Artistry (continued)

Artistic expression relies on truth and integrity. Margot Fonteyn said 'Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike.' I guess that is what the directors in my survey are seeking when they mention 'individuality' as one of the top five attributes they want in their dancers. Every dancer puts part of his/her personality into a performance in ways that cannot be wholly taught. Art is subjective and an audience selects what pleases them.

Students learn to appreciate the artistry of others by watching, guided by their teachers, analysing recordings and live performances of ballet, other dance techniques and theatre. Interpretation is a creative art and should not be based solely on imitating others. Where the unity of a performance will not be jeopardized by individuality, students gain in the confidence to be expressive if their perceptions of how a piece should be performed are guided rather than directed and they are allowed to dance it in their own way. It is thrilling for students to have works created for them, in addition to interpreting other repertoire. Andrew Evans in his book Secrets of Performing Confidence (2003) reminds us, 'Creative people are typically admired for being competitive, imaginative and sensitive but thought of as a tiresome nuisance for being radical, individualistic and unconventional.' Teachers please bear with these difficult characters for they are the thoughtful people who are the future. However, make very sure that they are well grounded in our artistic heritage as it will be their duty to carry it forward. Ensure they are equipped with technical competence without which they cannot express their creativity.

It is necessary to have visits by role model dancers, guest teachers and choreographers, who speak and demonstrate to students how they set about creating or interpreting a role; how they think deeply about the reason behind each step and prepare each gesture so that it will convey meaning to an audience and be aesthetically pleasing to the eye. In early stages of training it is wrong to demand too much expression, as children do not have the emotional maturity yet and there is a danger that they merely imitate adults, copy mannerisms and adopt a fixed grin, without any sensitivity, light or shade.

In Zen and the Art of Motorcycle Maintenance Pirsig asks the rhetorical question, 'You want to know how to paint a perfect painting?' and answers 'Make yourself perfect and then just paint naturally.' Transposing that into dance terms – make your technique perfect and dance naturally. That is quality which is always recognised. Students, through much work make your dancing appear effortless, without forcing or straining – that is art.

In 1861 Bournonville demanded expressiveness and personality of his dancers. For classically trained dancers it is wrong to learn only one way of moving as all companies are developing a broader range of repertoire. Coco Chanel said, 'Fashions change but style remains' and this is true in dance also. Companies may have a certain look, subject to the director's selection of dancers and choreographers but good schooling teaches technique alongside quality of moving. However good the principals, if the corps de ballet are not artistically in tune, for me the performance is ruined. Lack of integrity by the corps, particularly in the mimed scenes, often mars otherwise superb productions. True artists captivate an audience, transporting them to another world.

Maina Gielgud attributes some of the loss of theatricality in current company productions to the fact that drama, mime and sometimes even character are not being taught in the 'Ivy League' ballet schools. Much must depend on what repertoire is being taught and how good the direction of the school's productions.

Young students, if taught a coherent, simple classic style, by the time they are ready to graduate into the profession, should be able to apply several of the main variants of classical style. They should be able to adapt to the style of their dance company, to the style of their choreographer and to the style of the role in every movement, gesture and pose. Balanchine's ballets exaggerate épaulement as he felt that energy is conveyed by exaggeration. Whereas Fokine made great use of port de bras in his ballets, Ashton adored the embroidery of the co-ordination of arms, hands and legs, he loved the play with the shoulders and often used it cleverly with humour and intrigue. MacMillan enjoyed the powerful positioning of the dancers, dramatic poses, glorious pas de deux work and often complex and compelling storylines. The list is endless, but dancers must interpret and live each role, be it as court lady or Odette. I once asked my Year 7 class of 11 year olds, 'What is artistry?' and one young would-be ballerina said – 'It's the magic that's within us.' Cherish that magic and nurture the balance between technique and artistry.

Mary Goodhew

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First published in Dancing Times, January 2007, reproduced with the kind permission of all involved.