Interview with Joshua Hunt, winner of Most Promising Dance Award and Junior Audience Choice Award CICB2017

How old are you Joshua and when did you discover your passion for dance?
 I am currently 15 years old and I know that I have always loved to dance and to perform. But, I only discovered a true passion for dance, when I was mature enough, so when I was around 13 years old.

Could you tell us something about the moment in which you decided to take part to the CICB selection?
Firstly, I found out from my lovely Cecchetti teacher, Anne Butler, that many of my close peers, friends and I were selected and given the opportunity to take part in the CICB2017 competition in Florence, Italy. I clearly remember hearing both my friends and my name being read out and being so excited and hugged in excitement. It was so nice to share this opportunity and experience with so many of my close friends and family, that I got to know even better throughout the preparation and journey of getting to Italy and being in the warmth of Italy.

When you arrived at the conference in Palazzo Vecchio and you saw the other competitors, the jury, the teachers and the guests, which were your feelings?
Well we had already had class earlier that morning at Opus Ballet, so I got to meet some of the other competitors and teachers. But, it was nice to formally talk to some of the other international competitors and teachers. With the grand welcome presentation at Palazzo Vecchio, it made me super excited for the rest of the upcoming week of dancing, learning and performing. It was also super exciting to have so many prestigious international jury members from right across the world from various world renowned companies and organisations. 

During the CICB week you followed many lessons with various teachers. Is there a lesson you liked the most?
I know it sounds cliche, but personally I didn’t have a favourite lesson as I loved learning and getting taught by both globally renowned industry professionals, such as Franco De Vita (ballet) and Paulo Lauri (contemporary) and learning so much from their vast knowledge in their expertise’s. I definitely learnt a lot in the time we had, plus it is always valuable to have a wide variety of teachers.

You received the Most Promising Dancer Award and the Audience Choice Award. Talk to us about your feelings and thoughts when your name was called.
Answer: Firstly, when I was called out for the Audience Choice Award (Junior), it was like a blurr, I was just so overwhelmed and honestly shocked as it all happened so quickly. When I was called out for the Most Promising Dancer Award (Junior), I didn’t even realise at first what I had won. Later, I came to realise and felt very honoured, but still so overwhelmed as everything was all just happening at once and it is quite hard to comprehend. It was just all so overwhelming, as all these opportunities for my future, in the thing I love to do(Dance), is all happening in the span of 15 minutes. Just a message to everyone, it’s not about how many awards or competitions you win, that doesn’t define you or where you will end up. It’s your hard work and dedication everyday and so many other aspects, don’t let one competition determine your future. But, competitions like this and many more, are a great opportunity for dancers to open up there pathways and to get experience and knowledge from practicing and performing solos on different spaces and stages.

In your opinion, which is the quality that a good male dancer should have? Did the Cecchetti method enhance this quality, in you?
I personally believe, that a vital quality a good male dancer should have is a good, truthful performance quality, that comes from within and expresses your true feelings or some kind of connection. Throughout my two years studying the Cecchetti method(at VCASS, Melbourne), I definitely believe it has helped enhance these performance qualities, especially through the rehearsals of both classical and contemporary solos, to the lead up to this competition. But, I guess there are exceptions to this, as you sometimes have to play characters.

If you could pick a moment of the week to live again, which one would you choose?
The one moment I would pick to live again from the week, is performing both of the solos on the raked stage at the Finals, at Obihall, As I felt pure happiness and joy, through performing my classical solo(Franz, Coppélia: Act 3) & the genuine connection to the emotional intention, through performing my contemporary solo(Choreographed by Steven McTaggart). 

Could you express in words what dance means to you?
To be honest, that is very difficult for me to do, as dance means so very much to me and I feel that me writing it in words, wouldn’t do it justice. Anyway, I just love the freedom you get whilst dancing, as you get to put your soul and personality into your dancing. I get really engulfed by the persona of certain roles, such as in my contemporary solo. The adrenaline you get through your body as you perform on grand stages, to vast audiences, with most people you will never even get to meet. Just so many aspects of dancing makes me so happy and warm inside, it really is hard to explain. For me, improvising is like a form of meditation, I just feel so free to move all my body in anyway I possibly can, without having any judgement. Plus, I always love coming back to my daily ballet classes to work and refine on my vital technique to help me with all the dance genres and styles.

How has your life changed after CICB2017?
Well, any time you get to dance, you change and enhance your knowledge every single day, so every opportunity to dance is a small step towards changing your dance life. But, since the CICB207 Competition, in August, it has opened up so many opportunities for me and so many other competitors to do what they love internationally. Since August, it has really made me think about my career more, which is usually extremely difficult to think about, as it can be quite confronting, as we are still quite young.

Is there anything else you want to say?
Definitely, as there are so, so many people I have to thank for there endless support and time they put in to help me on my dancing journey and definitely don’t get enough credit for it. Firstly, I have to thank all the endless hours that have gone into organising this competition, to make it this successful. A huge thanks to all my mentors and teachers from VCASS. A genuine massive, sincere thankyou to my Cecchetti teacher, Anne Butler, who put so, so much effort into organising and getting us prepared for the competition. Also, to my friends and family for always supporting me along the way, even internationally, nothing would be possible without them. Then also to Steven McTaggart, for creating and working with me on my contemporary solo. There are so many people I can thank, the list goes on, but I really do appreciate all the effort that goes in to getting everything prepared. Thankyou for the Cecchetti syllabus, for creating this opportunity for so many young dancers, worldwide. 

Interviewer: Eleonora Secchi

Interview with Cameron Holmes, winner of Maestro Enrico Cecchetti Award and Senior Audience Choice Award at CICB Florence

When you did the first CICB selection in Australia, would you have ever imagined that you could have been the winner of the competition?
I’ve worked so hard in preparing for this moment however with so many talented dancers you never know which way things will go.

Maestro Enrico Cecchetti Award. Which was your feeling when your name was called to receive the most important Cecchetti award?
Surprised, overjoyed, honoured, I was feeling so many emotions when my name was called, I couldn’t believe it, it really was one of the most incredible moments of my life.  

 Tell us something about your classical variation. Why did you choose it and how did you feel when you danced in front of the jury? 
The Classical Variation I chose to perform is from the Ballet, “Don Quixote”. My character Basilio, is very charismatic and witty which made this role so intriguing to play. It’s a fun and entertaining solo with a lot of energy and was amazing to perform this solo in front the esteemed jury.  

 Is there a moment of the CICB event you liked the most? Which were your feelings? 
My favourite moment was the finals night after having performed my two solos, I felt that I danced with all my heart and gave it my all, feeling a true sense of achievement.

 N°55... is this your new lucky number? 🙂
Haha. I would have to say yes! 

You also won the Audience Choice Award. Were you proud to be the dancer who people preferred the most?
It was truly an honour to be selected by the audience as I felt they were with me all the way which in turn lifted my performance even further.

Do you want to talk us about the scholarships you received?
I was lucky enough to receive a scholarship to the Washington School of Ballet and having Larissa Saveliev acknowledge my ability was very encouraging and I look forward to exploring these options in 2018.

As a male dancer, do you think Cecchetti Method enhanced your qualities? 
I believe the Cecchetti Method does enhance the male quality as it shapes and an adaptable dancer providing a strong foundation and sense of artistry that is required for a male dancer.

You know Cecchetti was Italian and studied in Florence. Was it exciting to be in a place in which the Maestro lived and danced? Did you feel a deeper connection between you and the method you studied for years?
Florence is a beautiful city with a rich history and just being there knowing that Maestro Cecchetti lived and danced there gave me a deeper connection and understanding of Cecchetti Method.

Who is your inspirational dance model?
I am inspired by many male dancers it would be hard to pick just one, however I am always inspired by Daniil Simkin’s turns and Tetsuya Kumakawa’s incredible ballon and leaps.

Which are your suggestions for the 2020 CICB competitors?
Just relax, enjoy the moment and take it all in.

Is there someone you want to thank for supporting you in this Competition?
I would like to thank my family for their support, Lucinda Dunn, all my teachers at Tanya Pearson’s Academy and in particular my Cecchetti Teachers Donna Holmes, Robyn Ross, and Valerie Jenkins for being there with me in Italy.

Interviewer: Eleonora Secchi

Interview with Noah Benzie-Drayton, winner of Junior Musicality Award at CICB2017

Where do you live Noah and when did you begin to study Cecchetti Method?
I live in Perth, Western Australia, and have been trained in the Cecchetti method since I started ballet at age four.

Which were your feelings at the exact moment you realized you were chosen among so many people to Represent Australia at CICB? 
I was very excited to be chosen to represent Australia in the beautiful city of Florence.  It was honour to compete amongst so many talented dancers. I was very grateful that I would be given the opportunity to meet with and learn from teachers all over the world.

When you arrived in Florence and the competition started, which were your thoughts? 
I arrived in Florence after several weeks in Europe, including two weeks at the Paris Opera Ballet Summer Intensive, so was tired but very excited to begin. As the competition progressed, it was amazing to see all the talent from around the world, and it was great meeting dancers who were friendly and had the same passion for dance as me.

Do you think you have something in common with the other competitors from all around the world?
When starting the competition, it was easy to see that everyone around me all wanted to dance the best they could, and I could see that there were many people who have the same dreams and goals as me. I think the one thing that everyone had in common was our love of dance and training in the Cecchetti Method. This passed all language barriers between competitors and it helped us to work hard and support each other throughout the week.

You are the winner of Musicality Award. Tell us about your feelings during your final performance. 
During the finals, I was nervous but also excited to dance. I wanted to just dance and perform my best, regardless of the outcome. It was a huge surprise when I won the Musicality Award, and I was so honoured to have been chosen by the incredibly jury led by Dame Monica Mason.

Would you say this experience could contribute to achieve the goal to become a professional dancer?
At the competition, I won various scholarships to schools across the world, and a place in the Youth America Grand Prix New York City Finals 2018. These are huge opportunities that I would not have if I had not competed at CICB, and the prize money from the Musicality Award will assist with flights for the overseas trips. I was also extremely privileged to work with Mr Franco De Vita, and learn from him throughout the week, as well as receiving exposure to the jury members from around the world.

Which kind of role you would like to play in the future, Noah? In which theatre would you love to perform the most?
In the future, I would love to dance in the Royal Ballet, or another ballet company in Europe. I also love the San Francisco and Houston Ballet companies.   My dream is to one day dance in Principal roles in a major ballet company.

 What have you learned and what will you take with you from this CICB experience?
I had an incredible week of learning and personal growth through the CICB experience, and it helped me to develop as a person and a dancer. I learned from teachers across the world, and danced on a raked stage for the first time. This was a unique experience that has helped prepare me for any other time I may need to dance in an area out of my comfort zone. Overall, the CICB experience has helped me develop my artistry and technique further, and is an experience that I will never forget.

Interviewer: Eleonora Secchi

Interview with Laura Van Loon, winner of Junior Contemporary Award at CICB2017

I know that your parents are directors of a dance school. When did your passion for dance begin?
I started dancing at the age of 2 and a half, where my mum taught me and some friends of mine baby ballet. As I grew up I danced every afternoon, and have been very lucky to have had my parents as my teachers and support the whole time! However I feel that it was last year when I became really passionate for ballet and contemporary and really wanted to pursue it as a profession and career
What do you think about Cecchetti Method?
I absolutely love the cecchetti method and am so grateful to have had the chance to learn this method of ballet and to have been brought up in it. The syllabus of the advanced levels are challenging and so strengthening. After being exposed to and having experienced the other methods of ballet such as RAD or vaganova, the unique ways of the Cecchetti Method have really stuck out to me. The Cecchetti Method seems to have so much meaning behind each of the steps and exercises created by Mr Cecchetti. My parents, as my teachers, constantly educated me and my classmates on the history and meaning behind each exercise and step, deepening our understanding of the art form and the movement that is unique to the Cecchetti method
You took part to Cecchetti International Classical Ballet Competition. Which were your feelings when you discovered that you were chosen to represent Australia in such an important contest?
When my mum and I flew to Melbourne for the CICB where they were to choose the representatives for Australia, we were seeing the whole thing as just something for experience and I at least wasn’t expecting any award of any kind being at the younger end of the competition. When I was told I would represent Australia in Florence I was beyond words with excitement to receive such an honour! 
Australia is a country very far and different from Italy. What did you think when you saw Florence for the first time?
One of the first things I noticed about the beautiful city of Florence was the rich culture that the place was just buzzing with! Every street you turned onto, you saw the city’s beautiful old churches and castles. I also loved the atmosphere that brought the place to life late into the hot, summer nights! The small streets and busy bustle of the people in the Piazzas were very different to Australia, but gave the city its uniqueness.
Which is the moment you loved the most during all the CICB week?
The whole experience was so amazing and I loved every bit of every day so it is hard to choose a favourite moment but I think one of the most special moments would be the whole night of the gala; performing and then receiving the various awards and scholarships from the prestigious panel of judges. I think what made it most special was being able to share the moment with my parents as we had all done it together 
70 competitors from all over the world took part to this competition. Did you have the possibility to establish a friendship with other young dancers during the whole week?
Throughout the week of the competition I formed very close friendships with many of the dancers from Team Australia as many of them I had never met before. The competition was always so positive as everyone was so friendly to one another, making it that extra bit enjoyable to take part in. We all still keep in close contact with each other and it’s so nice to keep up with what they are all doing
How did you feel by dancing in front of a jury composed by such important personalities?
I was very honoured to have the opportunity to dance and perform in front of such a prestigious jury. It made the whole experience so special and unforgettable. To then be awarded scholarships by them was very humbling. 
How did CICB changed your life?
The CICB opened up many opportunities and experiences for me and for many other dancers too! I was very honoured and humbled to have received 5 scholarships to various schools around Europe as well as received the Junior Contemporary award. My dad and I returned to Europe on the 27th September to do a bit of tour, where we fulfilled two of the scholarships I received at the CICB (at the Balletschule in Basel and the Balletakademie in Munich) and auditioned at 5 other schools in Europe. I was accepted into majority of the schools I visited and was given the opportunity to choose which school I would like to start the next chapter of my dance training. My parents and I made the big decision for me to stay in Europe and study at the Royal Ballet School of Antwerp in Belgium. Without the CICB, and the scholarships I was awarded, we would not of considered visiting and auditioning at the several prestigious ballet schools in Europe.
What would you suggest to other dancers who will take part to CICB in Australia in 2020?
I cant express how much of an amazing experience it was!! Especially if it is your first time in an international competition (as it was with me) it is perfect as it is for Cecchetti students only, making it a more selected group of dancers. The competition is so generous in the scholarships they offer and opens up so many doors for dancers all around the world! I would tell any dancer wanting to take part in the competition to just enjoy the amazing experience and put your heart and soul into every performance and class as it’s a unique and amazing opportunity.
Would you tell us anything else?
I mainly just want to say a huge thank you for everything the Cecchetti Societies do, such as competitions like these, as they in my case, and for many other dancers, opened many doors and provided us with a great experience where we were seen by an illustrious panel of judges and got to make connections and friends with dancers all around the world... the exposure to the talent around the world was also so good! Overall, it was an unforgettable and life-changing experience!
Interviewer: Eleonora Secchi

Intervista a Rachele Cortopassi, stagista del corso estivo Cecchetti Classical Ballet Competition 2017

Quanti anni hai Rachele e da quanto tempo studi il metodo Cecchetti?
Ho sedici anni e studio il metodo Cecchetti da sei anni.

Quando hai deciso che nella vita avresti voluto fare la ballerina?
Non credo che ci sia stato un momento preciso in cui ho deciso che avrei voluto fare la ballerina; ballare è sempre stata una mia passione, una parte di me e della mia vita quotidiana. 

Quest'estate hai partecipato come stagista al Cecchetti International Classical Ballet Competition. Com'è stato per te affrontare un'esperienza in un contesto così grande?
E' stata un’esperienza meravigliosa. Ho avuto l’opportunità  di vedere il concorso e mi sono immedesimata nella gara domandandomi: cosa si prova a essere parte di un evento così importante ? Posso dire, anche solo attraverso lo stage, che mi sono sentita fortunata e onorata di aver preso parte ad una manifestazione di questa portata. 

Hai condiviso una settimana con ragazzi di tutto il mondo. Nonostante le diversità, hai avuto l'impressione che foste tutti facenti parte di una grande famiglia Cecchettiana?
Trovarsi a lavorare con ragazzi che vengono da tutto il mondo e che coltivano la mia stessa passione è un’esperienza che mi ha fatto crescere molto ma soprattutto mi ha fatto riflettere: è incredibile come tutte le differenze culturali  e linguistiche vengano superate così facilmente se si trova  un linguaggio comune, che in questo caso è il nostro metodo Cecchetti. Quindi, sì, posso dire di essermi sentita parte di una grande famiglia. 

Qual è il momento che ti ha emozionato maggiormente di tutta la manifestazione? 
Tutta la manifestazione sì è rivelata un susseguirsi di grandi emozioni ma un momento che di sicuro mi rimarrà nel cuore è l’incontro  con la signora Fracci. Trovarsi di fronte a lei e poter ascoltare la sua storia è stata un’emozione molto forte, che mi ha fatto realizzare la portata dell’evento a cui ho partecipato.

Che sensazione ti ha dato rappresentare l'Italia in un contesto mondiale? 
Mi sono sentita onorata e felice di 

aver preso parte ad un evento tanto grande. 

So che in questo momento studi in una scuola prestigiosissima, ce ne vuoi parlare?

In questo momento mi trovo nel Regno Unito perché da settembre ho iniziato a frequentare la Rambert School of Ballet and Contemporary Dance di Londra e sto vivendo una delle esperienze più belle della mia vita. Essere lontano da casa è sempre difficile e la scuola è molto dura ma ogni mio sforzo viene ripagato dalla soddisfazione che trovo in quello che faccio ogni giorno e dalla mia gioia per la danza .Mi sento molto fortunata ad avere la possibilità di studiare  in questo ambiente meraviglioso  e professionale che offre ogni giorno l’opportunità di esprimere appieno se stessi e la propria arte. 

Consiglieresti ad altri ballerini di provare a partecipare al prossimo Cecchetti International Classical Ballet Competition?

Assolutamente sì, è stata una bellissima esperienza; questo evento, che è stato organizzato veramente molto bene, è una grandissima opportunità di crescita personale e offre enormi possibilità per il futuro. 

Cosa porterai nel cuore di questa esperienza?

Porterò nel cuore ogni momento della settimana, gli insegnamenti, i maestri e le persone che ho avuto l’opportunità di conoscere durante questa magnifica esperienza. 

Intervista a cura di Eleonora Secchi


Tratto dagli atti del Convegno Civitanova Marche 8-9-10 Aprile 1999

Alle soglie del nuovo millennio, noi devoti del grande patrimonio lasciatoci da Enrico Cecchetti, possiamo guardare indietro con orgoglio a più di un secolo di risultati artistici. Ma possiamo anche guardare avanti verso un futuro ricco di rinnovamento e inventiva originale. Esso, in diverse maniere, riserverà delle cose che Cecchetti stesso probabilmente non avrebbe potuto immaginare, però degli aspetti di questo futuro saranno saldamente basati sui principi importanti dell’insegnamento del Maestro.…. Troppa gente vede lo studio della danza classica in primo luogo come l’apprendimento della tecnica; al danzatore viene insegnato ad usare il proprio corpo come un meccanismo ben oleato. Lo scopo dello studio del lavoro Cecchetti è ben altro. La complessità e la ricchezza di inventiva che si trova nelle legazioni fisse di Cecchetti come nei passi di adagio e d’allegro sono paragonabili ad un tesoro di informazioni coreografiche. Queste legazioni fisse non solo insegnano al ballerino ad avere il controllo della tecnica ma offrono anche un’enorme varietà di idee coreografiche. Il ballerino così acquisisce la consapevolezza fisica di miriadi di nuovi movimenti. La Danza classica sembra veramente diventare molto più verticale e statuaria. I danzatori e i coreografi di oggi tendono a compiacersi nel distorcere la danza classica dominandola con le gambe. Il punto focale dell’attenzione è troppo concentrato sull’aspetto della gamba alzata nello spazio. Questo di solito ha tre conseguenze negative:
a) trascuratezza dell’épaulement;
b) perdita della velocità e dell’abilità di
esecuzione del lavoro complesso dei piedi;
c) e secondo me la cosa più importante è la perdita
di quei piegamenti laterali e slanci di movimento così meravigliosi
da sembrare pericolosi che fanno parte dei passi cecchettiani e
che ritroviamo nelle coreografie di Ashton, così come in
quelle di Merce Cunningham, Michael Clark e Matthew Hawkins.
Questo particolare aspetto dell’insegnamento
di Cecchetti comune anche a tanti danzatori e coreografi contemporanei,
può essere riassunto così: l’abilità
di trovare il centro di equilibrio anche se fuori dall’asse



Tratto dagli atti del Convegno Civitanova Marche 8-9-10 Aprile 1999
La danza classica basata sui principi scientifici vuole insegnare al danzatore come adoperare correttamente il proprio corpo con un coinvolgimento muscolare ottimale, massimo controllo e totale padronanza della cinetica. Il danzatore ben istruito con questi principi diventa tecnicamente forte, flessibile e balla in maniera semplice, privo di manierismi. Egli, libero da limiti tecnici, può permettersi così di sviluppare una sensibilità verso diverse qualità di movimento, necessarie per la corretta esecuzione del vocabolario classico accademico, neoclassico e contemporaneo.  Un danzatore di talento che ha beneficiato di questo tipo di istruzione è preparato ad interpretare con intelligenza artistica miriadi di ruoli diversi. E’ importante non confondere i principi scientifici con le preferenze stilistiche o con le soluzioni pedagogiche
dei singoli maestri.
I principi tecnici ed estetici che sono alla base del Metodo creato da Enrico Cecchetti, sviluppano nel danzatore fluidità, ampiezza ed armonia di movimento, purezza di linea, forza, stabilità, coordinazione e velocità. Si può
dire che Cecchetti è stato il primo grande maestro di danza classica ad inserire elementi della bio-meccanica nel movimento, poiché egli è stato il primo a formulare una metodologia scientifica per l’insegnamento della danza teatrale. Questo lo possiamo constatare dalla tradizione tramandata fino ai giorni nostri dai suoi allievi, dagli allievi dei suoi allievi e con lo studio dei tre testi tecnici più famosi sul metodo Cecchetti: “A Manual of the Theory and Practice of Theatrical Dancing”, scritto nel 1922 da Cyril Beaumont e Stanislas Idzikowski (questo libro fu stilato sotto la diretta supervisione dello stesso Cecchetti),
The Theory and Practice of Allegro in Classical Ballet, scritto nel 1930 da Beaumont e Margaret Crasse, e The Practice of Advanced Allegro in Classical Ballet, scritto nel 1956 dalla Crasse e Derra de Corroda. Esistono altri due interessanti testi tecnici: uno intitolato Manuale Completo di Danza Classica, scritto da Grazioso Cecchetti, figlio di Enrico (edito in due volumi a cura di Flavia Pappacena pubblicati rispettivamente nel 1995 e nel 1997) e un manoscritto intitolato Manuel des exercises de danse teatrale a practiquer chaque jour de la semine a l’usage des mes élèves, scritto da Enrico Cecchetti a San Pietroburgo nel 1894 (l’originale di quest’ultimo fa parte del fondo “Cia Fornaroli” che si trova nella biblioteca pubblica delle arti dello spettacolo
nel Lincoln Center di New York.Molti dei numerosissimi allievi di Cecchetti divennero artisti leggendari, brillanti insegnanti, coreografi geniali, fondatori e direttori di compagnie fra le più importanti nel mondo, come il Royal Ballet di Londra, fondata da Ninette De Valois e il corpo di ballo dell’Opera di Parigi, diretto per molti anni da Serge Lifar e l’American Ballet Theatre di New York, fondato da Lucia Chase e da Mikhail Mordkin.Ecco alcuni nomi degli allievi del Maestro Enrico Cecchetti: Vera Trefilova, Lubov Egorova, Julia Sedova, Olga Preobrajenska, Mathilda Kschessinska, Anna Pavlova, Tamara Karsavina, Mikhail Fokine, Anatole Oboukhoff, Agrippina Vaganova, Vaslav Nijinski, Bronislava Nijinska, Vera Nemtchinova, Marie Lambert, Stanislas Idzikowski,
Leon Woizikovski, Anatole Vilzac, Ludmila Schollar, Léonide Massine, Adolph Bolm, Lydia Lopokova, Alicia Markova, Anton Dolin, Alexandra Danilova, Felia Doubrovska, Mary Skeaping, Margaret Craske, Molly Lake, Attilia Radice, Rya Teresa Legnani, Gisella Caccialanza, Luigi Albertieri, Vincenzo Celli e i sopraccitati Ninette De Valois, Mikhail Mordkin, Serge Lifar e Cia Fornaroli (e tanti altri ancora)…Da questo possiamo constatare che Cecchetti sapeva il fatto suo. Ma ancor più interessante sono i principi, sui quali Enrico Cecchetti aveva basato il suo lavoro, essi sono universali, trascendono limiti tecnici e stilistici, rendendo il Metodo uno strumento validissimo per l’insegnamento della danza di oggi e del futuro.I principi estetici negli insegnamenti di Cecchetti sono più che altro riconoscibili nei port de bras. Per poter eseguire i port de bras correttamente il danzatore deve aver compreso come i movimenti dell testa e delle braccia derivino in maniera organica dall’uso della schiena, soprattutto dalla fascia muscolare della parte superiore. L’estetica cecchettiana riguarda anche il movimento, stabilisce delle forme precise durante il tragitto del corpo nello spazio, seguendo rigorosamente regole d’anatomia e di equilibrio delle linee. Il lavoro Cecchetti non si riferisce
solo alle forme ma anche alle linee che le collegano con movimenti che sono coordinati e privi di manierismi superflui.


Il metodo “Cecchetti” è rivolto a danzatori professionisti. Per questo motivo la Cecchetti Society di Londra ha elaborato una serie di programmi d’esame per andare incontro alle esigenze dei bambini che si avvicinano allo studio della danza sia a livello amatoriale che professionale.
Il vero lavoro Cecchetti lo si trova nei Livelli Major come l’Intermediate-Advanced1-Advanced2 per culminare poi con l’Esame di DIPLOMA.
I programmi d’esame dal 1^ al 6^ grado sono di preparazione al livello pre-profesisonale dei livelli Major.
La Cecchetti Society ha inoltre eborato programmi anche per le Qualifiche  come Insegnanti quali: DDE –  LICENTIATE – FELLOWSHIP dell’Imperial Society of Teachers of Dancing
Il metodo Cecchetti è stato incorporato con la Cecchetti Society dall’Imperial
Society of Teachers of Dancing di Londra nel 1924.

Il metodo Cecchetti

A cura di Stefania Sansavini

Enrico Cecchetti occupa un posto di notevole prestigio nella storia della danza, senz’altro è il più grande Maestro del sec. XX. La sua didattica è alla base di quasi tutte le metologie usate nel mondo, inoltre sono numerose le scuole che usano il trattato inglese, le troviamo negli USA, in Canada, in Australia, in Sud Africa, in Spagna, in Francia, in Germania, in Belgio, in Grecia ed in Italia.

Il Metodo Cecchetti è considerato scientifico perché si basa sui principi tecnici ed estetici che sviluppano nel danzatore fluidità, ampiezza ed armonia di movimento, purezza di linea, forza, stabilità coordinazione e velocità. Tra i principi tecnici ricordiamo il suo “sistema dei giorni della settimana”, ovvero la ripartizione degli esercizi cambiando i passi e l’enfasi di sforzo di giorno in giorno, in maniera equilibrata e secondo una precisa logica, evitando così lesioni. I principi estetici riguardano il movimento, stabiliscono delle forme precise durante il tragitto del corpo nello spazio, seguendo rigorosamente regole di anatomia e di equilibrio delle linee. Il metodo è sempre aggiornabile poiché insegna al ballerino come sfruttare la cinetica a suo vantaggio e come adoperare il proprio corpo correttamente, libero da limiti tecnici, il ballerino di talento sarà in grado di eseguire con intelligenza artistica il vocabolario classico e contemporaneo, una miriade di ruoli diversi e trasmettere allo spettatore le proprie emozioni.In Italia il Metodo Cecchetti è ritornato grazie a Brenda Hamlyn, famosa ballerina, che ha aperto a Firenze, nel 1963, una scuola collegata a quella londinese. La scuola Hamlyn a sua volta ha dato il via ad altre che usano la didattica del nostro grande Maestro e le regioni italiane in cui sono maggiormente diffuse sono la Toscana e l’ Emilia Romagna. Nel 1989 è stata fondata a Firenze, l’A.N.C.E.C. (attualmente denominata DANZARE CECCHETTI A.N.C.E.C. ITALIA) chesi occupa di didattica, di spettacoli e della diffusione del Metodo Cecchetti.
Precisiamo che per aprire una scuola di danza cecchettiana i responsabili devono diplomarsi a Londra, presso l’IMPERIAL SOCIETY OF TEACHERS OF DANCING ( I.S.T.D. ), che le qualifiche per l’insegnamento sono: F.D.I. ( Foundation in Dance Instruction), C.D.E. ( Certificate in Dance Education ), LICENTIATE E FELLOWSHIP, titoli riconosciuti dal governo inglese come laurea in danza. L’associazione inglese mantiene i rapporti con gli insegnanti sia per quanto riguarda gli esami degli alunni sia per i corsi di formazione e di aggiornamento periodici ( per docenti ed allievi ). Solo i docenti qualificati possono usare il Metodo Cecchetti della “Cecchetti Society” I.S.T.D. e possono far accedere i loro alunni agli esami. Le sessioni degli esami sono tre (inverno o primavera o estate ), i livelli sono due: amatoriale e professionale. Per il livello bambini o amatoriale i gradi degli esami sono sei, per il professionale i gradi da superare sono:Intermediate Foundation, Intermediate, Aadvanced 1, Advanced 2, Diploma. Gli esami per gli allievi avvengono nelle sedi riconosciute, gli esaminatori sono scelti direttamente dalla sede centrale di
Londra fra personalità di chiara fama, che dopo una carriera professionale devono fare il Training per esaminatori e superarlo con successo.