CECCHETTI INTERNATIONAL CLASSICAL

Newsletter No. 8, 2002

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 • To raise the profile of the method world-wide • To encourage the profession and the art of dance by interaction between members and the international dance profession • To enhance the status of dance in the context of the arts and education CHAIRMAN’S LETTER

What a difficult year we have had, all the attendant publicity and interest way in the future. at Cecchetti International Classical Bal- which this will engender. We will shortly Please note that Robina Beard has let. I was disappointed that some of our be putting a proposal to all our original moved. Her new address is: founding corporate members found it FCM’s regarding the competition, and we 79 Midgeley Street, Corrimal necessary to resign from the fledgling trust that you will consider sending your 2518 NSW Australia organisation, but we intend to continue young Cecchetti dancers to compete, re- Tel:/Fax: 02-4283-2860 on towards an international Cecchetti as- membering those beautiful young men Email unchanged: sociation in which all those with alle- and women who competed in Australia. [email protected] giance to the Cecchetti Method can be In light of the recent terrible catas- Both fax and email have had a pe- involved in some way. trophes which have engulfed the world, riod of being “out of order” but are up We are all very grateful to Sheila and which seem to be changing the way and running again. Kennedy for this newsletter. It was the we think and live, I think it is important newsletter that originally brought us all to continue with our lives and our plans. Comments, suggestions, articles together, and it is heartening to see it con- Cecchetti International Classical Ballet and photographs, worldwide Cecchetti tinue, with such interesting articles. intends to progress with its plans for in- pioneers, for the next newsletter are wel- Our next task is to consider the next corporation, and we hope to be able to come at any time. Please send to Cecchetti International Competition and involve all our original FCM’s in some [email protected] Upcoming events THE CECCHETTI 2002 – 2003 LEGACY VIDEO/ Italy International Cecchetti Summer School DVD PROJECT for students & teachers An update from , October 27th 2002 June 28 - July 5, Civitanova Marché, Italy As communicated over recent months; I have committed International Faculty an extensive proportion of time (and expense) during the months Classical Ballet, Repertoire, Pas de Deux, of September/October - and continuing-into November — to Pointe Work, Contemporary Dance, Spanish apply to the Monaco Dance Forum, held from December 10 - Dance, Classes for children from Grade IV 14, 2002 in Monaco. Contact: Stefania Sansavini, • This: 1 / Performance Gathering, 2 / Prominent Audition of President of Danzare Cecchetti ANCEC Italia Senior students for all international major companies; AND; email [email protected] the 3 / IMZ Dance Screen a competition for dance films and videos - is the most prestigious and comprehensive interna- Britain tional event centering on dance - It is only held every 2 years. Junior Summer School & Students’ Illustrious Juries, Artistic Directors from the worlds major Summer Course companies, plus the companies themselves, and several July 26 - Aug 2, Tring, UK Teachers attend and offer a week of performances, competi- Teachers’ Summer School tions and forums. August 2 – 9, Chichester, UK • This year, Monaco Dance Forum together with the Banff Contact: Daphne Cooper, 30 Woodmere Av. TV Festival, is inaugurating an international PITCH session Watford, Herts WD24 7LN UK for new Dance Video, Film, Television and DVD projects. •Ten successful applicants will be chosen to present/pitch their USA project to a formidable gathering of international program- CCA International Summer School mers, sponsors, broadcasters. Everyone of influence and Hope College, Holland, Michigan USA power, in all markets who has a mandate and or venue/out- July 6-19 (students), July 13-19 (teachers) let for film, video, dvd - DANCE-based - will be there. They Gillian Hurst teaching Cecchetti syllabus will advise on the financing plan, and in some cases become & Flamenco. Contact: involved. This is how international co-productions begin their Gail Choate-Pettit, [email protected] deal-making process. Visit CCA’s new website www.cecchetti.org •I have been putting together the lengthy application which

2 also requires letters of financial sup- Marche committing to hosting the is a thick file of endorsement accu- port - totaling one third of the budget production cast and crew for the 2 mulated, including from The Rudolf - as proof of the seriousness of the week shooting period. The accommo- Nureyev Foundation in London. project. The regulations clearly state dation, food, administration, and lo- • Ross Alley has been working like a that ‘proof’ will be accepted in letter cations costs translate into line items Trojan to gain an on camera interview form with the statement - should the in the budget which would more or with Dame Alicia Markova - to our rest of the financing be raised less bring us to the 1/3 projected tar- knowledge, the last living student of clearly high-lighted. get of raised financing. Enrico Cecchetti. Ross has generously • The deadline was September 30th: • Since the Italian letter has been prom- offered to take on a portion of the up- I was given until October 15th to pull ised as forthcoming, Stefania has ad- front costs of the interview. The pro- in the financing letters of confirma- vised me to send the 2 Cecchetti So- duction budget if/when established, tion. ciety letters which I did on Thursday, would reimburse him. • Raymond, Jean Fulton, and I have Oct. 24. As you can see we are past •I firmly believe that this is our single been in close consultation. the deadlines, but I am counting on chance to really make THE •I have to date; the commitment from my personal reputation, success with CECCHETTI LEGACY VIDEO/ Cecchetti Society Inc. USA - for award-winning dance films and cred- DVD PROJECT on the level it de- $33,000 US, and from Mary-Jane ibility to gain us the extra time. SO- serves, and was conceived by Duckworth, Chair of Cecchetti Soci- • This is where we are. Of course in Raymond and so many of you. ety Trust for £4,000 sterling, both with addition, there are the splendid letters November update: the qualifying clause should the rest of support for the project, from an ar- a further $20,000 US has just been of the financing be raised - Thank ray of Artistic Directors of the world’s donated! you! best companies together with the of- •We are awaiting a letter from Erminio fer of their dancers. The Societies Chosen to be presented December 10 at Marinelli, Mayor of Civitanova have sent enthusiastic letters and there the Monaco Dance Forum.

CECCHETTI PIONEERS We are compiling a collection, please send us suggestions

Lucie Saronova of Cecchetti following her return from the given during 1917 in India; leading on to 1900 - 1988 Southern Hemisphere tour. It was on her her Australian debut at the Tivoli The- by Athol Willoughby O.A.M. 9th birthday that her mother took her atre, Melbourne. The Company Manager daughter Lucie for her first dancing les- for this tour being Mr. T.J. Holt father of Madam Saronova was the founding son. For 3 years she studied with Paul our future Prime Minister Harold Holt, organiser and first chairman of the Aus- Valentine, a French dancing master of re- through whose influence the Australian tralian Cecchetti Society Branch of the pute who had settled in London; at the Ballet was founded in 1962. Imperial Society of Teachers of Dancing; same time she also took classes with the Before the end of 1919, “Little Lucie her term of office covering a record span Italian dancer Rita Zalmame thus receiv- Linda” as she had been known profes- of 37 years from 1934 - 1971. Born in ing an introduction to the Cecchetti set sionally became Lucie Saronova due to Mill Bank, London her associations with work. the vogue for Russian dancers. No dancer Australia go back to 1916 when she set A pupil of talent she was soon lead- without a Russian name would have been sail for a 3 year tour of Australasia and ing a busy life as a child performer in both able to gain employment for many years. the Far East with a company which re- pantomime and variety, the only venues It was in this same year that Madam volved around the talents of English ac- where English dancers could perform was accepted by the Maestro Cecchetti tress and variety star, Ada Reeves. prior to the First World War. Appearing for instruction in his famous method of Madam’s future husband, Mr. Harry as “Little Lucie”, she was soon being no- dance training, now that he had retired Jacobs, was the musical director and con- ticed by London critics who even in 1911 from touring and had settled in London ductor for the company. Although a stu- noted what were to become her strong to teach. dent of the Maestro Enrico Cecchetti, points as a dancer - namely a strong vir- Soon Saronova had a big decision to Madam was already a trained dancer and tuoso technique, coupled with much ver- make. After giving her one of the few well seasoned professional of some 8 satility. certificates awarded to his English pupils, years before joining the London classes Her first overseas performances were which proclaimed her right to teach his

3 method, Cecchetti arranged for an audi- force in dance training in all states of this return to some teaching methods she had tion with the famous director of “Les Bal- country. learnt in London. As she put it to me, lets Russes”, Serge Diaghilev; however there is an old saying in the East that at this same time Harry Jacobs proposed Dai Ailian “when you have lost your way, go back marriage. After much soul searching, by Richard Glasstone, UK to where you started from.” So, when I Madam decided on the latter course - a was invited to teach in China, my brief decision, which she was never to regret CECCHETTI IN CHINA was to re-introduce elements of the as her marriage, gave her one-month The history of the Cecchetti method Cecchetti method at the Beijing Acad- short of 67 years of happiness. in China is inextricably bound up with emy. I found both the students and their Accompanying Ada Reeves for her the personal history of one remarkable teachers greatly interested in the 3rd tour of Australia in 1921, Madam and woman: Dai Ailian. Born in Trinidad Cecchetti principles and writing in the Mr. Jacobs decided to settle in Melbourne some 85 years ago, of expatriate Chinese souvenir programme for the Tribute to where the former opened a dance school parents, Dai Ailian came to England in Ashton and Cecchetti, Dai Ailian said: teaching for many years, also acting as 1930. Initially a pupil of Anton Dolin’s, “Through Margaret Craske’s teachings I both choreographer and leading dancer she went on to study classical ballet am forever indebted to Enrico Cecchetti, in the which proceeded films at throughout the 1930’s with Margaret the great Master whose teaching method both the Capitol and Regent Theatres; Craske (who had taken over Cecchetti’s – passed down by dancers from genera- whilst Mr. Jacobs became conductor of London School when the Maestro re- tion to generation – is so important to the the Palais Orchestra, St Kilda. tired), as well as Modern Dance at world of classical ballet. We in China Upon her retirement as a performer Dartington with Kurt Jooss and Sigurd are very proud to be part of that great heri- Madam made one last return to London Leeder. At the outbreak of war, Dai tage”. during 1934 in order to catch up on fur- Ailian moved to China, where she began Footnote: Nancy and Murray ther developments in dance, before a re- her extensive research into the wonder- Kilgour, currently teaching at the Alberta turn to Melbourne where she settled fully rich traditions of Chinese folk Ballet School, Canada, went to Beijing down to solely teach and so pass on the dance. Madame Dai was also one of the in 1985, on a British Cultural Exchange, precepts of her beloved Maestro first people to perform and teach classi- representing the Royal Ballet School, Cecchetti to successive generations of cal ballet in China. From 1949 she di- London. They took two students with Melbourne dance students. With the ad- rected the Central Dance and Folk En- them, one boy and one girl. The school vent of the Second World War, she closed semble and, in 1954, she was the Found- was the Beijing Academy which in- her studio but was brought out of retire- ing Principal of the Beijing Dance School cluded their National Ballet as well as ment by Miss Jean Alexander, the direc- (now the Beijing Dance Academy). Hav- their Chinese National Dance. Before go- tor of the National Theatre Ballet School ing miraculously survived the vicissi- ing they had dinner at the Chinese Em- in 1949. tudes of the notorious Cultural Revolu- bassy where they met Madame Dai. It was in this final phase of her ca- tion, this remarkable lady now continues They had a wonderful time in Beijing and reer that she taught a number of students to champion the cause of ballet in China also on their return, working with both who were instrumental in seeing that her and, on her regular annual visits to Eu- teachers and students visiting the Royal devotion to the precepts of Cecchetti were rope and America, Dai Ailian – acting in Ballet School. It was a very special time carried forward, Miss Lorraine her advisory capacity to the Chinese gov- that they will always remember. Blackbourn, along with Messrs. William ernment – seeks to encourage greater co- Carse and Athol Willoughby, O.A.M. are operation between ballet in China and 3 of her former students who are still on ballet in the West. Which is why I was the Panel of Examiners, after others have invited to teach in China in January, 2001. retired. From the mid-fifties to the early sixties, Always devoted to Soviet Russian influence was dominant her dear Maestro, in the Chinese ballet world, with some Madam taught his work excellent teaching as well as staging of with skill, along with joy the classics. However, initially, Dai in dance. Thanks to her Ailian’s teaching in China had been determination alongside largely based on the Cecchetti principles the pioneering efforts of she had learnt from Margaret Craske. the original Cecchetti Following the withdrawal from China of teachers in South Australia (Wanda all Russian experts and the subsequent 1996 on her 80th birthday at the Central Edwards) and N.S.W. (Estelle Anderson), wilderness years of the Cultural Revolu- Ballet, supported by Sun Xuejing the Method has become a well-respected tion, Dai Ailian felt there was a need to

4 AN AMERICAN at TRING by Jessie Hurwitt

I traveled to England with my dance England. I am very grateful that I had the most wonderful experiences of my director Betty Seibert and two other stu- the chance to go, because it was one of life. dents. At sixteen, stepping off an airplane into a country you have never visited before can make you nervous and excited and of course there is the adjustment to the native language, although it is easier to decipher the speech of the English than say the French. England is a beautiful country, the people are friendly and it is full of wonderful sites to visit. We spent two exciting days in London: the chang- ing of the guards, shopping, by the Royal Ballet and a Broadway play, ‘My One and Only’. At Tring I loved every minute of the course, it was chal- lenging, intense and included different forms of dance. I think my favorite part was getting to work toward the perfor- mance at the end and show off the skills we had developed. I am so glad I was able to take in so much from my time in L-R Jessie Hurwitt, Sierra Boyea, Eliza Quigley

RESOURCES

Classical Ballet Terms – An illustrated dictionary Available from Dance Collection Danse, 145 George by Richard Glasstone Street, Toronto M5A 2M6 Canada This dictionary traces both the historical background publisher of Livia Brillarelli’s Cecchetti: A Ballet Dynasty and linguistic origins of ballet terminology and ad- TEL: 416-365-3233 FAX: 416-365-3169 dresses the problems of correct spelling regarding EMail: [email protected] gender. WEBSITE: Available from Dance Books Ltd. http://www.dancecollectiondanse.on.ca/dancecol The Old Bakery, 4 Lenten Street, Alton, Hampshire GU34 1HG UK Cecchetti’s Enduring Concepts and Modern Dance WEBSITE www.dancebooks.co.uk by Janet Hagisavas Price £10.00, plus postage Presented at the Australian National Cecchetti Con- gress, July 2001 Rhyman’s Dictionary of Classical Ballet Terms: Booklet and Video $55.00 Canadian, plus postage Cecchetti by Rhonda Rhyman $5.00 in Canada $13.00 outside Canada, available A Dictionary of contemporary classical ballet terms from: Clear concise word descriptions of over 900 ballet terms Janet Hagisavas, 45 Annette Crescent, St., with pronounciations Alberta T8N 2Z8 Canada Includes historical notes from Maestro Cecchetti’s 1894 TEL: 780-458-2141 Email: [email protected] Manuel

*We would like to share more valuable resources with our readers, please send information to [email protected]

5 DISCOVERED TORINO MANUSCRIPT by Ross Alley, London, 2002

It was with some excitement and drawn mainly from the German/Aus- musical selections the 1908 Pavlova and greater curiosity that I learned of the dis- trian repertoire of Beethoven, Schubert 1927 Margaret Craske manuscripts and covery in Torino by Enrico Cecchetti’s and Schumann. It is my belief that this the I.S.T.D. publication (in my 1983 edi- descendants of a handwritten copy of the decision was prompted by Massine’s use tion) is illuminating. Cecchetti syllabus music dated 1909. I of symphonic music for his ballets at this Earlier in this article, I mentioned eagerly awaited the opportunity to ex- time, and by the aims of the newly that it was the 1930 Committee in Lon- amine it and was not disappointed. formed Camargo Society, in which both don who chose Schumann’s Wiegenlied Here, for the first time, I was able to dis- Ninette de Valois and Marie Rambert as suitable accompaniment for the cover the identity of the composer of were prime movers. Their choice of Cecchetti Port de bras. What therefore several of the pieces of music which had Schumann’s Wiegenlied for the set se- did Cecchetti himself use? In both the previously remained anonymous - that quence of Port de bras was a happy one; Pavlova and Craske manuscripts, the composer was E. Cecchetti. Here too the use of the slow movement of Port de bras is performed to the same was a much more comprehensive range Beethoven’s 9th symphony for the Pas music as that of the Pliés (composed by of music than the usual selections that de l’Alliance much less so. E. Cecchetti, as I have now found out). are used over and over again within what Obviously, not all teachers were sat- Imagine my surprise, on examining the I know as the ‘set’ music. However, the isfied with these musical substitutions, Torino manuscript, to find appearance of these additions also raised especially those who had also studied Mendelssohn’s piano piece ‘Spring some questions but, before I attempt any with the Maestro himself and finally, in Song’ as the choice. In fact, there are answers, let me retrace my steps. 1962 under the musical editorship of many ‘new’ choices of music in the In 1983, I was invited to re-edit the Kenneth Skeaping, the excised pieces Torino manuscript which teachers will music published by the Imperial Soci- were returned to the music book, albeit find intriguing, including a different ety of Teachers of Dancing (I.S.T.D.) in in a section of their own at the end. (One Minuet for each of the Monday to Sat- London as accompaniment for the (ma- of my aims in the 1983 edition was to urday Révérences. In total, there are 84 jor) examination syllabi in the Cecchetti place the alternative choices of music numbered pieces of music, and a few ad- method. This edition is still the most next to each other.) In the preface to ditional unnumbered selections, in the recent version and is used by teachers the 1962 edition, Cyril Beaumont manuscript but whereas the Barre, Cen- of the Cecchetti method throughout the thanked Cecchetti’s sons for permission tre Practice, Pirouettes and Adage selec- world. The idea of an examination syl- to publish and edit the returned selec- tions bear titles indicating the set exer- labus dates back to 1930 when former tions. cise they accompany, the Allegro selec- pupils of the Maestro (including Ninette But the source music for Cecchetti’s tions are mostly untitled although they de Valois, Marie Rambert, Margaret exercises neither begins in 1927 nor are grouped in the six Days of the Week Craske, Derra de Moroda and Mary ends in 1962, as I was to discover. In sections. (Curiously, Tuesday begins Skeaping) formed a committee in Lon- 2000, a young Canadian teacher (and with ‘Tutti Sisonne’ and Wednesday don under the chairmanship of Cyril musician), Candice Helm, chose to re- with ‘Tutti Jeté’ which is a departure Beaumont. Most of the music which search the history of the ‘set’ music for from Cecchetti’s later division of the Al- formed the accompaniment to the first her ‘Fellowship’ paper. Naturally, I gave legro steps.) I also note that some of the examination syllabus was drawn from her full access to all the materials I had pieces of music are ascribed to G. 72 pages of neatly written manuscript collected but, while she was in London, Cecchetti who may be Enrico’s brother, given by Maestro Cecchetti to Marga- Candice also obtained copies from the Giuseppe. ret Craske in 1927, bearing the dedica- Theatre Museum of a 68 page manu- It is important to recognize that tion ‘A mon chère élève Margaret script in Cecchetti’s own hand entitled Cecchetti varied his enchaînements to Craske pour façiliter ses leçons de danse. “Musique Pour les Exercices de Danse suit the particular attributes of some of Souvenir affectueuse de son maestro Methode Cecchetti” which he had given his students. He also revised and devel- Enrico Cecchetti’. to Anna Pavlova in 1908 (the dedication oped many of the exercises during his Curiously, those same pupils of reads: Mlle. Anna Pavlova. Souvenir de lifetime. It is only natural, therefore, that Cecchetti saw fit to replace some of their son Professeur Devoué Enrico Cecchetti his use of music to accompany the se- maestro’s approved choices of music 1 Aôut 1908). The detailed chart made quences of movement was similarly with ‘better’ selections of their own, by Candice comparing three sets of flexible. In fact, many of Cecchetti’s

6 pupils recorded how he often taught bal- not in Cecchetti’s hand). Perhaps some the attaching of downward stems to the let class with no musical accompaniment of the musical selections were even pro- noteheads on the right rather than the whatsoever; instead he whistled and beat vided by pianists who were working left side, and secondly, the use of a di- time with his cane on the floor. Whether with Cecchetti at this time. agonal line to separate the two numbers this was for financial reasons or for want I believe the manuscript is not in the of the musical time-signatures. In nei- of an accomplished and sympathetic mu- hand of Enrico Cecchetti as I have ex- ther the Torino manuscript nor the Mar- sician, I do not know. Regarding amined examples of what is believed to garet Craske are these two highly indi- Cecchetti’s own musical abilities, we be Cecchetti’s musical handwriting from vidual features present. know that he played both the violin and two sources, one is a single page in the Whose hand notated the Torino the piano, and photographic evidence private collection of Dr. Giannandrea manuscript may still remain a mystery even shows us his playing and teaching Poesio in London (a transcription made but the wealth of alternative choices of at the same time. In the Pavlova and by Cecchetti in 1887 of Romualdo music in this collection is as refreshing Fornaroli manuscripts, only the melodic Marenco’s music for Excelsior); the as it is welcome and I encourage teach- line is notated, indicating that the mu- other is the Cia Fornaroli Collection in ers of the method to put it to good ad- sic was written to be played on the vio- the Research Libraries of the New York vantage. lin, whereas the Margaret Craske manu- Public Library. Two distinct features script is in pianoforte notation (although common to these manuscripts are firstly,

CONGRATULATIONS ROSE MARIE to the Cecchetti Society of Australia Inc. on becoming a Registered Training Organisation in Australia FLOYD FISTD ‘a reunion of friends’ on December 27, 2002 many former stu- LIFETIME ACHIEVEMENT dents who have danced professionally re- turn to Detroit, USA to honor their first AWARD teacher. Congratulations to Jean Spear FISTD who received this surprise presentation in Toronto, on November 16, 2002 from the Cecchetti Society of Canada THE LUCIE SARONOVA MEMORIAL AWARD In 1999 the National Council of Australia introduced a National Competition for students from all States and Territories throughout Australia to compete together. It will now be called The Lucie Saronova Memorial Award.

2002 Memorial winners – The Lucie Saronova Memorial Award L-R David Hammond, Ashleigh Forde, Rachel Jenson (Judge), Steven McRae, Lauren Wellman, Peter Furness (Judge), Halina Hughes, Jenna Hughes

7 CELEBRATION IN CANADA by Marnell Himes, USA Canada’s celebration of the classes with Hanne Livingstone, Sheila to the Royal Winnipeg Ballet for the do- Cecchetti Society’s 80th anniversary was Kennedy and Christine Richardson. nation of their beautiful studio space for a week of inspiring classes and an ex- Students were also treated to classes the week of the conference and in the citing Gala. We were privileged to have in modern with Josée Garant, Improvi- months leading up to the conference for guest teacher Kate Simmons from En- sation with Claire Marshall, and Jazz with gala rehearsals. Winnipeg was a lovely gland teaching with her usual great en- Kimberley Rampersad. It was a pleasure location for a week of truly refreshing ergy and clarity. Her Diploma classes to again see Peter Pawlyshyn teaching classes. Especially as ‘The Golden Boy’ reminded me again as to why I love the Character. And what would dance be was on display while being refurbished Cecchetti work. This was my first time without music? Thank you to Ross Al- before being set aloft once more on the to see Glenn Gilmour teach and all of ley, Trevor McLain, Irena Gendelman, Manitoba Legislature. Congratulations to the wonderful things I had heard are Jennifer Dumas and Mark Cameron for the Manitoba council and organizing com- certainly true. His classes were enjoy- your beautiful music. mittee: Maggie Dalwood, Jacqui able and challenging and his men’s The Gala, co-ordinated by Sheila Davidson, Debra Thiessen, and Carol pedagogy classes showed the develop- Kennedy and Suzanne Smith, took place Piller on a truly successful Celebration. ment of the work in such a logical way at the Franco-Manitoban Cultural Centre. that it all seems possible! It is always The evening was graciously emceed by enjoyable to participate in Ross Alley’s Veronica Tennant, the Society’s Honorary music classes. He not only presents Patron, whose enthusiasm is always so much valuable information but manages contagious. Opening the program was a to involve everyone in the class and he charming demonstration by young danc- inspires us all to think! The teaching ers from Manitoba, choreographed by staff also included Joyce Shietze who Suzanne Smith and Debra Thiessen with gave wonderful “pointers” to those pre- Carol Piller at the piano. This was fol- paring for their qualifying exams as well lowed by a demonstration of the Cecchetti as to those who are helping teachers pre- Major and Diploma work arranged by pare for these exams. Stéphane Léonard Sheila Kennedy, with music arranged and brought a wonderful calm and thought- performed by Trevor McLean. This was ful approach to his classes, challenging beautifully presented, showing the layer- students with some different ways of ing of steps and culminating in the solo- using the head and arms. Although I was ists work so clearly demonstrated by unable to personally observe all classes, Vanessa Lawson and Dmitri Dovgoselets. Judith Kruggel and Kimberly Ross (fel- In the second half of the program British Lauren Shinnimin (top), Corinne Vessey low teachers from California) enjoyed Columbia was represented by Willow (middle), Alexandra Scheween (bottom) Jewett, performing “Right Angles” a con- temporary work choreographed by Chris- tine Richardson. Six dancers from Alberta performed “Visions” choreographed by Tina Colvin-Dewart. Manitoba presented “Echoes of Summer”, choreographed by Janice Gibson. Manon LaCourse with her performance of “Winter”, choreographed by Josée Beauséjour, and Olena Harasymowycz performing her own cho- reography, “For Movements Sake” repre- sented Quebec. Glenn Gilmour staged a variation from “Don Q” for Katherine Long from Ontario. Tara Rogers and Joan- Marie Jamieson performed “Mist in the Narrows”, choreographed by Sandra Blackmore to represent Newfoundland. The performance concluded appropriately with the Bluebird Pas de Deux from Act III Sleeping Beauty, performed by Vanessa Lawson and Dmitri Dovgoselets, coached Kate Simmons & Rachel McLaren by Stéphane Léonard. A special thank you Glenn Gilmour

8 Challenges sent to the Celebration standing of the movement principles in integrity and value of his legacy we must for the next 80 years: all our teaching, rather than merely re- look to the future realistically and work “The relevance of the Cecchetti peating set sequences, must surely be the with two distinct criteria: work to a true understanding of the sty- way?” 1. the work must be taught at the high- listic qualities of and Les Richard Glasstone. est professional level Sylphides cannot be overstated. How- “Enrico Cecchetti taught the great- 2. the work must be taught at a respon- ever, the challenge for Cecchetti teach- est dancers of his time. His method has sible amateur level.” ers in the 21st century is to look beyond influenced almost every major dance Raymond Lukens and Franco De Vita this stylistic element to a better under- institution in the world. To maintain the

IMPRESSIONS of KOREA by Carole Hall, Australia I flew out of Sydney the week be- students execute the familiar exercises. all of which I thoroughly enjoyed. Then fore Christmas, exhausted and ill, appre- Suddenly it hit me how truly international shopping – confronted with so much hensive of the problems I might encoun- the Cecchetti method is. To examine the choice I only bought a few items, not like ter teaching and examining in a non-En- familiar work in a country where normal me at all. My last night in Korea, I was glish speaking country. However, the means of communication are difficult taken to a restaurant that had traditional minute I walked through the doors from due to the language barrier was an amaz- Korean dancing. I was fascinated by the Customs in Seoul airport I was sur- ing sensation. The evenings provided the enthusiasm and pride shown in their rounded with the warmest welcome any- opportunity to get to know the teachers, heritage as they explained the food, one could wish for. Language seemed to to experience their unending generosity, dances and traditional decorations in the become a secondary concern, as we com- and to learn a little about their traditions. restaurant to me. The night ended with a municated with gestures and laughter. The first night they took me to a smor- visit to a teahouse. We sat on the floor This continued throughout my stay as I gasbord to end all smorgasbords! Dur- and drank amazing flavoured teas out of discovered what a warm, generous and ing the meal I was showered with gifts beautiful cups accompanied by delicious hospitable people the Koreans are. Ex- and it was wonderful to see the pride with sweets. I returned home with a kaleido- amining and teaching was a pleasure which the meanings and tradition behind scope of memories of a hard working, en- working with such an enthusiastic and fo- each one was explained to me. The sec- thusiastic people, generous beyond be- cused group. It was a strange but wel- ond night I experienced my first tradi- lief and a whirlwind of experiences which come sensation to sit in a studio so far tional Korean restaurant. I was introduced were so enriched by the explanations of from home and to hear the Elementary to the amazing array of different foods all the traditions by a race so proud of music beautifully played and to see the and tastes (my first time with chopsticks) their heritage. GOLD MERIT AWARD Australia National Council decided at the beginning of this year to introduce it’s own award for an outstanding contribution to their Society. The first Gold Merit Award was presented at in Adelaide to Robina Beard for her out- standing contribution in her fifteen years as Chairman of the National Council and for her hours of time given so unstintingly and so willingly to establish and bring the Society to where it is today. The Award was presented to Robina by the new Chairman, Carole Hall. Congratulations to both ladies.

Chichester, 2002. Guest teacher, Robina Beard,Carole Hall Betty Seibert & Elisabeth Swan

9 steady succession of pulses without any THE RHYTHM OF LIFE specific accents, if we play a metrical pat- by Ross Alley tern alongside it, it feels more like duple than triple time. It is something to do with Rhythm is a curious phenomenon. (bars) of the metre. the halving and doubling-up effect inher- We can all recognize it, yet find it diffi- Theoretically, there ent in duple metre whereby a beat splits cult to express its meaning effectively and could be an infinite number of different so easily into halves, quarters, eighths and precisely in words. Dictionary definitions metrical patterns, but as the number of sixteenths and so forth, that the main beats often do not help for, by nature, they must beats in a group increases, it becomes can often be confused with the sub-beats. compress their meanings into a mere more and more difficult to recognize a This is why you need never trouble your- handful of well-chosen words resulting recurring series. Therefore, all possible selves about the difference between 2/4s in an entry for the word ‘rhythm’ as: “the metres have been condensed, realistically, and 4/4s; often it is just the whim of the temporal pattern produced by the group- into just two: a metre of two (i.e. ONE composer! The heart beat is thus comple- ing and balancing of varying stresses and two, ONE two, etc.) and a metre of three mentary to duple metre. persisting succession of beats” (Webster’s (i.e. ONE two three, ONE two three, etc.). Triple metre, on the other hand, cre- Third New International Dictionary). A metre of ‘one’ serves no usefulness as ates a ‘swinging’ effect through its un- That definition is actually quite amazing a pattern it is just a succession of unvary- equal subdivision, which also makes the in the amount of information crammed ing pulse beats while all the others are main beats stronger. Just as there is a within so few words, yet some of you may made up of a combination or alternation physiological complement for duple find it almost indigestible, so concentrated of the basic two: a metre of four is sim- metre in the heart beat, so the action of is its content. The Concise Oxford Dic- ply [2 + 2]; a metre of five [2 + 3]; a the lungs harmonizes with triple metre. tionary is even briefer: “2. That feature metre of six [2 + 2 + 2] or [3 + 3]. Per- Try it for yourself: breathe in and out of musical composition concerned with haps our preference for metrical organi- deeply while tapping your fingers on a periodical accent & the duration of notes.” zation, and love of symmetry generally, table two slow beats to inhale, and two Although rhythm embraces both the derives from the recurring cycles and pat- beats to exhale. Now try it tapping out irregular (such as the exploding fireworks, terns in nature and, indeed, ourselves. three beats for each. The cyclical feeling construction work, human conversation) Biological rhythms of impulse and suspense of the expand- and regular varieties, it is the latter that is In fact, sometimes we forget the rel- ing and contracting breathing movements integral to music and dance. Why should evance of the human body to our percep- seems perfectly in harmony with triple this be? The answer would obviously be tion of rhythm. For a start, our sensation metre. intimately connected with the fact that, of musical tempo is totally governed by Moving from metrical associations as living beings, we are dependent on the the rate of the human heart beat. When with involuntary physiological functions continuance of a persistent heart beat. we are excited, or engaged in strenuous to voluntary movements, we note further What is less understood, is our irresist- activity, our heart beat rate increases dra- interrelationships. The most basic body ible urge to tap along with a regular ex- matically; during peaceful sleep the level movement that corresponds with duple ternal beat and, what is more, the stron- drops correspondingly neither the emo- metre is walking. Two feet walking, ger the beat, the more we wish to move tions are animated nor the physical activ- marching or running fit comfortably to part of our bodies (foot, fingertips, head) ity. Thus fast music sounds ‘exciting’ duple musical subdivision. Similarly, the in sympathy with it. Several theories have while very slow music can send us into most basic body movement that corre- been suggested to account for this inex- an emotional torpor. At rest, the normal sponds with triple metre is swaying. Try plicable and virtually involuntary heart beat rate is 60-80 beats per minute. it and see. Swinging movements always behaviour but the one most favoured is Fit people, like dancers, should be at the feel fuller and juicier to triple metre. The that it is an attempt by the body to ratio- lower end while the rate of the over- extra sub-beat encourages a moment of nalize the speed of a disturbing external weight and inactive will be much more suspense at the end of the swing before beat with the different tempo of our in- (although the real test of fitness is how gravity pulls the weight downwards ternal timekeeper. quickly the pulse-rate returns to normal again. The skip is also bounciest on a fast Regular rhythm is dependent on pat- after strenuous activity). Because of this, triple metre (6/8). Adage movements terning, that is, the ordering of the beats we judge musical rhythm that proceeds into regular groups by placing an empha- at 60-80 beats per minute as of moderate Once the basic relationship between sis on the first pulse beat in the group, tempo while our sensation of slow and body movement and musical metre is un- and repeating this idea continuously, pro- fast music is related to the rates moving derstood, it is time to experiment with the ducing, in its simplest form, a type of outwards from this central range. effect of how the duple/triple antithesis rhythmic patterning called METRE. In The heart beat is an involuntary can be used to enhance balletic movement musical notation, vertical lines (barlines) physiological function and although a quality. First, let’s take a slow movement are used to separate the regular divisions healthy human heart should beat in a such as a grand plié performed in four

10 counts. Try doing a few pliés while count- ond half, the triple time subdivision, felt The uneven subdivision lends itself ing One-and, Two-and, Three-and, Four- slower. Fortunately, there’s always at least to ballon elevation: a higher jump is cre- and; now try again while counting One- one student, usually who has had the ben- ated by the longer time now spent in the and-a, Two-and-a, Three-and-a, Four- efit of learning a musical instrument, who air. and-a. As long as the counts (or, better can explain the metrical switch I made. It is important that you experiment still, music) are sung (or played) with the Identifying the change is not the purpose with both these subdivisions so that same smooth and continuous quality, both of my exercise however; rather it is the simple jumps do not look the same on a metrical subdivisions are legitimate; yet correct movement response to it that con- 2/4 time signature as they do on 6/8. If something feels very different. Do you cerns me. This is a fundamental, yet gen- you have a pianist, ask them to switch have a preference, and can you explain erally poorly appreciated aspect of devel- from a 2/4 to a 6/8 after four or eight why? As a bold generalization, music in oping musicality in which I seek your ac- counts (but without altering the tempo), duple metre feels more ‘rigid’ and the cor- tive support, as teachers of classical bal- allowing your students to practise alter- responding movement more ‘controlled’ let. Petit allegro elevation should not look ing the height of their elevation accord- (‘academic’, even) than that in triple time the same in quick duple time (i.e. 2/4) as ingly. You can also practise this exercise which is ‘rounder’ and seems more flow- it does on quick triple (i.e. 6/8) for the using your voice alone or by clapping the ing. Use these two qualities to your ad- dynamics of jumping are fundamentally sub-beats. vantage: for the student who drops into related to metrical subdivision. When you This same effect can be achieved at the demi-plié too quickly, perhaps the are watching ballet on television or video, the barre performing a series of slow duple metre will encourage greater it should be possible to turn the sound off battements glissés or dégagés to second evenness in the timing throughout; for the and see quite clearly whether the perform- position. Try doing four of each, ensur- student who looks too rigid, perhaps the ers are dancing to duple or triple time. ing that the students achieve a hold in the triple metre will help phrase the move- Sadly, this is not always the case. second position on the 6/8: ment. These same effects can be used to In duple subdivision, you can spend out-hold-in out-hold-in etc. enhance all Adage movements. equal amounts of time in the air and on & - a - 1 & - a - 2 Allegro movements the ground: One of the exercises I use when ex- Without your guidance, the students ploring the duple versus triple antithesis jump-land jump-land will cheerfully perform the battement with my students is to ask them to per- & - 1 & - 2 glissé or dégagé movement to the two form a series of simple jumps (sautés or metres with absolutely no change what- changements) while I accompany them This is typical of terre à terre eleva- soever. I believe that practising this re- on the piano. Halfway through, and un- tion, and is especially appropriate for cre- sponse to the two basic musical metres in beknown to them, I change my metrical ating nimble footwork in petit batterie alternation should be an integral part of subdivision of the beat from quick duple enchaînements. class teaching and would do wonders for to triple without altering the tempo. I then In triple subdivision, however, there assisting the development of musicality. ask the students to tell me what they no- is an extra sub-beat to allow suspension Which examining body will be the first ticed. Most are aware that a musical in the air: to incorporate such an exercise within change took place but find it hard to ar- their syllabus? ticulate the difference they experienced, jump-suspend land jump-suspend land although they often comment that the sec- & - a 1 & - a 2

BARBARA GEOGHEGAN A tribute by Kate Simmons I have known Barbara Geoghegan for the past sixteen years. I first met her when I started to enter children for the Northern Area and London Mabel Ryan Awards. As a new teacher and one that had just retired from a company she gave me great encour- agement and help, nothing was ever too much trouble and she always made newcom- ers feel welcome to the Awards. Ms. Geoghegan was exceptional with children of all ages, having run and organised Cecchetti Scholars for many years her expertise and careful eye developed scholars into the wonderful scheme it is today. Children and students adored her, not only for her warmth and kindness but for the way she made every child feel special. We must not forget that Ms. Geoghegan was a super teacher and pianist, she was also a composer of several pieces of music for solos. I for one, miss her a lot and I am truly grateful for all the time and chats we had together.

11 LIST OF MAESTRO CECCHETTI DIPLOMA HOLDERS Australia Shirley Tetreau Evelina Ricci Jacqueline Davenport Sandra Allan Heidi Zolty Gillian Whittingham Gillian Dawson Kathleen Butler Cara Drower Jane Cameron Cecchetti Council of America Southern Africa Mary-Jane Duckworth Sandra Clack Betty Bandyk Yvonne Barker Ronald Enblem Denise Coghill Lisbeth Brown Diane Bauman Raquel Gaviria Michela Dent-Causon Linda Butler Gillain Behr Richard Glasstone Rita Eicens Gail Choate-Pettit Shannon van der Berg Heather Goltman Meryle Elliott Kathy Cooke Joy Cooper Susan Handy William Esrac Aleta Davis Diane Elsworth Lynn Hollamby Caroline Ettienne Rose Marie Floyd Mervynne Fernie Elaine Hubbard Jane Farrelly Suzanne Gray-Granger Lynne Fouché Gillian Hurst Peter Faux Cathy Jones Alison Hazel Deborah Jellis Denise Fisher Lee Ann King Jennifer Klippel Penny Kay Carole Hall Laurie Krasnicki Daphne Kruger Janet Kinson Janice Heale Laura McCarthy Barbara Lewis Jacqueline Langman Val Jenkins Julie Merkle Timo Liston Eve Leveaux Shirley Jones Pamela Moore Jennifer Louw Patricia Linton Rhyl Kennell Ann Parsley Nicolette Loxton Jocelyn Mather Annette Langham Tomi Sue Pollock Gail Myburgh Tracey Moss Jane Moran (Part 1) Marjorie Randazzo Noleen Nicol Thérèse Oswald Diane Pokorny Enid Ricardeau Lana Paladin Carolyn Parker Fiona Porteous Pamela Rutledge Susan Perry Daphne Peterson Andrew Pronger Elaine McHale Seidman Jose Pretorius Eve Pettinger Shirley Rae June Smith Joyce Rabinowitz Linda Pilkington Robyn Ross Patricia Suto Graham Rees Lucy Pohl Cherill Rowston Kimmary Williams Rice Diane van Schoor Gustavo Beserra Quintans Edmond Stripe Denise Schultze Gillian Robinson Toivo Taves Cecchetti Society USA Inc. Pamela Shaw Juan Sanchez Athol Willoughby Greg Bomke Joy Shearer Sofia Santiago Louanne Davies Dudley Tomlinson Kate Simmons Canada Marnell Himes Diana Ward Mary Stassinopoulos Terri-Lynne Banfield Audrey King Lynne Wesson Elisabeth Swan Amy Blake Raymond Lukens Lynn Wallis Rosalie Brake Betty Seibert UK and Europe Sarah Wells Evelyn Finlayson Janice Smith Alison Allen Ann Whitley Jean Geddis-Zetterburg Raymond Smith Christine Axton Julie Wood Sheila Kennedy Deborah Vinton Rosina Baker Terry Wright Gilian Kilgour Franco De Vita Tanya Bayona Nancy Kilgour Heidi Wright Brian Berscher Please notify Cecchetti Janette Lindley Jacobus Johannes Blokdijk International Secretary, Peter Moir Italy Greet Boterman Carole Hall Suzanne Plante-Hobbs Rita Gramigni Susan Brooker [email protected] Christine Richardson Brenda Hamlyn Melanie Bull of any spelling errors, names Joyce Shietze Claudia Mazzini Victoria Chappell missed or new Diploma Jean Spear Leonarda Raimondi Lisa Christian holders to allow her to Maureen Christie complete her records

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