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Tracing the Ancestral Roots and the Flow of Pedagogical Practices in the Development of Ballet Teaching from 1950 to 2016 in Perth, Western Australia

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Tracing the Ancestral Roots and the Flow of Pedagogical Practices in the Development of Ballet Teaching from 1950 to 2016 in Perth, Western Australia Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Tracing the ancestral roots and the flow of pedagogical practices in the development of ballet teaching from 1950 to 2016 in Perth, Western Australia Diana C. M. Beck Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Dance Commons Recommended Citation Beck, D. C. (2017). Tracing the ancestral roots and the flow of pedagogical practices in the development of ballet teaching from 1950 to 2016 in Perth, Western Australia. https://ro.ecu.edu.au/theses/2042 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2042 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Tracing the ancestral roots and the flow of pedagogical practices in the development of ballet teaching from 1950 to 2016 in Perth, Western Australia This thesis is presented in partial fulfilment of the degree of Master of Arts (Performing Arts) Diana Cecile Margaret Beck Edith Cowan University Western Australian Academy of Performing Arts 2017 Abstract In the history of dance, that of ballet is but a fragment. The art of ballet is affiliated with the arts of music, literature, and those of the visual arts: its international history covering some 500 years. This thesis spotlights Perth, the capital of Western Australia (WA) and one of the world’s most geographically isolated capital cities. Throughout its balletic history of less than a century, Perth has seen rapid growth in this art form. As in all the arts, pedagogic rules act as guidelines for the teaching of traditional ballet vocabulary; consequently, in order to understand this development and its impact on the dance scene, a search has ensued of Perth’s balletic history. The present study adopted a qualitative methodology with an auto- ethnographical approach to add to the richness of knowledge and experience in the profession of ballet teaching in Perth. This information is a result of the first-hand experiences of 10 ballet teachers from the dance community of this city. The metaphor of a tree was used to organise the chronology of events framed through the efforts of three generations of teachers. The metaphor of water was used to represent the transference of the balletic pedagogy, with art now having the support of science, complemented by a knowledge of anatomy and the physical laws of balance and biomechanics. Reminiscences were elicited through face-to-face interviews that disclosed the views of differing ethnic groups, revealing differing balletic styles experienced by participants who have contributed in many ways to this thesis. The findings reveal that a predominantly English upbringing is shared by several of the first and second generations of teachers who continued the traditions of the English methods of ballet teaching. The arrival of the European contingent, who shared their traditions and expertise with Australians altered the status quo. After the later visits of a new wave of master teachers, mostly of European extraction, a hybrid system of teaching emerged, resulting in a freedom of movement and feeling for space that was not always visible in earlier days. The second generation of teachers were instrumental in seeing the growth of the profession into the modern era of ballet teaching. Observations document the somewhat organic growth of ballet teaching in Perth, enriching the theoretical knowledge of this discipline. The growth of the dance profession is echoed in WA’s cultural and social history. The study highlights the fact that a mature and well-respected profession has been established, signifying a strong future for lovers of classical ballet. ii Declaration I certify that this thesis does not, to the best of my knowledge and belief: i. incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; ii. contain any material previously published or written by another person except where due reference is made in the text of this thesis; or iii. contain any defamatory material. Signature iii Acknowledgements This thesis is dedicated to Cecile de Vos, my mother (1919–2001), and Leslie Hanson Hutchinson (1942–2015), my dear friend and colleague, with deepest gratitude and appreciation. Leslie, you have been with me throughout this dancing journey. Thank you for the wonderful memories. Leslie is first on my list of people to thank for their support and interest in this project, but she is by no means the last. Without the previous research conducted by Joan Pope and Lynn Fisher, this task would have been much more difficult. The inspiration to take on this major work came from my friends who have lived through this period as I have. Without the generosity of my colleagues in the Western Australian dance community and on occasions from further afield, I would not have the material to corroborate my own experiences. My special thanks to Gay Cruickshank, Terri Charlesworth, Irina Asotoff-Norris, June Stevens, Gail Meade, Diedre Atkinson, Heléne Gowers, Dame Lucette Aldous, Kim McCarthy, and Jennifer Loth-Hornsley. Thanks also to the West Australian Ballet dancers and students from the Western Australian Academy of Performing Arts, who willingly gave their time to participate in the focus groups. I could not have done it without you. Sincere thanks to my supervisors, Dr Luke Hopper and Dr Lyndall Adams, for their expertise in this field and for the cossetting and patience when the going got tough. I have learned a lot and would recommend this adventure to all who have the interest and energy to do so. Thanks also to the friends I have made along the way. Peta Blevins helped me sort out my confusion on occasions. Jacqui Birch also has my gratitude for suffering silently with my inadequate interviewing technique and confirming that I was on the right path with my questions. Thank you to the many people who have helped with the finer points of my research: Dr Jo McFarlane for her support with writing skills; librarians Lutie Sheridan and Amanda Myles for helping me with the complexities of Endnote; and the Graduate Research School’s SOAR ambassadors who have assisted with the intricacies of conquering a computer. Thanks also to Capstone Editing for providing copyediting and proofreading services, according to the guidelines laid out in the university-endorsed national ‘Guidelines for Editing Research Theses”. Thank you all for your patience and time. iv My final acknowledgements go to my family. All have been patient with me, sometimes empathising, other times pushing me further. My daughter Rosemary has kept me calm and healthy. My husband Tony has been extraordinary. He has supported me in many a venture, but this one has tried his patience. His efforts to improve my lack of computer skills are much appreciated. The last two and a half years have been difficult, but I am so glad that I have taken this challenge and survived. I began this journey knowing only that I was very interested in this subject, as I have lived and loved the experiences and I wanted to write it all down. I opened up a Pandora’s Box—I hope that good results will eventuate. v Contents Abstract ................................................................................................................................. ii Declaration ........................................................................................................................... iii Acknowledgements ............................................................................................................... iv Contents ................................................................................................................................ vi List of figures ........................................................................................................................ ix List of abbreviations ............................................................................................................. xi Research publications ......................................................................................................... xii Introduction ............................................................................................................................ 1 Aim .................................................................................................................................... 7 Significance.......................................................................................................................
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