Backstage at the Ballet, an exhibition of photographs by Colin Jones, opened yesterday 11th February with a well-researched and entertaining presentation by Jane Pritchard, Curator of Dance at the Victoria &  Albert Museum, on Photographing Dance and Dancers.  Pritchard spoke interestingly and informatively about dancer-turned-photographer Colin Jones, the history of dance photography, and Jones’ photo-journalism, focusing on his work with dancers.  She drew attention to the wealth of social and historical information in his images, from evidence of the terrible quality of studio floors in the 1960s, to the way in which dancers used to spend their ‘down time’ knitting before there were mobile phones. (more…)

The North Wall offers a perfect introduction to its exhibition Backstage at the Ballet with an expert guide.  Jane Pritchard‘s illustrated presentation will place Colin Jones’ photographs in the context of the work of his contemporaries. It will contrast the candidly captured life of a dancer on stage and off with the more formally composed photograph encapsulating the art of dance.

Jane Pritchard is curator of dance at the Victoria and Albert Museum, London, where she curated the exhibition Diaghilev and the Golden Age of the Ballets Russes and displays of the work of photographers Chris Nash and Anthony Crickmay. She also writes, lectures and broadcasts on many aspects of dance.

Date:  Tuesday 11th February, 5.30pm

Venue: The North Wall Arts Centre, South Parade, Summertown, Oxford OX2 7JN

Tickets:  Tickets for this event are free, but spaces are limited. Please email Nicky Laird, Gallery Manager, on lairdn@thenorthwall.com to book.

Further details on Backstage At The Ballet can be found here

‘I’m always accused of dealing only with sex and violence but what I really deal with is life and death.’  Thus quoted Monica Mason, opening the St Hilda’s College/DANSOX Conference Kenneth MacMillan: Making Dance Beyond the Boundaries held on Saturday 16th March 2019.

Dame Monica, former Principal Dancer and Director of the Royal Ballet Company, was just one of many sharing their memories of MacMillan and his creative approach at this smörgåsbord of delights blending academic research, choreography and performance. On a wet and windy day, in political and climatic times that can sometimes feel reminiscent of the dark events triggered at Mayerling, we were treated to talks by MacMillan’s widow Deborah on how MacMillan worked with designers, Guest Lecturer Natalie Wheen on his innovative use of music, choreologists on how Benesh notation helps to preserve his choreography, and academic specialists on his historical imagination. The conference concluded with excerpts from a reconstruction of Playground by Yorke Dance. (more…)

The DANSOX Conference Kenneth MacMillan: Making Dance Beyond the Boundaries was an opportunity to reflect on and discover more about one of the twentieth century’s greatest choreographers. It was attended by distinguished practitioners and scholars in dance, and generously open to the wider University and general public.

Dame Monica Mason and Deborah, Lady MacMillan gave insights into what it was like to work with Kenneth MacMillan, his interest in contemporaneous events in society and the arts, his willingness to engage with designers new to the theatre, and his relationship with and support from Ninette de Valois. (more…)

This collection of essays, articles and interviews, accompanied by a DVD, is enlightening, entertaining and scholarly. Robert Helpmann joined the Vic Wells Ballet in 1933, and was a major influence in the development of ballet in England, but despite being the subject of three biographies (by Elizabeth Salter, Anna Bemrose, and Kathrine Sorley Walker), by the early years of this century his fame was fading and his choreographic work Miracle in the Gorbals (1944) was almost lost.

The story of this ballet’s miraculous recovery threads through the book, and draws together memories, commentary, film footage and analysis. (more…)

Dame Beryl Grey’s autobiography is both a personal memoir and the story of twentieth century English ballet told from the point of view of one of its leaders. It is fascinating to compare Peter Wright’s Wrights & Wrongs, which covers a similar ground, yet is utterly different; both writers have outlived most of their contemporaries, but Grey seems much the more discreet of the two.

Grey’s approach is chronological, starting with her birth into a happy and loving family, which instilled religious faith, a strong work ethic and respect for authority and British institutions (she is an unabashed royalist). Part One describes in detail her dancing life, as she quickly worked her way up through the ranks of the Sadler’s Wells company, becoming a principal of the Royal Ballet, before launching herself on an independent career, which included becoming the first Western ballerina to guest with the Bolshoi Ballet. Part Two covers her time as Director of Festival Ballet. (more…)

The Dancing Lives conference at Wolfson College offered an exceptional opportunity for archivists, academics and dance practitioners to discuss and discover new ways to research and write about dance and dancers’ lives.

The speakers for first panel, on Historical Dancing, demonstrated the vast range of material that dance historians draw upon to investigate the past. Mike Webb and Jennifer Thorp used Jeffrey Boys’s manuscript annotations in his almanac of 1667 to paint a picture of the social dancing scene in seventeenth century London; Michael Burden used caricatures vividly to recreate and interpret the scandalous adventures of Mademoiselle Mercandotti, and Julia Bührle showed how the technological invention of the lithograph helped to make Marie Taglioni a ‘superstar’. While the first four speakers showed how creatively scholars use documents, images and ephemera to advance our knowledge, the plenary session, in which Sue Jones expertly interviewed Jennifer Homans, began to explore what the dance itself can reveal. (more…)