Introduction to theme: Moving Forward

During the course of my study in BAPP Module 2, I have taken on interest many topics that I would love to discuss. But my dissertation is just one, and therefore, I have to focus on what I feel most passionate about. That is Art itself. A pretty general term that could account for vast possibilities and options. Just like what my tutor, Paula, described with the findings of 'love'. 

Since my first module I have been interested in the way that Performing Art has evolved and the ways it is progressing into the future. Especially today, I feel like I have found myself in the perfect place for this research. I am currently working with Ballet Vlaanderen (formerly known as Royal Ballet of Flanders before it had joined with the Opera). The company itself is going through a transitional period entering a 'contemporary space'. The aim of the company is to maintain the strong classical training it always held throughout it's history, yet marrying the two worlds of classical and contemporary dance to create something new; to represent the present day and perhaps inspire the future of dance. The company has the honour to perform works by world re-known choreographers who have either marked there significance in the dance world, or are on their journey of doing so now. Ofcourse, with this transition comes a very much expected debate concerning the future of the company and the county's culture. I am hoping that, with the methodical and ethical research, through interviews and my own personal experience, especially after working in a very traditional ballet company, I can investigate the issue. How does history and tradition mend with the future?



Credits: Filip Van Roe - Ballet Vaanderen in 'Pond Way' - choreography by Merce Cunningham: one of the best choreographers and innovators in contemporary dance.


It is very interesting to see the change the industry has gone through between the 19th up until the 21st century, especially in ballet, and I can't help but notice how fast it is moving now. We see ballets being re-staged, traditions being broken (for good or bad) to match the present day, and the works of innovative minds influencing the world of dance and it's perception. To take an example: Akram Kahn's new premiere of Giselle, which has been a huge success for the English National Ballet. 

"One of the most anticipated dance events of 2016, Sadler’s Wells Associate Artist Akram Khan creates a brand new version of the iconic romantic ballet Giselle for English National Ballet." - Sadler's Wells

Giselle, the world known ballet originally choreographed by Jean Coralli and Jules Perrot to the score by Adolphe Adame, and premiered way back in 1841. Amazing to think that this ballet has lived on until this very day where Romanticism is rare nowadays; where everything has become virtual and accessible. Perhaps this is the very reason that the Ballet lives on proudly. It is where the fantasy lies which is really just the reality of a simpler time we maybe long for.

Balanchine mentioned in an interview  

 "Like Hamlet, Giselle is a classic: it is not only important historically, it also happens to be good (…) People go to see Giselle and to see ballerinas dance it for the same reason we go to see new interpretations of Hamlet: the work is such a good one that we always discover something in it we hadn't seen before…" - George Balanchine


(What is perceived as 'good'?)

It is such a precious ballet, that the story line and romantic style are significant to its history and will often be left untouched. Some steps may be tweaked to suit the company, choreographers (reviver's) preferences and the costumes will be a variation to the original. But, there is a rare amount of choreographers who would attempt an new creation in the name of Giselle. The expectations would naturally be high. Indeed, the example of David Dawson's and Akram Kahn's original and individual interpretations of their Giselle, has been very successful according to many reviews and the audience's reaction. Fresh air was brought on stage with the imagination and new vision the choreographers today carried.

With the passing of the years, the ballet world has been charmed by the magic of many choreographers who have made breakthroughs introducing innovative ideas to the stage and approach in dance/training, while influencing a bigger mass of society and audience to get involved into this world of dance. 

The dance world has become Universal. Companies are accepting dancers all around the world. Art has been challenged, it has bloomed, transformed because of the greatest minds and biggest talents over the years. It has endured prejudice, discrimination and has fought its way to creating the escape for man from all these global problems they are facing in the real world. Because of Social Media, the world of dance is becoming for available to the greater society. If we think about it, the stigma is only for an eclectic group of people, has vanished, so much that the anyone can watch a performance of dance/opera at the cinema nowadays! Everything seems to be moving so fast, with the influence of new choreographers, contemporary dance, the competition and transition to the requirements of today. 

But I wonder really-relating this to real life examples as well...Are we able to catch up with our mentality towards this change? Is there a generation gap? 

With this theme in mind:

What defines 'moving forward'? 

How far is this evolution going?

Is tradition compromised?

How important is tradition?

Should history that should be taken into consideration for the future? If yes, in what way?

Is this an issue to be raised by dancers or are we a means of this transition?

Has this transition had an effect on the dancers today. If yes, how has it affected them?

These are questions which have been surrounding my mind for years, however, with experience and working on my BAPP,I am able to express it and hopefully find some answers. I believe this is not a right or wrong questionnaire, but rather a research of debate that would help my understanding as an artist, an aspiring choreographer (What is the audience looking for? What should be taken into consideration?) Hopefully this can help fellow peers and dancers to speak up about their thoughts on this and perhaps adapt and live up to today's requirements as an all rounded artist. 

Please feel free to comment, discuss or even argue some points as I would love to hear your thoughts on this!! :))

references:

https://operaballet.be/en/the-house/blog/sidi-larbi-new-artistic-director-of-royal-ballet-flanders
http://www.mercecunningham.org/merce-cunningham/

https://prezi.com/kb7h8e8lmpyt/imperial-russian-ballet-the-classical-era/
http://www.sadlerswells.com/whats-on/2016/english-national-ballet-giselle/
https://www.theguardian.com/stage/2016/oct/02/giselle-akram-khan-review-english-national-ballet
http://www.scene4.com/archivesqv6/apr-2011/0411/renatestendhal0411.html
http://www.theballetbag.com/2011/01/11/giselle/
http://criticaldance.org/semperoper-ballett-giselle/