Asia Dance Channel

Genée International Ballet Competition 2009

Dame Antoinette Sibley DBE, president of Royal Academy of Dance (RAD) would have to bow out from the judging panel of the Genée International Ballet Competition this year. Wayne Eagling, artistic director of English National Ballet will take her place as chair of this year’s judging panel.

Having to bow out from the judging panel, Dame Antoinette Sibley DBE, president of RAD had this to say, “It is with great sadness and regret that I feel I must follow the advice of my doctor, not to travel overseas. I had been very much looking forward to it as it is one of my personal, as well as the Academy’s, highlights of the year.” However she adds that, “It is wonderful news that Wayne Eagling, artistic director of English National Ballet has agreed to take my place as chair of this year’s judging panel.”

Dame Antoinette ended her statement with these sentiments for everyone “I wish you all an inspiring and hugely successful competition and I look forward to hearing all about it when I am back at work.”

Wayne Eagling is equally thrilled to be one of the judges says “I am thrilled Dame Antoinette asked me to represent her in this most prestigious dance competition. I look forward to an exciting and memorable few days. Good luck to all the participants and I hope they leave Singapore enriched and inspired.”

Interview with Dame Antoinette Sibley
President, Royal Academy of Dance

1. Briefly, please share with us the RAD when it started and the RAD today.

Nearly ninety years ago, in 1920, a small group of eminent dancers from all over Europe met at a restaurant in Piccadilly, London. They created the Association of Operatic Dancing of Great Britain, aiming to improve the standard of dancers by improving the quality of teaching and providing a more organised structure for teachers. Over the next decade, the Association grew in size and prestige until in 1935, the Association was granted a Royal Charter and became the Royal Academy of Dancing. In 1997 'The Benesh Institute', the international centre for 'Benesh Movement Notation', was amalgamated with the Royal Academy of Dancing. The Institute trains and examines students, co-ordinate technical developments and protect copyright in choreographic works and is the system of notation most widely used by dance companies. In 1999 the Academy changed its name to the Royal Academy of Dance then, earlier this year, the Privy Council approved an amended version of the Academy’s Charter which enables the Academy to utilise better its powers for the benefit of its members and the wider, global, dance education community. Today the Royal Academy of Dance, a dance education and training organisation, has approximately 13,000 members in many different countries; it conducts over 250,000 graded and vocational examinations every year all around the world and has over 900 students and dance teachers graduating annually.

2. What is your role as President of RAD?
As President of the Royal Academy of Dance, I feel I am a ‘figurehead’ for the Academy, as well as having an input into its artistic development through various committees. One of my favourite tasks as President is Chairing the Judges for the Genée International Ballet Competition, a major annual event which provides a unique opportunity for our most talented young dancers beginning their professional careers - the ballet stars of the future. It is also allows me to meet members from around the world, an experience that I always especially enjoy.

3. Genée promotes and sets the standards of excellence among young

dancers. Could you please elaborate on the standards set by the RAD?

In order even to enter the Genée, candidates must be of a very high standard, having achieved one of the Academy’s highest awards with distinction. To do well in the competition, the candidates must also be able to demonstrate their mastery of technique, their musicality, and they must be confident ‘performers’. It is not easy, we are looking for all these, together with intangible ‘star quality’ as well.

4. Having judged competitions all over the world, what is your opinion or observation on the quality of Asian dancers versus Western dancers?

Having danced myself all over the world and judged many competitions I can only say that it is truly marvellous that there is such a diverse range of dancers today. Almost every professional company draws on dancers from different cultures and backgrounds and the sharing of knowledge and fusion styles, I think, is one of things keeping ballet and dance performance so fresh.

5. In your opinion, how would you define 'classical ballet'? I am sure that there are many definitions of classical ballet:

a form of dance based on formalised movements and positions of the arms, feet, and body… and so on, but to me it is a magical blend of flexibility and

strength, expression and movement, control, speed, lightness, and grace. All of those work together in harmony to produce something truly beautiful and seemingly effortless – although, of course, it isn’t!

6. RAD vs. Cecchetti - what should students consider when making a choice?

One of the strengths of the RAD syllabus is that its genesis was the result of the collaborative efforts of representatives of five of the main dance training methods of the time: Russian, Italian, Danish, French and English, taking the best of each and weaving them together. Today, there are many dance awarding bodies around the world offering training and examinations in ballet and each is unique in its own way. Students should look carefully at what is provided and the benefits before making the choice of which to follow. The RAD examination syllabus is accredited by the Qualifications and Curriculum Development Agency (QCDA) and is on the National Qualifications Framework (NQF) in the UK which requires the Academy to offer quality, reliability, transparency and to uphold consistent standards.

7. Please share with us the challenges you've faced and overcome to be where you are today.

As I mentioned earlier, ballet appears effortless but in reality it is extremely hard and demanding work. Throughout my performing career, I was unlucky with a series of injuries. Overcoming these was not only physically demanding, but a mental challenge too. You need to be totally dedicated and determined.

8. What are the prospects for ballet in Asia?

The Academy has extremely active, enthusiastic and loyal members in Singapore and so we know that there is a keen interest in the teaching and learning of ballet. One of our reasons for deciding to hold the 2009 Genée International Ballet Competition here as a dance education and training organisation, was the presence of such a strong dance company and we have been thrilled that Singapore Dance Theatre has embraced the Genée and the Academy so warmly. We hope that the staging of our prestigious ballet competition here will continue to raise the profile of ballet in Singapore and also around the world.

9. Any advice or tips for the Genée participants?

As a Judge, I am not able to offer specific advice to the candidates, but I would advise them to use this great opportunity to learn as much as they can and make the most of all the chances which this competition provides. Most importantly of all, enjoy yourself and let your joy in dance communicate with your audience, whoever they may be.

Interview with Ms Goh Soo Khim

Co-founder, Singapore Dance Theatre

1. You were instrumental in developing the SDT from a company of seven members, into one of the leading dance theatres in Singapore and the Asia-Pacific region. Please share the secret of your success.

The success of a dance company is built on the concerted efforts of everyone in the company. I consider myself very fortunate as I had a wonderful working partner in the late Anthony Then, who co-founded Singapore Dance Theatre with me in 1988 as well as an entire team of dedicated dancers and administrative staff. We had very similar viewpoints on how to establish the parameters for the foundation and development of SDT. I believe in the

saying, "Where there is a will, there is a way". Even though there have been various highs and lows in my time with the SDT, I always try to maintain a level mind and an unwavering state of optimism. You cannot go wrong if you aim to be sincere and practice the golden rule of "loving thy neighbour as thyself."

2. Please describe the ballet scene in Singapore 20 years ago and the ballet scene in Singapore today.
Looking back, one can say that 20 years is a long time, but to me, it almost seems like a blink of an eye! The dance scene then was definitely less vibrant than it is now. There were fewer opportunities for dance enthusiasts and students to pursue this course as a career. Today, there are so many doors open to them and as long as they are willing to persevere, they can find avenues through which to practice and perfect their craft.

3. You were awarded the prestigious Cultural Medallion in 1981 and the National Day Public Service Medial in 1989 for outstanding contributions to the development of dance in Singapore. What is the one memorable experience in your role shaping the ballet scene and the dance scene in Singapore?

Every performance season in SDT has been a highlight of my career, and many of these experiences bring back fond memories for me. One occasion that truly made me proud was when SDT was invited to present the gala performance for the official opening of the Esplanade Arts Centre. On a more intimate level, I was also very happy with the achievement of Xia Hai Ying at the 7th Asia Pacific Ballet Competition in 1999, when she won the highly acclaimed Grand Prix Prize. Hai Ying is a dancer whom I handpicked and groomed from a young age of 17 to become one of SDT's leading artistes. To see her shine at such an international event was truly a moment of glory for not just her, but also for me and for the company.

4. Are Singaporean parents supportive of their children pursuing a career in ballet/dance?

Most parents who are interested in the arts themselves would generally be more enthusiastic in encouraging their children to pursue a career in dance, especially as the performing arts is gaining more profile in the minds of people, and there are now more viable career options for them to consider.

Interview with Ms Elaine Ng

Director, Performing Arts Development, National Arts Council

1. How would the Genée International Ballet Competition launch professional careers for young ballet stars?

The Genée is indeed a valuable platform for young dancers to hone their skills and to benchmark themselves against international standards. The Genée will not only provide recognition per se but much needed exposure to young talents hoping to succeed in a professional career in dance. International competitions such as the Genée offer opportunities for young dancers to be talent-spotted by dance schools and companies, which may then propel them to the next stage of their career in dance.

2. How would the Genée International Ballet Competition raise the profile of dance in this region?

This will be the first time that the Genée is held in South East Asia; we believe that the competition will inject vibrancy into the region’s dance scene as a result of the buzz and excitement created by Genée in Singapore. There has been tremendous support for the event by regional and local teachers and students. We understand that, this year, we also have double the number of candidates from South East Asia as compared to last year.

The competition also gives the dance scene in Singapore a boost as many of our local dance practitioners and organisations will be taking on important roles in the competition. Our ballet icon, Ms Goh Soo Khim has been appointed as one of the Judges for the Genée. Janek Schergen, Artistic Director of Singapore Dance Theatre, who is proficient in Benesh Notation will serve as the Notator for this year’s new commissioned works for the candidates. Ho Wen Yang, a talented young pianist will accompany the candidates in their coaching classes and their competition variations. Similarly, Singapore Dance Theatre, our hosting partner for the Genée, will present a guest item at the finals of the competition. Our venue partner, the NUS Centre for the Arts, University Cultural Centre is also gearing up to support the event and play host to the international participants, families and teachers of the participants and international audience who will attend the Genée.