Tag Archive: Clement Crisp

A Revealing Autobiography

Marina Grut:
“My Dancing Life: Spanish and Ballet Across Three Continents”
317 pages, colored and b/w photos
The Book Guild Publishing, August 2017
ISBN: 978-1912083541
February 2018

by Ilona Landgraf
Copyright © 2018 by Ilona Landgraf

Marina Grut – a South Africa-born dancer, dance mistress, Cover “My Dancing Life: Spanish and Ballet Across Three Continents” by M.Grut © The Book Guild Ltdand choreographer – has already written three historical books: one on the history of ballet in South Africa, one on the history of the Bolero, and a third on the history of the Royal Swedish Ballet. Her fourth book deals with another important history: her own.

Grut (née Keet) was born in 1934 and received her first ballet training in Cape Town. At the young age of sixteen, she took over a local dance studio in Stellenbosch, her family’s hometown, commuting daily to Cape Town to continue her studies at the University Ballet School under Dulcie Howes. In 1956, Grut quit ballet to instead focus on teaching Spanish dance. Three years later, she married a doctor of forestry from Denmark, traveling with him from Sweden to South Africa, Rome, Washington D.C., and London. Wherever she went, Grut indefatigably promoted Spanish dance. She taught, lectured, excavated regional dances, and organized performances. One of her main achievements was the development of the Spanish Dance Syllabus for the Spanish Dance Society in 1965. It became the standard for the training and evaluation of students of Spanish dance. (more…)

Opinions Divide

The Royal Ballet
Royal Opera House
London, Great Britain
November 19, 2017

by Ilona Landgraf
Copyright © 2017 by Ilona Landgraf

Reading the recent reviews on the Royal Ballet’s triple bill of works by Twyla Tharp, Arthur Pita and Hofesh Shechter makes one smile and wonder at the same time. Smile, because of the totally different opinions of the writers. While Graham Watts, for example, judged Shechter’s “Untouchable” positively on backtrack.com and Mark Monahan declared it the program’s “undisputable highlight” in The Telegraph, Alastair Macaulay, The New York Times, found it “the most preposterously dance-thin ballet I have ever seen.” Jann Parry deemed it a “dated commission that never merited its place in the repertoire” on DanceTabs.

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