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ИСКУССТВОВЕДЕНИЕ ART STUDIES
УДК 73
T. Bayona
CHOREOGRAPHIC EDUCATION IN MALTA: A PERSONAL EXPERIENCE
This paper traces the introduction of ballet performances and education in Malta in the early of 20th century by Princess Nathalie Poutiatine, a Russian ballerina who settled in Malta and became my teacher and mentor. The author outlines the development of dance and dance education in Malta, starting from her own experience as a student, dancer, teacher and choreographer, with a focus on the evolution of dance pedagogy culminating in the introduction of Dance Studies leading to a Master’s degree at the University of Malta two years ago.
Keywords: art, ballet, dance, choreography, choreographic education.
The Introduction of Ballet and Ballet Teaching in Malta
Classical ballet was introduced in Malta in the early 20th century by a Russian émigré, Princess Nathalie Poutiatine.
Princess Nathalie was born in St. Petersburg in 1904, the only daughter of the Noble Olga Zelenoy and Prince Paul Poutiatine, the last in line of the aristocratic Poutiatine family. The homes of the Poutiatines and the Zelenoys had, for many generations, been visited regularly by artists, writers, composers, poets, scientists as well as military and diplomatic personalities. Tchaikovsky frequently visited Nathalie’s maternal grandmother’s home. This environment in the homes of both parents, and later in their matrimonial home, instilled in the young Nathalie a great love and appreciation for every expression of beauty and the arts.
At the age of seven she started piano lessons under the guidance of Monsieur Richter, himself a pupil of Alexander Konstantinovich Glazounov. She also took up art lessons. Natalie
received her first ballet lessons privately at her home by Madame Tamara Krasavina, a leading ballerina of the Maryinski Theatre in St Petersburg. She was later placed under the tuition of Felia Dubrovskaya who later became a famous ballerina working with Serge Diaghelev.
The events of 1917 forced the Poutiatine family to leave Russia for Costanza in Roumania, then to Constantinople and finally to Malta where they stayed for two years. It was during this short stay that Nathalie met her future husband, Edgar Tabone, the son of a distinguished Maltese family. After this short Maltese sojourn, Nathalie, now aged 17, settled with her parents in Paris, where she resumed her pianistic studies at the Conservatoire de Paris under Santiago Riera who was himself a disciple of Chopin. Although she loved music, her greatest ambition was to express herself artistically through dance and joined dance classes given by Anna Pavlova’s partner, Laurent Novikov. Later she studied for seven years under the guidance of Liubov Egorova, one of the most renowned
teachers at the time in Paris. Nathalie Poutiatine also studied with Serge Lifar, Solange Schwarz and Lucienne Lambale of the Grand Opera and auditioned successfully for Anna Pavlova’s company which was about to tour America. She also attended classes by Olga Preobrajenska, one of St Petersburg’s best loved ballerinas who was also living in Paris at the time [1].
While in Paris she stayed in contact with Edgar Tabone, married him in 1927 and settled with him in Malta. At that time the Island was essentially the home base of the Mediterranean Fleet of the British Navy. This fact determined the daily life of most of its inhabitants, not only economically and socially - because directly or indirectly the livelihood of most of Malta’s inhabitants depended on it - and politically -because their national interests were considered subordinate to the strategic interests of the British Empire in Southern Europe and the Mediterranean - but also culturally. Such a context cannot be expected to stimulate much cultural ferment, innovation and creativity and yet Natalie Poutiatine found that the Maltese were great music lovers. The Royal Opera House in the capital city, Valletta, was built in 1866 by the English architect Edward Middleton Barry who had also designed the Royal Opera House in London’s Covent Garden. Unfortunately this opera house was destroyed by Nazi and Fascist bombs in World War II and was never rebuilt. Malta’s Royal Opera House hosted mainly operas imported from nearby Italy but classical ballet performances and ballet education were still unknown. A great deal of encouragement from family and friends persuaded Princess Nathalie to start teaching ballet. Her classes became very popular and by 1939 she had her own ballet school built to her specifications. Never forgetting her beloved homeland, she named the building Otrada. Its main studio had the same dimensions as those of the stage of the Royal Opera House where Princess Poutiatine began giving the first full ballet performances in Malta [2].
This was the beginning of ballet and ballet education in Malta. Princess Poutiatine carried on the teaching of ballet with great dedication for many years and under her rigorous guidance the art continued to flourish in Malta. Her influence is still felt today because of the powerful aesthetic heritage she left us.
During the last century the development of dance was vibrant and rapid; moving from an educational hobby to a more vocational training and professional art form.
Princess Poutiatine gave numerous performances, lectures and demonstrations. Her role was decisive to the establishment of the dance as an art form in Malta and, as importantly, to the cultivation of a dedicated and increasingly discerning audience. In her last years she continued to teach and direct classes in close collaboration with me.
My Personal Experience as a Student, Dancer, Teacher and Choreographer
At this point you will pardon me for adopting an autobiographical narrative mode. I am very proud and grateful for having had the good fortune to start learning ballet under the dedicated and rigorous guidance of Princess Nathalie. My recollections of the Princess go back to when I was five years old and commenced my ballet training at her Academy of Ballet. Her classes were always full of imagery. She would impart not just the brilliance of technique, but would stress upon the quality of movement and its musicality. Temperament was essential. Linear beauty and - as a reflection of her own cultural background - the ethereal quality of the romantic period, were perhaps the two things she imparted to us most of all. She would often refer to the stern discipline of her own teachers and slow progress was not tolerated. Manage and virtuoso pirouettes were among her favourites to finish a class. She had extraordinary knowledge of Grecian art and oriental movement. Her great spirituality was continuously infused in her work. We were taught how to appreciate the spiritual and intellectual values in life, these same
principles we encouraged within the Academy -good character formation with a sound artistic and intellectual development.
After spending 12 years training in classical ballet with Princess Poutiatine, I continued my studies in London and followed a 4 year full time vocational course in choreography and teaching. In 1965 I returned to Malta to open the first ballet school teaching the Enrico Cecchetti method with a graded system of examinations leading to a fellowship with the Imperial Society of Teachers of Dancing, London. In her later years she asked me to take over her Academy. The time was an opportune moment for me to expand as my school was becoming bigger. It was also an honour to take over the direction of this prestigious Academy. The amalgamation of our two Academies took place in 1981 and the studio became known as Tanya Bayona -Princess Poutiatine Academy of Ballet. My four years at Nesta Brooking Choreographic School in London, a pioneer institution of choreography education during the 60s and the 70s, were decisive in my formation as a choreographer and teacher. We were taught the importance of concept, development, spatial design, and contrast of movement, dynamics and music appreciation. We were encouraged to read poetry and mythology but above all to be inspired by the reality of everyday life. These principles remained central in my development as a choreographer and I have attempted to impart the same principles to my students over the years.
Dance and Dance Education in Malta Today
To understand better the evolution of dance and dance education in Malta one must take into consideration its historic, demographic and social development. Malta is the largest of three islands forming a small archipelago in the centre of the Mediterranean. Malta’s land territory covers just 316 square kilometers and, with a population of 420, 000 inhabitants, is one of the smallest
states and one of the most densely populated countries in the world. Malta’s strategic geographical position at the crossroads of the Mediterranean was exploited, amongst others, by the Phoenicians, Romans, Byzantines, Arabs, Normans, Angevins, Aragonese, the Knights of St John, the French and finally the British between 1800 and 1964. It became a Republic in 1974. Malta’s economic dependence on foreign military bases continued until 1979 when the last British forces left the Island. Meanwhile Malta had started to diversify its economy by developing its tourist and industrial potential and, later, by becoming an important financial services centre. Decades of sustained export-led economic growth made possible higher standards of living, a generous welfare state, relatively high levels of employment and the further development of education. In these conditions we could not but witness a gradual, though not always constant, development of culture and the arts. It must be said that Malta’s education system is essentially built around British models with the English language as a language of instruction. Malta’s University, founded in the 17th century, is the oldest outside Britain in what used to be the British Empire. In 2004 Malta became a member of the European Union. With this socio / economic progress obtained over the past years more families could afford to send their children to private dance schools. It must be pointed out that to date there are no dance classes at primary and secondary level in our public schools. Malta’s membership in the European Union gave our dance students, dancers and teachers free and total to a 27 nation bloc with a market of over 500 million people creating a vast new window of opportunities. Last December the European Commission announced plans to launch the world’s largest ever cultural funding programme, with €1. 8bn allocated for visual and performing arts, film, music, literature and architecture. The commission’s Creative Europe project plans to release the money between 2014
and 2020. If the scheme is approved late 2012, an estimated 300, 000 artists are due to receive funding [3]. The European Union also subsidises tripartite cultural activities, including dance performances, seminars and student exchanges.
Dance education in Malta has grown to professional standards. Today there are 28 private dance schools in Malta employing 60 professional teachers who teach ballet, Spanish, jazz, hip hop and other disciplines to around 5, 000 students. There are several young performing groups and dance companies developing within these Academies. Professional teachers are recognized by our government and schools operate after obtaining a license from the Ministry of education. Our teaching qualifications are affiliated to international teaching bodies in England such as The Imperial Society of Teachers of Dancing, The Royal Academy of Dancing, British Theatre Dance Association, British Ballet Organisation, and the Spanish Dance Society. The two major pedagogies taught in Malta are the Enrico Cecchetti Method and The Royal Academy of Dancing with annual visits by their respective examiners.
On the initiative of some dedicated dance teachers, children and adults with special needs are benefitting from dance therapy. The Department of Psychology at the University of Malta regularly invites dance therapists for seminars. Choreographic education at university level was introduced in Malta two years ago. This is the highest level of academic dance education in Malta. A Department of Dance within the Mediterranean Institute of the University of Malta was established in 2010. Before, our young choreographers emerged from the private dance schools that encouraged and stimulated their students to create through a rich knowledge of dance discipline and music together with the influence of visiting choreographers and numerous workshops. The Dance Council, Malta, a member of CID UNESCO, which was established in 1995, was instrumental in
promoting the teaching of choreography by organising a number of workshops under the guidance of international choreographers and by obtaining scholarships for Maltese dance students to learn chorography abroad.
The University of Malta is offering a three-year, full-time day course leading to a Bachelors in Dance Studies (Honours). The Masters in Performance Studies (Dance) is a two-year, part- time course which is offered bi-annually. The Bachelors in Dance Studies Honours three-year programme synthesises theory and practice in such ways that theory underpins practice and practice illuminates theory. It is designed to produce graduates with skills and understandings in choreography, pedagogy and technology, through practical workshops, lectures and seminars. We aim to cultivate a community of dance artist practitioners and dance scholars who wish to pursue careers in Dance-related fields: performance, education, community dance and management. The Master in Performance Studies (Dance) Preparatory Course focuses specifically on Study skills hence seeks to develop and hone students’ knowledge of the History of Dance and Dance Theories to the end of preparing students for the commitment of postgraduate study. The course is offered on-line so that both local and European students can access this preparatory education before joining the Master in Performance Studies (Dance).
The Masters in Performance Studies (Dance) integrates theoretical approaches with artistic practices, focussing on the education of concepts, theories and principles in support of creative processes. The programme will attract practitioners in the Performing Arts and related Dance fields who wish to further develop their skills and knowledge within an applied and socio-analytic framework. To support existing career structures, the course is delivered in parttime mode where intensive two-week blocks are interspersed with independent study supported by a virtual learning environment.
It is the intention of the University that this programme marks the first step towards the formation of dancers and choreographers with special focus on the use of technology. In addition, it would give the host country, Malta, the possibility of cultivating its own community of dance scholars and dance artist practitioners.
Academic staff is drawn from the UK, Holland, Germany and Malta. The Programme Director is Prof. Joanne Butterworth, formerly of the Research Centre for Dance, University of Leeds, UK and of Fontys University of Applied Sciences, Tilburg, and The Netherlands [4].
Some concluding remarks: women, the dance and emancipation
This is not a conclusion. I have called these remarks - concluding remarks simply because they come at the end of my lecture and of this paper. They are thoughts about the relevance of the dance in my country.
Jill Green, in her fascinating article “Emancipatory Pedagogy?: Women’s Bodies and the Creative Process in Dance” writes of her experience and her experiments in attempting
to emancipate the female dancer from certain models that are imposed on them by society. I am convinced, and I hope that my own long experience as a dancer and as a teacher of choreography justifies the confidence with which I express this view, that if - on the one hand - the dance cannot be isolated from its social context and therefore woman’s condition in society is reflected in her condition as a woman in the dance, it is also true that - on the other hand -the dance can be a powerful tool for women to liberate themselves from the subordinate role that society continues to impose on them even in those societies were women appear to be most emancipated.
The female dancer is in a unique position to understand the way society attempts to mould the female body to serve interests over which she has little or no control. Teaching dance to young women - and not only to those who dream of becoming great dancers - can therefore be a powerful tool to encourage them to understand that the way we move and the way we appear should be nobody’s business but our own [5].
Bibliography
1. Remembering Princess Nathalie Poutiatine by Tanya Bayona // A Journey Through the Centuries -Historical Discoveries in Russo-Maltese Relations / compiled and edited by Elizaveta Zolina. -P. 412-415. - ISBN 999932 - 637 - 1-0 (Hardback).
2. Olga my Mother, by Nathalie Poutiatine: Gulf Publishings Ltd, 1982.
3. European Union proposes world's largest ever cultural funding programme by Gareth Harris [Электронный ресурс] // The Art Newspaper. - 2011. - 21 December. - URL: www. theartnewspaper. com
4. Department of Dance - Mediterranean Institute University of Malta [Электронный ресурс]. -URL: www.um.edu.mt
5. Jill Greem - Emancipatory Pedagogy?: Women’s Bodies and the Creative Process in Dance, Frontiers // A Journal of Women Studies. - Vol. 21. - No. 3, Identity and the Academy(2000). - P. 124-140.
Т. Байона
ХОРЕОГРАФИЧЕСКОЕ ОБРАЗОВАНИЕ НА МАЛЬТЕ: ЛИЧНЫЙ ОПЫТ
Автор статьи описывает историю становления балета и хореографического образования на Мальте в начале ХХ века. Основоположником хореографической школы стала принцесса Натали Путятина, русская балерина, впоследствии ставшая учителем и наставником Тани Байона. В статье рассматриваются этапы развития хореографического образования на Мальте: от первых танцевальных студий до магистратуры по хореографии, открытой в Мальтийском университете в 2010 году.
Ключевые слова: искусство, балет, танец, хореография, хореографическое образование.
Классический балет появился на Мальте в начале ХХ века благодаря русской эмигрантке Принцессе Натали Путятиной.
Натали Путятина родилась в Санкт-Петербурге в 1904 году в семье знаменитой Ольги Зеленой и князя Павла Путятина, последнего из аристократической семьи Путятиных. Известные художники, писатели, композиторы, поэты, ученые, а также офицеры и дипломаты посещали дом Путятина и Зеленой. Атмосфера, в которой росла Натали, не могла не вызвать любовь к искусству. В возрасте семи лет она брала уроки фортепиано у Рихтера. Первые уроки балета ей преподала Тамара Карасавина, ведущая балерина Мариинского театра в Санкт-Петербурге.
События 1917 года заставили семью Путятиных уехать из России в Румынию, затем в Константинополь и, наконец, на Мальту, где они прожили два года. В возрасте 17 лет Натали вместе с родителями уезжает в Париж, где продолжает свое обучение игре на фортепиано в Парижской консерватории под руководством Сантьяго Рьера. Несомненно, она любила музыку, но ее величайшим желанием было выразить себя через танец. И Натали стала посещать класс Лаврентия Новикова, партнера знаменитой Анны Павловой, а затем класс Ольги Преображенской, любимой петербуржцами балерины, которая в то время проживала в Париже.
В 1927 году Натали Путятина выходит замуж за Эдгара Табэуна и уезжает жить на Мальту. В то время классический балет и хореографическое образование были неизвестны на Мальте. Под влиянием семьи и друзей Принцесса Натали Путятина начала давать уроки балета. Они стали очень популярными, и к 1939 году она организовала свою собственную балетную школу, которую назвала «Отрада».
Принцесса Путятина дала огромное количество выступлений, лекций и спектаклей. Ее вклад в формирование танца как
формы искусства велик, а роль в воспитании преданной и проницательной публики на Мальте значительна. Последние свои годы она руководила Академией Балета совместно с автором данной статьи, Таней Байона.
Знакомство Тани Байона с Принцессой состоялось, когда Таня стала посещать уроки в Академии Балета. Автор статьи вспоминает, что Натали Путятина, прежде всего, учила своих учеников любить и уважать духовные и интеллектуальные ценности, которые и формируют характер артиста.
После 12 лет обучения классическому балету у Натали Путятиной Таня продолжила свое образование в Лондоне. В 1965 году Таня вернулась на Мальту, чтобы открыть первую балетную школу, обучающую по методу Энрике Чекетти, с системой оценок за экзамены, и подготавливающую к сотрудничеству с Лондонским Королевским Обществом Учителей Танцев. В свои последние годы жизни Натали Путятина попросила Таню возглавить Академию Танцев. Несомненно, для Тани было честью стать руководителем этой престижной Академии. Слияние двух школ произошло в 1981 году, и студия стала известна как Академия Балета Тани Байона и Принцессы Натали Путятиной. Преподаватели Академии учат своих студентов любить музыку, понимать важность профессионального развития, учитывать организацию пространства, контраст в движениях, динамику. Таня поощряет в студентах тягу к поэзии и мифологии, но прежде всего учит черпать вдохновение из повседневной жизни. Все, что сформировало ее как профессионального хореографа, она пытается донести до своих студентов.
В настоящее время хореографическое образование на Мальте достигло профессиональных стандартов. Сегодня в 28 частных школах Мальты работает 60 профессионалов, обучающих балету, испанским танцам,
джазу, хип-хопу и другим дисциплинам. Общее количество студентов составляет около 5000 человек. В стенах Академий совершенствуют свои навыки различные танцевальные коллективы. Педагоги могут работать в школах после получения лицензии от Министерства образования. Преподаватели школ являются членами международных обществ Англии - таких, как Императорское общество Учителей Танца, Королевская Академия Танца, Британская Ассоциация Театра Танца, Британская Балетная Организация и Испанское Танцевальное Общество. Преподавание хореографии ведется в соответствии с двумя основными педагогическими направлениями: по методу Энрике Чекет-ти и методу Королевской Академии Танца. Ежегодно на экзамены приезжают уважаемые представители этих направлений.
По инициативе учителей танцев проводятся регулярные семинары по танцевальной терапии для людей с ограниченными возможностями.
В 2010 году в Университете Мальты была открыта кафедра танца. Это самый высокий уровень хореографического образования на Мальте. На кафедре работают преподаватели
из Великобритании, Голландии, Германии и Мальты. Университет предлагает трехлетний курс дневного обучения, по окончании которого студент получает степень бакалавра хореографии. После двух лет заочного обучения студент получает степень магистра хореографии. Обучение направлено на синтезирование теории и практики. По окончании курса бакалавр приобретает навыки, необходимые для работы в качестве хореографа и педагога. Программа по магистратуре интегрирует теоретический и практический подходы, акцентируя внимание студентов на изучении концепций, теории и истории хореографии. Магистратура рассчитана на уже работающих молодых людей, поэтому курс заочный, состоящий из интенсивных двухнедельных блоков, самостоятельной подготовки и on-line занятий.
Роль женщины-танцовщицы в обществе уникальна. Только женщина способна противостоять обществу, которое пытается заставить женщин служить ему. А обучение танцам молодых женщин способствует развитию их уверенности в том, что как они движутся, как выступают, касается только их и больше никого.
(Перевод О. В. Ртищевой)
УДК 359.858(091);379.8(091)
Л. Н. Дорогова
ОТЕЧЕСТВЕННЫЕ УЧРЕЖДЕНИЯ КУЛЬТУРЫ ПЕРЕД ВЕЛИКОЙ ОТЕЧЕСТВЕННОЙ ВОЙНОЙ
В статье рассматриваются особенности культурной жизни страны в 30-е - начале 40-х годов ХХ века, характер политических событий, влиявших на развитие профессионального и самодеятельного творчества, на общее мироощущение в разных слоях населения, создание творческих союзов, организация культурного шефства, смотров и конкурсов. Введение занятий по военной подготовке в творческих коллективах страны, господствующие настроения в разных слоях населения в преддверии войны.
Ключевые слова: учреждения культуры, руководство культурными учреждениями страны, политика в области культуры, народное и профессиональное творчество, шефство, конкурсы и смотры, военная подготовка в творческих коллективах.
