I often hear artists being portrayed as very emotional people but I ask myself if we are actually more exaggerated and eccentric when it comes to feelings than the average person? Yes, we care a lot about what we do for a living and we are asked daily to bring all sorts of emotions to the surface, but I wouldn’t say we are more sensitive than non-dancers, it just depends on the person and their own personality. I think we are all emotional when we want to be.
❝I can also bring my own feelings and experiences onto the stage with me to help develop a character❞
Dance is a way of expressing emotion so I think it’s quite normal if once in a while we subconsciously, or maybe even consciously, take those feelings out of the studio and into our daily lives, and vice versa. As for me, I love to get emotional and really into a role. The stage is a place where I am put into many different situations I wouldn’t encounter in my normal life and I can also bring my own experiences onto the stage with me to help develop a character.
As the applause subsides and silence falls throughout the auditorium, there’s chance for one last breath in the wings. Then the smile is adjusted and the walk to centre stage begins. The moments before performing a solo can be very nerve-wracking ones. Time is up. It is only you and the music, and all eyes are on you. You can’t practice that pirouette one last time, you can’t work on your stamina anymore. All that work is done. It’s go time.
❝With my confidence hitting rock bottom at times, even stepping on stage was terrifying❞
When I remember back to the very first solo I performed in my first year as a professional dancer all I recall are the nerves. I was part of the Pas de Trois in Christopher Wheeldon’s Swan Lake and my little solo was the biggest thing I had done so far in my career. It was my first chance to dance alone on stage, and it was scary.
During my younger education, I danced plenty of ballet, tap and jazz solos as a schoolgirl as part of our school productions, but back then it was no big deal. Being young and innocent made it all amazing good fun. ‘Bring it on’. But when I joined The Royal Ballet School things changed a lot and nerves grew inside me. There, I was never the ‘chosen one’ and with my confidence hitting rock bottom at times, even stepping on stage was terrifying. Being part of a group was just enough for me to handle. I had little stage experience and wanted to avoid any spotlight as much as I could. Continue reading “Everything is Possible if You’ve Got Enough Nerve”→
You may all know from my post ‘A Chance to Return to The Hammond School’, that during May I spent a week in England at my childhood dance school, The Hammond, as I had been invited to take part in the school’s 100-year anniversary production of Sir Peter Wright’s ‘Giselle’. My years as a student there were so wonderful I couldn’t wait to return to where it all began. And of course, it was even more memorable than I could have imagined.
Arriving at the school, I had butterflies in my stomach. It was so strange to be back. How the school has changed in ten years I have been away, with its own in-house theatre and brand new studios replacing the portacabins I danced in. However, once my dance colleague, Flavio Salamanka and I found our way into the theatre and spotted my old ballet teacher, Miss Jane Elliott, working with her pupils, the familiar, friendly atmosphere I remembered was still ‘in the air’. Being introduced to her pupils as ‘my Harriet’, Jane had me feeling like I never left. Continue reading “My Unforgettable Debut as Giselle”→
My summer holiday is never complete without some dancing, and over the past two days, I have had the pleasure of spreading and sharing the dancing joy with the students of Moorland Ballet Academy Summer School.
Moorland is a privet school in Lancashire with an Elite Football Program and a Classical Ballet Academy. The ballet academy was founded by two wonderful past teachers of mine Lynsey and Simon Kidd, who both taught and guided me during my student years. Knowing personally what good teachers they are, I was honored to hear from them and be invited to join them during the summer course.
Even though I only spent two days at the school, I truly enjoyed teaching the summer students – a mixture of full-time students at the school and young dancers from outside, some coming from as far as Japan, and already saw improvement in that short space of time. I had the pleasure of teaching a great bunch of 11-13 year olds and an older group of 14-18 year olds. Both classes worked so hard for me so thank you for that girls and boys.
I am sure all of the above come to mind, and it is true, we ballerinas can be all those things, (I try to convince myself I am a princess every day) but in this post, I want to focus on the ballerina and her flexibility.
Flexibility is a very useful and often needed attribute of a dancer but I would not say it is always the most important. Yes, some days, if not all, I would give my right arm to be more flexible but as I have gotten older and (hopefully) wiser, not only have I decided my right arm is a part of me I would not want to lose, I have also come to realise I can be ok the way I am.
I wanted to show my appreciation for this great person by dedicating this post to him and his work. Including a short interview about him, his past and his future. Flavio Salamanka, you will be missed.
Last Sunday we danced our final performance of the season which is always an exciting evening – another year completed, another year survived. However this year, not only was it a great one, it was also a very sad show for Karlsruhe StaatsBallett, as it was the last ever performance of our Kammertänzer Flavio Salamanka, a dancer who has been with the company since the beginning and who I have had the chance to dance many roles with and learn so much from.
We have had the pleasure of watching Flavio in numerous classical leads such as Swan Lake and Nutcracker to the more modern lead roles in A Midsummers Night’s Dream and Rusalka. Flavio has done it all. And he has done us proud. He has been such a big part of the company and many members of the public have followed his career over the 14 years he has danced here. Continue reading “Goodbye My Friend”→
As a follow up to my post ‘Sticks & Stones May Break My Bones but Dancing Does Too’, where I wrote about how my stress fracture came about and dealing with returning to work, I wanted to share my ongoing experience with the physical side of the recovery to help anyone else who is struggling coming back from an injury.
I have to say it has not been easy, as I am sure no injuries are, and it took much longer than I first expected for me feel like I am dancing as I did before the injury last May. Originally I came back feeling good, thinking I had done everything needed to have a fully healed foot but since then numerous problems and pains have bothered me, with days where my foot still doesn’t feel ‘right’, even after a year.
Over the last few weeks my days have been filled with preparations for something I am very honoured to be working towards and can’t believe it has arrived so quickly.
It was back in February when I got an email from an unforgettable teacher I had while training at The Hammond School, the wonderful Mrs Elliott. This delight of a women being someone who took me through my final years at the school,before transferring to the Royal Ballet School, and gave me so much joy in the studio as a student asked if I would return to the school for their 100 Year Anniversary performances to dance the lead role in Peter Wright’s ‘Giselle’.
Being a role I have not yet had the opportunity to dance I was very excited to confirm with my directer, Birgit Keil that it would be possible for me to travel to England in May and take part in the production. It was a little concerning that I would have to learn the whole ballet on top of the usual work schedule, as it would be something I would do in my free time, but seeing as I was informed early enough I was sure I would manage the work load.
Just like in Cinderella’s tale each ballerina has their perfectly fitting pair of pointe shoes. And even though a prince may not place the slipper onto our foot, for a ballerina it sure feels that way when we find our perfect pair of pointe shoes to perform happily ever after in.
Pointe shoes are our tools and I don’t think it is always known by the public how crucial it is for them to be perfect for each dancer and how essential it is to have comfortable, well-fitting and well-made pointe shoes, not only to dance at our best but to prevent injuries caused by ill-fitting shoes. Dancers spend their whole careers looking for the perfect shoe and having so many makes of pointe shoes out there, with each one having a catalogue of different styles to choose from it can be a long and difficult process to find the right style and maker for you.
Throughout my years of dancing, I have used about 6 or 7 different makes of shoes after starting pointe work at the age of 11. I joined The Royal Ballet School wearing Bloch (if I can remember correctly) and during my time there I tried shoes from Suffolk, Bob Martin and the Freed of London company – where I had customised pairs that I continued to wear into my first year as a professional dancer. Customised shoes are wonderful as you can cater the shoe to your own foot and personal requirements, e.g. the hardness or length of the schank, the vamp depth, the height of the heel, etc. It really can be a luxury to have this option but not always possible or necessary and as I said before all makes have a variety of different styles with large and small differences between each.
The cost of the shoes can also vary from around 50 – 100€, an expenditure that can build up as the shoes don’t last forever. Unfortunately, as a student, the cost falls usually onto your own lap, or more accurately the lap of the dancer’s helpful parents, and I remember always trying to find ways to lengthen the life of my pointe shoes using ‘special’ glue to keep them sturdy.