“Dancing in all its forms cannot be excluded from the curriculum of all noble education; dancing with the feet, with ideas, with words, and need I add that one must also be able to dance with the pen?”
– Friedrich Wilhelm Nietzsche
On Wednesday 12th July 2017, I became a First Class Honours graduate of the Royal Academy of Dance.
The Royal Academy of Dance is one of the world’s most influential institutions for dance education and dance teacher training. Founded by an international group of dancers and dance teachers in 1920 to set standards for dance teaching in the United Kingdom, the organisation now operates in 85 countries. Its classical ballet syllabus is taught globally, with over 240,000 candidates taking Royal Academy of Dance ballet examinations each year. Beyond this, an ever-increasing programme of outreach work takes dance into diverse communities, while the Faculty of Education’s research develops knowledge which informs and inspires dance enthusiasts all over the world.
I have graduated from the Royal Academy of Dance’s BA (Hons) Dance Education programme. This varied programme not only equips graduates with the anatomical, musical and pedagogical knowledge and understanding to teach dance but also engages with philosophical, professional and practical issues in the fields of dance and dance education.
We are all stars but we must learn how to shine.
Each of us is an individual, blessed with different talents, qualities, experiences and perspectives. Significantly, this uniqueness means that each of us sparkles in our own way. Happily, I am increasingly able to recognise that, in life, we ought to trust in the idea that dancing to your own tune is the best way to make sure you do not lose yourself while trying to be who you think you should be.
Being me involves a love of both dancing and writing. These are closely followed by a fondness for reading and a desire to discover and disseminate knowledge. When we consider these attributes, my roles as a dance writer, dance student and dance teacher suddenly make a lot of sense!
Ballet Papier is a decorative arts brand created by a mother-daughter team in Barcelona. Together, artist Berenice and her dancing daughter Ambar dedicate their time and energy to creating beautiful products and sharing their love of ballet globally. In my work with the brand, I am honoured to combine my devotion to all things ballet with my writing. Excitingly, my words are now being featured in the brand’s notebooks – a development which started with the Ballet Étoiles collection.
Dancer Giuliano Contadini takes on the role of history’s most notorious playboy in Northern Ballet’s latest production, Casanova.
Giacomo Casanova is remembered for his luck with the ladies but this biographical ballet, choreographed by former Northern Ballet premier dancer Kenneth Tindall, promises to reveal the complex man behind all those hedonistic conquests.
Undoubtedly a great seducer, Casanova was also a gifted scholar with big ideas, a moral conscience and depressive tendencies. This Italian adventurer lived life passionately and recorded the highs and lows of his existence in vivid detail in his memoirs. It was these memoirs that inspired Tindall to embark on his first ever full-length work and informed his realisation of Casanova as a fully-rounded character.
Leading soloist Giuliano Contadini is the dancer Kenneth Tindall chose to create the role of Casanova on. Like Casanova, Giuliano is Italian. He also has the same initials as the legendary Lothario!
Dancing. Writing. Learning.
Having graduated from the London School of Economics and Political Science; qualified as a journalist; and established myself as a dance writer, furthering my knowledge of dance by studying with a world-renowned dance education institution seemed like a natural next step.
Every time I dance, I turn into a better version of myself. Essentially, dance excites me – whether I am participating in it, watching it or writing about it. Perhaps unsurprisingly, the possibility of sharing my enthusiasm through teaching has always intrigued me.
Attaining a place as a student on the Royal Academy of Dance’s BA (Hons) Dance Education programme in 2014 marked the start of a learning experience that has equipped me with the skills and understanding to fully appreciate the complexities of dance, art and education. The syllabus covers dance in relation to the disciplines of Anatomy, Cultural Studies, Health, History, Music, Pedagogy, Philosophy, Psychology, Sociology and more. This truly rounded education in dance has enhanced my previously established skill set, ensuring my teaching practice is informed and impassioned.
Being invited to feature as a Dance Education advocate for the Royal Academy of Dance’s 2017 social media campaign ‘Meet the Student’ was a fitting way to acknowledge the learning journey I have been on.
Finding ways to continue my development in dance as a practitioner, writer and teacher is important to me. Working hard is part of my personality – a part that has undoubtedly been nurtured by my involvement in dance! I can’t wait to see where dance (and my work ethic) will take me next…
Invited to watch rehearsals, chat to members of the production team and learn some of the dancers’ latest choreography, Georgina Butler discovers the collaborative spirit behind New English Ballet Theatre…
I love ballet. Absolutely adore it. Given any choice – throwing a few drinks back at some trendy new bar or throwing a leg (front, side and back) at the ballet barre; “finding” myself at a festival or losing myself in a classical masterpiece – I go for the ballet option every time.
My devotion aside, I do sometimes fear for ballet’s future. There is always the very real possibility that classical ballet could become a museum art form. No balletomane wants to see the object of their affections stagnate (with little to offer beyond revivals of existing work) or, if we imagine the worst-case-scenario, become extinct. Although the world’s well-established leading companies have a starring role to play in shaping ballet’s future on the global stage, it is up to the emerging troupes of today to ensure it remains relevant to our lives. Ballet needs to keep evolving; inspire new ideas; attract new audiences.
New English Ballet Theatre is a vibrant modern ballet company determined to drive the art form forward in exactly this way! Founded in 2010 by Artistic Director Karen Pilkington-Miksa, the company is committed to the continual reinvention of classical ballet and aims to present exciting new works to the widest possible audience. The ambition does not stop there though. At the heart of New English Ballet Theatre’s mission is the desire to nurture the next generation of dancers, choreographers, musicians and designers. The company seeks out and hires talented graduates from a variety of disciplines on a seasonal basis, affording emerging artists the creative space and support to explore their full potential.