Siobhan Davies’ film Transparent, screened by DANSOX at St Hilda’s College Oxford on Monday 15 May, is a personal retrospective that forms part of her on-going enquiry into the nature of dance and its position among the arts. The thirty-five minute film offers a vast array of images in the form of transparencies laid upon a back-lit panel, which her hands delicately manoeuvre and adjust, concealing, revealing, overlaying or juxtaposing pictures in a glorious palimpsest of ideas and associations. Her moving collage seems to gather together every kind of influence on her work. It is as if by literally looking through the acetates, which include representations of the human form and the natural world in photographs, paintings, drawings, and sculptures, Davies endeavours to look through herself and understand what it is that makes her dance.

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Alastair Macaulay delivered the first face-to-face DANSOX lecture of 2022 against a background of loss and tragedy.  The loss was the death of the critic Clement Crisp at the age of 95; the tragedy, the invasion of Ukraine by Russia.  Macaulay dedicated his lecture to the memory of the former, and  acknowledged his initial difficulty in speaking to a topic that might have seemed trivial against the background of the latter. 

He then delivered a talk that proved quite the opposite.  Taking inspiration from Arlene Croce’s assertion in 1973 that ‘Swan Lake is not a drama about birds – it’s a drama about freedom’, Macaulay cogently argued that it is a ballet about power and subjugation; bondage and liberation; trust and betrayal, which extends beyond the personal tragedies of Odette and Siegfried into the wider social and political domain.

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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…)

As part of Dancin’ Oxford 2020 The North Wall displays a collection of remarkable photos, Backstage At The Ballet.  Colin Jones (b.1936) is one of Britain’s most significant photojournalists but he began his creative career dancing with The Royal Ballet.  This dancer-turned-photographer focused his lens on fellow dancers as his subject matter, capturing hardworking bodies and backstage drama.

Jones’ backstage ballet photographs show not just the emotional intensity and beauty of ballet but also reveal the sustained physical exertion and discipline of a dancer’s life.  Photographs from the 1960s include Britain’s iconic ballerina, Margot Fonteyn and the Soviet-born Rudolf Nureyev as well as later images from the 1990s, featuring English National Ballet star Tamara Rojo.

This is the first exhibition in a public gallery of Jones’ ballet photographs, featuring rarely-seen backstage images of British ballet from the late 1950s to the millennium.

With grateful thanks to Colin Jones, Topfoto and principal sponsor St Edward’s School.

Dates:  Tuesday 11th February – Saturday 7th March

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

Tickets:  Admission free.

Opening hours:  The North Wall Gallery is open from Monday – Friday 10am – 4pm, and from 12pm – 4pm on Saturdays. Sundays & Bank Holidays: normally closed, except for theatre events.

Related talks:

Photographing Dance and Dancers, Tuesday 11th February, 5.30pm: further details here

The Collaborative Research of Science and Dance, Wednesday 4th March, 6.00pm: further details here

Find out more about Colin Jones here