By Kristy Johnson
The Ballet barre is a dancer’s friend. It is the place where technique, flexibility and strength are developed for centre work, and where the plie, tendu and grand battement are first taught.
This edition of our research project will enable the Ballet genre to be analysed under the ‘dance microscope’, and thus give you the reader an appreciation of this art form in which a solid foundation for all dance styles may be created.
Thoughts on the importance of Ballet training
Brenda Last, the Director of Training for The British Ballet Organization, has an extensive history within the Ballet world. Known as a dancer for her ‘rock solid technique’, Brenda says that Ballet “gives one a grounding to go on to any other Western dance discipline and style” if it is “properly taught and studied.” Although a priority is placed on Ballet within The British Ballet Organization’s syllabus, their examinations and courses reflect a true versatility within dance genres.
Former Principal Artist of The Australian Ballet and now actively involved in public speaking, teaching and specialised coaching, Steven Heathcote AO describes dance practice as “constantly evolving.” Steven considers the “essential building blocks of dance technique” to act as a “fundamental underpinning”, encouraging a “growth of a multitude of styles.” One such dancer who studied under the direction of The Australian Ballet and has now gone on to pursue a career within the Musical Theatre genre is the talented and versatile Joshua Horner. You may recognise him for his recent role in the musical Billy Elliot.
Joshua Horner refers to technique, discipline and patience, as being skills learnt through his training at The Australian Ballet, providing a solid foundation for his professional development as an artist. These skills taught at such an elite institution within Australia have enabled Joshua to feel “in control” of his career in relation to future projects.
Maina Gielgud AO, former Artistic Director of The Australian Ballet, considers herself “extraordinarily fortunate to have trained with inspiring teachers” who themselves collaborated with the likes of early twentieth century choreographers Petipa and Fokine. Maina remarks that although she was directed and inspired by a multitude of Ballet teachers during her training, all her teachers were “sound in the basic training and correct placement required.” Maina considers “one of the most interesting things about being a classical dancer to be working out differences in style.” The varieties as to the execution of enchainment, allowed Maina to become “very adaptable.” Adaptability is a quality choreographers admire, allowing them the versatility they need to communicate their desired vision.
Director of the Australian International Ballet Academy, Jacqui Dumont considers local dance teachers to play an “amazing role” in providing stability for Australian dancers. With an extensive career in various facets of the dance industry, including directing, teaching and performing, Jacqui Dumont is a firm believer in the early training of dancers as a concept for teachers to “embrace as educators.” As an educator of dance, Jacqui considers it important for local dance studios to provide a “positive discipline” in which guidance and “honest teaching” may result in a passionate, yet realistic approach to career development.
Career development is a continuous journey for the dancer, whether at a grass-roots level or within a professional company. The Victorian College of the Arts, located in Melbourne Australia, provides a unique opportunity for passionate dancers to use the skills learnt at a grass-roots level and build on this through creative and interpretative means. Creativity through Contemporary movement, requires a solid grounding in Ballet technique, and was easily identifiable in a master class of their first year students I had the pleasure to watch. Students performed a variety of sequences within the Contemporary realm, embodying a high level of skill within the basic elements of Ballet tuition. It is the mastering of basic barre work that may be taken not only into the centre, but also on to other creative dimensions.
Quality of Australian Ballet Tuition
Within any type of dance genre, there will always be teachers at either end of the scale when it comes to quality. However, overall the quality of Ballet tuition within Australia is deemed to be relatively high. Steven Heathcote refers to the “thousands of suburban Ballet teachers throughout the country” as the “unsung heroes of dance in Australia.” These heroes are dedicated to providing their students with a level of training that they consider to be the necessary requirements for a successful career within the industry.
The standard of Ballet in Australia is perceived to be of a high standard by all the industry professionals featured in this article. With The British Ballet Organization holding branches in the United Kingdom, Australia and New Zealand, Director of Training Brenda Last, has the opportunity to observe the talent in these locations on a regular basis. With the Australian branch holding an annual ‘Dance Week’ for their studios to attend, Brenda refers to the event as showcasing a “healthy competition between schools and between students.”
As a household name within the Australian Ballet scene, Steven Heathcote has had the opportunity to dance with numerous international dance professionals. Steven considers Australian dancers to be “highly regarded the world over”, possessing a “good work ethic” and the right mind-set. Steven Heathcote refers to professional companies within Australia including The Australian Ballet, Sydney Dance Company and Chunky Move to be “constantly making a big impact on overseas audiences.”
Joshua Horner agrees that Australian dancers possess a “very good work ethic.” Although Joshua states that the majority of Australian dancers aim to move overseas and collaborate with other choreographers, he considers Sydney Dance Company to provide an “exciting” vision with the many international choreographers they employ. These choreographers require an exceptional level of technique to communicate their desired visions.
Developing Your Dance Career - Tips and Advice
Knowledge of Dance History
Director of the Australian International Ballet Academy, Jacqui Dumont considers “knowledge of the roots” of Ballet to be imperative for dancers today. Whether it is through journals or periodicals, Jacqui feels that literature has the ability to reinforce or inspire new goals as well as provide a focus on the importance of musicality for a dancer. Jacqui Dumont encourages her students to be “intelligent dancers” through constantly observing dance notice boards and “fact finding” sources that may not only continue an education, but keep the “mind and brain active” and thus remain “young in the profession.” The Australian International Ballet Academy ensures their dancers are kept informed of current trends and issues within this evolving industry through regular updates on their notice boards.
Knowledge of dance history also refers to performance and study of the Ballet classics. Maina Gielgud has every hope that Ballet in Australia will continue to provide the dance community with a “variety of works”, whilst safeguarding our heritage of “classical and twentieth century works.” Maina says that an “optimal level” of performance may never be attained without a true appreciation of the classics.
|
|
