#TutuTuesday Ballet Tutu History on 1941-08-05

Hello, darlings! Emma here, your resident pink-tutu-clad time traveler, back with another fascinating trip through Ballet Tutu History! Today, we're hopping aboard the time-train and whisking ourselves back to 1941. Buckle up, because this journey might be a little different than you expect!

Now, I know what you're thinking: tutus, 1941, what could possibly be so fascinating? Well, as much as we love our frothy, romantic tutus, the truth is, back then, a tutu was much more practical than pretty! Think streamlined, elegant lines, not a mountain of tulle.

It's all thanks to the fabulous (and rather sensible) Russian dancer, Vaslav Nijinsky. Back in 1909, Nijinsky debuted the short tutu for the ballet Le Spectre de la Rose and, well, let's just say the ballet world was never the same. Prior to this, the ladies were swanning around in long, flowing skirts that definitely hindered their movement.

So, what exactly was a tutu like in 1941? Imagine a ballet dancer gliding across the stage in a fitted, knee-length, soft and flowing skirt made of silk or satin, perhaps with a few layers of tulle underneath. Think Grace Kelly, not Baryshnikov. And let's not forget about the colours: this era embraced vibrant hues - a bold emerald green, a sunshine yellow, or a stunning scarlet would have been right at home on the stage. A touch of whimsy in a tumultuous time. Think a splash of optimism in a rather grey world.

But what were they actually wearing on this very day in 1941? The 8th of August, that's what it was... the 8th of August 1941. Ah yes, on this particular day, in a bustling London, Margot Fonteyn, a ballerina that we all still adore, would be showcasing her skills in a performance of "Swan Lake" with her beloved partner, Robert Helpmann, at the Royal Opera House. It's fair to say she would have been wearing a rather magnificent white tutu! And this, my friends, is just the beginning of the fascinating world of ballet in 1941!

We must remember the challenges the dance world faced: World War II had broken out in Europe, a worldwide struggle affecting every single aspect of life. For some, going to the ballet, was the one piece of escapism, a ray of light. For others it was a form of expression, to use their art to boost morale and promote unity.

There were, however, more somber days. Many of the dancers and dancers’ families in Great Britain were away fighting on the battlefields of the war. The impact of this was dramatic and profoundly heartbreaking.

This didn't stop the ballet, however. It may have shifted a little but the passion for art still prevailed. Many performances continued, both on home ground and abroad. They even used this opportunity to raise money for war relief funds!

During the wartime, there were incredible examples of creativity as theatres took every chance they got to push the boundaries. New ideas and concepts flourished – like this fantastic Ballet Rambert production in 1940! This dance called "How do you Do?" is described by the great critic, John Percival, as “intimate and subtle” and "deceptively simple". This type of innovation brought fresh perspectives to audiences during that time. It's remarkable what the artists achieved despite all the trials of their world.

But the wartime did cause a significant problem for a rather special type of tutu: the 'The Bell'. This style of tutu had a much more dramatic silhouette - like a giant, flared skirt! It really was eye catching, darling, and we owe its birth to Diaghilev's Russian Ballet. The Bell, like other variations of the ballerina’s dress at the time, used lots of tulle. And this, you might guess, presented some real challenges as war raged!

Getting hold of tulle proved incredibly difficult because the fabric was usually imported from France. It seems silly to think about this today. Tulle’s so readily available to us all! However, with trade routes all mixed up because of the war, those vital rolls of tulle for a glorious ‘Bell’ tutu were just not as easily acquired. And let’s be honest, we all know how essential that delicate tulle is to create the most captivating look in the history of the tutu!

And so the clever creative talents within the ballet companies got resourceful. It's the most fascinating thing about this period! Tulle would be salvaged wherever possible, often using scrap material or donated fabrics. The skill involved here, my dears, was astounding. I think it was an expression of the resilient spirit of the ballet world. They made do. They still wanted to dance.

But how do they make a Tutu? Well it's surprisingly easy. As long as you have some imagination! They started with fabric, then the dancers, the designers and the stagehands, began cutting, laying out and arranging their shapes. Some used simple layering of fabric and others created some very inventive techniques of layering, stitching, and fastening. The important thing, of course, was to keep the fabric moving freely so they could create wonderful movement.

One other fantastic thing that we learned during our trip to the 1940s was a change to the balletic style of performance. Now, this one is certainly a bit unexpected! It had moved away from the classicism, the grand romanticism of what we would understand of "classical ballet" today. Instead, they started to embrace more modern themes – think movement that was fluid, natural and even experimental. We had so much fun looking at some of these wonderful photographs from the time – they looked absolutely divine!

In many ways, this kind of style echoed the events of the time: there was a focus on “grounded” performances, reflecting the reality of a world very much affected by the world at war. And yes, it might just sound rather drab in comparison to our grand ballerina images, but there's this incredible strength to that period. They did their absolute best to stay focused and positive, they worked as hard as possible, they didn't let their love for the dance world fade at all.

It’s important to keep in mind, however, the challenges facing those involved in the performance of the art of dance in such a challenging environment. Think of it this way, imagine not just having to make the tutu, but also having to find someone who could design the costumes, find a fabric to create a stunning, unique costume from – maybe with minimal materials and a tiny budget? This had to be done at the same time that theatres were faced with closing for days at a time, because of blackout restrictions!

Just thinking about it all brings a fresh perspective to what we call ‘normal life’. The wartime generation faced incredible obstacles that required enormous strength of character to endure, even to celebrate in the ways that they did!

Here we are at the end of Tutu Tuesday and our voyage through 1941 and I’m certain that my pink-tutu wearing, time-travelling self, is going to do all that she can to make every Tuesday more dazzling!

Remember my dear lovelies, ballet in the past was still, like today, all about passion, dedication, and pushing the boundaries! Whether it’s the fluffy pink tulle tutu of today or the elegant and streamlined silhouettes of 1941, each generation of tutu brings a special sparkle and a magical experience to our ballet world.

That’s all from me. Don’t forget, next Tuesday is another chance to take a trip on Tutu Tuesday. Until then, keep twirling!

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