CECCHETTI INTERNATIONAL CLASSICAL Newsletter No. 10, 2004

Mission Statement: to foster the development of the method to develop training for the future to keep alive the essence of the method’s historical tradition as to raise the profile of the method world-wide Kastchei in L’Oiseau de feu (Firebird) with the to encourage the profession and the art of dance by interaction Russes, at the between members and the international dance profession Paris Opera, 1910. Photographic negatives to enhance the status of dance in the context by Raffaello Bencini. of the arts and education Photo courtesy of Dance Collection Danse

Letter from the Chairman

Dear Members and Friends of Cecchetti International - (CICB) It is with great delight that we can tell you that our international organization is now a legal non-profit entity. We were incorpo- rated in Canada on July 2nd, 2004 and we thank the Canadian delegates for facilitating this. Congratulations to everyone, and welcome to Cecchetti International - Classical Ballet. The Corporate Members of CICB have had an inaugural teleconference. Matters needing clarification were discussed, and over all it was an excellent meeting. Hereunder are set out the categories of membership of our new International Society, so that all our members can understand their standing in the new organization. a) Corporate Members - there are six corporate members who have come together to promote the and comprise the Board of CICB. Cecchetti Societies of: Australia, Canada, Southern Africa, and USA Cecchetti Council of America, Danzare Cecchetti - ANCEC Italia also represented are Korea, Malaysia, Namibia, New Zealand Thailand and Zimbabwe b) Represented Members - we are all Represented Members if we belong to one of the six Societies above and are in good standing with that society. We are therefore members of our own individual societies, and also non-voting members of CICB c) Affiliated Members - this category includes three types of membership (i) Qualified Cecchetti Teachers who are not Members of one of the six Corporate Member societies may join as a single “Affiliated” member for a fee of $20 (Canadian) and will receive the newsletter and any information regarding CICB activities. (ii) Supporting members who shall be known as “Friends of CICB” (iii) Honorary members who are honoured members of the dance profession, invited to be honorary members of CICB

We would be delighted to receive any inquiries about Affiliated and/or Supporting members, and we will be inviting Honorary members very soon. We are also anxious to receive any articles or information about Cecchetti work around the world which might be included in our newsletters. Please see page 2 for contacts Once again, welcome to your new international organization. We look forward to a long and fruitful life of Cecchetti excellence.

1 CICB Chairman: Robina Beard: 79 Midgeley Street, Corrimal 2518 NSW Australia www.istd.org - UK & Europe Tel:/Fax: 02-4283-2860 Email: [email protected] www.cecchettiballet.org - Australia (please note an underscore _ in between robina_cecchetti) www.cecchetti.ca - Canada CICB Secretary: Carole Hall, email: [email protected] www.cecchetti.co.za - Southern Africa Australia: Carole Hall, chair: Wendy Cliff, sec: [email protected] www.cecchettiusa.org - Cecchetti Society Inc.USA www.cecchetti.org - Cecchetti Council of America Canada: Christine Richardson, chair: Susan Thorn, office admin: [email protected] Italy: Stefania Sansavini, president, [email protected] NEEDED: suggestions for further Cecchetti Pioneers, Southern Africa: Gail Myburgh, artistic director. Eileen Phillips, sec: [email protected] comments, articles, photographs, videos, web sites, book U.S.A. Inc. Marnell Himes, executive administrator, [email protected] & music titles for the next newsletter. Please mark CICB C.C.A. Lee Ann King: [email protected] CCA office [email protected] office ph: 734-379-6710 and send at any time to [email protected] Upcoming events 2005 CECCHETTI PIONEERS Australia 1894 - 1977 January 5 - 11, Summer School, contact Sandra Allan The Forgotten Dancer 03 9783 6804, bookings essential submitted by David Adams July 1, Lucie Saronova Memorial Awards, Brisbane Teacher, dancer and choreographer, co- July 2 & 3, Cecchetti Society of Australia author with Cyril Beaumont of the Cecchetti 38th Annual Congress, Brisbane Manual. Canada Born in Warsaw in 1894, he studied un- August, Royal Ballet School der Gilbert, Vilzak and Cecchetti. Formerly [email protected] or tel. 204-943-4612 with ’s Company, he joined Diaghilev’s Company in 1914, remaining CCA until 1926, dancing many leading roles, in- July 10 - 23, Student summer program, Holland, Michigan cluding Harlequin in Carnaval, Petrouchka, July 17 - 23, Teachers’ course, Diane van Schoor scheduled to the snob in La Boutique Fantasque, the Spark teach, [email protected] office ph: 734-379-6710 in The Three Cornered Hat and many oth- ers. He rejoined Diaghilev in in 1928 UK and toured Great Britain and danced in ev- March 6, Mabel Ryan & Barbara Geoghegan Awards ery European capital. He danced with the Vic Wells Ballet in 1933 at The Place, London creating one of the leading roles in Les Rendezvous, and dancing July 17, provisional date for Cecchetti Day, London Harlequin in Carnaval, Blue Bird and Grand Pas from Aurora’s July 30 – August 5, 50th Annual Summer School, Chichester, Wedding, etc. He taught at his own studio in London, with Ma- organiser Elisabeth Swan, [email protected] dame Wanda Evina his faithful friend and pianist. Many famous dancers were numbered among his pupils. He also worked for the USA. Inc. R.A.D. He retired after the death of Madame Evina. I first made July, Sarasota, Florida, [email protected] contact with Idzi as I shall now call him, in 1947. I had recently been made a Member of the Junior Sadler’s Wells Ballet Company at the Sadler’s Wells Theatre on Rosebery Avenue in London En- Obituaries gland. The occasion was Twelfth Night, it was customary to have a , July 12, ‘04 special celebration in the London theatres on this night. It was also Please see page 3 (Cecchetti Pioneers article) customary to invite a celebrity to these occasions. Idzikowski was the celebrity for that night in 1947. I was introduced to him at the William Carse, July 25, ‘04 beginning of the evening, backstage. I am six feet tall. As I ap- After a short battle with cancer. ‘Bill’ will be forever in our proached Idzi, he smiled, because I was a dancer in the company, memories as a wonderful teacher, choreographer, examiner but also because he came up to my shoulders in height. I reached and inspiring friend. down, to shake his hand. My next encounter was with the Metro- politan Ballet Company, on tour in the British Isles. Idzi had been brought in to teach Spectre de la Rose to the company. I was not Noelle Aitken, August 23 ‘04 cast to dance that role, but I managed to observe the process from After a long illness. Noelle will long be remembered the back of the front of house. He began by opening a bottle of as one of the Founding Members of National Rose perfume for the cast to smell. Spectre is for two dancers, but Council and for her invaluable contributions six were learning it. He said that he wanted them to feel the aroma. to the Society. This was a daily process. Later in my time with the Metropolitan Ballet, I asked to dance that role, and, by default, one of the dancers was sick, and I did make that role part of my repertoire. Study with “Whomsoever you follow, however great he Idzi in London was another matter. The word amongst the dancers was, “if you want to learn how to move quickly, do class with Idzi”. might be, see that you follow the spirit of the I tried, but I could not keep up with him, I gave up eventually and master and not imitate him mechanically” went back to Vera Volkova. He taught class in a suit, with the stiff collar, the vest, and spats and street shoes. With all of this on, he – Mohandas Gandhi could still do a double tour en l’air and land in a perfect 5th. I did not

2 get to know this man, I knew his reputation tion which you had to acknowledge very from books and from other dancers. Why surreptitiously because if Idzi saw he would Idzi? That was what Madame Evina called glare at Madame Evina. His classes and di- him. He was in most cases, the understudy rections were very clear and made you think, to Nijinsky, but was as good, in every way, you were always informed not only on what as the great man himself. was necessary and logical but the quality Extract from ’s Auto- of movement needed. I never thought of biography: “During my unusually long ca- them as “Cecchetti” classes. I don’t think reer I must surely have attended more anyone did, it wasn’t until much later that I classes with more teachers than any other realized that fact. dancer in history. Even in the early years at David: Both Brian and I had a back- Sadler’s Wells we had several guest teach- ground of Cecchetti so I was prepared for ers. My favourite was Stanislas Idzikowski, Idzikowski’s style and enchaînement but I affectionately known as Idzi, a brilliant thought that class would be more free as all dancer who had been with the Diaghilev professional classes were in London at that Ballet. He was diminutive, dapper and pre- time. So after the first surprise it took a while cise, speaking rather good English with a to get used to the short, fast set barre and clipped Polish accent. Severe but never un- then repeating it all again in the centre. For kind, he knew exactly what he expected of many classes I ‘fell about’ especially if we his students and explained clearly how to had just returned from a month’s tour, but ing ballet companies; , Mary achieve it. He demonstrated all the steps in the end it came together and I got great Wigman and Kurt Joos; D’Oyly Carte Light himself, even in pas de deux class, and he benefit from it. He tailored his Opera; Indian Classical Dance, Uday could deftly swing one into a lift supported enchaînement to professionals and his Shankar and Ram Gopal; Flamenco Danc- only with one arm. What incredible strength classes were built up during the week fin- ers, Argentina and Argentinita. She saw and knack to partner, so airily, lumpy teen- ishing with the most difficult on the last day. Anna Pavlova dance 30 times, including her agers taller than himself! Forty years later The enchaînement were always repeated last performance at the Golders Green Hip- [1976] he is still as slim and precise as ever, four times which was another thing which podrome, enjoying most the dramatic num- his face scarcely changed at all. I do not gave us great benefit after a while. Madame bers like Amarilla and The Dying Swan. She remember ever seeing him without a waist- Evina always built up the music to push us also saw Tamara Karsavina, coat to his neat grey suit.” through the fourth time, and sometimes we and many others famous dancers. She loved Memories from Brian and David Scott. really needed it. Another benefit was that reading poetry. Brian: My main impression of Idzi as for the boys the fourth time always finished At 5 she was put into ballet classes to we affectionately called him was that he was with a pirouette. Idzi had the most beauti- strengthen her lungs after her third bout of always well mannered and a gentleman ful arms in demonstrating adage; I have pneumonia. Her teacher, Miss Sheen had though at times we gave him good reason never forgotten his elegance. He was also a taken classes with Laurent Novikov and not to be!!! He was always impeccably great believer in getting us to jump straight Mme. Pruzina, both of whom had emigrated dressed, neat and shoes polished to perfec- up and achieve height from a stationary po- to London from Russia. Novikov had tion; I could never imagine him to be sition. I remember one day he was standing partnered Anna Pavlova and Tamara muffled no matter what the difficulty. He by the upright piano exhorting us to jump, Karsavina and his time at the Imperial would teach what I thought was an ex- when suddenly he did a demi-plié and the School, St. Petersburg, dancing with tremely difficult enchaînement and after an next instant he was sitting on top of the pi- Pavlova and Diaghilev all coincided with unsuccessful attempt he would look sad and ano with not a hair out of place. I am sure Enrico Cecchetti’s performing and teaching. shake his head and say, “NO, NO, gentle- that it is not necessary to describe how we From Miss Sheen, Betty received Russian men, please, it is not difficult” and he would felt. training based on the original teachings of demonstrate with speed and accuracy end- Cecchetti. Another student of Miss Sheen’s ing without the least displacement of his Betty Oliphant 1918-2004 had been Phrosso Pfister, who became Prin- dress nor even out of breath. We would then written in cooperation with Nadia Potts cipal of the London College of Dance. see it wasn’t difficult after all. He would As many will probably have heard, Meeting Betty later she reminded her of a stand quite close to me and ask for a double Betty Oliphant passed away peacefully on recital at the Scala Theatre, London, when tour, 5th to 5th, straight up and down, and he July 12, 2004 at St. Catharine’s, . A she had been one of four chickens and Betty would explain how. Then I would take a step true pioneer - so many dance related insti- the mother chicken. At 7 Betty was taking back, he would take a step forward, this was tutions thriving in Canada and elsewhere in daily ballet classes fitted in with her school- repeated until the wall was behind me, he the world today owe their beginnings and ing and back to the studio for Pointe, Na- would say plié, and, I was afraid of hitting bear witness to the vision, dedication and tional, Greek or Character classes after the wall, and I would not dare hit Idzi so I genius of this remarkable lady. school. Her mother was insistent that her went straight up and down, good he would Nancy Elizabeth Oliphant was born on education should not be neglected. say. I always remember Madame Evina, his August 5, 1918 in London, of English and When Betty was about 15, the ballet pianist who had been a dancer with Idzi in Scottish ancestry whose motto was ‘seek world started to decline, Diaghilev and the Diaghilev Company; she was very pe- higher things’. There was much sadness and Pavlova had died and Betty’s mother tite and looking of the past era. She always pain in her life, however she spent a happy thought she might need to be more versa- gave wonderful introductions to everything childhood in London and Scotland espe- tile. She sent Betty to The Joan Davies and and it used to amuse me that sometimes as cially enjoying the outdoors. Her mother Zelia Raye School of Stage Dancing where you passed the piano after an enchaînement gave her a rich exposure to the London the- she studied tap, acrobatics and musical com- or whatever she would whisper a correc- atre: Diaghilev’s Company & other visit- edy. After a few months of learning not to

3 be a ballet snob Betty found these new dance where she arranged dances for a ultimate to all who trained under her. forms very interesting and excelled in them. production of Humperdinck’s opera Hansel In 1967 her abilities as both a teacher Joan Davies and Zelia Raye soon discov- and Gretel. and director inspired Erik Bruhn to invite ered her talent for teaching and gave her In 1948 she opened her own school and her to reorganize the Ballet School of the teaching and responsibility far above her taught ballet, tap, acrobatics, musical com- Royal Swedish Opera and in 1978 Henning age. Missing her ballet training, classes with edy and ballroom dancing. A few years later Kronstam invited her assistance for the Marie Rambert and later Tamara Karsavina she bought a house and converted the Royal Danish Ballet School. She was a were also fitted into her day. Miss Sheen ground floor into two studios. There she guest in Russia on four occasions and was had been a very technical teacher, from only taught ballet. Reaching out to improve invited to teach the graduating class at the Karsavina Betty learned true artistry. She the level of dancers and dance teachers, School. She was Guest of was also performing in shows, her first pro- Betty founded the Canadian Branch of the Honour at the 1st Com- fessional engagement was in a restaurant Cecchetti Society under the ISTD London, petition, Moscow (1969), a member of the cabaret in the Strand at 14. England and became chairman in 1949. She jury for the 3rd and 4th Competitions (1977 By 16 she was tall for a dancer in those established Canada’s autonomy and set up & 1981), and member of the jury for the days and realized that she was destined to summer courses, workshops and examina- Prix de Lausanne (1991). After a trip abroad become a teacher and would need some kind tions in the Cecchetti method across Canada there would be changes made, sometimes of certification. The RAD and Cecchetti that continue to this day. The standards she to stay, sometimes rejected. She had strong were the only choices at that time and Betty set have led many dancers and teachers to views on preventing over developed, considered Cecchetti as being closest to her strive for excellence reaching further than gripped muscles from her own early train- training. She was introduced to Margaret they would have believed possible. The ing; a very distinctive use of the floor, body Saul who had studied with Margaret Craske. same year, Betty and other Toronto dance placement and jumping from the backs of Miss Craske had carried on Cecchetti’s teachers founded the Canadian Dance the legs. teaching when he left London for Italy. It Teachers Association (Ontario Branch). Intimidating to many, Betty was a bril- was discovered that Betty had taught Miss In 1951 she encountered liant and passionate teacher. Through her Saul tap at Zelia Raye’s studio! Betty felt who had been brought over from England teaching and directional skills the National she had made the right choice, for the first to form the National Ballet Company of Ballet School of Canada’s training has time she had discovered a systematic Canada, and Betty became their first ballet earned worldwide recognition and contin- method of training. Miss Saul claimed she mistress later becoming Associate Artistic ues developing today from the base that she never gave Betty a correction twice, it was Director (1969-75). 1971 marked the established. She created a generation of fa- always applied the first time. In 1935 with Company’s first performances in Europe. mous dancers, directors, brilliant choreog- daily classes for a year Betty passed two Betty and Celia soon realized that to pro- raphers and highly regarded teachers who major Cecchetti exams and under Joan duce a first class professional company with are working all over the world. Clement Davies she took the Intermediate Stage a consistent style they had to have a good Crisp, dance critic of London’s Financial Branch exam. The ISTD had just created school to feed it. In 1959 they co-founded Times, put it so aptly when he wrote: “Betty this new branch, the syllabus arranged by the National Ballet School in Toronto. Betty Oliphant’s idealism and her dedication to Zelia Raye and Joan Davies with Betty as was determined that this school would com- the training of serious, well-rounded dance guinea pig. The following year she was the bine academic education and professional artists have given Canada a grand academy first person to pass the Advanced Stage ballet training, a facility that had not been for classical ballet, which must be the envy exam in all subjects, and at 21 became the available to her. She wanted the education of many nations. The future of ballet in youngest Fellow and examiner of the ISTD to be of such high quality that the students Canada, rests, in part, upon the splendid Stage Branch, and Licentiate, later an ex- would not feel trapped into a career in bal- foundations of the National Ballet School aminer, of the Cecchetti Society Branch. let, or, if they chose, they would be equipped as Betty Oliphant shaped and guided it.” In 1936 at 18, with capital from her in retirement to follow a second career. The She has won numerous awards, honor- father’s trust fund, Betty opened her own school started out in a Quaker temple and ary doctorates, Officer of the Order of studio in London where she taught ballet, later expanded to include a number of the Canada (1973), Canada’s highest honour, tap, musical theatre and acrobatics. At this surrounding buildings. In 1988 after years that of Companion of the Order of Canada time a group of teachers were working to- of work Betty celebrated the opening of the (1985), and was one of the first female re- gether exchanging their expertise to attain R.A. Laidlaw Centre consisting of teacher cipients, and only the third Canadian to be ISTD qualifications in the different training facility, residences and the Betty presented with the Order of Napoleon by branches. Betty taught Stage, Marian Oliphant Theatre which provided the school the Maison Courvoisier, France (1990). Lombard taught Greek and Margaret Saul, with its own performance space. Artistic Di- Recollections: Ballet. When the war broke out in 1939 they rector for 30 years, Betty retired in 1989 Shirley Tetreau - I started studying with all went into the armed services or war work, but continued to teach for several more Betty in 1949 at the age of 12. She always with Betty driving an ambulance. She also years. Her teaching was based on the encouraged us and our parents to attend the ran the dance side of the Blue Pencils, a Cecchetti method because she admired his symphony and opera, to visit art galleries musical review that entertained the troops. logical development of movements, and be- and museums, to go to the Stratford Festi- She choreographed and danced in all the lieved in exams. She considered the use of val when it started, and to attend as many dance sequences for that show and taught head, the port de bras and the 8 body posi- dance and musical theatre performances as the performers classes to keep them in tions were the greatest gift given to us by were visiting Toronto in those years. Of shape. Enrico Cecchetti. “There never has been course, we all went to see the National Bal- In 1947 Betty moved to Canada as a such a teacher,” she said. Nevertheless, hav- let Company when it began. She also war bride for the benefit of her two chil- ing studied in England, Russia, Denmark stressed the importance of playing an in- dren, one of whom was suffering from tu- and France she was continually searching, strument or singing to become more musi- berculosis of the spine. She settled in analyzing and questioning how to give the cally knowledgeable. All of this, according

4 to Betty, was most important as we were to very persistent and demanding. She had a ing or residing in London attended the pro- become artists and not simply good techni- terrific sense of humour and would often fessional classes in the mornings that were cians of dance. The other vivid memory I laugh in class. She always demonstrated taught by Margaret Craske, with Mabel have is of Betty telling me that I had a gift with her arms floating in space as though Ryan often participating as a pupil. Miss for teaching. She would have some of us be suspended in the air. When someone didn’t Ryan taught the Intermediate and Elemen- her assistants and demonstrators in younger do what she wanted or forgot a correction tary students, (now Adv. 1 & 2 or Inter. & students’ classes. I loved this as it meant she pulled herself up tall and, looking down Adv.) and the children’s classes which were that we received more personal coaching as her nose would say, “Didn’t I just tell you held twice a week. The personalities of the we demonstrated for her. Then when I was not to do that” and the poor student she was two great teachers complemented each other 14 she had me share with her the teaching after would rarely make that mistake again. perfectly – Craske was admired, respected of a couple of younger students’ classes and Her approach to ballet technique was ex- and loved by her students but many of us this was the greatest mentoring I could have tremely logical. If something didn’t make have admitted that we were rather overawed received. Betty really developed our “eye” sense to her, she didn’t teach it. She was a by her. Mabel Ryan was more emotional and for line, for placement and alignment, for meticulous, patient teacher and spent a great outwardly affectionate. Miss Ryan’s correc- dynamics and style in movement. To de- deal of time instilling in her students the tions were frequently prefaced by “Maestro velop our rhythmicality and musicality we importance of working on line, placing, and used to say -”. Though she expected hard studied tap with her. She was an amazing technical detail. work and improvement from her pupils, she tap dancer herself and constantly challenged Jane Wooding - Miss O’s classes were knew when praise and encouragement were us to keep up with her accuracy and speed. brilliantly constructed. Carefully crafted and most needed and corrections were given We all took Flamenco with a teacher she challenging both intellectually and physi- with humour and kindness. One of her fre- hired to give us the experience of a differ- cally, her exercises were memorable and are quent remarks was “It is when I don’t ent style of dance. We also all took our still a valuable resource for many dancers scream at you that you should worry”, but Cecchetti examinations. Betty would tell us and teachers. The main focus of the work she showed sincere interest and concern for that the strong, clean technique Cecchetti was to increase one’s self-awareness and re- all her pupils, and frequently gave extra help studies developed would also give us the sponsibility. The barre, usually quite long to those who needed it. South Africa gained ability to be molded by choreographers into and complicated, was developed and re- a direct link with Mabel Ryan and Marga- dancers that could move in anyway their peated over a two-week period. Classes ret Craske through Eileen Keegan. Accord- creativity demanded. She also reminded us were stopped frequently as errors were not ing to Miss Keegan, who was one of their over and over again that no dancer could tolerated. Heaven forbid, someone might South African pupils, Mabel Ryan was a cheat or fake their technique as Cecchetti make an error near the end of an exercise wonderful person who not only saw to her studies put us under a microscope and we and it would all start again! Centre work pupils dance education but also to their wel- really had to work hard to understand our usually started with port de bras; adages fare, particularly those far from home. Af- physiques, our capabilities and work with were long with many promenades in atti- fectation and insincerity were frowned our limitations. She kept saying that we had tudes and arabesques; pirouette exercises upon, and she considered that festivals en- to have a passion for hard work and that we and tendus en tournant, both en dehors and couraged these undesirable qualities, par- should enjoy experiencing our development en dedans were used to maintain correct ticularly in children. Miss Ryan went to from year to year. However, she was not alignment and sustain turnout. Much class Maher Bebar in India with Miss Craske in impressed only with our improving techni- time was spent jumping, and usually ended 1933 (ref. Heroines of the Path – Filis cal skills. She wanted us “to emote” to put with traveling enchaînements or turns from Frederick on Margaret Craske). our heart and soul and feelings into every- the corner. It was often her difficult and My first teaching experience was as her thing, starting at the barre. Often she would sometimes deliberately awkward prepara- assistant in the children’s classes and I shall say “I’m getting bored watching you. Let tions that empowered the end result. Her never forget the tragic day that Miss Craske your dance speak to me. Show me you love combinations gave the dancer no place to telephoned me to tell me that Mabel had what you are doing”. hide - one simply could not cheat. The align- died, and I must take the class on my own, Nadia Potts - I am one of the few stu- ment was square, the turnout was absolutely and not to tell any of the other students. Her dents who had Betty Oliphant for my very equal and without torque, port de bras was early death from cancer was a sad loss to first ballet class. I started studying at her unadorned - pure technique that could adapt ballet and particularly the Cecchetti method. Toronto studio at the age of 7. I immedi- to choreographers of every style. Those of us who were privileged to be her ately liked and responded to her teaching Further reading: Miss O: My Life in pupils should be truly grateful to have because I felt that I was learning the “real Dance by Betty Oliphant ISBN 0-88801- known a great teacher and wonderful per- thing” right from the start and that I could, 210-1 son. by working hard, achieve tangible results. I Awards are held annually in her loved her dry English sense of humour, her Mabel Ryan memory, in London since 1949, and ex- logical approach as well as her demand for by Margaret Valentine panded to include the Northern Awards in perfection. I continued to study with her Mabel Ryan, a South African, born in 1980. In South Africa, all Gr. V (Gr. VI) from the time that the National Ballet Cape Town, she went overseas to study bal- examination candidates who receive School first opened in 1959 until I joined let. In the 1930s the Craske-Ryan School Honours (A) or Highly Commended (B) the National Ballet Company 6 years later opened at 26 West Street, off Cambridge participate in the Mabel Ryan Award com- at the age of 18. She gave me an extraordi- Circus, London, England. Both Margaret petition held in each of the main branches, nary foundation on which to build both as a Craske and Mabel Ryan had been pupils of Johannesburg, Cape Town and Durban and dancer and as a teacher. Betty’s teaching Cecchetti and were totally dedicated to his a winner is given the Mabel Ryan Award, style is difficult to describe. She was not method and memory. The school became which is a medal. In the smaller centres the loud or demonstrative but was, in many the world centre for the Cecchetti Method. examiner awards the Mabel Ryan medal on ways, soft and gentle in her manner but also Many famous dancers of the time, perform- the strength of an outstanding examination.

5 Cecchetti Summer Courses, 2004

Chichester, UK by Daphne Cooper , Canada tained through athleticism alone, but once you The 49th, attended by delegates from the Teachers and dancers came from across add that key ingredient, it becomes what it was UK, Ireland, Italy, Portugal, S. Africa, Spain Canada, from British Columbia to Newfound- always meant to be – an art form. I have enor- and USA. It was organised by Elisabeth Swan land. Guest teachers included Anita Young, mous respect for anyone who can muster the con- who gave a warm friendly welcome to every- Nancy and Murray Kilgour. Two students from fidence to make herself vulnerable by caring. And one. She was never too busy to deal with any Quebec City traveled for 55 hours on a bus each how wonderful that we have a safe place to care! queries or problems that arose throughout the way. Although they would never do it again they This summer I saw people take risks and receive week. said their week was very worthwhile. They par- applause regardless of the outcome. Shame on The weather was unusually hot but the tem- ticularly appreci- perature did not diminish the energy of those ated their good attending anxious to dance in as many classes fortune to work as possible. The entire vocational syllabus from with such won- Pre-Intermediate through to Enrico Cecchetti derful teachers of Diploma was covered during the week as well international re- as the revisions to the children’s grades. For pute, their expert these classes the faculty was Cara Drower, Su- knowledge, pro- san Handy, Gillian Hurst, Gillian Robinson, fessionalism, Kate Simmons, Diane van Schoor and Elisabeth generosity of Swan. All these classes would not have been spirit and the possible without the two excellent pianists, considerate ap- Derek Downes and Peter Jones, who lifted proach that was everyone’s spirits throughout the day. given to each stu- In addition there were also practical ses- dent personally. sions on Health and Safety by Thoreya Swagge, They also en- Dance Injury Prevention by Jennie Morton, and joyed the deli- a lively Flamenco class by Gillian Hurst. The cious lunches, week finished with a relaxed and enjoyable which were so evening “Latin with Linda” taken with her usual well prepared to bubbling enthusiasm by Linda Davies. meet dancers’ needs. Other stu- Las Vegas, Cecchetti Society Inc. USA dents’ com- Guest teachers were Ross Alley, Kirk ments: The word “cool” literally means the ab- anyone who brings the attitude of the world into Peterson and Trinette Singleton, with over 150 sence of warmth. Have you ever noticed that the the studio and points fingers that belittle passion! attending. We had teachers classes and many people who strive to be “cool” appear to care It takes confidence to take risks, and good for teachers new to the method attended and are now about nothing, and have little, if any, emotional anyone who does. To not take advantage of this interested in the method and organization. response to anything? In the same manner, safe, encouraging environment is almost a crime. warmth is associated with passion – “They had a Having said all this, I have been so impressed by heated argument”; “She’s a warm and caring per- the passion and dedication shown this summer. son”; “It made me feel all warm and fuzzy in- Let’s hold onto that and keep it alive and grow- side”; “I’m burning with love/hate/rage/excite- ing! Danica Smith. Anita showed us the sim- ment.” How lucky are we as dancers that, while plicity yet elegance of classical ballet dancing in the world tries desperately not to care about any- true harmony with music and rhythm. Judy Chan. thing, there is a place we can go where emotion I don’t think I ever fully understood the art of is not only allowed, it is applauded! Generally dance. Anita taught us that dance isn’t only move- the world teaches us that emotion is dangerous ment of the body; it is a sensation within your- and scary and causes vulnerability. I believe that self that you feel for the music. Murray and Nancy this is true. But I also believe that the ability to Kilgour’s style and technique also opened new show emotion makes people stronger, happier, doors for me. Their enthusiasm taught me to be and more aware and fulfilled. Because emotion more bold and outgoing in the presentation of is a scary place, dancers must be brave. There movements in dance. Katarina Stoochnoff Natalie and Marco – Las Vegas are levels of technical precision that can be at- News from Australia News from USA The Cecchetti Society of Australia is fast creditation, both of which have taken years to As of January, 2005 the Cecchetti Society approaching the end of it’s first year of inde- achieve and at great expense. Chairman Carole Inc.USA will become an independent society. pendence having left the umbrella of the I.S.T.D. Hall says: “The word Independence now con- Over the last several years the many procedural as of the 31st of December 2003. Independence jures up a wide spectrum of emotions for me changes and requirements placed upon them by was not the original intention of the Society but from the initial apprehension of the uncharted the ISTD and the QCA have made the adminis- evolved over a period of eighteen months and waters we were about to enter to the excitement tration of the society and ISTD Cecchetti ex- eventually became the only option as their Na- and anticipation in this the 70th year of the ams no longer viable in the United States. This tional Council was finding the payment of 50% Cecchetti Society in Australia as we move into decision was not made lightly and their Board of the subscriptions from the members to be a the next era, proud of the heritage we have in- intends to sustain an ongoing association with real financial burden. To remain within I.S.T.D. herited and determined to continue with confi- the ISTD as individual members, looking for- Australia would have had to sacrifice their new dence into the future.” ward to continued professional relationships Grade syllabi and Australian government ac- with their many colleagues around the world.

6 Malta – The End of an Era by Mary-Jane Duckworth Sadly, after 65 years, the the home of the Cecchetti Method of teaching ten Cecchetti Method classical ballet schools Tanya Bayona Princess classical ballet. The first ballet school established which are now operating in Malta. Through her Poutiatine Academy of in Sliema by Princess Poutiatine was the home dedication and commitment the method has de- Ballet in Sliema, Malta, of Russian Ballet and was where Tanya Bayona veloped into one of the main ways of training has closed. The pre- had her early training. In due course she took over ballet dancers in Malta and she must be justly mises will become an the school and although it continued to support a proud of what she has achieved. All supporters Academy of English and wide variety of dance disciplines the main very of the Cecchetti Method owe her a great debt of Culture, and although strong emphasis has always been on classical bal- gratitude for ensuring that it flourishes so strongly the beautiful studio will let. In 1965 she introduced the Cecchetti Method in Malta. We are very sad that she has decided it still be retained, regret- of classical ballet training and has subsequently is time to retire but we wish her well in all her fully, it will no longer be trained almost all of the current Principals of the future activities. A Note from Miss Tweedie O.A.M. CECCHETTI SOCIETY In 1952, Sydney born Valrene Tweedie re- Over 50 years I have watched the beauty of OF AUSTRALIA INC. turned to Australia after dancing for 12 years in our method often spoilt by exaggeration of the North and South America with Col. De Basil’s headlines, body lines and finger lines. Also we GOLD MERIT Ballet Russe, Serge Denham’s Ballet Russse de all agree that a flat dead expression is unattrac- AWARD 2004 Monte Carlo and Ballet National de Cuba. She tive, but a flowery, over affected false expres- The Grade Panel members were the much was appointed choreographer and principal sion is equally unattractive. We must “to our own deserving recipients of the 2004 Gold Merit dancer of Melbourne based National Theatre self be true”. Our expression must be sincere, not Award, with the following letter from Mr Carse Ballet Co. in 1953. During this time she was per- painted on like a mask. Are we mesmerized by read immediately before the presentation. suaded by Madam Saronova and Jean Alexander the high leg and forceful attack so much that we During all the drama of leaving the Impe- to join the Cecchetti Society. Valrene opened her miss the beauty of the subtle, natural and unaf- rial Society and adopting new ways to teach the Sydney studio in 1956 and taught there for 29 fected? work for the children, very few of us have con- years. Also during these years she choreographed Barre work is the simple preparation of the sidered the intense work and effort put into this variety shows and classical ballet programmes body so that our line, balance and control will be new syllabus during the past five years. Nobody for ABC television, founded Ballet Australia to there for us when we commence our centre work. likes change, no matter how necessary it is, and promote Australian choreographers, became a There we work through movements to perfect criticism comes far more rapidly than apprecia- Fellow and Major Examiner of the Cecchetti this line, balance and control, so that very diffi- tion before we see the final impressive outcome. Society and was occasionally guest teacher for cult movements can be executed with ease. Only Most of us simply waited to find out what was both the Australian Ballet and Sydney Dance Co. then can we consider interpretation and the ex- next, never really considering what had been in- In 1990 Valrene retired from teaching, but not pressive qualities of classical dance. volved in creating it. from Dance. In 2001, Valrene performed again Why then do I see, so often, the complete Compiling a syllabus that provides sound with the Australian Ballet in Stephen Baynes new range of emotion in a simple combination of plies training and still develops from level to level, both ballet Requiem. and port de bras at the commencement of class. in style and content, keeping in mind the needs As we enter our year of independence, so It is like looking at four acts of con- of the later student, is complicated and requires aptly named by our National Chairperson Carole densed into five minutes and quite unnecessary. complex thought and planning. The ladies in- Hall, I would like to express my thought on the Why do we see so many broken wrists, volved met repeatedly during the years to decide Cecchetti method with which I have been asso- dropped elbows and either pokey fingers or flat on the content and the reasons for it, sort out suit- ciated for 68 years, as I did my first exam in 1938. dead ones? Are our eyes missing these details in able music with the pianists and then teach the For me, two words describe the Cecchetti our effort to jump higher, turn more or lift the work to the rest of us. It took a great deal of time, quality. They are PURE and SIMPLE. The whole legs higher? Or perhaps we are selfishly enjoy- thought and effort that I doubt anyone else has beauty of the work lies in simple, unaffected ing ourselves dancing and ignoring the beauty of considered. And how many of us would contem- NATURAL style and pure clean line. pure line and natural movement. plate giving up so much personal time and en- This is not easy to achieve. It demands con- Because the Cecchetti method is, or I be- ergy for our peers? This new work is likely to stant work and dedication. One must eliminate lieve should be, pure, simple and unaffected, it is affect us all for some years to come and these any unnecessary movement and be on guard al- a method which should produce dancers capable ladies deserve to be congratulated for their un- ways for anything which breaks the line, even of adapting easily to any style of dance. selfish energy, their forethought regarding the one little finger. To achieve this both the teacher Diaghilev discovered this in the early 20th work and their patience in devising developments and pupil must have “The Eye”. In other words, century when he found Cecchetti was the best in the steps and combinations. be able to see that a head is too far turned, or teacher for his company because his choreogra- Our congratulations and admiration must go tilted or not turned or tilted enough. I have ob- phers, Fokine, Nijinsky, Massine, Bronislava, to Ms. Sandra Allen, Sandra Clack, Carole Hall, served over my many years with the Cecchetti Nijinska, Balanchine and Lifar were producing Diane Pokorny and Valerie Jenkins who have Society and its examinations, that it is easy to new and different works at the same time as his worked so tirelessly to create both practical and learn the steps, sequences and counts but very company excelled in the classics such as Les stimulating syllabus work for the Australian difficult to achieve the correct qualities required Sylphides, Sleeping Beauty etc. Cecchetti Society. It of a truly good dancer. And that really has noth- However, classical ballet is a theatrical art is due to their care- ing to do with how high the legs can be lifted nor and we must remember we dance not for our- ful planning and ef- how many turns can be achieved. selves but for others, our audience, without whom forts that this new In the striving for this pure, clean beautiful classical ballet cannot exist. By all means let us syllabus has pro- line and quality we have one big enemy. This advance with the times and keep up with the rest vided us with such becomes very apparent in our examinations and of the world but let us never forget or forsake our an excellent means I feel sure that many examiners will agree with heritage. of teaching for the me. To close, might I add that it is my firm be- years to come. What is this monstrous enemy, which de- lief that these principles apply to good dancing - William Carse stroys what could be good beautiful work? It is no matter what style, method, period or place. exaggeration. photo by Wendy Cliff

7 FROM WHERE I SIT – WORKING WITH A NEW PIANIST by Ross Alley How many of you have ever received any Where to begin? quarter note) beats, and there are a few pieces training in developing an effective working rela- As I was inheriting the job from an experi- like Chopin’s Chord Prelude which are definitely tionship with a dance accompanist? Is it hit and enced pianist, I was fortunate in having someone counted 4 beats to the bar, but generally, only the miss or do you know the shortcuts? Is it produc- to help prepare me which was a great relief for first and third beats are accented. Therefore, the tive and progressive or static and unsatisfying? the teacher. On the other hand, I imagine many dance teacher’s counting of the bar as “1 and 2 In this article I should like to tell you some of the of you have had to train the pianist yourself which and” is perfectly legitimate. There are even pieces observations I have made over the years from is not always easy with a busy schedule of classes. of music in 4/4 where there is a feeling of only 1 where I sit. What do you say to an inexperienced pianist in count to a bar, but these are quite rare. Most ballet pianists begin by playing for the limited time available? For me, the question children’s syllabus classes – the music is provided of tempo was of major importance. If you are an Getting to know you and generally not too difficult to play – my own orchestral player, you must play at the tempo set It goes without saying that you will intro- first experience was no different. I struck my first by the conductor. If you are a pianist, and have duce your new pianist to the class (and by the chord as an accompanist for a ballet class as a had no experience at accompanying or playing name which they prefer). The old-fashioned dis- first year university student. I remember I was in chamber music, then the selection of a tempo cipline and politeness of the ballet class is one of seated at the piano, knuckles clenched tightly has always been very personal. However, we have its greatest charms and I think all pianists are around the handles of the stool, with my palms all experienced community singing and if you absolutely flabbergasted when, at the end of their growing moister by the minute as the ominous ask the pianist to think of themselves as a mem- first class, the students curtsey to them. It is also moment approached when I would be ‘on my ber of a choir (or orchestra) with you as the con- encouraging for a pianist to feel that they can con- own’ for the three and three-quarter hour sched- ductor, then perhaps they will understand the ne- tribute in more ways than just providing a rhyth- ule of classes that day. cessity of everyone working together. What is also mic support. I remember the shock I felt when What was the cause for this irrational fear? extremely important for the new pianist to realise one day, after a few months of playing, the teacher I had observed these four classes the previous is that they must maintain a constant tempo dur- suddenly said “Ross is helping you girls.” As I week and had had seven days to familiarise my- ing an exercise (unless otherwise specified). This was not doing any such thing consciously, I was self with the syllabus music – ample time, given brings up another point which sometimes con- dumbfounded by this remark, but obviously my the nature of the music. Well, there were two as- fuses pianists: that for the set exercises there is sensitivity to the movement of the dancers was pects of the work for which I felt unprepared. no single tempo irrevocably locked into a metro- beginning to strengthen. First, I had always been very shy about playing nome marking. You will need to explain that the Discovering exactly what it was that I was in front of other people – now even a class of tempo may need to be slightly faster or slower as doing proved to be and still is fascinating. It is seven year old girls seemed threatening – and you feel necessary. I have played for over 250 now over thirty years since those first tentative secondly, it was the rhythmic aspect of the job teachers and know that there is no such thing as experiences in dance accompaniment yet just this which worried me. How was I to find the right an ideal tempo for pliés (or any other exercise). year, at the Cecchetti Society of America’s Sum- tempo for each of the numerous exercises? How In every lesson, you must set the tempo clearly – mer Course in Las Vegas, an intriguing question was I to keep it rhythmically steady, even though not the whole exercise, four to eight bars should in the teacher’s classes led to the formulation of it may be a tempo which felt ‘wrong’ to me mu- be sufficient. a completely new concept in using musical counts sically? What if my fingers misbehaved and I for pliés which has stunned me. It is revolution- slithered to a halt; I had been warned repeatedly Dancers counts versus musical counts ary and thus may prove extremely controversial by a colleague that above all else, I must keep Another area for confusion is in the differ- but I am convinced of its musical ‘rightness’. the rhythm going. ent ways dancers and musicians count the mu- However you’ll have to wait to hear about that in Is it possible, I hear you ask, that playing sic. This discrepancy has arisen because trained a further article. for a dance class might be so daunting an experi- musicians learn music ence? Naturally, I cannot speak for any of my through reading a noted FIVE TIPS FOR NEW PIANISTS colleagues but only relate to you my personal ex- score whereas dancers (FOR SYLLABUS CLASSES) periences. What is absolutely true is that nothing respond to what they 1 Listen carefully to the tempo as the teacher sets the exercise. in any aspect of my training had remotely pre- hear. Both methods 2Try to maintain the same tempo throughout – you are not giving a concert. pared me for the task ahead of me. I felt like a have advantages and 3Watch the dancers as often as you can. fish out of water. disadvantages: the mu- 4 Keep your foot off the sustaining pedal during the light 2/4s and 6/8s. sician may be inclined 5 Do not practise the next piece between exercises; teachers find this What is the problem? to concentrate more on very irritating. The first important point I wish to draw your the interior detail (the attention to is that a pianist’s training concentrates visual division into FIVE TIPS FOR TEACHERS (WORKING WITH A NEW PIANIST IN A SYLLABUS CLASS) traditionally on the acquisition of a sound key- bars) whilst the dancer 1 Mark the exercise at the exact tempo required. board technique, according to time-honoured is attuned to the exterior 2 Use your voice to convey the quality and dynamics. methods, coupled with the development of an (the aural separation 3 Explain how you will start the music. artistic sensitivity to the stylistic characteristics into phrases). These dif- 4To adjust the tempo, say ‘faster’ or ‘slower’, rather than ‘too fast’ or of music in the historical piano repertoire, par- fering perspectives can ‘too slow’. ticularly that of the 18th and 19th centuries. This lead to a variety of mis- 5Try not to talk continuously over the music; it makes our role pointless. means Bach, Haydn, Mozart, Beethoven, Chopin understandings. Yes, the FIVE SOURCES FOR ADDITIONAL MUSIC and Schumann etc.; it does not generally embrace number of beats in the 1 Srauss family (waltzes, polkas, galops etc.) the study of ballroom dance rhythms such as bar is important but, as 2 Schubert dances (waltzes and écossaises) waltzes, polkas and galops. Yet it is exactly this the distinguished con- 3 Chopin (waltzes and nocturnes) latter type of music that is eminently suitable as ductor Sir Thomas 419th century opera scores th rhythmic accompaniment to the classical ballet Beecham was fond of 519 century salon music technique and the simplicity of the music itself saying, “Remember that FIVE PLACES TO FIND A NEW PIANIST often deceives many pianists into thinking that the bars are just the 1 Put up a notice at any local college/university. there is nothing more to it; they cheerfully play it boxes in which music is 2 Contact a private music teacher who may have a suitable student. all in quite the wrong style. Would you know how packed. Phrasing is all!” 3 Contact the head of music at a local secondary school. to go about adjusting this? A bar of 4/4 may con- 4 Include a note with the invoices to the parents. tain four crotchet (or 5 Advertise – supermarket, music store, community board.

8 RESOURCES C.C.A. Offers http://www.dancebooks.co.uk/homePage.asp - Dance Books www.dancelog.com - a web site focusing on the Canadian dance scene with news and resources College Credit www.ribernet.es/gdpmusic - see music below by Ann Parsley www.dancecollectiondanse.on.ca/dancecol For those seeking academic achievement, http://physics.dickinson.edu/physicsofdance see book below the Cecchetti Council of America now offers col- lege credit for their International Summer Videos: School’s Teacher Seminar. The CCA, which holds 1. Ballet Floor Barre - A warm up and conditioning programme by Nicole Vass its seminar on the campus of Hope College, has 2. Maria Fay’s Floor Barre - 3 sample classes including 70 exercises and enchainements demon- partnered with Hope so that a participant who strated by Christina Beskou registers for the college credits can receive one credit for academic study and/or one credit for Music for Ballet Class - Graham Dickson-Place 2004-2005, new DVD, CDs & Sheet Music the study of technique. The academic study con- Avda de Trueba 5-H-5º-B, 28017 Madrid, Spain Tel./Fax.+34 91 377 5547 or 34 91 234 sists of intense research and training in body 9187 email [email protected] placement, active and passive turnout, and causes of injuries in dancers. For the credit in technique, Physics and the Art of Dance, Oxford Univ. Press, 2002 by Kenneth Laws the candidate is observed partaking of the classes in the Teachers’ Seminar and receives a ballet Scheduled for release in 2006, Betty Oliphant: The Artistry of Teaching compiled and edited by assessment that considers alignment, traveling Nadia Potts, DanceForms illustrations by Rhonda Ryman, published by Dance Collection Danse and transitional movements, applied core Press/es. It will be the first in a series of manuals that cover the range of Oliphant’s 60-year career as strength, and artistry, including focus, musical- a teacher renowned for training some of the world’s most remarkable dancers. Nadia Potts has spent ity, expression, phrasing, texture and dynamics. the last five years working with Betty to record her unique approach to ballet training. The collec- The course finishes with a final meeting, not a tion of Oliphant’s classes, will include descriptions of exercises supplemented by her views on the test. The candidate receives an assessment port- influence of Enrico Cecchetti, Class Structure and Preparation, Dance Examinations, Auditioning folio that can be referred to and added to as the Students, and many more of her observations and teaching concepts. Peppered with captivating years go on. Jackie Pederson Kriens, who holds photographs of Oliphant’s years at the esteemed National Ballet School, the book will provide a the CCA Advanced Teachers Certificate and a DanceForms figure to illustrate the exercises. BA in Elementary Education and Special Edu- cation took the course to transfer to Augustana College where her 2 credits will be applied to her continuing education credits which are re- quired to maintain her teacher certification in MY WHITE LODGE EXPERIENCE South Dakota. According to Jackie, “It was all by Angelique Harris (age 12) South Africa August 2004 very valuable as it pertained to what I do in my dance studio. The required projects and resulting For quite some time I have been watching and Ms. Dobsyn and character was taught by handouts will be beneficial to everyone at my videos from my teacher of productions of The Ms. Fairbairn. studio.” Royal Ballet. When my teacher suggested I ap- Every morning after breakfast we started Hope College, Dance Dept. Chair Maxine ply for the 2004 Summer the day off with an hour and a half ballet class. DeBruyn, who leads the academic portion of the School I was very excited. It seemed like for- We then had a half an hour break followed by intensive, says that this course enhances the CCA ever before the reply letter from London arrived. another hour and a half class. Our lunch break study. “Examinations in ballet are a culmination Like a dream come true, the letter told me I had was followed by three one hour classes with fif- of study. Our assessment is an ongoing process been accepted. Two nights before we left for teen minute breaks in between. There were that can continue to evolve year after year. They London I was scared out of my wits that I was morning and evening meetings to discuss sched- compliment one another.” For more information going to look foolish. My teacher helped me ules. Our evenings were great fun, filled with call the CCA office at 734.379.6710 or visit the through this and told me to be an ambassador activities and socializing. We needed this as the CCA website at www.Cecchetti.org for my country by performing everything I had dance classes were normally intense! been taught to the best of my ability. The flight Our outings included an evening to was extremely long but enjoyable and my one Sadler’s Wells Theatre to watch “Singing in the Syllabus Revisions day sight-seeing was way too short. Rain” (with Adam Cooper), Greenwich Village Australia I took a taxi from the inn at which I was and Kingston. The theatre was magnificent ! At The new Grades are completed and in use. staying to White Lodge in Richmond Park. Driv- Kingston I stuffed my very own teddy bear and Canada ing through the park I saw hundreds of red and at Greenwich Village we stood on the meridian Revised Standards Primary - St. 3 are in use. Sts. fallow deer under the huge trees, just before the line. 4 - 6 are being introduced this year. school’s entrance. I sat on my luggage and A talent show was organized and on the CCA watched shyly whilst all the other dancers ar- “final day display” my Diamond Group per- The new Grade IV syllabus was presented at the rived. They all seemed so confident, many of formed pointe work, contemporary, jazz, char- 2004 CCA teachers’ course, the new CD was re- them had friends with them whilst many of them acter and for repertoire we danced cygnets from corded by Nina Pinzarrone. The CCA is also cur- seemed to have been before and knew one an- “Swan Lake” and the adage and waltz from “La rently recording a new CD for the revised pre-gr. other. After registration, we went up to our Bayadere” 1. dorms and I met my room-mates, three from During the two weeks we worked hard, In addition to the yearly examiner meetings Italy, one from Greece and Adele Pope from played hard, made wonderful new friends, held at the CCA National Seminar, the CCA will England. worked with fabulous teachers and had the most hold an intensive 3 day examiners’ meeting in In the two week period we took ballet and unforgettable time ever. the fall of 2004. All examiners will come to the pointe work classes with Ms. Harvey, Ms. The best part of all is that I will be attend- Detroit area to discuss syllabus, continuing edu- Dobsyn, Ms. Sadie, Ms. Dumont, Ms. Vere and ing school at White Lodge as a full time student cation, exam evaluations, and examiner training. Mr. Jolley. We also did contemporary with Ms. in the near future and am most grateful for this UK King and Mr. Tharp. Aqua dance was taken by rare opportunity and the special people who have Revised children’s grades were presented at Sum- Carmen. Repertoire was conducted by Ms. Vere made it possible. mer School.

9 Physics Goes to my Head by Kenneth Laws Prof. Emeritus of Physics, Dickinson College [email protected] http://physics.dickinson.edu/physicsofdance Imagine this interchange in a ballet class What evidence is there that dancers, even disciplined, analytical, and experimental, and are with a group of students striving to improve their young ones, are becoming more interested in the motivated to absorb any knowledge they think technique: principles behind human body movement rather will help them improve their technique. They are Teacher: Come on, Robert, you can get that than purely the “do it this way” approach? And therefore ripe for absorbing some basic physics, fourth turn in your pirouette! can they understand those principles? particularly if we catch them before they have Robert: I’m trying, but I just can’t quite get Two years ago I offered a series of physics- “learned” from their elders that science is to be around for that last turn. based ballet classes at the Summer Program of feared! And if we can demonstrate that under- Teacher: Try this: When you feel yourself the Central Pa. Youth Ballet. It started with an standing those principles helps them learn dance slowing to a stop, just whip your head around optional extra evening class that overlapped other technique, then they are willing to jump in and and spot one more time. Your body will follow, classes, including partnering. I was hoping there engage their minds fully. and you’ll have your quadruple pirouette! were a few particularly science-oriented students So what is happening in that pirouette? How Robert: But why would that help? I don’t who might be available and choose to show up. I should one help a dancer achieve the fourth turn? understand. was astonished when 94 dancers came to learn That analysis involves the total rotational mo- Teacher: Just try it. Dancers have been do- about the application of physics to ballet! mentum of the turning dancer, which depends on ing that for 200 years, and you’ve seen lots of My experience with young people leads me the rate of turn and on how the mass of the body quadruple pirouettes. to believe that they are more adept at understand- is distributed relative to the vertical rotation axis. Robert: But I can’t figure out why it should ing physical principles than we give them credit The initial momentum depends on the torque, or work! I want to know why! for, particularly if the emphasis is on the con- twisting force, and on the length of time the torque Teacher: Don’t you trust me as your teacher? cepts, not the math. acts. A larger torque results from larger horizon- Robert tries to spot his head one more time. Once I was watching some young people in tal forces between the feet and the floor that pro- He does get his head around to the side after his the science museum at Whitaker Center for Sci- duce the rotational motion. It is also larger if the third rotation, but his torso is facing upstage, and ence and the Arts in Harrisburg, PA. One visitor feet are farther apart in preparatory position. The the ending is not what one would want to see on was playing with a hands-on exhibit entitled total acquired momentum is larger also if some stage! of the momentum is stored in the Robert: See? I don’t under- arms if they start rotating before stand why it should work, so it the push-off foot has left the floor, doesn’t work for me! thereby extending the duration of Teacher: Jennifer, you do the torque. (The same principle pirouettes of four turns and more, applies if some momentum is and I notice you shaking your stored in the degagé leg for an en head. Do you think you have an dedans pirouette.) After the turn- answer for Robert? ing motion is established, the Jennifer: Well here’s what I slowing starts, rapidly for a sticky learned in my physics class. My floor. body has a certain rotational mo- What determines the rate of mentum, which gradually de- turn once the rotational momen- creases because of friction be- tum is determined? That involves tween my shoe and the floor. the ice skater effect: The closer Now if I complete three turns of the mass of the body is to the axis my pirouette, and would only get of rotation, the greater is the rate around another half turn, then of turn for a particular amount of what would happen if I spot one rotational momentum. more time? I would be using that Aha! Perhaps that is one remaining rotational momentum way Jennifer accomplishes her to make my head turn once more, four or more turns in her pirou- which would leave the torso and ettes. If the arms are brought the rest of my body having ro- closer to the axis of rotation, ei- tated less than it would have if I hadn’t spotted “Why we have kneecaps.” She was pulling one ther in toward the body or overhead, then the rate that one more time. So spotting the head an addi- rope and then the other. The ropes were attached of rotation can be maintained, or even increased, tional time should prevent me from squeezing to a model of a lower leg poised to kick; one rope while the rotational momentum is being lost to out that extra turn of my torso, not help! pulled close to the axis of rotation of the leg friction with the floor. That additional turn will Teacher: I have no idea what you are talk- around the knee joint, and the other was attached happen, as long as the dancer maintains balance. ing about. This is ballet, not physics! You don’t farther from that pivot axis. I chatted with the Are there other ways of getting the extra think about it, you just do it! visitor for a short time, mentioning the connec- turn? One clear technique is to exert a greater This interchange is perhaps an exaggeration tion between the reason we have kneecaps and torque with the feet against the floor, either of the sort of questioning we hear more and more the reason we open a door by pushing near the through greater horizontal forces exerted by the from dancers. In the tradition of classical ballet, outer edge, not near the hinge. She looked at me feet, or by using a wider preparation position. One students learn by applying the teacher’s instruc- with a puzzled look, followed by that exuberant can extend the duration of the torque by storing tions, by trial and error, and by copying others – glow of insight and comprehension. “Oh!” she the momentum in rotatable parts of the body not so much by physical analysis. Teachers are said. “Then if we broke our kneecap it would be while the feet are still able to exert their forces. now being challenged to prepare themselves for harder to straighten our leg! I can’t wait to tell But what about that spotting of the head? the “Roberts” we increasingly find in our classes my parents!” She started to run off. “Wait a sec- Does that really make it more difficult to squeeze (both ballet and physics classes). The teacher’s ond. How old are you?” “I’m seven!” I stood there out the extra turn? At this point some quantita- final exasperated comment is understandable in for a moment, marveling at the capacity of a child tive information is useful to tell us what propor- the circumstances of a class being delayed by one that young to grasp a significant physical con- tion of the total rotational momentum resides in assertive student’s questioning. But can we find cept, as she obviously had. the head. That calculation, based on data about better ways of responding to dancers’ queries? We know that dancers tend to be intelligent, body segment masses found in the appendices of

10 Physics and the Art of Dance (Laws)1, shows that the head rotating with the rest of the body in pir- Extract from Considering Style ouette position carries about 2% of the total mo- a personal analysis by Diane van Schoor written for CCA mentum. So when it rotates at perhaps three times the rate of the rest of the body during spotting, it …. As for the relevance and continuance education. However, it is indeed unfortunate is absorbing about 6% of the total rotational mo- of the Cecchetti Method as a method of train- that the work is still considered to the ‘period’ mentum, leaving the torso and the rest of the body ing in the 21st Century, it undoubtedly has much and this should be addressed particularly from with the remaining 94%. to offer, but needs to adopt a modern-day ap- a physical and from a stylistic point of view. Is that 6% a significant quantity? It’s mar- proach to imparting of the work. It is very rel- It is best analysed thus: Professional com- ginal. I suspect some sensitive dancers do sense evant as a study and training for those adagio panies still perform ‘Giselle’ and the two that small difference. and allegro movements which are derived from ‘Sylphides’ works, all of Romantic style, but We have been looking at the physical situa- the Romantic era and contained in the Roman- within the same season or on the same bill, tion. Psychology is also important, and there tic ballets and I believe that we should ‘pre- could also perform Balanchine, Neo-classical might be some feeling that, if the torso is turning serve’ this specific tradition in our training for works and new choreographies which rely toward the direction the head is facing (after spot- this purpose. more and more on contemporary movement, ting), it is more comfortable and easier to main- The remainder of the material I see as a acrobatic elements and works which show dif- tain balance than if the torso is turning away from compilation of an entire dance vocabulary fering styles and techniques. This is the mes- the head just before spotting that extra time. which is as relevant today as it was in the 19th sage that Cecchetti organizations should now So how do we respond to the teacher’s ap- century, provided that it observes the changes try to convey – that the Method is versatile and proach in the interchange at the beginning? and challenges in choreography today and that the Romantic period represents only one Clearly the best teachers are the ones who have grooms the future generation of dancers to be of the styles we are able to produce. As so both the experience that tells them what works able to produce the requirements which com- many of the enchainements are extracted from even if it is not easily understandable or explain- panies and choreographers now desire. many works other than those mentioned above, able, and the physical understanding that can be The Cecchetti Method does not fall short we need to ‘see’ the contrast and read the rel- so effective in improving technique. Dancers are of the necessary ingredients. On the contrary, evance – striving to retain the style of the pe- increasingly craving the second approach, so we it is all there. The work provides an overall riod works, but at the same time developing need to prepare ourselves. Perhaps Jennifer will and comprehensive technical and physical the classical principles upon which the Method be one of those well-prepared teachers of the fu- training and can well be translated into the es- is based to produce more lithe, energetic and ture! sential needs of today’s dancer when consid- physically viable dancers for the future, re- 1 Laws, Kenneth, Physics and the Art of Dance, ering anatomical, neuro-muscular, cardio-vas- membering that dancers today are seen as ‘Ath- Oxford Univ. Press, 2002. cular, proprioceptive, musical and theatrical letes of the Theatre’.

Ballet Principal, Royal Ballet School, The Lucie Saronova White Lodge, U.K. Memorial Award by Gail Myburgh, August 2004 2004 South Africa is proud to congratulate of Dancing, London, (Cecchetti Society Faculty), Presented by The Cecchetti Society Ms. Diane van Schoor on her appointment as Bal- Ms. van Schoor currently serves as a respected of Australia Inc. let Principal of School, White international examiner, in which capacity she has Lodge, U.K. Following a meritorious early bal- presided at Amateur, Vocational, Professional and Shore College, NSW, Friday, July 9th 2004 let training in Cape Town, South Africa, under Status examinations for many years. Sponsored by Energetiks the mentorship of Ms. Jennifer Louw, Ms. van As a lecturer, educator and international Schoor graduated with honours in both the master teacher of Classical Ballet, she travels Cecchetti method, Advanced II and the coveted extensively, guesting frequently at vocational Adjudicators: Lucette Aldous and Robert Maestro Enrico Cecchetti Diploma examinations. institutions, professional companies, dance soci- Olup rehearsal director, Miss Valrene Professionally engaged by the CAPAB Ballet ety workshops and summer school training Tweedie. Company for several years, she acquitted herself programmes. performing a wide international repertoire cul- A literary ability resulted in Ms. van Silver Medal minating with principal roles. After her retirement Schoor’s appointment as consultant during the 11 competitors from NSW, Queensland, S. from the stage, Ms. van Schoor opened her own publication process of the “Ryman’s Dictionary Australia, W. Australia, Victoria and Northern school of Classical Ballet, where for twenty-three of Classical Ballet Terms, Cecchetti”. She was Territory. Winner Imogen Chapman – WA years, she trained and coached students and pro- editor of the Cecchetti Society of Southern Runner up Alessia Delvecchio – WA spective teachers to achieve successful recogni- Africa’s newsletter magazine for approximately Honourable Mention Kirsty Corea – VIC tion in examinations and awards. eleven years. Whilst resident in South Africa, Ms. van Ms. van Schoor is an Honorary committee Schoor was a pro-active member of the Council member of the Wayne State University for Fine Gold Medal of Management of the Cecchetti Society of South- and Performing Arts and an advisory panel mem- 9 competitors from NSW, Queensland, W. ern Africa for fifteen years. She was elected to ber for the Margaret Saul Scholarship, Canada. Australia, Victoria and S. Australia the position of Artistic Director in 1995 and held Created an Honorary Life Member of the Winner Sarah Williams - NSW Runner up office until her resignation to accept an invita- Cecchetti Council of America in 2004, she has Chelsea Portelli – VIC tion to join the Royal Ballet School staff in the also recently been appointed Fellow of the Royal Honourable Mention Francis Lawrence VIC United Kingdom, where she worked in both the Society of Arts. lower and upper schools. At this time, Ms. van Friends, colleagues, examiners and council 2004 Gold and Silver Winners and Runner Schoor was presented with the South African members of the Cecchetti Society of Southern ups with Miss Lucette Aldous and Dedication Award for her notable and magnani- Africa extend best wishes to Ms. Diane van mous contribution to ballet in South Africa. Schoor for a happy and fulfilling tenure in her Mr Robert Olup. photo by Wendy Cliff Fellow of the Imperial Society of Teachers new position.

11 LIST OF MAESTRO CECCHETTI DIPLOMA HOLDERS

Australia Jean Spear ...... 1981 Jeanette Barlow ...... 1970 Alison Dos Santos Sandra Allan ...... 1978 Shirley Tetreau ...... 1987 Diane Baumann ...... 1985 Cara Drower Mia Ballenden ...... 2004 Heidi Zolty...... 1995 Gillain Behr ...... 1984 Mary-Jane Duckworth Natalie Blenheim ...... 2004 Cecchetti Council of America Shannon van der Berg Ronald Enblem Kathleen Butler Betty Bandyk Beth Caballero ...... 1999 Yukie Fujino Jane Cameron Lisbeth Brown ...... 2000 Joy Cooper ...... 1975 Raquel Gaviria Sandra Clack Terri Butkovich ...... 2004 Patricia Durham ...... 1973 Richard Glasstone Denise Coghill Linda Butler ...... 1978 Diane Elsworth Heather Goltman Michela Dent-Causon .... 1996 Gail Choate-Pettit ...... 2000 Mervynne Fernie Susan Handy Rita Eicens ...... 1982 Kathy Cooke ...... 2003 Lynne Fouché ...... 1970 Rachel Heywood Meryle Elliott Aleta Davis ...... 1978 Alison Hazel ...... 1988 Lynn Hollamby Caroline Ettienne ...... 1994 Rose Marie Floyd ...... 1972 Jennifer Klipfel ...... 1994 Elaine Hubbard Jane Farrelly Suzanne Gray-Granger (A) Karen Koen-Jooste ...... 1999 Gillian Hurst Peter Faux ...... 1995 Cathy Jones ...... 2000 Daphne Kruger ...... 1971 Deborah Jellis Monique Feain ...... 2004 Lee Ann King ...... 1997 Barbara Lewis ...... 1971 Penny Kay Denise Fisher ...... 2000 Laurie Krasnicki ...... 1997 Suzette van der Linde .... 1976 Janet Kinson Andrzej Godles ...... 2004 Laura McCarthy...... 2000 Timo Liston ...... 2001 Jacqueline Langman Carole Hall...... 1992 Julie Merkle ...... 1997 Jennifer Louw ...... 1998 Eve Leveaux Janice Heale ...... 1996 Pamela Moore ...... 1977 Nicolette Loxton ...... 1990 Patricia Linton Val Jenkins ...... 1992 Ann Parsley ...... 1997 Gail Myburgh ...... 1993 Jocelyn Mather Shirley Jones Tomi Sue Pollock ...... 1991 Noleen Nicol ...... 1991 Tracey Moss Rhyl Kennell ...... 1977 Marjorie Randazzo ...... 1989 Lana Paladin ...... 1978 Thérèse Oswald Annette Langham ...... 2000 Pamela Rutledge ...... 1997 Susan Perry ...... 1983 Carolyn Parker Jane Moran ...... 2004 Elaine McHale Seidman 2000 Jose Pretorius ...... 1963 Daphne Peterson Diane Pokorny ...... 1987 June Smith ...... 1997 Joyce Rabinowitz...... 1971 Eve Pettinger Fiona Porteous Patricia Suto...... 1991 Graham Rees ...... 1988 Linda Pilkington Andrew Pronger Kathleen Tenniswood .... 2004 Wendy Reinhardt ...... 1985 Lucy Pohl Shelley Rae-Aris ...... 1984 Kimmary Williams Rice 1983 Diane van Schoor ...... 1979 Gustavo Beserra Quintans Robyn Ross ...... 1991 Cecchetti Society USA Inc. Denise Schultze Gillian Robinson Cherill Rowston ...... 1978 Greg Bomke...... 1998 Pauline Shaw ...... 1985 Penelope Robinson-Debatin Edmond Stripe ...... 1991 Susan Brooker ...... 1989 Joy Shearer ...... 1971 Juan Sanchez Toivo Taves Louanne Davies Dudley Tomlinson Sofia Santiago Valrene Tweedie Marnell Himes ...... 1981 Diana Ward ...... 1970 Kate Simmons Athol Willoughby Raymond Lukens ...... 1989 Lynne Wesson ...... 1986 Richard Slaughter ...... 2004 Canada Betty Seibert ...... 1988 UK and Europe Mary Stassinopoulos Terri-Lynne Banfield ..... 2000 Janice Smith...... 1995 Alison Allen Elisabeth Swan Amy Blake ...... 1995 Raymond Smith ...... 1996 Christine Axton Lynn Wallis Rosalie Brake...... 1987 Deborah Vinton...... 1995 Rosina Baker Sarah Wells Christina Burrows ...... 2004 Franco De Vita ...... 1992 Tanya Bayona Ann Whitley Evelyn Finlayson ...... 1997 Heidi Wright ...... 1996 Brian Berscher Julie Wood Jean Geddis-Zetterburg.. 1987 Italy Jacobus Johannes Blokdijk Terry Wright Sheila Kennedy ...... 1981 Rita Gramigni Greet Boterman Gilian Kilgour ...... 1978 Brenda Hamlyn Melanie Bull Please notify Cecchetti Nancy Kilgour ...... 1965 Claudia Mazzini Victoria Chappell International Secretary, Carole Hall Janette Lindley...... 1997 Leonarda Raimondi Lisa Christian [email protected] Peter Moir ...... 1996 Evelina Ricci Maureen Christie of any spelling errors, names Suzanne Plante-Hobbs ... 1991 Gillian Whittingham Diana Cremona missed or new Diploma Christine Richardson ..... 1987 Southern Africa Jacqueline Davenport holders to allow her to complete her records. Dates Joyce Shietze ...... 1996 Yvonne Barker ...... 1974 Gillian Dawson will be added as received

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