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.
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.
The profound question arises: why do certain things compel us to jump up and dance, while others make us want to sit back and do the opposite? The most significant realisation in this exploration is that from the very beginning, we were destined to be moved by sounds.
Consider the musicality present in the way we speak. Every language has its own unique cadence and rhythm. For instance, the Khoi people of South Africa employ clicking sounds in their speech, creating a rhythmic quality. Even before externalising it, our own bodies possess inherent musicality. We can observe this in the heartbeat and even in the rhythm of our walking. These natural rhythms can transform into music, affirming that our inclination to move has been woven into the fabric of our existence since the dawn of creation.
Reflecting on personal experiences, a childhood memory emerges from the Eastern Cape. Gathered inside a hut, family members would chant while a fire crackled in the sand. The ambiance created by this ritualistic chanting became a favourite lullaby, transporting the young narrator to a state of pure tranquility. In that space, devoid of pain, sadness, or happiness, they found a place of profound stillness. The intention was to preserve the sense of communal togetherness experienced around the fire, a shared moment of deep connection.
In creating “Burn from the Inside” Mthuthuzeli sought to capture this communal feeling through the film’s unique approach. By immersing oneself in the collective experience, viewers have the opportunity to delve into individual journeys and explore the expansiveness of the depicted space. The film aims to evoke a trance-like state, reminiscent of the personal experiences of the creator. The focus shifts from visual imagery to capturing the essence of being in a trance. It becomes an exploration of what it feels like to exist in a space where time and space lose their boundaries, and the driving beat becomes the guiding force. In this boundless expanse, one may question the vastness or confinement of their surroundings and the proximity of others. Solos are portrayed with individuals appearing distant yet close, creating an otherworldly sensation of unity while simultaneously keeping a distance.
The concept of being grounded on Earth while simultaneously transcending it becomes a central theme. It mirrors the imagined realm of an ancestral plane or a space between reality and the afterlife. If one were to encounter their ancestors, it is envisioned as a place that is unfamiliar, yet still connected to Earth. This in-between world, neither fully alive nor dead, allows communication with one’s ancestors. Such a trance-like state embodies a similar feelingâa sense of being aware of one’s earthly existence while simultaneously occupying a realm that defies explanation. Despite feeling the ground beneath their feet, the soil and dust, and hearing their breathing, there exists a profound sense of existing in an entirely different dimension.
About The Music
In his exploration of music, Mthuthuzeli drew inspiration from African dance, recognising the profound impact of percussion and voice in transporting people beyond their ordinary experiences. This ignited his aspiration to create music that could elevate listeners to a different realm, where they could immerse themselves in the rhythm and transcend the boundaries of their surroundings. The essence of this transformative experience lay in the rhythmic breathing and pulsating heartbeat, evoking something deeply personal yet universally shared. Moreover, Mthuthuzeli found inspiration in the communal nature of music, symbolised by gathering around a fire, where stories and melodies were shared. Despite the individual interpretations of the sounds, all participants were transported to a place beyond themselves, blending their unique experiences with a sense of unity and belonging.
Throughout the creative process, Mthuthuzeli realised the pivotal interplay between making music in real-time and responding to it. This symbiotic relationship became integral as the music guided the dancers, while simultaneously being influenced by their movements. Initially, the music was mere potential, with only the tempo and a few sounds providing a foundation for the choreography. In a dynamic and evolving exchange, the dance began to shape the music, blurring the boundaries between the two art forms.
Taking a step back from the project enabled Mthuthuzeli to grasp the unique narratives conveyed by the dancers. It became a captivating exploration of how the music could enrich and harmonise with their stories. In this transformative process, the dance seamlessly intertwined with the music, resulting in a profound fusion where the music adapted organically to the dancers’ expressions and movements. The artistic collaboration transcended individual roles, creating a powerful and unified experience where the boundaries between dance and music dissolved, giving rise to a harmonious relationship.
Is it necessary for me to write obliquely about the situation? Is that what you would have me do?
Then Or Now, poetry by Adrienne Rich – Dark Fields of the Republic, Poems: 1991-1995
Then or Now is a powerful classical ballet set against the backdrop of Adrienne Richâs poetry and accompanied by violin. William Tuckettâs âspellbindingâ â
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(The Guardian) choreography explores the joys of submitting to the freedom of guilt through a series of movements.
We are living through times where every action we take – responding to a call to arms, deciding to remain passive – has become a political act. Small or large, personal or public, our actions seem to hold more weight than before. Creating work for Ballet Black in this climate felt very different to previous collaborations; still exciting, but with great responsibility. Whose story should the dancers be telling in a time of such political and social change?
Having worked with poetry as a âspoken scoreâ for a while, I asked Fionaâs help in finding a poet whose work spoke to this narrative conundrum. On reading Adrienne Richâs Dark Fields of The Republic, I was (and remain), overwhelmed by her ability to call the reader to action; her rejection of apathy, injustice and oppression; her reasoning that love is all â be it romantic, social or political. Specific yet open, Rich provides space for both the reader and the dancer.
In parallel, I had been listening to Danielâs recording of the Von Biber Passacaglia, and thinking its âslippyâ structure, which makes it feel in the moment and improvised, would be wonderful to create to. Daniel later revealed that Biber did indeed intend the player to be actively involved in the piece; to improvise and bring themselves to it as an artist.
Finally, combining the poems, Daniel, and the voices of Natasha, Hafsah and Michael, our sound engineer Ian created a structure and soundtrack, that enabled me to make this piece with Yuki and David.
I remain immensely grateful to this hugely creative, creative team, Ballet Black, and particularly the Adrienne Rich Estate for their wholehearted support of this project.
Will Tuckett
From the Director of Poetry, Fiona L BennettÂ
We go to poetry because we believe it has something to do with us. We also go to poetry to experience the not me, enter a field of vision we could not otherwise apprehend⌠Someone writing a poem believes in, depends on, a delicate vibrating range of difference, that an âIâ can become a âweâ without extinguishing others, that a partly common language exists to which strangers can bring their own heartbeat, memories, images. A language that itself has learned from the heartbeat, memories, images of strangers.
Adrienne Rich, from What is Found There, Notebooks On Poetry And Politics, 1994
Adrienne Rich is one of the greatest modern poets of our time. She was born in Baltimore USA in May 1929 and during her lifetime published over 20 volumes of poetry and 8 books of non-fiction prose. A scholar, activist and a writer whose work established new forms, she received numerous awards, fellowships and prizes including The National Book Award and The Lannan Foundation Lifetime Achievement Award. She was a tireless activist and ambassador for human rights olarly and artistic integrity make her a highly relevant and vital source of inspiration for our time. She died in 2012 and her legacy is a defining force in the ongoing development of poetry.
When Will invited me to suggest poetry for a new piece with Ballet Black to explore ideas of belonging and home we began looking for poems that would serve this theme and that would also offer an exciting balance of sound, image and story through which to create. We considered the works of many poets, past and present, and exchanged poems over a number of weeks. When I sent Will, What Kind of Times Are These? the opening poem from Dark Fields of the Republic, the question in this title and the sequence of poems as a whole, resonated so strongly with us that we knew we had found our source. As Will began work with the dancers and the collaboration between music, poetry and dance began, these astonishing poems, with their unique balance of tender intimacy and epic provocation, guided, challenged and inspired us all.
Dark Fields of the Republic is published by W. W. Norton and is available to purchase at www.wwnorton.co.uk. You can find out more about the life and work of Adrienne Rich through the Adrienne Rich Literary Trust: adriennerich.net
Fiona L Bennett Director of Poetry, Then Or Now.
Notes on Biber’s Passacaglia and its accompanying improvisations, Daniel Pioro
Passacaglia for solo violin (1676)
Music originally composed by Heinrich Ignaz Franz von Biber (1644-1704)
Arranged & recorded by Daniel Pioro
Biberâs Passacaglia is one of the first surviving pieces for unaccompanied violin and the final movement of the last of his extraordinary Rosary Sonatas. The piece is built over a constantly repeating bass theme of four descending notes (G F E flat D), whose constant presence seems to symbolise the unending watchfulness of the Guardian Angel. There is a great fragility in this work, moments of sparse textures, moments of glee, intensity, wandering, yet always underpinned by those ever present four notes. This is a piece that, for me, has always called to mind a life cycle. No matter what happens, the tempestuous details, the miserable moments and those of absolute joy too, life just flows on and on. I wanted to record this fragility. With Adrienne Rich’s poetry there is no space for perfection, or even of aspiring to it, whatever IT is. But there is room for rawness, honesty, closeness in sound, and I hope that with Ian Dearden’s mastery helping me along, we managed to find this. A truth in sound, as there is a truth in Adrienne’s words. It is a great sadness to me that I could never work with the dancers of Ballet Black but, as I played this piece, I thought of them. Imagined how they may react to my sound and the flow of this ancient music. Felt their movements, as if they were my own.
I would like to thank Will Tuckett for guiding me into my improvisations, and making me feel like I was surrounded by motion, even when I stood alone in front of a microphone in a tiny studio.
Daniel Pioro
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 this updated version, in collaboration with the dancers and my team. The process of creating this element of the ballet really helped me to understand what I was trying to achieve choreographically.
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 hopefully fun. The scrambling of thoughts that sometimes donât lead us anywhere, when all the while, time continues to pass us by. One second at a time.
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 that we are building something much greater than ourselves. Thank you to Cassa and the team for creating this work with me. I am very happy to share it with you.
Mthuthuzeli November, January 2024
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
BBC4 Danceworks Documentary ‘Ballet Black – The Waiting Game‘.
Londonâs Ballet Black is a professional dance company bringing ballet to a more diverse audience by promoting dancers of black and Asian descent. The company made headlines in 2019 when it performed during Stormzyâs bravura Glastonbury set.
This film explores the work of artistic director Cassa Pancho as she nurtures aspiring young dancers and gains recognition for her companyâs collaborations with world-class choreographers. It also follows the creative process of South African dancer and choreographer Mthuthuzeli November as he creates a dynamic new ballet inspired in equal measure by Samuel Beckettâs seminal Waiting for Godot and African rhythms and language.
Pendulum is a duet that swings between images of combat and moments of very close partnerships: a feral terrain where the dancers have the freedom to manoeuvre and interpret the material with their own voice. I created Pendulum in 2009 for Cira Robinson and former Company member, Hugo CĂ´rtes, and until now I remember this so clearly. Cassa and I are so humbled and grateful that Cira has passed her knowledge and thoughtful teaching of the piece to a new generation of dancers. It now takes on a whole new lease of life ten years after it was made.
Originally premiering in 2009 at the Linbury Theatre at the Royal Opera House, London, Pendulum returned to the Barbican London stage in 2019.
Composer: Steve Reich (b. 1936)
Pendulum Music (8 Microphones), 1968
Used by arrangement with Universal Edition (London) Ltd.
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 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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