PAVLOVA SCHOOL OF CLASSICAL BALLET

Pavlova School of Classical Ballet first opened in Leiden in 1981. In 1982 it moved to its present site. It was named after the famous prima ballerina assoluta Anna Pavlova, as the school was founded 100 years after her birth and 50 years after her death. What other dancer to honour that year than Anna Pavlova? After completing almost 19 years, on the 1st of September 2000 Pavlova School of Classical Ballet closed its doors for good. This website will remain active, and is supposed to be developed further into a useful source of information on Anna Pavlova and on the teaching of older amateur dancers, which was what Pavlova School of Classical Ballet has succesfully specialized in during the years of its existence.

Pavlova was the only ballet school in Leiden, and probably in the country, which specialised, to the exclusion of any other activity, in the teaching of classical ballet to pupils over 16 years of age. Over the years, the pupils ranged in age from 16 to 60. Obviously, adults take up classical ballet for many different reasons; some only want a pleasant form of exercise, others are trying to come to a better understanding of what they love to see on television or in the theater. At Pavlova's every motivation to come and take classes was considered legitimate. All were made welcome, disregarding age, condition, or previous experience. Still, it should be stressed that at Pavlova School of Classical Ballet classical ballet was considered to be above all a form of art, and not sport or fitness. Those who saw ballet as another way to slim were advised to turn elsewhere (and to reconsider). Undoubtedly, ballet is an art which requires the building up of strength and of stamina, but these should be means towards the end of expressiveness and gracefulness. In short, at Pavlova people were taught to 'dance beautifully'. This goes way beyond whatever athletic feat. Thus we at Pavlova utterly rejected the idea of a course, let alone a 'crash course'; classical ballet cannot be learned in 'ten lessons'. Artistically motivated control of mind and body do not come that easily.

Many ballet schools tend to consider amateurs as people who, by virtue of being 'mere' amateurs are satisfied with exercise and 'having fun'. Now there is nothing wrong with having a good time. But still, we always felt, and still feel, that amateurs too are entitled to have proper classes, where, without any overburdening, the best possible results are strived for. We think that somebody who starts ballet at a relatively advanced age, has no ideal body and will never be able to reach a level fit for whatever professional performance, can still be taught to dance classical ballet well. No need to be fobbed off with occupational therapy. Those who spent some time with the Pavlova school, could show some technical attainments, more or less as personal aptitudes allowed for; hopefully many who studied at Pavlova's will have felt something of the power of an art form that so many human generations have been working on, and of the expressive capacities of their own bodies.

All lessons were taught by Anna Beerens. She started classical ballet at the age of ten in Bois-le-Duc with Mrs. Klute-Kreyts and Mrs. Goldsteen, both of the Imperial Society of Teachers of Dancing. After obtaining some ISTD certificates (two with credit), she continued her studies in The Hague, with Betty Holden of the Royal Academy of Dancing. Again she obtained a certificate, with honours. She went on to have classes in The Hague with Peter Leoneff, and in London with John O'Brien, Vyvyan Lorrayne, Ruth Silk, Anna Du Boisson, Frank Freeman, Joan Hewson, Sarah Masterton-Smith and Maryon Lane. In 1983 she was invited by Ivan Kramar, the then balletmeester of the Netherlands Dance Theatre, to follow his classes at that company in The Hague. Until 1991 she was regularly taught by Kramar, his successor Irena Milovan, and famous teachers such as Benjamin Harkarvy, Gary Sherwood, Jan Nuyts, Han Ebbelaar, and her favourite Hans Brenaa. Since 1991 she has acquired some expertise in historic dancing (Renaissance and Baroque), under the guidance of Maria Angad Gaur. Most recently she was training at De Haagse Dansetage in The Hague, with Rinus Sprong, Alan Land, Jeanne Solan, Fiona Lummis and Ida Keizer.