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sAdeline Genée’s costume as

Mme Prevost in La Danse, 1912 ©

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Dance Costumes at the V&ATamsin Moore spoke to Jane Pritchard, Curator of Dance at the Victoria and Albert Museum in London

How do dance costumes come to be in the museum?

The V&A started collecting theatrical material in the 1920s

but initially it was a paper-based collection of designs,

ephemera and programmes and it was not until the 1970s

that costumes and other three-dimensional materials were

collected. With the acquisition of the Ballets Russes

costumes from the Sotheby auctions, the scene

was set for a collection of dance costumes to be

established. The Ballets Russes collection of

costumes came through the initiative of

Richard Buckle, biographer of Nijinsky

(1971) and Diaghilev (1979) who had

organised the major 1954 exhibition

on Diaghilev’s Ballets Russes. Buckle

was determined that Britain should

acknowledge the importance of the

Ballets Russes in its own development

of dance. As a result the V&A holds

the largest collection of Ballets

Russes costumes in the world. Certain

costumes from this collection are

on permanent display and items

are frequently leant out to other

institutions.

The V&A’s Sarah Woodcock

and Philip Dyer, the curators

in post when the collection

began, loved dance and built

up the collection. The Royal

Academy of Dancing (as

it was then) had been

left Adeline Genée’s

collection of costumes

from the company

she ran (1910–1918).

However, dance

costumes take up

quite a lot of space and they are hard to look after so they

decided to give them to the V&A to care for as we have better

storage space and our own team of textile conservators.

The V&A became identified as the leading place for dance

costumes in the country and with their 1981 exhibition,

‘Spotlight’, gave the collection of dance costumes a

public profile.

How do the dance costumes have to be

looked after and handled?

With care! Some costumes are more robust

than others. When a costume goes on

loan or on display it has to be checked

by conservators to see if it will withstand

travel or being put on show. A

small representative selection is

currently on display in the Theatre and

Performance Gallery and appointments

can be made for groups or individuals to

view items not currently on show.

How do you decide which dance

costumes come out on display?

It is always very difficult to decide

what does go on display. It’s almost

as though the costumes have to

‘audition’ for their place. With

the gallery we are looking

to introduce the range of

material we hold. Currently

our introductory case

includes a tutu by Karinska

for George Balanchine’s

Bugaku, the skirt of

which evokes the petals

of a chrysanthemum.

The other tutu on © VICTORIA AND ALBERT MUSEUM, LONDON

Left: The Wooden Prince by Geoffrey

Cauley, designed by Philip Prowse

display was one worn by Margot Fonteyn in Vienna for Swan

Lake, Act 3, and is actually a very dark blue, rather than black.

The costume for the Fairy designed by Philip Prowse for

The Wooden Prince is very large. You would not imagine it

was made for dance! And it was in fact more of a walking

rather than a dancing role and initially the dancer appeared

to be part of the set. It was designed for a special 1981 Bartók

Festival at the London Coliseum and not for intensive use, so

the decoration is less robust – just foil in some cases. Michael

Clark’s costumes from Because We Must designed by Leigh

Bowery and made by Mr Pearl also bring us up to the present.

In addition the gallery houses Nijinsky’s costume from

the divertissement, Le Festin, which he wore from 1909 till

1917 in the Ballets Russes. Essentially the choreography was

that for the Bluebird pas de deux in The Sleeping Beauty, and

Nijinsky’s costume, designed by Leon Bakst, weighs more than

four times a modern costume! The V&A holds more Nijinsky

costumes than anywhere else in the world. This costume is

quite fragile and may be replaced soon, so if you want to see it

take advantage while it is there!

The focus of the collection is on items that were for

performance on stage and screen – mainly in the theatre, with

less social dance. But there is both a Fred Astaire costume on

display and one worn by Ginger Rogers. The V&A also owns

Cyril Beaumont’s collection, which he gave to the museum

and includes elements of costumes worn by Marie Taglioni

(1804–1884) and Lopokova’s Can-Can dress.

Above right: C18th Costume from

Meleto Castle, Tuscany

Right: Costume designed by Andre

Derain for Lydia Lopokova as a Can-

Can dancer in La Boutique fantasque

“It’s almost as though the costumes have to ‘audition’ for their place on display in the gallery”

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Which are the most valuable dance costumes in

the collection?

The value tends to come from who wore the costume and

who designed it. Those worn by Nijinsky or Nureyev are

very precious. The Chinese Conjurer from Parade designed

by Picasso is probably the most valuable. But also hugely

valuable are the dance costumes designed by Matisse.

Which of the costumes in the collection would have been

the most difficult to dance in?

The costumes created for choreographer Alwyn Nikolais’

production, Allegory include a knitted tube of jersey with

hoops at intervals from top to bottom. These are more like

sculpture than clothing and obviously impossible for certain

styles of dance, but designed for a specific purpose.

Generally the bulky, heavy costumes and the large

headdresses are the hardest to dance in. With any costume,

if it’s difficult to dance in, the more rehearsal done in the

costume the better!

Which is the most well known costume in the collection?

The Chinese Conjurer costume designed by Picasso was

the logo for the second half of the Ballets Russes, so this is

probably the most well known. Lez Brotherston’s design for

the lead Swan in Matthew Bourne’s Swan Lake would also be

well known. The collection is a mix of the obvious and iconic,

along with some surprises. The oldest costumes are from the

18th century.

What do you like best about being Curator of Dance at the

Victoria and Albert Museum?

It is an exciting job with variety, surprises and new things

to learn every day. I meet such interesting people – those

passing on material and those doing research. When someone

wants to borrow a dance costume for a significant exhibition I

learn so much more about it and look at it afresh.

I began my career in theatre administration, but became

frustrated at missing so many of the live performances of

dance that I wanted to see that would never be repeated. A

postgraduate course led me into freelance work as a dance

company archivist. Then this job was advertised at the V&A. It

was the first time they had had appointed a Curator of Dance!

Nijinsky’s costume designed by Leon Bakst for Le Festin 1909

“With any costume, if it’s difficult to dance in, the more rehearsal done in the costume the better!”

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From the mid 20th century, new forms of social dance

embraced and embodied the spirit of the age. Drawn

initially from America and influenced by its films and

popular music, these dances quickly evolved and became

ingrained in British youth culture. Some dances, such as

Rock ’n’ Roll, were for couples; others, such as the loosely

termed ‘disco’, made manifest the new gender independence

of the participants. Although they all had distinctive

movement material and performance characteristics,

unlike most other social dance forms they were essentially

improvised. They were, therefore, much more open in their

steps and stylistic execution than the formal dances of the

ballroom; they were, in essence, ‘free style’.

In order to cater for the popularity of these dances and

provide opportunities for safe and effective teaching, in 1988

a brand new ISTD Disco Freestyle committee was formed by

pioneers and joint Chairmen Peggy Spencer MBE, Sydney

Francis and Anne Lingard. The popularity and standard of

disco dancing was increasing rapidly, both in society and in

the studios, but there was a need for a system which could

provide teachers with sound knowledge and technique.

Disco/Freestyle/Rock ’n’ Roll (DFR) committee members

produced workshops, seminars and festivals to help teachers

to learn the popular steps so they could work with confidence

and in safety. The committee established a thorough

examination structure at various levels, initially in Disco

Freestyle, for both amateurs and professionals.

The Faculty hosts an annual congress for teachers

with the aim of ensuring that the programme offers an

abundance of knowledge and expertise, and a diverse range

of choreography which is suitable for teachers

to take back for class, examination or competitive work.

The DFR Faculty celebrated 25 years of its existence in

2013. In response to the development of popular dance, it has

grown to host four genres within its remit: Disco Freestyle,

Rock ’n’ Roll, Country and Western, and most recently Street

Dance. The aims of the Faculty are to create sound and safe

The Disco, Freestyle & Rock ‘n’ Roll Faculty HistoryThe sixth in our series of faculty histories

Below: Dancer at the 25th

Anniversary Year National

Grand Finals Day 2014

techniques for all its work while understanding the need to

allow freedom of expression and musical interpretation.

Further, it helps teachers to appreciate that dance within this

faculty is an ever-changing form. Modern music, cultural

trends, fashion and different cultures will always present

new challenges and movement material to introduce to

our teachers and dancers.

Disco Freestyle

The release of the film Saturday Night Fever (1977) in the

UK injected new impetus to disco dancing and motivated

enthusiastic teachers to attend workshops so that they could

learn and teach the new dance craze. The first teachers’

workshop took place in 1978. Held at the Hammersmith

Palais, it was organised and presented by Peggy Spencer

MBE, Michael Stylianos, Anne Lingard and Pat Thompson.

Teachers welcomed the new popular style of dance and were

stimulated by the choreography. They offered classes in the

steps and sequences that featured in Saturday Night Fever

and welcomed the resultant new surge in business. With

its rhythmical steps and its adaptability for all ages and

capabilities, the style appealed to wide sectors of the public.

The medal tests of Disco Freestyle, as it was known in the

Faculty, were introduced in 1979. The tests seek to: (i) promote

an appreciation and enjoyment of Disco Freestyle dance

with a view to developing technical and artistic qualities;

(ii) introduce an understanding of the various styles of the

Disco Freestyle dances, the different rhythmic expressions

and characterisations; (iii) motivate candidates and build

self-confidence by providing carefully staged goals and

(iv) provide a structured approach for teachers to measure

candidates’ progress. Workshops were organised to help

teachers with choreography that could be used for both class

and medal work. Medallist Competitions organised by the

ISTD began with just a small number of area events. Jean

Cantell, past Vice Chairman, had suggested that the country

be divided into areas with an organiser, which would provide

teachers with a competition day within their radius.

Throughout the year teachers work hard in learning the

Set Dance routines which were initiated in 1992 and are still

annually choreographed, collated and formatted onto a

DVD. Teachers are given the opportunity to choreograph and

submit their work for the annual collation of these routines

which are enjoyable but challenging for all ages and grades.

Those pupils succeeding in their particular Set Dance at area

competitions then can look forward to the Faculty’s Grand

Finals Day, held annually in October.

Disco Freestyle or just Freestyle, the term used often by

the ISTD’s younger generation of participants, has evolved

since its first workshop in 1978. Today, movement content

such as fast and powerful runs, leaps, spins, splits, super high

kicks, intricate foot and arm patterns, allied with flexibility,

speed, control, agility and projection, are all part of the

performance presentation. A Disco Freestyle competitor

will take pride in having immaculate presentation of superb

choreography, individual personality and an abundance

of stamina.

Above: Dancers at a 1988 ISTD Disco Day

Right: Rock ’n’ Roll comes of age

in ISTD’s 1991 syllabus at Derek and

June Green’s Kingston Dance Studio

Rock ’n’ Roll

Rock ’n’ roll was one of the earliest dances of youth culture.

It first emerged in America, where it evolved from or shared

similar characteristics with the Lindy Hop, Swing Dance and

Jive. It grew in popularity after Bill Haley’s hit recording of

Rock around the Clock in 1956. Haley performed in Britain

in 1957, heralding what came to be known as the ‘American

invasion’ in both music and dance. The dance requires sound

technique, core strength, stamina and impeccable timing.

Its movement material includes kicks, flicks, lifts, jumps,

turns, flips and throws. Many teachers still teach Rock ’n’

Roll as a social dance but it is also an ISTD competition

dance in its own right, where it is performed in couples,

formation teams or by individuals in a chosen Set Dance for

the ISTD area medallist events. The Faculty offers a syllabus

and examinations in Rock ’n’ Roll for both amateurs and

professionals who can engage with these at all levels.

Country and Western

The origins of Country and Western can be traced back to the

early/mid 19th century when emigrants from Europe moved

across America to settle in the west. The working life of the

cowboy was also hugely influential on the development of the

many styles that comprise the genre.

Just as the film Saturday Night Fever created the huge

interest in disco dancing, many believe the song Achy Breaky

Heart recorded by Billy Ray Cyrus back in 1993 can be credited

for the recent popularity of Country and Western dancing,

especially Line Dancing. Classes in the latter have become

very popular with the public and can now be found in nearly

every town in the UK.

Country and Western Line and Couples dancing was first

introduced to the ISTD members in 1994. Peggy Spencer MBE

and her team taught a programme of dances which included

the Electric Slide, Cotton Eyed Joe (Couples), Slapping Leather

and the Tush Push.

Top right: The Jet Setters during

competition at the Hammersmith

Palais in 1979

Right: Learning a new dance at the

ISTD’s Line and Country and Western

Dance Festival, 4th November 2001,

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In May 1996 the DFR Faculty presented the very first

Country and Western workshop and further events followed.

Top choreographers and teachers from both the USA and

UK such as Angelique Fernandez, Jo Thompson, Rob Fowler,

Maggie Gallagher, Peter Metelnick and Kate Sala have made

an important contribution to enhancing knowledge and skills

in the various styles.

With a syllabus conceived and written by Jean Cantell, the

DFR Faculty has established a complete amateur medal test

system and professional qualifications covering Country and

Western Line, Partner and Freestyle couples.

Street Dance

Street Dance evolved from popular culture and social

dance in America during the 1970s and it has since spread

internationally. People would dance anywhere that had

an open available space: a park, a street or a party. An

important feature of Street Dance is that this was not a

style that was learned within a studio under formal tuition

but it was improvised in an informal space. As such, it

involved interaction between the dancers and dancers/

watchers, and encouraged creativity in the making up and

structuring of movement.

Popping, Locking and Breaking are three foundation Funk

styles which come under the umbrella term of Street Dance.

Popping and Locking started in the early 1970’s Funk era in

California, USA. Breaking or Bboying started in the Bronx in

New York in the late 1970s but came to the world’s attention

through films such as Wild Style and Breakdance in the 1980s.

The significant feature of the history of Street Dance

was that is was the dance of young people. It offered

opportunities for creative expression, gave a sense of

freedom and a voice to unrepresented and often invisible

communities through the means of music and dance.

Despite the improvisational nature of these street dances,

participants wanted to learn their vocabularies and skills. To

enable teachers to pass these on with safety and a high level

of execution, Street Dance was incorporated in to the DFR

Faculty and the first syllabus was offered in 2010.

Street Dance, as well as being a dance of the people,

was also appropriated as a commercial form. As such, it

embraces influences from many dance genres to create

new and exciting fusions and styles. Michael Jackson was

pivotal in its development with hugely successful dance

videos such as Thriller and Beat It (both 1983); their fast

paced choreographed group sections have since become

iconic. Other important music videos include Opposites

Attract (Paula Abdul 1989,) which incorporated a fusion

of Commercial dance and Tap, and Janet Jackson’s Rhythm

Nation (1989).

This was a significant video for the development of

Commercial dance and is still regarded as one of the

best music videos of all time. Madonna’s Vogue (1990)

brought the stylized, model inspired voguing to the media

forefront. Other women who also played a significant role in

Commercial dance include Britney Spears and Missy Elliott. PHO

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Boy bands also played a large part in commercial

choreographed dance from their inception in the 1960s

to today. These span bands from the Jackson Five and the

Osmonds to New Kids on the Block, the Backstreet Boys

and NSYNC.

Artists today continue to find inspiration for their

choreographed productions from the movement and

presentational styles of Street Dance and other popular

forms, thus transforming the social dance of the people in

order to serve the commercial imperatives of popular music

culture. As the demand for learning the skills for leisure

and for the workplace developed, the ISTD met the need for

coherent and developmental teaching with a new syllabus,

known specifically as Commercial Hip Hop, in 2010.

Laura Rampton assisted by Samantha Vale

and Charles Richman

“Street Dance, as well as being a dance of the people, was also appropriated as a commercial form”