Please provide a short introduction about yourself and your journey with dance.
I grew up in Blackburn and this is where I have my earliest memories of dance. I began dancing at the age of three; whenever the radio was on I would dance. If my mother had friends visiting for coffee, they always watched me and told my mother that I should be taken to dance lessons. I was fortunate to attend a school in which ballet was part of the curriculum, taught by Peggy Wilson, so had my first formal experiences with ballet here. Outside of school I also attended private ballet lessons with Peggy Wilson and learned the bbodance syllabus.
Please tell us about the highlights of your dance journey.
One of my highlights is being awarded a bbodance Scholarship at the age of eleven. I travelled to London for private ballet lessons which was a very special experience. I also have fond memories of the bbodance Concourse events and meeting fellow bbodance students and teachers. From this experience, I was encouraged to apply for attendance at a full-time ballet school.
My mother and I applied for many schools, including The Royal Ballet School and Rambert. Unfortunately, I missed the preliminary auditions for The Royal Ballet but was invited to attend the final round of auditions regardless! At my audition, I remember sitting on the floor, taking off my shoes and performing some Greek dance bare foot. From my bbodance education as a child, I learned Greek dancing and performed this style at festivals, so I felt confident using this style for my audition. After the audition, I was immediately offered a place at The Royal Ballet School, White Lodge, in Richmond Park. I attended White Lodge as a day student; my parents moved to London and were provided government funding to help pay for my tuition. I soon moved into the Upper School where I was lucky enough to work with Dame Ninette De Valois and John Field.
At this time, there were several dancers vacating the Touring Company, so I was invited to join the Touring Company from the January of that year. I toured Europe until the summer, then was asked to join the main Company from September! I was described as being of “soloist quality” which really aided my journey through the Company.
What has been the most memorable moment of your journey with dance?
I have so many lovely memories to look back on, it is so difficult to talk about just one. One of course has to be meeting my late husband Michael Somes, along with frequently visiting Frederick Ashton. Fred would always show me his garden and we would work together on his various plants outdoors.
I also had the pleasure of meeting Tamara Karsavina, Olga Lepeshinskaya, Boris Christoff and Margot Fonteyn. Boris and Margot both has this extraordinary charisma, they held the space and drew you in when they were on stage, even in stillness. It is difficult to explain the presence they had but I believe it is so important to hold your presence in ballet.
Why is dance important to you?
Dance is important to me as it has such a strong connection with music. Music connects me to all things I love; ballet, the opera and memories of my childhood when I danced to music on the radio. Listen to the music and it will carry you through the movement; I will always tell teachers about the important of music when dancing.
Where do you find inspiration, both in dance and in life?
I find inspiration in many places. I am inspired when I work in my garden, being surrounded by the ever-growing plants. I also find inspiration in conversations and experiences I have with the people I meet.
When performing and training I never minded the hard work, I was always looking for new ways to get better and find inspiration to do so. Often it was through acting; using expression of the face and eyes to tell a story.
If you could share some advice with young dancers, what would it be?
With anything you do in life, not just dance, you must love what you do and work hard. Not everyone is fortunate to have the opportunity to do what they love, so if you have found your path then go for it.
Please share your thoughts about being a Patron for bbodance.
Becoming a Patron of bbodance was a wonderful opportunity; the organisation gave me a very good start to ballet education. I absolutely loved the syllabus and it provided me with a strong foundation for the rest of my career. When you are a child, it is important to have the right start in life, and I gained an awful lot from bbodance.
Can you describe bbodance in 3 words?
Espinosa’s inspirational syllabus.
What are your hopes for the future of dance?
I would like to see new choreographers continue the classical ways of telling a story. Sir Fred Ashton, John Cranko and Kenneth MacMillan always told a story within their work.
Fred had a stillness within his work which is incredibly important. He said that the audience do not always remember lots of movement, but if there is a moment of stillness their brain takes a photo and they will remember.
I also hope the importance of breath continues to be taught. Take a breath in before starting the movement and let is go as you begin to move, it adds a depth to your dancing that is so natural and so important.
Do you have any advice for dance teachers?
Listen to the music and let the music carry the steps, also encourage your students to use their breath to deepen their movements. Steps are only a means to an end, think about the story and the feeling within the steps. Tell your students right from the start to take part with conviction!
Why is it important for dance teachers to train and gain a qualification in dance teaching?
Having a teaching qualification shows discipline and commitment to your practice. Once you are qualified, the best lessons are learned through experience.
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