Engage with our work though BBonFILM
#BBonFilm is a new and exciting way to showcase our digital work: inspirational dance films, performances, repertoire and on-demand ballet classes. Scroll below to see a few examples of our digital work for film, for dance education & enjoyment and also some inspirational films created by our former dancers and friends.
the idea⊠In the wake of the most recent Black Lives Matter movement, I wondered how Ballet Black should react to the apparent shift in global thinking about race, inclusion and equity. My overriding feeling was one of exhaustion; micro aggressions, persecution, death â it seemed never ending. I wanted to see the passionate, joyful aspects of our diverse existence brought to the fore, not just the tragic. Blackness it is not a singular experience: we do not all share the same background, beliefs, trauma or skin colour. I felt compelled to respond by showcasing the multifaceted aspects of joyous human emotion, and also the artistic power of Ballet Black, an organisation that has been championing positive change for Black and Asian dancers for twenty years.
How could we respond safely and creatively in the midst of the coronavirus? I made a wish-list of eight choreographers from around the world and chose a theme for each of them: joy, courage, love, passion, hope, rage, strength and power. I paired each choreographer with the Ballet Black dancer I thought would best respond to the challenge each theme presented. Thanks to the miracle of video conferencing software, we were able to create these ballets via a screen from South Africa, Leeds, New York, Berlin, Paris, Amsterdam, and London. The final challenge was to create a piece of dance art that wasnât simply dance filmed in the usual theatre set-up. I enlisted the talents of film maker, Mark Donne, to bring these hugely diverse artists and themes together, under his exceptional eye. Mark not only agreed, but gave us the title, Eightfold. I called on our wider BB family and asked the incredible writer, Natasha Gordon (Nine Night) and our Patron Thandiwe Newton, to create short narration to link the films together. Together, we have created an extraordinary piece of art in an extraordinary time – Cassa Pancho
Film Directors Note
Traditionally, ballet has a very limited and fixed relationship with film; invariably being performed and recorded in standard, theatrical formats. The first complete transgression and transcendence of this convention is now marked by, Eightfold.
A collision and in a sense, vivid dialogue between cinema and ballet, this conceptualised suite of work is comprised of eight newly choreographed pieces, each performed within a corresponding atmospheric moment, on a symbolic 24 hour âpsychological clockâ.
Expansive and radical use of light and film technology â including the most sophisticated cinematic rigs and FPV drones deployed as both camera and light source by Bridgerton Director of Photography, Mark Nutkins â render an unprecedented dance experience, where each dancer is introduced by a symbol or glyph, allowing the unadulterated transmission of absolute performance, state, emotion, and deep fusion with the medium of film.
This project is unprecedented in its approach and dimensions, and will, in all probability, radicalise and inspire the relationship between ballet and film forever. – Mark Donne, Film Director
Beginner Ballet (recommended for adults or young people with some dance experience)
Arranged & taught by Cira Robinson. Demonstrated by Alexander Fadayiro
Streaming: This class has been filmed for web only distribution. 4K quality options to follow soon. We experienced some audio issues while recording this video, and you may prefer to lower the volume for the first half of the class.
This class is suitable for adult beginners. Donât worry about understanding the terminology used. Follow along and go back if you need to! Feel free to adapt any exercise that is too challenging by performing it more slowly. Please also adapt any exercises you need to if your dance space is restrictive.
Arranged & taught by Cira Robinson
Demonstration by Marie-Astrid Mence
Duration: 63 minutes
Streaming: This class has been filmed for web only distribution. 4K quality options to follow soon.
Feel free to adapt any exercise that is too challenging by performing it more slowly, or with low legs or by staying on the whole foot instead of demi pointe. Please also adapt any exercises you need to if your dance space is restrictive.
Health & Safety notice:
These classes are for you to follow along with at home and you do so at your own risk.
Please make sure you have enough space to move your arms and legs without coming into contact with anything.
Wear comfortable clothing that does not restrict your movement.
If you donât have a barre, use something secure like a countertop or heavy chair.
If you donât have ballet shoes you can wear socks or dance barefoot.
If you enjoyed our class and would like to make a donation of any size, you can do so using the link below.
LIKE WATERÂ acknowledges the resilience of our ancestors, passed down from generation to generation. A world unkind to our people, yet somehow we survive. A world that that has conditioned us to not see the beauty of our skin, hair, culture and our people. But like water we flow, like water we change shape. We remain resilient.
âHistoric moment in British ballet historyâ
In October 2018, after 18 months of development, Freed of London have teamed up with Ballet Black founder and artistic director Cassa Pancho MBE and Senior Artist Cira Robinson to create the first skin tone pointe shoes, handmade in the U.K. for black, Asian and mixed race dancers.
After over a year in development, Freed of London has introduced new colours âBallet Bronzeâ and âBallet Brownâ to their core collection. The Freed of London ethos has always been to develop shoes to meet the needs of each generation of dancer and these new colours continue to reflect this.
âThis wouldnât of been achievable without the help of everyone involved, especially âBallet Blackâ whom we collaborated with to create these beautiful new colours.â â Freed of London
âI am beyond delighted that Freed have launched these two new colours. Although it may seem like a very small change to the outside world, I believe this is an historic moment in British ballet history and another step forward for culturally diverse dancers across the globe who wear the iconic Freed brand of shoe.
I would like to thank Freed for using their platform to help instigate change, and Cira Robinson, Senior Artist at Ballet Black, for her unending dedication to making this possible.â- Cassa Pancho MBE, Founder & Artistic Director
Ballet Black is a professional ballet company for international dancers of black and Asian descent. The company was founded in 2001 by their Artistic Director, Cassa Pancho MBE, in order to foster talent and provide role models to young, aspiring black and Asian dancers. Beyond the Screen is a short film presented by Facebook
This concept is fascinating to me as an artist, and I really wanted to find a way to bring this idea to life. I decided to take on the challenge of creating an original score for the first movement of the piece. The process of creating this element of the ballet really helped me to understand what I was trying to achieve choreographically. I am by no means a composer or a musician, but I loved the idea of what this additional layer could bring to the way I work. Music is such a strong driving force in dance, and I have enjoyed knowing that I had room to play around with the sound. Using the dancersâ voices as part of the music is always my favourite thing, and I really wanted to expand on that idea. This year I collaborated with Nathalie Vijver, who was my drama teacher when I attended the Cape Town Academy of Performing Arts. Working with Nathalie gave me so much clarity on the themes of Absurdism, drama, writing and staging a theatrical work like The Waiting Game. The title of the piece on its own is quite interesting to me, in the sense that a person can find themselves in a situation where everything is presented to them, but they can choose to make their move at a later stage. This title led us to write a piece that is both complex yet simple, deep, confusing and fun. Itâs about the exploration of the scrambling of thoughts that sometimes donât lead us anywhere, when all the while, time continues to pass us by.
The Ballet Black team and I spent a lot of time trying to figure out how this would be best communicated through movement and dance. The most amazing thing about being both a dancer and choreographer in the Company is the constant communication we are able to have, and the idea of building something much greater than ourselves. Thank you to Cassa and the dancers for creating this work with me. I am very happy to share it with you.
Mthuthuzeli November
The sense of all stops being pulled out is hard to miss. If the first three songs pass with Stormzy on stage, with only his union jack vest, his DJ and an intense light show for company (the latter comes complete with a ticker tape that, instead of news events, shows the names of south London boroughs) that quickly changes. Thereâs a ballet interlude â designed to underline the fact that black ballet dancers now have shoes designed to match their skin tone â thereâs a vast gospel choir, there are dancers, complete with a little kid busting moves, there are children on bikes popping wheelies as Stormzy performs Vossi Bop. The Guardian
It is so incredible to have this opportunity to make my second touring work for Ballet Black. This yearâs piece took a couple of different turns to get to where it is today, as the subject got quite complicated and created many challenges. Which was, for me, very exciting. The Waiting Game is inspired by one of the key figures of Theatre of the Absurd, Samuel Beckett. It explores the Absurdism of existence and the passing of the time through movement. The uncertainty of what tomorrow will bring; how thoughts can change rapidly, confusing us. Is life just a big simulation? A game? Do we know the rules, or are we all searching for purpose? If life is a game, are we players or spectators? Is time just a constant reminder that there will be a tomorrow?
This concept is fascinating to me as an artist, and I really wanted to find a way to bring this idea to life. I decided to take on the challenge of creating an original score for the first movement of the piece. The process of creating this element of the ballet really helped me to understand what I was trying to achieve choreographically. I am by no means a composer or a musician, but I loved the idea of what this additional layer could bring to the way I work. Music is such a strong driving force in dance, and I have enjoyed knowing that I had room to play around with the sound. Using the dancersâ voices as part of the music is always my favourite thing, and I really wanted to expand on that idea. This year I collaborated with Nathalie Vijver, who was my drama teacher when I attended the Cape Town Academy of Performing Arts. Working with Nathalie gave me so much clarity on the themes of Absurdism, drama, writing and staging a theatrical work like The Waiting Game. The title of the piece on its own is quite interesting to me, in the sense that a person can find themselves in a situation where everything is presented to them, but they can choose to make their move at a later stage. This title led us to write a piece that is both complex yet simple, deep, confusing and fun. Itâs about the exploration of the scrambling of thoughts that sometimes donât lead us anywhere, when all the while, time continues to pass us by.
The Ballet Black team and I spent a lot of time trying to figure out how this would be best communicated through movement and dance. The most amazing thing about being both a dancer and choreographer in the Company is the constant communication we are able to have, and the idea of building something much greater than ourselves. Thank you to Cassa and the dancers for creating this work with me. I am very happy to share it with you.
Mthuthuzeli November

Ballet Black was founded in 2001 with a mission to make a fundamental change in the diversity of mainstream classical ballet â on stage, behind the scenes, and among audiences & participants. We recognise the importance of providing visible, diverse role models of Black and Asian descent in ballet. Our professional ballet company is made up of ten dancers from around the world and we create award-winning new work that is bold and distinctive, both live and on film, that tours the UK and internationally. Our size and scale of production makes it possible for us to perform in large theatres such as London’s Barbican Theatre as well as small scale theatres like DanceXchange, enabling us to take our work to areas that may not otherwise receive high-quality ballet. We have developed a strong reputation as one of the most prolific commissioners of new ballets (over 60) in the UK and are known for nurturing many emerging choreographers who have gone on to enjoy successful careers.
Since 2020 Digital technology has become a vital part of what we do. We are currently developing #BBonFilm as a digital showcase of all things Ballet Black. The development of this initiative has been made possible with support from Bloomberg Philanthropies Digital Accelerator Programme. This grant has supported the consolidation of our Digital Producer and their role in both developing this website and in the launch of our mobile screening initiative. The screening service enables us to take our film work to theatres that are unable to accommodate our live performances, plus schools, universities, film festivals and community groups. Our Digital Producer also oversees the creation of our online library of ballet class resources, the development of our future film projects and all licensing and streaming negotiations.Â
In addition to the release BBonFilm, and with the kind support of The Linbury Trust, we have also busy aggregating and sampling our film and live audiences to better understand the interests and wishes of our audience as a digital customer.
Since 2021 we have won or have received an official selection in over 25 Film Festival awards from around the world. Alongside promoting our existing digital material our ambition is to create further educational resources and one new dance film per year so that digital touring sits alongside live performance touring as a staple of what we do.


We also develop talent at the early stages of ballet through our subsidised Junior School & Junior Associate Programme, providing professionally taught ballet classes led by teachers of diverse heritage to children and young people aged 3 to 18. Our Junior Associate Programme is designed to support and inspire girls and young women aged 12 to 16 during the crucial pre-vocational stage of ballet training. This cements our commitment to reaching a critical mass of young people for whom the artform of ballet has historically been closed and is part of our contribution to diversifying ballet in the UK.
We challenge perceptions in ballet, promote greater inclusion in dance training, and are growing audience diversity for ballet and the wider dance sector across the UK. We are also playing a vital role in advocating wider societal change through our industry-changing collaborations, such as working with Freed of London to create the first UK made pointe shoes for Black, Asian, and culturally diverse dancers.
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