The Royal Ballet School examined questions of representation and legacy during June through a comprehensive partnership with Black British Ballet, connecting current students with alumni and researchers to explore Black dancers’ contributions within British ballet history.

Upper School students participated in workshops, panel discussions, and explored the Pioneers of Black British Ballet exhibition as part of an ongoing mentorship programme designed to support Black students and provide role models within the ballet world.

Historical Research Foundation

Dr. Sandie Bourne’s research drives the Black British Ballet project, which emerged from examining gaps in ballet’s documented history. Her work questions where Black British ballet dancers were represented and why their contributions remained largely unacknowledged.

The project, created by Oxygen Arts and funded by National Lottery Heritage Fund, encompasses multiple initiatives including a website showcase, children’s book, Windrush-themed ballet production, feature-length documentary, and touring exhibition. The exhibition at the school documented Black British ballet dancers throughout the institution’s history across multiple decades.

Alumni professional perspectives

Three Royal Ballet School alumni led workshops and participated in panel discussions, sharing experiences that revealed both progress and ongoing challenges within professional ballet environments.

Darren Panton began training at age eight as a Junior Associate, becoming the first Black student to graduate from White Lodge. His educational path established precedent for subsequent students while highlighting the challenges of pioneering without established role models.

Shevelle Dynott, also a former Junior Associate, became the first student from The Royal Ballet’s Chance to Dance programme to join the School. He spoke about developing artistically without visible role models in ballet, emphasising drawing inspiration from family and peer networks.

Chantelle Phillips (Gotobed), a 2006 graduate, developed a career spanning ballet, film, television, and modeling. She attributed her successful career transitions to ballet training’s discipline and resilience while encouraging students toward self-belief and perseverance.

Career development guidance

Panel discussions addressed ballet’s institutional changes while acknowledging areas requiring continued development. Alumni emphasised individual differentiation within professional contexts, asking students: “What seasoning can you add to make yourself stand out?”

Discussions encompassed career opportunities within and beyond traditional dance contexts, emphasising artistic growth achieved by challenging conventional boundaries. Guidance included maintaining perspective between ballet-focused development and broader personal growth.

Key messages shared with students included: “You need to be the best you before you can be the best dancer” and “It’s important to keep a balance between the energy you spend inside the ballet world and outside the ballet world.” .

Historical documentation

The exhibition documented Black British ballet dancers connected to The Royal Ballet School across generations, featuring performers including Dr. Adesola Akinleye, Simon Archer (Smith), Paul Bailey, Denzil Bailey, Jerry Douglas, Shevelle Dynott, Mark Elie, and numerous others whose work shaped the institution’s development.

This documentation serves multiple functions: acknowledging previously underrepresented contributions, providing current students with visible precedents, and establishing historical records for future research and programming initiatives.

Institutional engagement

The collaboration demonstrates ongoing institutional commitment to addressing representation within classical ballet training. The mentorship programme connects current Black students with professional dancers and industry figures who navigated similar challenges, offering practical guidance alongside artistic inspiration.

Artistic Director Iain Mackay’s participation in panel discussions reflects institutional leadership engagement with these initiatives, supporting student access to diverse professional perspectives and encouraging broader conversations about ballet’s continuing evolution.

Educational impact

The Black British Ballet collaboration addresses fundamental accessibility questions within classical dance training. The initiative combines historical documentation, mentorship programming, and direct alumni engagement to confront systemic barriers while providing practical support for current students.

Dr. Bourne’s research established that “Black dancers must be included in the history of ballet because ballet should belong to everyone—regardless of the color of their skin.” .

This finding establishes both historical correction and forward-looking institutional commitment, reflecting broader recognition within classical dance that technical excellence alone cannot sustain art forms failing to reflect contemporary society’s diversity. The Royal Ballet School’s engagement demonstrates institutional acknowledgment that ballet’s future depends on expanding access while maintaining artistic standards.

The initiative provides a framework for other classical dance institutions examining representation, historical accuracy, and contemporary relevance within traditional art forms, contributing to broader conversations about accessibility and inclusion in professional dance training.

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