Author: Tammy Rhoades-Baldwin

Tammy Rhoades-Baldwin
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Pirouette in 3/4

Begin 5th position R foot front en face

1-2          Tombé R, pas de bourrée to 4th position en face preparation plié
3-4          Pirouette en dehors to cou de pied devant in fondu
5              Relevé and extend R leg 45° side (arms 2nd)
&             Fondu supp leg and cou de pied R leg back
6&a        Pas de bourrée entournant to 4th pos. lunge prep for pirouette dedans
7-8          Pirouette en dedans on R to finish L foot front 5th en face
1              Balancé to R
2              Balancé to L
3-4          Soutenu turn to R finish 5th pos. croisé R foot front
5              Tendu R croisé devant
6              Lower to 4th lunge prep for pirouette
7-8          Pirouette en dedans to finish L foot front, en face
1-16         Repeat all to L

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A conversation with Ken Ludden Artistic Director of the Margot Fonteyn Academy of Ballet

Can you imagine what it would be like to be the only person given permission by the Dame herself to use the name Margot Fonteyn on a ballet school? Ken Ludden knows: he is the Artistic Director of the Margot Fonteyn Academy of Ballet.

I met Ken through my LinkedIn group Teachers of Classical Ballet where I first learned about his new book My Margot. Prior to our phone conversation last weekend, I read his book and found it fascinating. (If you’re interested, you can read my review of My Margot.) Ken was one of Fonteyn’s closest friends, yet their relationship had to be guarded during her lifetime to keep the press at bay. In his book, Ken tells us the story of that friendship, beginning at 15, when he first met one of the world’s most beloved ballerinas. Now, on to the interview!

How and why did you go about writing this book?

I originally started writing it for my children so it could get passed down in the family. I began by writing down phrases to help jog my memory and kept adding to the list as I remembered things for the next several years. By the time I had around 175 phrases it was 2003, and for health reasons began to feel pressure to start the book. Along with my own diaries and letters I’d received from Margot and BQ (her mother), I pulled together friends and had them read one of my 175 phrases aloud while I proceeded to relate the story that went with it. These sessions were recorded.

Ken Ludden with "The Wind's Bride"
Ken Ludden with “The Wind’s Bride” at Bassler Kuntsmuseum, Switzerland 2007

Continue reading “A conversation with Ken Ludden Artistic Director of the Margot Fonteyn Academy of Ballet“

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My Margot Ballet Book Review

My Margot book cover

From the LinkedIn group “Teachers of Classical Ballet” I learned that Ken Ludden had published a personal memoir and biography of Margot Fonteyn. I emailed Ken to ask if he would consider allowing me to interview him about his book, and he kindly accepted! (The interview will be posted next week.) I bought the book and it took about three or four weeks for me to read it, but that’s only because I didn’t have the luxury of foregoing all my daily duties (but I would have liked that!). I didn’t realize what a close relationship Ken had with Margot as one of her most trusted friends. If you want to get a close up look at this remarkable woman, this is the book to read.

I’ve posted a review of this book on Amazon. His book is available on Amazon using this link: http://amazon.com/My-Margot-Ken-Ludden/dp/1312075228/. It is also available in paperback!

Ken Ludden’s beautifully written memoir and biography of Margot Fonteyn offers the reader a glimpse into the life of one who was under the sheltering wing of one of the world’s most renowned and loved ballerinas. A touching tribute. No closer look into her life and character can be found. This book is not only fascinating but superbly written. Ken’s recollection of events and conversations is uncanny, and he writes in such a way that I could visualize the scenes as his stories unfolded.

Not only does he offer a peek into Margot Fonteyn’s world; he also shares a lot about Rudolph Nureyev—his childhood, defection, and his demeanor (which I was sad to hear was often quite rude). Throughout the book he mentions his interactions with many other famous dancers and teachers and schools, and I found every bit of it very interesting. His own life’s work would be enough to fill a book, but he expertly weaves the story so it always relates back to Margot.

Ken’s intrinsic goodness and humility are endearing. He shares a conversation with Tito, (Margot’s husband) where he reflects, “My basic view of my life is that it should be of service to others, and the idea that it was to make an impact on the world was very foreign to me. I still believe that being of service to the needs of others is the highest esteem, but I also see that carrying forward the legacy of Fonteyn is a higher service than nearly anything else I could do, and it does impact the world.”

I highly recommend this book, and I know that Margot herself would be quite pleased with it!

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An Interview with Nancy Lorenz Author of "The Strength of Ballerinas"

Nancy Lorenz’ new book, The Strength of Ballerinas was released this month, and I’m excited to share an interview I had with her about her book and writing about dance!

Your book, “The Strength of Ballerinas” was just released Sept. 9th. Is this your first book?

Yes. It is my first book, and, like The Nutcracker, I am still envisioning sugarplums dancing in my head! It’s almost like seeing a baby grow from birth to that important first birthday. You go through the different stages, and it is all new to you. All of the years and hours spent in imagining and shaping the story comes to fruition when you hold it in your hand in finished form, or see it on the bookshelf at Barnes and Noble. It is a dream come true about my favorite subject.

What inspired you to write about a ballet dancer?

Well, much of it was born out of my own experience – attending ballet classes, dreaming, aspiring, but some of it really taps into the idea of art itself, and the passion for it. I published an academic paper in June, 2013, called The Philosophy of the Red Shoes, in which I wrote about artistic passion, and how it drives people. Ballet, as well as music, art, opera, acting and painting is an extension of one’s identity, personality, and ability, and is expressed through a person’s individual perspective. No two people will express a dance the same way. Continue reading “An Interview with Nancy Lorenz Author of “The Strength of Ballerinas”“

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Fast Tendu 4/4

Begin 5th position, preparation 1st port de bras and arm stays in 2nd

&1&2     Tendu front, close 5th front, tendu side, close 5th front
&3&4     Repeat first 2 counts
&5          Lift front foot to cou de pied stretched position front, close 5th plié front
&6          Degagé front, close 5th position front
&7&8     Repeat &5&6 with degagé side and close 5th position back

1-8         Repeat first phrase from the back

1-2         Tendu front , close 5th position front
&3          Tendu front, close 5th position front
&4          Tendu front, close 5th position front plié
5-8         Tendu inside leg back same pattern (1 slow 2 back quick finishing in plié)

1-2         Tendu side, close 5th position back
&3          Tendu side, close 5th position front
&4          Tendu side, close 5th position back in plié
5             Relevé passé working leg from 5th back to foot at front of the knee
6             Close working leg to sous-sus front
7-8         Turning towards the barre to the second side, close 5th plié

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Grand Waltz 3/4

Grand Waltz from upstage L corner

1               Temps levé 1st arabesque on R leg
2               Faille L over
3               Glissade R closing L front
4               Assemblé R beating fbf to finish R front 5th
5               Tombé onto R facing upstage R corner
&6           Coupé L under, assemble R to close 5th back
7-8           2 entrechat six
&              Tombé onto L facing downstage L corner
1               Coupé R under and temps levé in 1st arabesque facing upstage R, arms 3rd
2               Chassé coupé chasse L to downstage
3-4           Assemblé en tournant arms 5th en haut finish R front 5th
5-6           Tombé onto R, pas de bourrée
7               Glissade to open 4th
8               Saute de chat with L arm 5th en haut, R arm 2nd