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Transcript of DANCE 473 Features
feat
ure
sAdeline Genée’s costume as
Mme Prevost in La Danse, 1912 ©
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Dance Costumes at the V&ATamsin Moore spoke to Jane Pritchard, Curator of Dance at the Victoria and Albert Museum in London
How do dance costumes come to be in the museum?
The V&A started collecting theatrical material in the 1920s
but initially it was a paper-based collection of designs,
ephemera and programmes and it was not until the 1970s
that costumes and other three-dimensional materials were
collected. With the acquisition of the Ballets Russes
costumes from the Sotheby auctions, the scene
was set for a collection of dance costumes to be
established. The Ballets Russes collection of
costumes came through the initiative of
Richard Buckle, biographer of Nijinsky
(1971) and Diaghilev (1979) who had
organised the major 1954 exhibition
on Diaghilev’s Ballets Russes. Buckle
was determined that Britain should
acknowledge the importance of the
Ballets Russes in its own development
of dance. As a result the V&A holds
the largest collection of Ballets
Russes costumes in the world. Certain
costumes from this collection are
on permanent display and items
are frequently leant out to other
institutions.
The V&A’s Sarah Woodcock
and Philip Dyer, the curators
in post when the collection
began, loved dance and built
up the collection. The Royal
Academy of Dancing (as
it was then) had been
left Adeline Genée’s
collection of costumes
from the company
she ran (1910–1918).
However, dance
costumes take up
quite a lot of space and they are hard to look after so they
decided to give them to the V&A to care for as we have better
storage space and our own team of textile conservators.
The V&A became identified as the leading place for dance
costumes in the country and with their 1981 exhibition,
‘Spotlight’, gave the collection of dance costumes a
public profile.
How do the dance costumes have to be
looked after and handled?
With care! Some costumes are more robust
than others. When a costume goes on
loan or on display it has to be checked
by conservators to see if it will withstand
travel or being put on show. A
small representative selection is
currently on display in the Theatre and
Performance Gallery and appointments
can be made for groups or individuals to
view items not currently on show.
How do you decide which dance
costumes come out on display?
It is always very difficult to decide
what does go on display. It’s almost
as though the costumes have to
‘audition’ for their place. With
the gallery we are looking
to introduce the range of
material we hold. Currently
our introductory case
includes a tutu by Karinska
for George Balanchine’s
Bugaku, the skirt of
which evokes the petals
of a chrysanthemum.
The other tutu on © VICTORIA AND ALBERT MUSEUM, LONDON
Left: The Wooden Prince by Geoffrey
Cauley, designed by Philip Prowse
display was one worn by Margot Fonteyn in Vienna for Swan
Lake, Act 3, and is actually a very dark blue, rather than black.
The costume for the Fairy designed by Philip Prowse for
The Wooden Prince is very large. You would not imagine it
was made for dance! And it was in fact more of a walking
rather than a dancing role and initially the dancer appeared
to be part of the set. It was designed for a special 1981 Bartók
Festival at the London Coliseum and not for intensive use, so
the decoration is less robust – just foil in some cases. Michael
Clark’s costumes from Because We Must designed by Leigh
Bowery and made by Mr Pearl also bring us up to the present.
In addition the gallery houses Nijinsky’s costume from
the divertissement, Le Festin, which he wore from 1909 till
1917 in the Ballets Russes. Essentially the choreography was
that for the Bluebird pas de deux in The Sleeping Beauty, and
Nijinsky’s costume, designed by Leon Bakst, weighs more than
four times a modern costume! The V&A holds more Nijinsky
costumes than anywhere else in the world. This costume is
quite fragile and may be replaced soon, so if you want to see it
take advantage while it is there!
The focus of the collection is on items that were for
performance on stage and screen – mainly in the theatre, with
less social dance. But there is both a Fred Astaire costume on
display and one worn by Ginger Rogers. The V&A also owns
Cyril Beaumont’s collection, which he gave to the museum
and includes elements of costumes worn by Marie Taglioni
(1804–1884) and Lopokova’s Can-Can dress.
Above right: C18th Costume from
Meleto Castle, Tuscany
Right: Costume designed by Andre
Derain for Lydia Lopokova as a Can-
Can dancer in La Boutique fantasque
“It’s almost as though the costumes have to ‘audition’ for their place on display in the gallery”
© V
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© V
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Which are the most valuable dance costumes in
the collection?
The value tends to come from who wore the costume and
who designed it. Those worn by Nijinsky or Nureyev are
very precious. The Chinese Conjurer from Parade designed
by Picasso is probably the most valuable. But also hugely
valuable are the dance costumes designed by Matisse.
Which of the costumes in the collection would have been
the most difficult to dance in?
The costumes created for choreographer Alwyn Nikolais’
production, Allegory include a knitted tube of jersey with
hoops at intervals from top to bottom. These are more like
sculpture than clothing and obviously impossible for certain
styles of dance, but designed for a specific purpose.
Generally the bulky, heavy costumes and the large
headdresses are the hardest to dance in. With any costume,
if it’s difficult to dance in, the more rehearsal done in the
costume the better!
Which is the most well known costume in the collection?
The Chinese Conjurer costume designed by Picasso was
the logo for the second half of the Ballets Russes, so this is
probably the most well known. Lez Brotherston’s design for
the lead Swan in Matthew Bourne’s Swan Lake would also be
well known. The collection is a mix of the obvious and iconic,
along with some surprises. The oldest costumes are from the
18th century.
What do you like best about being Curator of Dance at the
Victoria and Albert Museum?
It is an exciting job with variety, surprises and new things
to learn every day. I meet such interesting people – those
passing on material and those doing research. When someone
wants to borrow a dance costume for a significant exhibition I
learn so much more about it and look at it afresh.
I began my career in theatre administration, but became
frustrated at missing so many of the live performances of
dance that I wanted to see that would never be repeated. A
postgraduate course led me into freelance work as a dance
company archivist. Then this job was advertised at the V&A. It
was the first time they had had appointed a Curator of Dance!
Nijinsky’s costume designed by Leon Bakst for Le Festin 1909
“With any costume, if it’s difficult to dance in, the more rehearsal done in the costume the better!”
© V
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From the mid 20th century, new forms of social dance
embraced and embodied the spirit of the age. Drawn
initially from America and influenced by its films and
popular music, these dances quickly evolved and became
ingrained in British youth culture. Some dances, such as
Rock ’n’ Roll, were for couples; others, such as the loosely
termed ‘disco’, made manifest the new gender independence
of the participants. Although they all had distinctive
movement material and performance characteristics,
unlike most other social dance forms they were essentially
improvised. They were, therefore, much more open in their
steps and stylistic execution than the formal dances of the
ballroom; they were, in essence, ‘free style’.
In order to cater for the popularity of these dances and
provide opportunities for safe and effective teaching, in 1988
a brand new ISTD Disco Freestyle committee was formed by
pioneers and joint Chairmen Peggy Spencer MBE, Sydney
Francis and Anne Lingard. The popularity and standard of
disco dancing was increasing rapidly, both in society and in
the studios, but there was a need for a system which could
provide teachers with sound knowledge and technique.
Disco/Freestyle/Rock ’n’ Roll (DFR) committee members
produced workshops, seminars and festivals to help teachers
to learn the popular steps so they could work with confidence
and in safety. The committee established a thorough
examination structure at various levels, initially in Disco
Freestyle, for both amateurs and professionals.
The Faculty hosts an annual congress for teachers
with the aim of ensuring that the programme offers an
abundance of knowledge and expertise, and a diverse range
of choreography which is suitable for teachers
to take back for class, examination or competitive work.
The DFR Faculty celebrated 25 years of its existence in
2013. In response to the development of popular dance, it has
grown to host four genres within its remit: Disco Freestyle,
Rock ’n’ Roll, Country and Western, and most recently Street
Dance. The aims of the Faculty are to create sound and safe
The Disco, Freestyle & Rock ‘n’ Roll Faculty HistoryThe sixth in our series of faculty histories
Below: Dancer at the 25th
Anniversary Year National
Grand Finals Day 2014
techniques for all its work while understanding the need to
allow freedom of expression and musical interpretation.
Further, it helps teachers to appreciate that dance within this
faculty is an ever-changing form. Modern music, cultural
trends, fashion and different cultures will always present
new challenges and movement material to introduce to
our teachers and dancers.
Disco Freestyle
The release of the film Saturday Night Fever (1977) in the
UK injected new impetus to disco dancing and motivated
enthusiastic teachers to attend workshops so that they could
learn and teach the new dance craze. The first teachers’
workshop took place in 1978. Held at the Hammersmith
Palais, it was organised and presented by Peggy Spencer
MBE, Michael Stylianos, Anne Lingard and Pat Thompson.
Teachers welcomed the new popular style of dance and were
stimulated by the choreography. They offered classes in the
steps and sequences that featured in Saturday Night Fever
and welcomed the resultant new surge in business. With
its rhythmical steps and its adaptability for all ages and
capabilities, the style appealed to wide sectors of the public.
The medal tests of Disco Freestyle, as it was known in the
Faculty, were introduced in 1979. The tests seek to: (i) promote
an appreciation and enjoyment of Disco Freestyle dance
with a view to developing technical and artistic qualities;
(ii) introduce an understanding of the various styles of the
Disco Freestyle dances, the different rhythmic expressions
and characterisations; (iii) motivate candidates and build
self-confidence by providing carefully staged goals and
(iv) provide a structured approach for teachers to measure
candidates’ progress. Workshops were organised to help
teachers with choreography that could be used for both class
and medal work. Medallist Competitions organised by the
ISTD began with just a small number of area events. Jean
Cantell, past Vice Chairman, had suggested that the country
be divided into areas with an organiser, which would provide
teachers with a competition day within their radius.
Throughout the year teachers work hard in learning the
Set Dance routines which were initiated in 1992 and are still
annually choreographed, collated and formatted onto a
DVD. Teachers are given the opportunity to choreograph and
submit their work for the annual collation of these routines
which are enjoyable but challenging for all ages and grades.
Those pupils succeeding in their particular Set Dance at area
competitions then can look forward to the Faculty’s Grand
Finals Day, held annually in October.
Disco Freestyle or just Freestyle, the term used often by
the ISTD’s younger generation of participants, has evolved
since its first workshop in 1978. Today, movement content
such as fast and powerful runs, leaps, spins, splits, super high
kicks, intricate foot and arm patterns, allied with flexibility,
speed, control, agility and projection, are all part of the
performance presentation. A Disco Freestyle competitor
will take pride in having immaculate presentation of superb
choreography, individual personality and an abundance
of stamina.
Above: Dancers at a 1988 ISTD Disco Day
Right: Rock ’n’ Roll comes of age
in ISTD’s 1991 syllabus at Derek and
June Green’s Kingston Dance Studio
Rock ’n’ Roll
Rock ’n’ roll was one of the earliest dances of youth culture.
It first emerged in America, where it evolved from or shared
similar characteristics with the Lindy Hop, Swing Dance and
Jive. It grew in popularity after Bill Haley’s hit recording of
Rock around the Clock in 1956. Haley performed in Britain
in 1957, heralding what came to be known as the ‘American
invasion’ in both music and dance. The dance requires sound
technique, core strength, stamina and impeccable timing.
Its movement material includes kicks, flicks, lifts, jumps,
turns, flips and throws. Many teachers still teach Rock ’n’
Roll as a social dance but it is also an ISTD competition
dance in its own right, where it is performed in couples,
formation teams or by individuals in a chosen Set Dance for
the ISTD area medallist events. The Faculty offers a syllabus
and examinations in Rock ’n’ Roll for both amateurs and
professionals who can engage with these at all levels.
Country and Western
The origins of Country and Western can be traced back to the
early/mid 19th century when emigrants from Europe moved
across America to settle in the west. The working life of the
cowboy was also hugely influential on the development of the
many styles that comprise the genre.
Just as the film Saturday Night Fever created the huge
interest in disco dancing, many believe the song Achy Breaky
Heart recorded by Billy Ray Cyrus back in 1993 can be credited
for the recent popularity of Country and Western dancing,
especially Line Dancing. Classes in the latter have become
very popular with the public and can now be found in nearly
every town in the UK.
Country and Western Line and Couples dancing was first
introduced to the ISTD members in 1994. Peggy Spencer MBE
and her team taught a programme of dances which included
the Electric Slide, Cotton Eyed Joe (Couples), Slapping Leather
and the Tush Push.
Top right: The Jet Setters during
competition at the Hammersmith
Palais in 1979
Right: Learning a new dance at the
ISTD’s Line and Country and Western
Dance Festival, 4th November 2001,
St Paul’s College, Sunbury KEV
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In May 1996 the DFR Faculty presented the very first
Country and Western workshop and further events followed.
Top choreographers and teachers from both the USA and
UK such as Angelique Fernandez, Jo Thompson, Rob Fowler,
Maggie Gallagher, Peter Metelnick and Kate Sala have made
an important contribution to enhancing knowledge and skills
in the various styles.
With a syllabus conceived and written by Jean Cantell, the
DFR Faculty has established a complete amateur medal test
system and professional qualifications covering Country and
Western Line, Partner and Freestyle couples.
Street Dance
Street Dance evolved from popular culture and social
dance in America during the 1970s and it has since spread
internationally. People would dance anywhere that had
an open available space: a park, a street or a party. An
important feature of Street Dance is that this was not a
style that was learned within a studio under formal tuition
but it was improvised in an informal space. As such, it
involved interaction between the dancers and dancers/
watchers, and encouraged creativity in the making up and
structuring of movement.
Popping, Locking and Breaking are three foundation Funk
styles which come under the umbrella term of Street Dance.
Popping and Locking started in the early 1970’s Funk era in
California, USA. Breaking or Bboying started in the Bronx in
New York in the late 1970s but came to the world’s attention
through films such as Wild Style and Breakdance in the 1980s.
The significant feature of the history of Street Dance
was that is was the dance of young people. It offered
opportunities for creative expression, gave a sense of
freedom and a voice to unrepresented and often invisible
communities through the means of music and dance.
Despite the improvisational nature of these street dances,
participants wanted to learn their vocabularies and skills. To
enable teachers to pass these on with safety and a high level
of execution, Street Dance was incorporated in to the DFR
Faculty and the first syllabus was offered in 2010.
Street Dance, as well as being a dance of the people,
was also appropriated as a commercial form. As such, it
embraces influences from many dance genres to create
new and exciting fusions and styles. Michael Jackson was
pivotal in its development with hugely successful dance
videos such as Thriller and Beat It (both 1983); their fast
paced choreographed group sections have since become
iconic. Other important music videos include Opposites
Attract (Paula Abdul 1989,) which incorporated a fusion
of Commercial dance and Tap, and Janet Jackson’s Rhythm
Nation (1989).
This was a significant video for the development of
Commercial dance and is still regarded as one of the
best music videos of all time. Madonna’s Vogue (1990)
brought the stylized, model inspired voguing to the media
forefront. Other women who also played a significant role in
Commercial dance include Britney Spears and Missy Elliott. PHO
TO R
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Boy bands also played a large part in commercial
choreographed dance from their inception in the 1960s
to today. These span bands from the Jackson Five and the
Osmonds to New Kids on the Block, the Backstreet Boys
and NSYNC.
Artists today continue to find inspiration for their
choreographed productions from the movement and
presentational styles of Street Dance and other popular
forms, thus transforming the social dance of the people in
order to serve the commercial imperatives of popular music
culture. As the demand for learning the skills for leisure
and for the workplace developed, the ISTD met the need for
coherent and developmental teaching with a new syllabus,
known specifically as Commercial Hip Hop, in 2010.
Laura Rampton assisted by Samantha Vale
and Charles Richman
“Street Dance, as well as being a dance of the people, was also appropriated as a commercial form”