Cecchetti International Classical Annual Newsletter No. 14, 2008

Inside this issue:

Up-coming events – 2009...... 2

Contacts...... 3

Outgoing Chairman’s message...... 3

Welcome to Betty Seibert the new CICB chair...... 3

Web site...... 3

Chairman’s Report on the 2008 Conference...... 4

Affiliated Members and Friends...... 4

International Summer Course and Competition...... 5

Individual Founding Members...... 5

International Forum...... 7

Dance by Day – Laugh by Night, Chichester...... 8

Towards Musicality by Danie Fourie... 9

Cecchetti Pioneers Valrene Tweedie, Australia...... 11 Kay Armstrong, ...... 12 Photos by Anthony Hawkesworth Arrangement by Terra Mahood Resources...... 15 These pictures capture some of the energy and enthusiasm that marked the 2008 CICB event. To purchase the CD with over a thousand colour photographs and the DVD of the stage classes, semi-finals and finals please see Resources on page 15, proceeds go to Diploma Holders...... 16 the next competition planned for 2011. CONGRATULATIONS to all the 28 young dancers who made the 2008 CECCHETTI INTERNATIONAL COMPETITION such a very special event

Nicole Ellis, James Lyttle, Kirsten Marsh, Lachlan Phillips Dominique Yong (Australia) Jennifer Bobo, Alexa Castle, Janna Fuller, Mary Steward (CCA) Stephanie Carter, Marlie Couto, Claire Keeley, Mary Kate O’Sullivan, Aileen Park, Madison Simons (CUSA) Corynne Barron, Tanya Chumak, Garrett Groat, Alexandra Gibson, Jennifer Gibson, Julian Lucila, Lucie McEvenue, (Canada) Lara Brandi (Italy) Candice Dennison, Kirsten Mansfield, Alexandra Potgieter (South Africa) Lauren Claire Smith, Ruth Brill (UK)

Cover image, from left to right Top layer: Alexa Castle-CCA, Lachlan Phillips-Aus., Nicole Ellis-Aus., James Lyttle-Aus. 2nd layer: Garrett Groat-Can., Alexandra Gibson-Can., Ruth Brill-UK, Marlie Couto-CUSA 3rd layer: Marlie Couto-CUSA, Alexandra Potgieter-SA, Kirsten Mansfield-SA, Madison Simons-CUSA 4th layer: Mary Kate O’Sullivan-CUSA, Corynne Barron-Can., Corynne Barron-Can., Candice Dennison-SA 5th layer: James Lyttle-Aus., Kirsten Marsh-Aus., Mary Kate O’Sullivan-CUSA, Mary Kate O’Sullivan 6th Layer: Jennifer Gibson-Can., Julian Lucila-Can., Garrett Groat-Can., Mary Steward-CCA

Up-coming Events 2007 AUSTRALIA July 10 Lucie Saronova Memorial Award - Sydney CCA Jan. 25 CCA Ballet Day July 12 to 25 International Student Summer School, Hope College, Holland Michigan July 12 to 25 Teacher Training Intensive - The Art of , location as above. Each of the 17 committees also hold 1 or 2 days of workshops several times a year. Watch www.cecchetti.org for details. CANADA Aug. 4 to 9 Cecchetti Society of Canada Summer Course, National Ballet School, Toronto. Watch www.cecchetti.ca for details CUSA Summer School, location and dates to be announced www.cecchettiusa.org UK Jul. 25 to Junior Summer School (10 to 16 years) at The Arts Educational School, Tring, Aug. 1 incl. Herts: Tel: +44 1245 293781 (24-hr voice mail) or email [email protected] Aug. 2 to 7 incl. Students’ Summer School (15 up, holding a minimum of Intermediate) Chichester (alongside the Teachers’ Course): Tel: +44 1245 293782 (24-hr voice mail) or email [email protected] Aug. 1 to 7 incl. Teachers’ Summer School, Chichester: Tel: +44 1245 293783 (24-hr voice mail) or email [email protected] Alternatively, anyone interested is very welcome to contact: +44 1245 267314 or email: [email protected]

2 Contacts CICB Chairman: Betty Seibert CUSA [email protected] www.cicb.org – CICB CICB Secretary/Treasurer: Sheila Kennedy [email protected] www.cecchettiballet.org – Australia Australia: Carole Hall, chair: Wendy Cliff, sec: [email protected] www.cecchetti.ca – Canada Canada: Joyce Shietze, chair: Catherine Hazin, office admin: [email protected] www.danzarececchetti.org – Italy Italy: Stefania Sansavini, president [email protected] www.cecchetti.co.za – Southern Africa Susan Brooker & Raymond Lukens, delegates www.cecchettiusa.org – CUSA Southern Africa: Gail Myburgh, artistic director. Eileen Phillips, sec: [email protected] www.cecchetti.org – Cecchetti Council of America Yvonne Barker, delegate www.istd.org – UK & Europe CUSA: Marnell Himes, executive administrator [email protected] Betty Seibert, delegate ALWAYS WELCOME: suggestions for fur- ther Cecchetti Pioneers, comments, articles, C.C.A. office [email protected] photographs, videos, web sites, book & music Lee Ann King & Ann Parsley, delegates titles for the next newsletter. UK & Europe: Elisabeth Swan, chair: [email protected] Please mark CICB and send at any time to: Juliet Locks & Maureen Christie, delegates [email protected]

OUTGOING CHAIRMAN’S MESSAGE Robina Beard LCBA - MCA At our most recent CICB conference telephone - but I feel now that we are finally content, but we are committed to retaining I stepped down as Chairman of the Inter- ‘together’. We once again have all seven the history, the wonder of the Cecchetti national Society. Having been originally founding member societies on the board, magic. How to train for and perform the designated “coordinator” for two years, and and are all traveling in the same direction. work beautifully in the future will be the then elected as Chairman in Italy; I have I know Cecchetti will remain in its place constant quest for your International So- been most privileged to be member of the as one of the most extraordinary exemplary ciety, and we have some formidable talent Corporate Members board since the first methods of teaching classical ballet in the on our Corporate Members committee who meeting in Canada in 1997. 21st century. will be collaborating in this. During the ensuing years we have I sense there is an opinion about that So, you can see from this message that been slowly moving towards an Interna- the Cecchetti is rather old fashioned. I can I leave ‘the chair’ reluctantly, but after 50 tional organization which benefits all of its understand this in to-day’s hectic world years of membership of one or other com- members, with the flexibility to continue where extensions are getting higher and mittee for The Cecchetti Society within to govern each of our own societies as we pirouettes more numerous, but I am sure Australia and in The International Society, have done in the past, but, with the sup- Cecchetti is not out of date - the training I will enjoy the lack of responsibility (I port and shared experiences of all of our is extremely modern in its approach, and think!) member societies, to carry out the aims of if we go back to basics and understand the I have received the most exquisite the international society to promote and genius of the Maestro we will be turning gift from all of you. I really like a glass advance Cecchetti worldwide. out beautifully trained, uninjured dancers of champagne, and I now have the most Sometimes, over the past 11 years I who will be able to have a long life in their beautiful glasses out of which to drink the have worried that we had been standing profession - be it classical ballet, contem- bubbles - two crystal Faberge champagne still, even going backwards, but commu- porary dance, musical theatre or whatever flutes, with ’s image moulded nication has not always been easy when form of dance will come in the future.. into the stems. They are treasured by me, everyone is far apart, and so busy with The major syllabi will continue to be for their own intrinsic beauty, and also their own projects - thank goodness for modified, and CICB will be taking great because they came from Cecchetti Interna- technology - the internet, email and the pains to carefully modernize some of the tional - Classical Ballet. Thank you.

A WARM WELCOME CICB’s Web site We welcome Mark Zetler who is the new man- TO THE NEW ager for our website. He is presently updating CHAIRMAN it. Please watch for more 2008 pictures and Cecchetti Pioneer Articles. Suggestions and submissions for the web site should be sent to Betty Seibert CUSA Betty Seibert, Chair. CICB, at HYPERLINK Sincere thanks to Robina Beard and “mailto:[email protected]” [email protected] Please help Carole Hall for her role as Secretary. us keep it up to date.

3 CHAIRMAN’S REPORT on the CICB CONFERENCE Aug. 3, 4, 5, 2008 Banff, Canada by retiring Chairman, Robina Beard A report on the Conference and some for a Dancer”, and revenue from Richard Rules and regulations for the competi- resulting business. Glasstone’s “Thoughts” the society is in tion were discussed and those which were Present: Robina Beard, Carole Hall credit, and the auditor accepted the ac- adopted will be recorded for use at the (Australia), Joyce Shietze, Sheila Kennedy counts. Many generous donations and next competition. It is proposed to hold the (Canada), Lee Ann King, Ann Parsley travel points, including $11,000.00 from 3rd CICB Competition in Britain in 2011. (CCA), Betty Seibert (CUSA), Juliet CICB made the 2nd International compe- Further plans will be announced. Locks, Maureen Christie (Cecchetti UK), tition possible. This was a great success Under the expert guidance of Ross Al- Raymond Lukens (Italy), Gail Myburgh, resulting in $8,000.00 being returned to ley with musicians Nina Pinzarrone, Lorel Yvonne Barker (S. Africa), Diane van CICB which is now invested in a GIC Plett and Susan Koybasi along with attend- Schoor (Guest Founding Member). dedicated to the next Competition. ing teachers additional music for the major Apologies: Susan Brooker Italy), Mar- Some alterations were made to our material was selected during the Summer nell Himes (CUSA), Stefania Sansavini By-Laws, and accepted by the board. Course. The delegates thank Ross, Nina, (Italy). As required by the By-laws, nomina- Lorel, Susan and Diane for the time they We were very pleased to welcome tions for office bearers were called for. The gave to produce a CD which has been taken Cecchetti UK back to the conference table new chairman of CICB is Betty Seibert, home by the delegates for trial and further to join the other societies from around the CUSA, the vice chairman is Joyce Shietze, input. Information will be circulated once world. We also had a new delegate from Canada, and Sheila Kennedy, Canada was this project is completed. CCA. After some initial reticence, our new re-elected as treasurer, with the added posi- Fundraising for CICB – CUSA has delegates joined in the discussion with as tion of secretary. produced posters of the Maestro and sold much passion and enthusiasm as all our The Future Direction for CICB – a them at the Summer Course donating other corporate members. proposal was submitted on behalf of Kate $15.00 per poster to CICB. Please see One of the subjects for discussion was Simmons regarding an additional major ex- Resources on page 15. where and when the past CICB conferences amination. A letter is to be sent to thank her All countries were asked to promote have been held. The following information stating that while it had not been accepted at these in their countries if possible. “Notes was presented: this time it led to some valuable discussion for a Dancer” continues to be a source of 1997 - Inaugural Meeting - and outcomes. A most important decision, income to CICB. Canada was asked to or- Vancouver Island, Canada; was made to proceed with revisions to the ganize further orders of the bags they had at 1999 - Civitanova Marche – Italy; Adv. (2) and the creation of a “Professional the Summer Course, deleting the reference 2001 - Melbourne – Australia; Dancers’ Teaching Course 2004 - Teleconference; (PDTC). Diane van Schoor 2005 - Los Angeles – USA; and Richard Glasstone will 2006 – Teleconference; collaborate on this project. 2008 - Banff - Canada They are aiming to have the The finances of our organization were Adv. (2) completed by the presented, and thanks to the generosity of end of this year. Sheila Kennedy in donating all the pro- The frequency of CICB ceeds from her invaluable resource “Notes meetings and Competitions was discussed and it was decided that at least one AFFILLIATED teleconference to be held MEMBERS and in eighteen months and a FRIENDS of CICB meeting within 3 years. Research will be done on CICB Delegates would like to Skype, etc. but it was rec- expand this membership category. Af- ognized that face-to-face filiated members are anyone holding a meetings achieve far more Cecchetti Teaching Qualification, but than electronic ones. We not belonging to a Corporate Member will aim to hold our Inter- organization. Friends are all those national Competition at photo courtesy of Alan Christie interested in CICB, who by paying three year intervals. All the an annual membership fee receive the delegates were charged with Top row L-R Juliet Locks (UK), Gail Myburgh (SA), International Newsletter that comes finding out about venues Raymond Lukens (It.), Diane van Schoor (guest), out in November each year, and other and accommodation etc. Betty Seibert (CUSA), Joyce Shietze (Can.), Yvonne barker (SA) Lower row L-R Ann Parsley (CCA), Robina Beard (Aus.), information. Please visit www.cicb. for the meetings and the org or email [email protected] Carole Hall (Aus.), Maureen Christie (UK), competition. Lee Ann King (CCA), Sheila Kennedy (Can.)

4 to the Course and featuring CICB. Carole will ask her country for ideas. International Summer Course Update on the Shiela Darby Legacy – and Competition Raymond and Betty are following up. Calgary, Alberta, July 2008 ABT Curriculum – Raymond pre- by Eva Romanowski-Annett and Juliet Locks sented an excellent video of the syllabus devised by Franco De Vita and himself, This summer I was thrilled to attend and competitors in their daily classes. based on Cecchetti for the ABT Students. the Cecchetti International Classical Ballet From ballet to pointe, from variations to There were two items not included in summer course and competition in Calgary, contemporary, from character to repertoire, the agenda. Alberta. As a Canadian, I was truly proud students were fortunate to dance so many A Supplementary Theory book for to see our country host such a prestigious disciplines under the guidance of a truly Teachers was shown by CCA. The del- event and equally excited to renew friend- international faculty. This included: Ray- egates who saw it gave it an enthusiastic ships and meet new Cecchetti teachers and mond Lukens, Murray and Nancy Kilgour, review as a most useful publication. students from around the globe. Diane van Schoor, Janet Tait, Jean Free- Canada’s new Related Subjects pro- The organising committee should be bury, Joyce Shietze, Edmund Stripe, Aram posed for their Associate level require- proud of their work in coordinating such Manukyan and Marijka Stanowych. The a major event because it was evident in ments was shown. classes were a joy to watch due in part to the meticulous planning and scheduling. the inspired playing of the musical faculty The Conference Centre in Banff was To fulfill the goal of meeting the needs of which included: Sharon Fox, Susan Koy- most interesting, the scenery was magnifi- students, teachers and competitors in one basi, Lorel Plett and Nina Pinzarrone. As cent and the rates were unbelievably low. summer school under one roof is no easy you will read, the competition concluded Delegates enjoyed the three days of intense task. Yet, thanks to the generosity of the the summer course and celebrated not only discussions, mealtimes were enlivened by School of Alberta Ballet under the direc- the talent of the dancers but also brought the presence of five husbands. Some del- torship of Nancy and Murray Kilgour and attention to the as a vi- egates stayed longer on their own. Plenty the hard work of a stellar committee, this able training method for future performers achieved - plenty to work on for all our summer school not only surpassed those to the world stage. The success in Calgary members. goals but gave all participants a summer has given us the inspiration and the energy school to remember. on which to build. I hope to meet my fel- The School of Alberta Ballet was low friends (in the not to distant future) INDIVIDUAL literally abuzz in dance. Five studios were at the 3rd CICB Summer Course and FOUNDING awash with students and teachers yearning Competition. to get the most out of their bodies. Teach- – Eva Romanowski-Annett MEMBERS ers had the privilege of working with an Following the CICB Conference outstanding faculty which included Nancy An exciting and prestigious competi- this year, a motion to create this mem- Kilgour, Diane van Schoor, Sheila Ken- tion linked to the course was held at the bership category was circulated to the nedy. Their understanding, respect and Max Bell Theatre, in Calgary from July delegates by email, moved by Joyce Shi- love for the Cecchetti work are so tangible 31st – Aug. 2. Twenty eight dancers, ages etze (8/10/08) and seconded by Raymond that it breathed life to every class. In the 19 and under, from seven different parts of Lukens (8/11/08). All those attending the hands of those brilliant teachers, we were the world – Australia, Canada, Italy, Cec- willing to push ourselves inaugural CICB Conference in 1997 will so we too could experience be invited to become Individual Founding the technical challenges, the Members. Yvonne Barker, Robina Beard, dynamics, the phrasing or Franco De Vita, Mary-Jane Duckworth, the sheer beauty of putting all Rose Marie Floyd, Richard Glasstone, Car- those elements together. As ole Hall, Sheila Kennedy, Lee Ann King, well as the majors, pedagogy Raymond Lukens, Diane van Schoor, Betty and music were offered, the Seibert, Joyce Shietze. latter taught by Ross Alley Individual Founding Members may whose knowledgeable and hold office; would have no vote, but would energetic manner was wel- have an active voice; are welcome at all comed at the end of the day. meetings at their own expense; if specifi- The “Fitness table” was an cally invited, fares and accommodation are inspired addition to the sum- paid by the shared pool of expenses for that mer course. The introductory meeting, with CM’s agreement; if already class taught by Patricia May- teaching at the summer course, with fare bury let us experience a new paid, conference accommodation is paid way of lengthening muscles, by the shared pool of expenses for that strengthening the spine and developing muscle tone. meeting, with CM’s agreement. Commu- Teachers were also free nication is currently taking place between L-R Mary Kate O’Sullivan (CUSA), Kirsten Marsh (Aus.), to watch and observe students all delegates to finalise this decision. Alexandra Potgieter (S. Africa), James Lyttle (Aus.)

5 chetti USA, Cecchetti Council of America, I felt that the competition as a whole fall at Canada’s South Africa and United Kingdom, showed was very well thought out and went surpris- School. Diane van Schoor, Nancy Kilgour their talents in Classical and Contemporary ingly smoothly. I was a coach for one of and Raymond Lukens were inspirational. Ballet, entertaining audiences on three con- the competitors and appreciated that the They each knew exactly how to bring out secutive evenings. From the twenty eight program was set up in a way to be more of the best in me, and push me to new levels competitors nine were chosen to perform an educational experience as opposed to that I had yet not achieved. their solos at the Gala Performance on the just another hard core competition. I have Secondly, I enjoyed the variety of Saturday night. The teachers of all the danc- coached both at Jackson and Helsinki and classes that were available to us. The ers are deserving of the highest praise for have vowed never again to be a part of modern and character were very different the standard achieved by their pupils. The something like that and went into this one from what I was used to. This has opened nine finalists were James Lyttle, Kirsten with trepidation. However it turned out my mind and was very interesting to see Marsh, Dominique Yong (Australia), Mary to be a positive experience. The teachers the different methods. I’m very thankful I Kate O’Sullivan (CUSA), Garrett Groat, were all well chosen and the competitors went to the course, it rekindled a joy for the Alexandra Gibson (Canada), Alexandra taken into consideration that this was to Cecchetti method which I have not studied Potgieter (South Africa), Lauren Claire be only a stepping stone as a learning ex- for over 5 years. Smith, Ruth Brill (United Kingdom). Jean perience and that many will still go on to – Nerissa McRury, Canada Grand-Maître, Artistic Director of Alberta professional careers despite that they didn’t Ballet, and Robina Beard, Chair of CICB, “win” something. Well done and you have yay! what a awesome time hey com- Masters of Ceremonies, introduced us my applause! Thank you and congratula- petitors! Well done.. what a wonderfully to the judges: Desmond Kelly, formerly tions on a competition well done, and one organised event!!!! Assistant Director of Birmingham Royal that made sense! Thank you very much for asking me Ballet, Anthony Randazzo, – Kennet Oberly to submit my thoughts on Calgary and the of Boston Ballet and Diane Van Schoor, Cecchetti International Classical Ballet Principal of White Lodge Royal Ballet The International Cecchetti Summer Competition. I wish to thank the Cecchetti School. Their task included watching the Course was a treasured experience for me. Society of Canada and the School of Al- students in both the class situation taught As a student training in the professional berta Ballet most sincerely for granting me by Jean Freebury and Edmund this wonderful opportunity. We Stripe, accompanied by Nina Maestro Cechetti Award $5,000 Kirsten Marsh, V.C.A.S.S. were welcomed to Calgary by the Pinzarrone as well as their solos Australia coached by Anne Butler & Ben Ho warm sunshine, pretty tree-lined on stage. Most promising Dancer $2,000 streets and colourful hanging The atmosphere was electric James Lyttle, Australia coached by Carole Oliver & Ben Ho baskets and pots boasting the on the evening of the Gala and presence of Spring. What a beau- tension rose as the finalists per- Adjudicators’ Choice $2,000 tiful city ! Classes given at the formed their solos. Artists of the Alexandra Potgieter, South Africa coached by Lynne Fouché beautiful School of Alberta Bal- Alberta Ballet, Jung- Min Hong Musicality and Dynamics in Movement Award $2,000 let, with dancers, teachers and and Bernard Courtot de Boutelli- Mary Kate O’Sullivan, CUSA coached by Sylvia Palmer specialists sharing such a wealth er then danced the “Tchaikovsky Australian Ballet School, 1 week tuition of knowledge, it was a fantastic ”, during which time Dominique Yong, Australia, experience. So stimulating were the Adjudicators retired to make coached by Hilary Kaplan & Archibald McKenzie these classes that I found myself their final decisions on Awards. dancing around my hotel room The Competition was a wonder- National Ballet School of Canada, 2 weeks summer school for a further hour or two! ful Showcase for Cecchetti Clas- Kirsten Marsh, Australia, coached by Anne Butler & Ben Ho Meeting fellow candidates sical Ballet world wide, and it is Jacqueline Kennedy Onassis School, from all over the world, each likely the prestige of this event American Ballet Theatre, 1 year tuition. with their own magic to offer, will flourish with another com- Garrett Groat, Canada, coached by Margaret Dalwood showed that music and dance is petition planned for 2011. School of Alberta Ballet, 1 year tuition one language understood by all! It is encouraging that the Alexandra Potgieter, S.Africa, coached by Lynne Fouché The dancers were all so friendly Cecchetti Method of Ballet is and much laughter, fun and alive and flourishing worldwide two weeks summer school camaraderie was shared. (for and with a successful Competi- Alexandra Potgieter, S.Africa, coached by Lynne Fouché example, desperately sewing a tion and Conference in Canada ribbon on with dental to bring its members together, we hope to field of dance, I will carry the many teach- floss, just before a performance ! Thank you see a continuing growth and development ings received in all my further studies. What Australia !) As the week progressed the at- in the future. I really enjoyed from the course were the mosphere became electric with excitement, – Juliet Locks many different teachers I was fortunate to anticipation, preparations and rehearsals. work with. The wealth of worldwide talent Dancing at the Max Bell Theatre with all Comments received from participants: all comprised under one conference was an its magnificence was an experience which unforgettable experience. From the various I shall always treasure. Thank you Calgar- Among the many comments received teaching styles of the instructors, I will be ians, for your warm, friendly hospitality ! after the event this was a most treasured bringing back with me a piece of knowledge Thank you for two wonderful weeks ! one from Kennet Oberly.. from all of them as I pursue my studies this – Kirsty Mansfield, South Africa

6 Thank you Cecchetti USA, wonderful International Cec- Alberta Ballet, all of the com- chetti Competition. petitors and otganizers, it was – Mary Sinz, USA, age an experience I will never 16, working towards the Final forget! Diploma. – Mary Kate OSul- livan, USA Thank you so much for ev- erything. The competition was I love Cecchetti ballet! such an enjoyable experience. C’mon and say it with me Such great classes and such people! a friendly and encouraging – Lachlan Phillips, atmosphere for us all. A real Australia privilege to have been involved. Thank you for so many wonder- It was really wonderful be- ful memories that I will take ing exposed to many new styles with me! of dance, as well as having the – Ruth Brill, Britain. opportunity to witness such a L-R standing, Edmund Stripe, Alexandra Gibson (Canada), Kirsten Marsh (Aus.), Ruth Brill (Britain), Dominique Yong (Aus.), James Lyttle (Aus.), Lauren-Claire Smith (Britain), Jean Freebury. Kneeling, Mary Kate O’Sullivan (CUSA), Alexandra Potgieter (S. Africa)

International Forum – Maxbell Theatre – Calgary, August 2, 2008 Robina Beard was Moderator with today’s professional dancer? controlled. The method is not out-dated, an International panel from Australia, • What our training must accommodate but teaching these days often does not Britain, Canada, Southern Africa, and • The importance of ‘live’ performanc- go beyond upright stance. When taken the USA. - Yvonne Barker, Carole Hall, es further there is so much more body Desmond Kelly, Lee Ann King, Juliet • How can Cecchetti Societies, CICB and movement, as there used to be. Fads Locks, Raymond Lukens, Beverley Miller, the method meet the needs of regular and cycles come and go but Cecchetti Anthony Randazzo, Diane van Schoor, studios? basic principles always remain. Joyce Shietze. 2. if used correctly the method produces Lynne Fouché, Marnell Himes, Betty Responses from the panel performers not just technicians. Seibert and Murray Kilgour were unable Image of the Method in professional com- 3. Versatility, simplicity, dancers must be to attend. panies: able to impact their audiences. An excellent talk from Beverley Miller 1. Artistic Directors have the say regard- 4. It was asked what was outdated about giving a fascinating record of her Cecchetti ing training. We need to make them the use of lines and circles? A sugges- memories, stressing the theatre and values more interested in the Cecchetti training tion was offered that the terminology of the method set the stage for the two hour method, this relates to repertoire used and approach to teaching might be up- Forum. Questions flowed easily from the in each company. dated to give more current meaning to audience and the resulting opinions from 2. Each company has its own tradition, the training. the panel gave anyone teaching the method what is the culture of each company? 5. With larger theatres today ‘the look’ a lot to think about. 3. Companies need to be more encompass- needs to be broader. ing. 6. Amalgamate methods to produce a The wide range of topics raised by the 4. The method is multi purpose with the good dancer – but we need to clarify audience included: 6 day programme of professional set the essentials of the Cecchetti method • The image of the Method in profes- work – it has a scientific base, safe, so that the value and detailed work is sional companies makes for less injuries, and a longer not misunderstood. Keep it living, not • The ‘look’, what, if anything, in the dancing life. static. Retain the Romantic way of method is out-dated? 5. The method will not survive if not moving while understanding the body • Marketing strategy taught in professional schools. coordination required for the Romantic • CICB Competitions, is there a will to 6. We need to look at what is feeding style. At present the interpretation is not maintain the Calgary format on a regu- into the Major work, and to look at understood. It is perceived as restricted lar basis? Advanced 1 & 2 syllabi. movement. • A proposal to create a more ‘up to date’ 7. What is wanted for a dancer to be em- 7. There is plenty of variation of style in examination, to be taken in conjunction ployed? See Conference Report for #’s the major Cecchetti material if well with the Maestro Cecchetti Diploma. 6 & 7 taught. Young dancers lack physicality, • Is the training of the Cecchetti Advanced the Cecchetti method should be regard- II syllabus, a logical and progressive The “Look” of the Method ed as developing greater physicality as link to the requirements expected of 1. pelvic and spinal alignment - safe and well as all the other attributes.

7 8. It is valuable to study what each com- CICB Competitions, is there a will to mances, especially in this electronic age pany is looking for. maintain the Calgary format on a regular was emphasized 9. Musicality, a true feeling for dynamics, basis? versatility. The value of daily balanced CICB Competitions were discussed, Further questions for you: muscle use such as the simple port de and it was agreed that this is an excellent • How can Cecchetti Societies, CICB and bras that has so much depth of detail way to promote the method, please see the method meet the needs of regular developing malleability for all kinds of Conference report, and reserve 2011 for studios? choreography. the next such event. • What role should the Cecchetti method 10. Knowing how Cecchetti evolved his A proposal to create a more ‘up to date’ play in movement training for all non- method offers dancers the ability to examination, to be taken in conjunction professional dancers, young children to ‘grow’ in the knowledge of tradition. with the Maestro Cecchetti Diploma was all ages? 11. One experienced dancer expressed a presented on behalf of a teacher who was We would welcome views from all wish that she had had an earlier expo- unable to attend. This suggestion was also our dancers and teachers around the world sure to the method. taken to the conference, and instigated a – visit www.cicb.org and let us hear from 12. The method was described as unsur- great deal of discussion. you, give your email and we will try to passed in the detailed coordination of Is the training of the Cecchetti Ad- reply. the whole body. vanced II syllabus, a logical and progres- Marketing strategy sive link to the requirements expected of The Forum concluded with an interest- It was agreed that marketing is neces- today’s professional dancer? Please see ing question from one of the panel, who sary for individual Cecchetti Societies and Conference report. asked the audience to relate what they felt CICB. It was suggested that there be a uni- What our training must accommodate? was so special about Cecchetti. It was form image for Cecchetti, which could be 1) new generations with an awareness of clear that it means a lot of things to a lot designed and available for all the societies the changes in attitude, mental develop- of people, and all of them are positive and to use, in their publicity and advertising, ment, education and practical condi- powerful. It was a most enlightening way so that this image would come to be rec- tions in which to finish our first International ognized as “Cecchetti”. This subject was 2) more challenging to individual intel- Forum. taken to the CICB conference later in the ligence and imagination week, and was discussed. Inquiries are be- 3) more freedom to experiment with basic Now it is up to all of us who value the ing made by the various delegates, and we training being received method to meet these challenges hope to have some progress on this soon. The importance of ‘live’ perfor- in our own teaching

DANCE BY DAY — LAUGH BY NIGHT – Chichester 2008 by Elaine Seidman, CCA East Coast Committee member I have always told my new students, as we teach in the States. Sandra Powell. tremendous faculty, each with their own and their parents, that with their first Cec- Elisabeth Swan and Linda Pilkington were thoughts. Although the choreography of the chetti class they become part of a family all wonderfully patient with my lack of exercises is shared throughout the world, that is international and tightly knit. With knowledge of these syllabi and each was every teacher had something special to their first Major Syllabus class they are remarkably clear when teaching. These bring to the work, making it feel fresh. I learning traditional Cecchetti combinations delightful instructors were able to help consider myself very lucky to have been that are the same throughout the world. The me understand not only the exercises but trained by my teacher, Pamela Moore, love of Cecchetti’s work is something that also the qualities and musicality of each. I to love the artistry and musicality of this goes beyond the exercises and the exams. left each class with a good understanding difficult work, but delighted in each new There is something special in knowing that of the presented grade as well as where it approach to the method that these teachers the work in the upper levels is a common, was going within the Method. Additionally, had to offer. universal language. Having been awarded these classes gave me some great ideas for Gillian Hurst’s classes were dynamic the Sylvia Hamer scholarship, I recently enriching my approach to the lower grades with a tremendous sense of musicality and had the opportunity to live that statement in America. coordination of both arms and legs with at the Summer School in Chichester, a Tuesday morning, I was fortunate the music. Her vigilance in teaching the lovely town in the south of England with enough to observe Richard Glasstone’s “shape’ and weight of the arms in port de a charming town center, charming homes class with the students and was so enriched bras injected a feeling of fullness in the and a cathedral dating back to the 11th by it. His ability to pull from the students arms that highlighted the artistry. I am a Century. In America we just don’t have the exact arms, head and timing with every teacher who still dances and in Gillian’s buildings that old! exercise was amazing. The students were classes, I felt like a dancer, trying to do The first few days were spent learn- obviously in awe of him and I was as well. things the way she wanted them done and ing the Grades as they are in the UK Syl- As we moved into the week and the Major very sorry to disappoint at times. I thor- labus. This was very interesting since the Syllabus, with which I am very comfort- oughly loved the “student” experience. work in the lower grades is not the same able, it was inspiring to study with such Her flamenco class was also outstanding

8 and I enjoyed every second of it. Theresa by Danie Fourie Lungaro-Mifsud brought out such a joy Towards Musicality and excitement with a discipline that can In a talk presented to delegates of the 2007 National Cecchetti Summer School at Hilton feel so impossible at times. Her passion College, Kwazulu-Natal, S. Africa, Mr. Fourie, senior lecturer in dance musicology at for allegro is unsurpassed and she made the UCT School of Dance, approached the subject of musicality in the ballet class from everybody want to move without holding a somewhat different angle. He reports: back. Her classes were exciting and bold and there was a great pirouette exercise in My brief suggested a discussion of for about an hour! Well, this is how things her unset class that I’ll definitely be teach- the crucial role that music plays in the evolved: ing to my students. training of ballet dancers. Let’s face it, we First, we visited one of the ancient Penny Kay is a lovely, young teacher all want to instil the quality of musicality Greek philosophical formulations devel- who demonstrates full out with command. in our dancers effectively, and swiftly oped by Pythagoras (c580-500BC) and his She is extremely confident in her teaching rectify any compromised component cronies a few millennia ago. This formula- style and very clear in her presentations. thereof wherever possible. Presuming that tion connects physics and aesthetics in a She had high expectations even from the my audience had given ample thought to mystical reduction of numbers to a simple older teachers in the class and wanted us the subject in the course of their careers, ratio that proclaims mathematics as the all pulled up and placed properly. I espe- I thought a seemingly quirky approach to ultimate reality of the universe. cially enjoyed it when she told us that the the matter would stimulate new engage- The formulation of the laws of natural leg was 90 degrees, not higher, not lower. ment. I therefore sought connections (the design and mankind’s innate propensity We all tried very hard not to disappoint her. mark of all intelligent investigations?), i.e. for deriving pleasure from such agreeable Jacqueline Davenport’s classes surprised commonalities and analogies, that would qualities determined the ancient Greek me. My first impression of her was that support my argument. concept of aesthetics. One definition of the she was so quiet and shy. I didn’t see how In this vein, it seemed wise to avoid term denotes aesthetics as ‘the philosophy she’d manage to pull such advanced work fixating on the all too familiar aspects of of taste’ (and judgement) - the process by out of her students. She is a quiet, elegant what one might call un-musicality, e.g. which the senses convey the perception teacher whose voice was always calm, yet off-the-beat dancing, bad timing, wooden of beauty to the mind in a formula of there was an excitement and theatricality phrasing, rigid or lacklustre interpretation, harmonious balance or symmetry (sym: present in her classes. In her teaching, the and awkward deportment. These failings with, together; metry: measure). Two ratios need to communicate with the audience are all too readily ascribed to inability, ig- seemed to govern the formal design of was paramount. There was always singing, norance or insensitivity, and are considered natural, organic and physical shapes into talking and facing partners. She was so irremediable. Therefore, I decided rather to attractive symmetries: the approximate good at reminding us that dancing must go stick to the well-tried what, why and how numerical ratios of 1:2 (eg the mirror im- beyond the mirrors and walls of the studios. matrix, formulating an implicit manifesto ages of the two vertical halves of our faces) My students will all be singing, talking as follows: and 2:3 (eg the three vertical divisions of and facing each other this year. I said this • Stop the tyranny of hierarchies ranking our faces). many times over the week but I will say ‘musically-challenged’ teachers, stu- Surfing the internet will provide it again, the pianists were amazing! Peter dents and dancers as culprits, victims further clarification of the geometric ratio Jones, Derek Downes and Andrew West or philistines, while bestowing some known as the golden ratio or the golden were inspiring. Sometimes, Diploma can form of whiz-kid status on others. section. This ratio, as illustrated below, seem so daunting and humbling, but with • Demystify many dancers’ innate mu- apparently applies to a myriad of things - their music, I felt that I could do anything. sical expertise, which is all too often from the ideal (well-proportioned!) human I especially enjoyed the last class when considered inexplicable, and simply form to the harmony of musical tones, both Derek and Andrew played together. What assumed to be an incomprehensible of which examples point significantly to a treat. gift from the gods. the theme of our discussion. For instance, With such amazing faculty and pia- • Consider common aesthetics that un- the relative proportions of the human body, nists I felt very fortunate, but sharing the derpin all arts forms. demarcated by the joints (ankles, knees, week with teachers of all ages from around • Promote the equal, complementary and hips, shoulders), are repeated in the visible the world was what I will never forget, synergistic natures of ballet and music divisions of the torso (clavicles, sternum, South Africa, Spain, Italy, Portugal, the in the design of classical ballet. navel, pubis), the face (forehead, nose, . Malta, Germany, Scotland, • Contextualise the functions of ballet chin), in the hands and feet and even in the England, Wales, how can I begin to express classes in terms of relevance to training digital division of toes and fingers. Such that magic? I never wanted to go to bed at and performance. formal symmetry also corresponds to the night because I was having too much fun Admittedly, these notions would structure of fruits (the surface patterns of getting to know these delightful people require conventional analysis, and I had pineapples and pine cones), flowers (the from all over. hoped that my off-the-cuff talk - informed patterning of sunflower petals and seeds), In Chichester I lived the reality of be- by experience and what I glean from shells (the proportional increase of conical ing part of an international family dancing others - would flow in a free, stream-of- spirals), and even musical instruments (if all day and laughing all night. consciousness delivery and, ideally, hold we measure the proportionate lengths of the attention of my participant audience harmonising strings).

9 Wikipedia offers the following graph- ‘that’s the way it is and has always been’ Of course, this kind of practice be- ic illustration of the formula: and subscribe to classical enlightenment comes essential where natural musical- or exegesis, i.e. interrogation, explanation ity seems lacking, but analysis need not and revelation. be the rule for every class or rehearsal. Let us therefore consider some ele- Nonetheless, constant reference to these ments shared by music and dance, and aspects reinforces awareness and leads to work these correspondences into the consummate artistry. In order to implement technical and artistic training programme this working method, it is strongly advised of dancers. The following building blocks that teacher, coach, dancer and student are pertain to both dance and music composi- all familiar with the jargon of music and tion: dance, and can comprehend terminology Thus, a little investigation reveals • Vocabulary (a selection of understand- such as pitch, phrase, beat, accent, etc. the ancient Greek measure for classical able signals, i.e. a language). Here a glossary of definitions comes in beauty that applies as much to the formal • Form (sections, parts). really handy. design of say, the ding-dong airport an- • Dynamics (all gradations of energy; In the course of my talk, I engaged nouncement (doh-mi-soh-doh), as to the velocity, attack, etc.). the assistance of volunteers to demonstrate shapely frames of the aeroplane fuselage, • Rhythm (pulse regulation and duration some of these ideas. We looked at the the air hostess and the layout of the glossy patterns). proportional characteristics of the body in-flight magazine cover! • Expression (communicated mean- and of dance positions, and discussed But this rule also defines the principles ing). the geometric symmetries of some ballet of sound structural design and mechan- • Style (sets of applied characteristics). positions and the stylised pathways of the ics and, as such, links good physics with • Function. dancer-body-in-motion. We noticed how good physiques - here one might quote ballet adhered to the principles of balance the concept of balance as a case in point. Each of these elements contributes and beauty for practical (technical) and It comes as no surprise that the formal both to the movement tableau and to the aesthetic reasons. canon of classical ballet - as is the case in soundscape in a particular manner. Each This led to a discussion of issues all the arts - adheres to the golden ratio in a also incorporates a composite of sub-ele- around familiar buzzwords such as time refined presentation of measured positions ments. In music, for instance, melody con- and space and how they relate to the con- and movements set in — well — time and sists of a series of arranged notes (pitches trol of speed and distance. Arguably, the space. And, it follows that the practice of of defined durations) grouped into phrases, function of music in ballet is to enhance the ballet demands strict observance of the rhythmic patterns, dynamic variations and process of designed movement executed same laws of harmony when expressed a palette of expression enveloped in vari- by the expressive body - ever-changing, both in movement and in music. As we able tone colours (vocal or instrumental). suspended and transposed in space. know, when this ‘marriage’ is achieved, This is created with particular effects in Music (designed sound) provides we consider a dancer musical! mind and should be infinitely considered the elusive, nuanced and measured aural This axiom supported the essence by a dancer moving to music (in fact, it is presence that matches - or teasingly re- of my talk, and prompted the conclusion by far preferable to say moving with the sists - every calculated moment of move- that dance education and training both music to avoid incorrectly applied hierar- ment. It can be described as the exquisite require and should foster an understanding chical thinking). ticking of a complex sound clock pacing of the principles of aesthetics to achieve The challenge is thus to identify how the dancer’s performance in a tapestry of technical expertise and artistic excellence. the dance harmonises or concertises with vibration. To sum up: the musical dancer (By the way, the ancient Greeks wisely the melody: This is easily discernible in considers and expresses with infinite care employed the word teknye to define both port de bras, where eye-line, épaulement, the sensitive concord of the music and the qualities). balance and transfer of weight all come dance, acknowledging both languages and Since we see that the same law gov- into play. If necessary, each element should making meaning visible in the translation erns both artistic and technical excellence, be analysed technically within the context and interpretation of artistic and aesthetic cultivating an ideal what demands an un- of both the music and the dance and then intention. derstanding of why, for example, the arms practised in isolation and/or incremental Remember the keywords: awareness look, feel and work better when positioned combinations until a whole sequence falls and understanding. Also consider the fact say two centimetres higher or lower, which into place. that correct mechanics constitute the es- in turn affects the how of correction and, Likewise, the music - with the as- sence of beauty. The ballet class provides musically, the when factor with regard to sistance of an able pianist - can be de- time and space for practising the immu- timing and dynamics. It seems feasible constructed by isolating its components, table laws of the universe and presents a then to suggest that the transmission of old pulse, rhythmic pattern, melody, dynamics microcosm reflecting the macrocosm. wisdom in the training traditions of past (speed, accent and volume) and harmonic generations - that innate sense of ‘what changes (e.g. a dissonance resolving into Let ballet then incarnate the music of looks good’ and ‘what works’ - should concord - usually signifying tension and the spheres and the dance of the heavenly extend beyond the simple premise of release). bodies!

10 CECCHETTI PIONEERS Valrene Tweedie o.a.m. (1925 – 2008) by Athol Willoughby O.A.M., Fellow I.S.T.D.

All Cecchetti members and the many During the mid 1940’s she danced with period acting as choreographer and ballet students who over the years have been ex- the Serge Denham Ballet Russe in which mistress for a Tivoli revue was followed amined by her will surely extend heart felt Company she reached the rank of . by an introduction to the lyric stage when sympathy to the family of our beloved and With this Company she danced in many she appeared in the Cole Porter musical most respected colleague Valrene Tweedie of Balanchine’s – when he was “Can Can” for which her friend from Bal- O.A.M. who lost her battle with cancer of to become her idol. Following the break let Russe days Eleanore Treibor came to the brain on the evening of August 4th at down of her marriage she returned home this country to appear in “The Garden Of the age of 83. to Australia in 1952. Eden” Ballet. Valrene even spoke of her The Cecchetti Organisation must Her links with Victoria go back to first on-stage words with the line “you count itself very fortunate to have had 1953 when Gertrude Johnson offered her can take off or leave on your pants, if you such an experienced member of the dance the Directorship of the Australian National please”, which was rather daring for the profession in this country as one of it’s Theatre . At this time she 1950’s even though the role was that of an staunchest supporters and examiners. After revived Fokine’s ballet “Carnaval” with artist’s model. With “Can Can” over she early training during the mid 1930s at the herself dancing the role of Columbine and and Eleanore went onto stage ballets for Byrlakov – Lightfoot Circular Quay studios also made her choreographic debut with a the Elizabethan Opera Ballet Company in Sydney she went ballet danced to the for whom she choreographed “Wakooka” onto study with Prokofiev “Clas- a work with an Australian theme to music Leon Kellaway, a sical Symphony” by John Antill. former member of entitled “Caprice”. 1956 saw her back in her home city of the Anna Pavlova When the profes- Sydney when she was asked to care take Company before sional company the studio of two former Ballet Russe col- commencing to folded soon after leagues: Phyllida Cooper (herself a Saron- teach in Sydney. the 1954 Royal ova pupil) and James Upshaw. When she A gallery member Command Perfor- eventually bought the Little Regent Street at every perfor- mance she taught studio it became known as the Australian mance of the vis- in the National Academy Of Ballet. Choreographing for a iting Colonel de Theatre Ballet weekly ABC TV variety show became part Basil Ballet Russe School where she of a busy schedule. in 1938-9 she was resumed her Cec- With the beginning of the 1960’s she invited to take a chetti associations founded Ballet Australia, which once again Company class by being prepared showcased the work of tyro choreographers without realising for the Elementary who may never have otherwise found it that it was an au- examinations (i.e. possible to have their early attempts staged. dition; so shortly Associate teach- The aim was to involve Australian dancers, before her 15th ing qualification choreographers, composers and artists. birthday she found herself being accepted current in those days) by Madam Lucie From this beginning a biennial Choreo- into the Company even dancing in the Saronova who had been her examiner way graphic competition was launched with 1940 world premiere of David Lichine’s back in 1938 when she was prepared by Nanette Hassal being one of the earliest “Graduation Ball”. At the age of 15 she Moya Beaver at the Lightfoot – Burla- winners, thus giving her the opportunity to sailed for the U.S.A. with the Company, kov School in Sydney, for the original continue her studies in New York. Ever an first dancing in Los Angeles before heading Grade 3 Syllabus examination, when she educator Valrene also introduced the first on to the eastern states. passed with Honours which was a rare and only full-time Cecchetti dance course A tour of South America followed event in those days. Apart from teaching to this country. during which she married her first husband in the School she joined Jean Alexander When Laura Wilson came from Eng- the Cuban dancer Luis Trapaga leaving in instigating the Ballet Workshop con- land to examine in 1962 she joined Peggy the de BASIL Company she and Luis be- cept; the aim being to encourage young van Praagh in setting up the initial Cec- came foundation members of the Cuban choreographers and to give them the op- chetti National Council and a new panel of “Ballet Alicia Alonso”. When the latter portunity to have their early works staged. examiners of which latter Valrene became dancers returned to Ballet Theatre in New She also reproduced the 3 act “Coppelia” the new N.S.W. Representative. From then York, Valrene became principal teacher in for the National; previously only the first on she adroitly balanced her many N.S.W the newly formed school attached to the 2 acts had been staged by the Australian activities with ever increasing commit- Company even guiding Alonso’s daughter Companies. Another reproduction was of ments for the Cecchetti Society Branch of Laurita in her first dance classes. the Fokine ballet “Le Coq d’Or”. A short the I.S.T.D.

11 Many of her students were to dance in knowledged by the I.S.T.D. and so she was Graeme Murphy cast her as Clara the elder European Companies for example Katie awarded the Maestro Cecchetti Diploma. in his re-working of ‘Nutcracker” for the Pianoff with , Even though giving up full-time Australian Ballet. At first tentative of the whilst others were to become influential teaching in 1985 she still kept up a tight challenge after so many years since she had on the Australian Dance Scene; no bet- schedule of guest teaching; no Victorian last performed on stage, her interpretation ter example being Summer School of the role was acclaimed by all the critics. than our honoured or Queensland For me personally it was an emotional time patron Colin Pea- Winter School as we had last danced together on stage sley O.A.M. who would have been in her version of :Francesca da Rimini” was to become a complete without some 40 years earlier with the National foundation mem- her wonderfully Theatre. Her final stage appearances were ber of the Aus- inspiring classes made 9 years later in Stephan Baynes ballet tralian Ballet. which she was so “Requiem”. Many, many oth- well able to gear In retirement her significant concerns ers spring to mind to the varying ca- were the state of ballet in this country and but we should per- pabilities of the the pleasure she derived from the children haps remember students before of her 2 nieces Ann and Fiona. Even the choreographic her. She scaled though disagreeing with our new title CEC- success of Leigh down on examin- CHETTI BALLET she still gave much Warren. ing engagements time to promoting “The Method” which During the but was always she so wanted to be seen as the epitomy of mid 1970s to- ready to accept Classical Ballet. gether we made short category 4 To her Cecchetti meant beauty, sim- 2 trips to London postings. plicity and good, true, balletic basics. She for further studies 1991 saw her truly was an Australian “National Trea- with Nora Roche receive a most de- sure”. We can do no better to respect her at the Royal Ballet served recognition memory than to remember the basic tenets School. Because of her services to of the Classical dance, to teach them with of her many years dance in this coun- correctness but also to be fully aware that dancing with the dear Nora try, namely the fact that she was awarded we are involved in promoting a theatrical made sure that Valrene’s fully professional the Medal of The Order of Australia. art form. approach to ballet teaching should be ac- 1992 saw a special event occur in that

CECCHETTI PIONEERS Kay Armstrong (1921-2008) by Kaija Pepper At the National Ballet of burgeoning Vancouver cultural Canada’s inaugural show in scene. 1951, just one Canadian chore- The youngest of four chil- ography was on the mixed bill – dren, she spent her early years Kay Armstrong’s dreamy quar- in Armstrong, B.C. a farming tet, Étude, set to Tchaikowsky. community in the Okanagan Artistic director Celia Franca Valley. (The town was named had seen it the year before at after a London financier who the Canadian Ballet Festival in raised the money for a railway Montreal, when critic Anatole project, it only coincidentally Chujoy, visiting from New bears her family name.) York, called the five-minute Her parents – Herbert Cecil ballet “a little jewel.” Armstrong, of Scottish descent, The festival allowed each and Lily Mae (May) Foreman, group a single curtain call, with English roots – were first and Kay never forgot the ap- generation Canadians who met plause. It was a heady triumph in church. Herbert ran a dry- for a shy, young woman who Alice David, Ray Moller, Margaret Elmgren and goods and grocery store, but he Anita Barnett in Kay Armstrong’s Étude, 1950. was then at the forefront of a Photo courtesy of Dance Collection Danse. was not a natural businessman

12 and found it a challenge. A taciturn man, appeared on Broadway in the musical The B.C. School of Dancing was also he became so infuriated with the local Show Boat. where an unrequited love affair began bank that he car- With the with fellow teacher and dancer, Calvin ried his money offer of a part- von Reinhold. Together, they had per- in his shoes. He nership in the formed the lead parts in London Fantasia, later moved his B.C. School of her ballet about young lovers killed in an family to Van- Dancing, Kay air raid, and the chemistry between them couver, where returned to Van- was clearly evident. Globe and Mail art he opened an couver in 1947. critic Herbert Whittaker noted the “roman- optometrist’s As the school’s tic force” that fuelled their performance office. principal teach- but, for various reasons, the relationship When it er, she mounted faltered. came time to many charity In 1952, she opened the Kay Arm- start school, events with her strong Vancouver Ballet School at 835 Kay was so wor- students. In A Granville street (above where Fluevog ried about going Night in Spain, shoe store is today) and Mr. von Rein- that her mother a floor show hold came to her with two proposals. He kept her home created for the asked to become a partner in the school, an extra year. Shriners, she but she refused. She also turned down his Her favourite appeared in a marriage proposal. In the end, he left Van- pastime was to duet with Ray couver to work abroad and on Broadway put a record on Moller, later a and they exchanged letters and gifts over the gramophone dancer with the the years until his death in 1991. and dance in a National Ballet In 1951, she followed up Masquerade quiet corner of of Canada. Ball with Le Réve Fantasque, her first the dining room, One of her ballet set to a commissioned score. The all of which led greatest disap- music was written by Dolores Claman, her mother to photo courtesy of Dance Collection Danse pointments was who penned the Hockey Night in Canada send Kay to not attending the theme heard until recently on CBC. The Helen Crewe’s Dancing Academy. The first Canadian Ballet Festival in Winnipeg result, according to the Province news- school’s goal was “to cultivate a perfect in April, 1948. paper, was “one physical and mental control of the body” As it turned out, of the first all- through Greek exercises, ballet, tap, Span- the Red River Canadian ballets ish and interpretive dance. flooded and ever performed By 1941, she had enrolled at the B.C. water filled the in British Co- School of Dancing on Seymour Street, basement of the lumbia.” Both which had its entrance next to the Or- Playhouse The- works netted pheum Theatre’s stage door. It was here atre. The only Kay the Van- that she received classes from Princesse alternative ven- couver Ballet Arfa, who had studied with Enrico Cec- ue was the more Society Found- chetti, and Kay eventually taught the Cec- costly Odeon, er’s Trophy for chetti Method in her school and became and the festival choreography, an examiner for the Cecchetti Society directors with- which she won of Canada. She also studied with Joseph drew their offer five years in a Pilates in Massachusetts, learning the to cover travel row before it now-popular exercises from the master expenses. was discontin- himself. Perhaps ued. During two years in New York, by way of con- Three years Kay took classes with Anatole Vitzak soling herself, later, she found- and Ludmilla Schollar, graduates of St. that year she ed the Kay Arm- Petersburg’s Imperial Ballet School. She choreographed strong Dance remembered the thrill when such leading her first major Theatre, a brave dancers from the Ballets Russes as Irina ballet, Masquer- venture that Baronova and Chris Volkoff dropped in ade Ball. It con- predated gov- tained the basic for class. Kay - one of several Vancouveri- photo courtesy of Dance Collection Danse ernment fund- tes dancing in New York at a time when ingredients of ing for the arts. there were few professional opportuni- her best works – a clear storyline, stylish, With choreography by Kay, the company ties at home - landed a job with Radio well-made costumes and her top students of 10 dancers made two tours of B.C. and City Music Hall’s ballet troupe and then as muses and dancers. Alberta. Three of her dances were set to

13 music by composer Basil Hunter, and she Fittingly, her last stage appearance was Palmer and Rex Harrington, both of whom herself performed a flamenco solo called a Spanish duet during a self-produced would go on to join the National Ballet of La Farruca that would define her career as show at the Queen Elizabeth Theatre in Canada. Sylvia Palmer said “Miss Kay” 1965. By that time teased her students by saying: “I would 43, she wore a long like one perfect plié. Then I would be very red dress, a flowered happy. If you could do two, I would be shawl and red shoes. ecstatic. If you do three, I’ll faint!” Her partner, judging Kay was not the only teacher at the from photos of the school. Bob Cadwallader, who danced in event, was a young New York in early television broadcasts and untried student. and in musicals, also taught there, and It was a sign they became close friends. In 1975, he of the times. The moved into the spare room at Kay’s home gap between ama- in the Kerrisdale area of Vancouver and teur and professional they lived together companionably for dance had widened decades. The house was the same white- and her position in gabled family home she had shared with the Vancouver arts her parents until their deaths. scene had shifted. In 1989, she began giving weekly The school produc- classes at Marpole-Oakridge Community tions that had once Centre in South Vancouver and continued, garnered serious uninterrupted, for almost 20 years. A year press attention now ago, she was hurt in a car accident. Un- seemed amateur and able to work, she asked her nephew Brian old-fashioned. After Armstrong, a teacher who had trained Kay with Bob Cadwallader a time, her shows under her, to keep the class going until at her studio on W. Broadway, Vancouver were no longer re- she recovered. viewed and she be- She never regained her strength, but a dancer. Donning a Castilian costume of gan presenting them at the smaller Metro did manage to watch one of his classes high-waisted pants, white frilled shirt and Theatre on the edge of town. – and approved of what she saw, Brian black, scarlet-lined cape, she performed By then, she had already moved her said. “Auntie Kay said, ‘You know, Brian, a part usually danced by a man. With school out of the downtown core. There, you’re a good teacher.’ Then she turned to nostrils flaring, the normally calm and on West Broadway, just east of Granville, me with her sly smile and added, ‘But you reserved Kay Armstrong was transformed her gentle, encouraging manner remained know who taught you.’” into a fiery Spanish dancer. Murray a fixture for 30 years. Over the years, she In April, 2008, Étude was remount- Kilgour, who heads the School of Alberta taught many hundreds of students. Among ed by Ballet Kelowna at the Norman Ballet, watched a later performance of La those who attended the school were Sylvia Rothstein Theatre in Vancouver. Seated Farruca. “Kay had that in the audience, and sur- dramatic profile, with her rounded by family, friends dark hair pulled back,” he and many former students, said. “She was so sleek Kay watched the choreog- and strong.” raphy she had created almost For her part, Ms. 60 years earlier. It was her Armstrong could never last public appearance. say what drew her to Span- The first version of this ish dance. “I was painfully article was published in shy and got butterflies in the Globe & Mail and it is my stomach before going reprinted here with the per- out,” she said. “But as long mission of the author. as my legs didn’t shake, I didn’t mind. I liked the Further reading: The adrenalin.” Dance Teacher – A Biog- After that, Spanish raphy of Kay Armstrong by dance would become her Kaija Pepper, 2001 ISBN specialty as a performer. Earl Kraul, Oldyna Dynowska, Katherine Stewart and 0-929003-43-8 Natalia Butko in a later National Ballet production of Étude. Photo courtesy of Dance Collection Danse and The National Ballet of Canada.

14 RESOURCES

The Days of the Week Posters can be bought from Judith Wilson, The Cecchetti Shop, Proceeds to CICB; 88 Willow Lea, Tonbridge, Kent. TN10 3RQ orders through your own society Tel 01732 356388 email [email protected] or by email [email protected]:

Thoughts - Volume l & ll by Richard Glasstone, 49 Articles written for The Dancing Times, 1997-2000. Proceeds to the next CICB Competition: Price $35.00 Cdn. incl. postage

Color Portrait of Maestro Cecchetti Thoughts - Volume ll by Richard Glasstone – 12” X 19” limited quantity - $25.00 USD (a few copies for those who have already email [email protected] purchased Vol.l). 13 Articles written for CD - Photos of 2008 Summer Course & CICB The Dancing Times, 1997-2000 Competition - $45.00 Cdn. Price $10.00 Cdn. incl. postage order forms www.cecchetti.ca Notes for a Dancer DVD - Classes, Semi-Finals, Finals CICB Competition - compiled by Sheila Kennedy – to use in $55.00 Cdn. order forms www.cecchetti.ca conjunction with the Cecchetti Manuals, T-Shirts - see order form - $15.00 Cdn. $50.00 Cdn. + postage order forms www.cecchetti.ca

15 LIST OF MAESTRO CECCHETTI DIPLOMA HOLDERS up-dated We ask that people notify the CICB Secretary, Sheila Kennedy [email protected] of any spelling errors, names missed or new Diploma holders to allow her to complete our records. Dates will be added as received. date achieved Lisbeth Brown...... 2000 Malta Melanie Bull Australia Theresa Butkovich...... 2004 Tanya Bayona...... - Victoria Chappell Sandra Allan...... 1978 Linda Butler...... 1978 Theresa Lungaro-Mifsud....1992 Lisa Christian Mia Ballenden...... 2004 Gail S. Choate-Pettit...... 2000 Pam Kerr...... 2004 Maureen Christie Natalie Blenheim...... 2004 Kathy Cooke...... 2003 Diana Cremona Kathleen Butler...... 1985 Aleta Davis...... 1978 Southern Africa Jacqueline Davenport Jane Cameron...... - Rose Marie Floyd...... 1972 Yvonne Barker...... 1974 Gillian Dawson McGregor William Carse [decd]...... - Olga Fricker [decd]...... - Jeanette Barlow...... 1970 Alison Dos Santos Sandra Clack...... 1985 Suzanne Gray-Granger (A).... - Diane Baumann...... 1985 Cara Drower Denise Coghill...... 1986 Sylvia Hamer [decd]...... - Gillian Behr...... 1984 Mary-Jane Duckworth Michela Dent-Causon...... 1996 Marjorie Hassard [decd]...... - Shannon van den Berg...... 1978 Ronald Enblem Rita Eicens...... 1982 Marnell Himes-Ushijima....1981 Rosemary Brandt...... 1975 Yukie Fujino Meryle Elliott...... 1982 Cathy Jones-Wolf...... 2000 Beth Caballero...... 1999 Raquel Gaviria Caroline Ettienne...... 1994 Gertrude Jory [decd]...... - Joy Cooper...... 1975 Richard Glasstone Jane Farrelly...... - Lee Ann King...... 1997 Pamela Crimes [decd]...... - Heather Goltman Peter Faux...... 1995 Leona Lucas [decd]...... - Patricia Durham...... 1973 Susan Handy Monique Feain ...... 1995 Laura J. McCarthy...... 2000 Diane Ebsworth...... 1979 Pat Hardy [decd] Denise Fisher...... 2000 Julie L. Merkle...... 1997 Mervynne Fernie [decd]...... - Rachel Heywood Andrzej Godles ...... 1995 Jane Caryl Miller [decd]...... - Lynne Fouché...... 1970 Mavis Hoffman [decd] Carole Hall...... 1992 Pamela Moore...... 1977 Alison Hazel...... 1988 Lynn Hollamby Janice Heale...... 1996 Laurie A. Papovich ...... 1997 Dulcie Howes [decd]...... - Elaine Hubbard Val Jenkins...... 1992 Leslie R. Parreco...... 2006 Eileen Keegan [decd]...... - Gillian Hurst Shirley Jones...... 1962 Ann Parsley...... 1997 Vivienne Keegan [decd]...... - Akiyo Ishihashi...... 2007 Rhyl Kennell...... 1977 Tomi Sue Pollock...... 1991 Jennifer Klipfel...... 1994 Deborah Jellis Annette Langham...... 2000 Marjorie Randazzo...... 1989 Karen Koen-Jooste...... 1999 Penny Kay Jane Moran...... 2004 Enid Ricardeau [decd]...... - Daphne Kruger...... 1971 Janet Kinson Diane Pokorny...... 1987 Pamela Rutledge...... 1997 Barbara Lewis...... 1971 Molly Lake [decd] Fiona Porteous...... 1985 Elaine McHale Seidman.....2000 Suzette Van Der Linde...... 1976 Eileen Langman [decd] Andrew Pronger...... 1986 June Smith...... 1997 Timo Liston...... 2001 Jacqueline Langman Shelley Rae-Aris...... 1984 Theodore Smith [decd]...... - Jennifer Louw...... 1998 Eve Leveaux Robyn Ross...... 1991 Patricia Suto...... 1991 Nicolette Loxton...... 1990 Patricia Linton Cherill Rowston...... 1978 Kathleen Tenniswood-Powell Dorothy McNair...... [decd] - Margaret Marsh [decd] Edmond Stripe...... 1991 PhD...... 2004 Gail Myburgh...... 1993 Jocelyn Mather Toivo Taves...... - Phyllis Thorne [decd]...... - Nadia Nerina [decd]...... - Tracey Moss Valrene Tweedie [decd]...... - Kimmary Williams Rice.....1983 Noleen Nicol...... 1991 Thérèse Oswald Athol Willoughby...... - Lana Paladin...... 1978 Carolyn Parker Cecchetti USA Susan Perry...... 1983 Daphne Peterson Canada Greg Bomke ...... 1999 David Poole [decd]...... - Eve Pettinger Terri-Lynne Banfield...... 2000 Susan Brooker...... 1989 José Pretorius...... 1963 Linda Pilkington Bleidynn Bellis...... 2004 Shiela Darby [decd]...... - Joyce Rabinowitz...... 1971 Lucy Pohl Jack Bickle [decd]...... - Louanne Davies...... 1979 Graham Rees...... 1988 Peggy van Praagh [decd] Amy Blake...... 1995 Olga Fricker [decd]...... - Wendy Reinhardt...... 1985 Gustavo Beserra Quintans Rosalie Brake...... 1987 Marnell Himes-Ushijima....1981 Cecily Robinson [decd]...... - Gillian Robinson Christina Burrows...... 2004 Raymond Lukens...... 1989 Diane Van Schoor...... 1979 Penelope Robinson-Debatin Evelyn Finlayson...... 1997 Cara Schrack...... 2008 Denise Schultze...... 1956 Nora Roche [decd] Jean Geddis-Zetterburg...... 1987 Betty Seibert ...... 1988 Pauline Shaw...... 1985 Janice Russell...... 1994 Toresa Hancocke...... 2007 Janice Smith...... 1995 Joy Shearer...... 1971 Juan Sanchez Sheila Kennedy...... 1981 Raymond Smith...... 1996 Dudley Tomlinson...... - Sofia Santiago Gilian Kilgour...... 1978 Deborah Vinton...... 1995 Faith de Villiers [decd]...... - Margaret Saul [decd] Nancy Kilgour...... 1965 Franco De Vita...... 1992 Diana Ward...... 1970 Kate Simmons Janette Lindley...... 1997 Heidi Wright...... 1996 Lynne Wesson...... 1986 Richard Slaughter...... 2004 Peter Moir...... 1996 [decd] ...... - Suzanne Plante-Hobbs...... 1991 Italy UK and Europe Mandev Sokhi ...... 2007 Christine Richardson...... 1987 Rita Gramigni...... 1993 Alison Allen Mary Stassinopoulos Joyce Shietze...... 1996 Brenda Hamlyn...... 1985 Christine Axon Elisabeth Swan Jean Spear...... 1981 Claudia Masini...... 1992 Rosina Baker Lynn Wallis Shirley Tetreau...... 1987 Leonarda Raimondi...... 1981 Bleidynn Bellis...... 2004 Sarah Wells Heidi Zolty...... 1995 Evelina Ricci...... 1993 Brian Berscher Ann Whitley Gillian Whittingham...... - Jacobus Johannes Blokdijk Laura Wilson [decd] Cecchetti Council of America Greet Boterman Julie Wood Betty Bandyk (A)...... - Susan Brooker Helen Wolska [decd] Jack Bickle [decd]...... - Nesta Brooking [decd] Terry Wright

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