It’s a sunny Saturday morning in East London and 33 young dancers, aged 8-15, each accompanied by a parent or relative, are visiting the Mulryan Centre for Dance, home English National Ballet (ENB), for the day. They have come from across London, Birmingham, Leicester and Essex to take part in an experience day for participants of ENB’s Ballet Futures programme.
Ballet Futures: The Pipeline Project (to give it its full name) was launched in 2022 to help address the lack of diversity within the classical ballet landscape. “Our aim is to seek out dancers from backgrounds underrepresented in ballet (such as African Diaspora, Caribbean, South Asian and Southeast Asian heritage) who possess the qualities to succeed in this artform, and support them through their training” explains Michelle Ballentyne, the Project Lead for Ballet Futures.
After selection by audition, the participants receive two free ballet classes a week, provided by one of five associated schools in England (Adagio School of Dance in Brentwood, Dupont Dance Stage School in Leicester, Spotlight Stage School in Birmingham, Viv’Art Movement Academy in East London, and West London School of Dance), as well as bursaries for their uniform requirements. Being part of Ballet Futures also means the students gain access to special opportunities such as theatre trips, visits to their schools and experience days.
Today is the third edition of the annual experience day. For the participants, it begins with the chance to watch English National Ballet dancers take their daily class. Mayumi, who goes to Dupont Dance Stage School and is attending her third experience day, loves this opportunity: “My favourite part of the experience today is watching the ballet company dancing, because you can see how hard they work”. Noura, from the same school, agrees: “they’re really good in class, and I can learn new things and note down different vocabulary and technique”.
At the special Q&A afterwards, the children are attentive and seek valuable advice from the professionals with their questions (“how do you help your body recover?”, “do you have a goal for every class?”). They also bring out truthful and sometimes emotional answers, for example when they asked them how they feel when they can’t go on stage when they are hurt. The response touched on deep topics, from dealing with the guilt to accepting your situation and holding on to the thought that some good will come of it.
The morning continues with their own ballet class, and the opportunity to dance in English National Ballet’s state of the art studios. One group works with Monique Jonas, principal dancer with Matthew Bourne’s New Adventures, and another with Sarah Kundi, who danced with ENB for 10 years, and is now teacher at Royal Ballet School.
Most of the teachers who facilitate on the programme reflect the same heritage as the Ballet Futures dancers, in order to create an immediate connection and a commonality that the dancers and the teacher in the space acknowledge and understand. Representation is also crucial because it dispels the inaccuracies and myths around ethnicity and classical ballet.
During the class, the children pick up the exercises quickly, and follow their advice, whether it’s about using their core more during a centre exercise or being intentional about where they want to finish their pirouettes.
After lunch comes the chance to learn choreography from Nutcracker and work on stage craft. The younger dancers focus on the party scene with Ashley Coupal, while the older ones take on sections from the Snowflakes scene and the Waltz of the Buttercream Roses with Isabelle Brouwers. The two ENB dancers put them through their paces, asking for tight fifth positions and lines, while also encouraging them to have fun with the steps.
Bringing all the Ballet Futures dancers together is key to foster a sense of belonging, and “to empower them with the knowledge that there is a space for them within our artform”, says Ballentyne. For Lisa, whose daughter Fina-Rae is in her first year with the programme, “her feeling included is very important. Usually she is the odd one out – and we’ve learnt to live with it, and she’s fine and happy – but to experience that there’s another world where she is completely normal, is nice for her.” Fiona, mother of Estelle, who dances with West London School of Dance, adds: “that’s the biggest thing – to be not the singular or the minority, and that you don’t ever have to explain yourself”.
While the children are dancing, their grown-ups also come together to learn and share. First, they watch a rehearsal from The Sleeping Beauty. ENB Repetiteur, Renato Paroni de Castro, is teaching company members the steps of Carabosse, the evil fairy of the ballet. “Renato was the funniest guy”, said Ayanthi, Mayumi’s mum. “He went out of his way to explain what the steps meant – when they lifted the arm, or pointed – it was really informative. Sometimes it doesn’t matter how long you’ve done it, you might know the story behind the ballet, but you don’t understand the steps themselves. He did a really good job to explain what was happening”.
Later, they take part in a group session, led by Crystal Nicholls, a coach who supports musical theatre and dance performers. The aim of this coaching session is to explore and discuss strategies on how best to support their dancers through navigating professional opportunities. Nicholls guides the parents around three main stages of the young dancers’ performing journey.
First, she explores ways to best prepare them for the rehearsal process, when they are expected to learn and retain choreography and spacing directions. Second, she discusses how to help them manage their excitement and nerves before they go on stage, while also remembering steps and dealing with scene changes. And finally, she shares guidance on how to transition back to normal, day-to-day life after a run of performances. Looking after the dancers’ wellbeing is the top priority when it comes to performance opportunities, and it is key to ensuring they make the most of the experience.
The afternoon concludes with the dancers taking part in a creative class, before an informal sharing for their families. In just one hour, Nandita Shankardass leads them to create their own short ballet inspired by Nutcracker. Unsure at first, each small group starts suggesting ideas and building upon them to bring a tea cup, a musical instrument and more to life.
As the day ends, the mood is bright and everyone gathers together for pictures. Michelle Ballentyne urges her Ballet Futures cohort to “shine your light” and continue to bring out the best in themselves. She highlights that change is already happening: dancers supported by Ballet Futures have received places at Royal Ballet School, London Vocational Ballet School and Elmhurst School. Capitalising on the close proximity with the company, some have also performed with English National Ballet in their most popular Nutcracker season to date, in Southampton and London.
Inspiration, togetherness, commitment – the experience day nurtured these, and more. In the words of Anthonia, big sister of Eve, who goes to Viv’Art Movement in East London: “I’m encouraged for her future”.
Ballet Futures: The Pipeline Project is delivered in association with Adagio School of Dance (Brentwood), Dupont Dance Stage School (Leicester), Spotlight Stage School (Birmingham), West London School of Dance and Viv’Art Movement Academy (London).
Supported by Levelhume Trust and Old Possum’s Practical Trust
Ballet Futures Programme Supporters: Eggardon Trust, Alexis & Frances Prenn, and those who wish to remain anonymous