Ballet Black
When founding her ballet company in 2001, Cassa Pancho chose the name Ballet Black, because “it leaves you in no doubt as to what we are about. Ethnicity is important, as we have a lack of black and Asian role models in ballet in the UK.” For Pancho, the name alludes to some of the ethnic backgrounds in the company, which is currently made up of two African-Americans, two Koreans, two black British dancers of Caribbean parents and Pancho.
Pancho, still in her 20s, is of British and Trinidadian descent. She trained at the Royal Academy of Dance, where she wrote her dissertation about classical ballet and the black female body. A dancer as well as artistic director and choreographer, Pancho founded the company in response to her own question: “If no one is providing role models and inspiration to young dancers, how will we integrate the art form more fully?”
American Damien Johnson, who joined Ballet Black in August, says that once he arrived in London he “kept hearing how hard it is for black dancers in Europe.” He feels strongly committed to getting “the idea out to future generations that you can be different” and still be a professional ballet dancer. He agrees with Pancho’s mission, “trying to demonstrate that skin color needn’t be an issue in classical ballet. As long as you have the talent and dedication, we will try and help you do the rest.”
Several contributing choreographers help to create a repertoire that is just as mixed as the ethnicities of its dancers. Pancho describes Ballet Black as “a neo-classical ballet company. We use the classical ballet technique and pointe work, but don’t always use classical music. We have used Count Basie, Duke Ellington, Celloman, Poulenc, Vivaldi—the list goes on.”
So far, it seems to be successful. The company recently performed to sold-out audiences at the Linbury Studio Theatre at Covent Garden in London (where it is based) and is preparing for an upcoming tour of Poland that includes 15 performances in 16 days.
Also to further her goal, Pancho has started a ballet school for children from ages 3 to 7 years old. She reaches more advanced dancers through her company’s Associate Programme, which, Pancho says, “opens up company class to any dancer of black or Asian descent who wishes to improve their classical ballet technique. This is free of charge, and the dancers get to take class at the Royal Opera House with our professional ballet master, alongside our company dancers.” With 40 dancers who take class with the company weekly, Johnson says that the program has created a community of dancers with a variety of ethnic backgrounds.
Monica Stephenson recently joined the company for the Poland tour and has learned four ballets in three weeks. She says that the challenge of learning so quickly was eased by the company’s “positive environment.” With only seven dancers, there is more pressure, but, Stephenson says, “In three years of professional experience, this is the first time I can say I enjoy every moment of rehearsal.”
Ilona Wall dances with The Suzanne Farrell Ballet and Dances Patrelle.
