beginners' class at 16:30 at Danceworks.

Between Rhapsody and the Two Pigeons I received the following email from Cherise Collings the reception manager at Danceworks:

"Hi Jane,

Hope all is well.
To update - unfortunately Hannah Frost will not be teaching her class today, she will have cover .
Hendrick January. He is a very good teacher and Hannah consistently has Hendrick cover for her when she is away.
Sorry for the late update - we only found out a bit earlier today that Hannah could not teach.
Best and look forward to seeing you.

Regards
Cherise Collings"

The double bill at Covent Garden ended just after 15:00. There was, of course, lots of clapping and cheering which is very much part of the show and I exited the theatre just after half past. I walked to Holborn and took the Central Line to Bond Street dropping into Boots to procure some water and bun pins on the way.

The moment I arrived at Danceworks's studios at Balderton Street I was feted like a ballerina. Cherise introduced herself to me and gave me a guest pass. She showed me the studio where the class was to take place and directed me to the changing room. The facilities while Spartan were more than adequate. There were showers, loos and mirrors and enough space to change in privacy.

I presented myself to Henderick who remembered meeting me at one of Ballet Black's performances. There were about 27 names on Hendrick's register - about half a dozen men and the rest women.  There was at least one gentleman who seemed to be about my age and several ladies who seemed to be not far short. The rest were of various ages and levels of experience.

Hendrick introduced himself and promised a "gentle class". I would not describe it as easy but it was well within every student's capability. Hendrick started with pliés in each of the positions but he kept us alert by making us rise or do a port de bras after every movement. He kept us on our toes with tendus incorporating a rond de jambe and weight transfer into the exercise.  It was much the same with the other exercises until we had completed the usual canon.

Hendrick has an eye for detail and he made many corrections. In my case my arm was drooping in second and he had to remind me twice before I got it right. Ports de bras seem to be one of his strengths because he drilled us through each of the arm positions a couple of times before he was satisfied with us.  One tip that I learned from him was to retain the curvature of the arms when coming out of 5th.

He gave us a couple of great centre exercises. I particularly enjoyed the last one which started with a tombé, pas de bourré, pirouette, balancé and ending with a jeté.  He allowed a little time for pirouettes and jumps - sautés and échappés - an echainement where we combined everything we had learned and then - far too soon - the reverence.

Hendrick packed a lot into the 90 minutes so there was not much time for cool down but we were allowed time to stretch and I carried out the exercises that Annemarie and Jane had taught me in Leeds. It was a good class and it ended a great day of dance after a virtually dance free week.

After the class I thanked Hendrick for the lesson.  He recommended my taking Hannah's class which I certainly hope to do but I would also like to take his class again for, as Cherise said, Hendrick is a very good teacher.

He is of course just one of several. Lesley reminded me of some of the others:  Roberta Marquez, Zdenek Konvalisa and Antonia Franceschi as well as Leanne Benjamin teaching a series of repertoire classes from February and Michaela DePrince in July.  I will mention them again nearer the time.