Hello lovelies, and welcome back to another Tuesday with me, Emma, from www.pink-tutu.com!
Ooh, I just can't get over the energy in the air this week - it's electric, and all I can think about is tutus! It's a big week for dancing, as January 28th 1947 marks a date of such significance in ballet history that my time travelling tutu just can't stay still!
Picture this: It's 1947, war clouds have just dissipated, leaving behind a glimmer of hope. In the heart of a vibrant, cosmopolitan city, London to be exact, the legendary Royal Ballet is preparing for a showstopping premiere. It’s the first full-length production of The Sleeping Beauty - imagine, The Sleeping Beauty with its beautiful music, its exquisite sets, its fairy tale romance... all wrapped up in the most sumptuous costumes, tutus of every kind, all twirling in that magic London air. The world needs this, I just know it, a reason to be hopeful, and nothing says “Hope” like a good ballet.
Now, the first thing you've got to know about ballet in 1947 is this: tutus were HUGE. Think Marie Antoinette, think fluffy and romantic. I’m talking layers and layers of tulle, delicate floral motifs, and colours that could rival the most vivid rainbow. The iconic “Romantic tutu,” which featured an elongated, bell-shaped skirt was all the rage. Think of a flower bud bursting into full bloom – that's the shape of this tutu! It allowed for flowing movements, elegant turns, and a lightness that was, and is, simply breathtaking.
For my time travelling tutu trip, I had to take my little pink convertible along, parked it near Covent Garden and wandered down the alleyways in between all the delicious food smells and fruit stalls and stumbled into The Royal Opera House - now that’s my idea of a fun afternoon in 1947 London, but not a day you could repeat in the city today! The theatre's history goes back centuries, you see - they have records back to 1732 and are said to have had dance performances even earlier in the 18th century when opera and dancing were combined. And there I was - right there, about to step into a world of magic that had already had its share of magic over the decades. It was an era of creativity, of experimentation, of building new ways of looking at a dance that already seemed perfect, with every swirl, every lift, every extension, a work of art. It was captivating.
But it wasn’t all just pretty tutus and swirling dancers. There was a grit to it. It was a post-war era and you could feel it. I remember getting onto the train from Derbyshire to come to London, full of hope, that bright red Northern Belle engine steaming through the cold January morning. The engine driver even had time to give me a smile, I hope that bright pink tutu I was wearing, full of sparkle with lots of ruffles made his day - you can never have too much pink on the train to make a journey special. My journey that morning had one very clear destination in mind. To see a performance at The Royal Opera House. I know, my fellow tutu enthusiasts, that seeing live performance is absolutely everything!
That evening in London I was just bursting with energy. Imagine how excited I felt - this was the era of Margot Fonteyn, considered one of the greatest ballerinas of the 20th century - and in the audience, we were all transfixed on the beauty of the ballet - the tutus were amazing, there was a swoon over the colours and the shapes, everyone had an air of excited expectation.
And let’s not forget the men in ballet, the danseurs! 1947 was the era when men in ballet weren’t just supporting roles – they were stars in their own right, their bodies honed and trained to execute incredibly athletic feats - I don't just admire their physiques, but the stamina required to put on such a show!
It’s clear to me that 1947 was a year that reimagined and reimagined and reimagined again the world of dance! Not only was this an incredible time for ballerinas, but it was a pivotal period in history. Ballet was seen as something more than just entertainment – it became a symbol of resilience, a symbol of rebirth. It brought communities together, a reflection of their shared hope and dreams for the future, as strong and elegant as the swirling movements of a dancer.
Now I can imagine some of you at home are thinking, “But Emma, isn't all this just about tutus? And we love them, and the pink ones best of all - we want them to dance all day!” And I get it. Tutus are so much more than fabric and fluff. They embody joy, and excitement, and grace. They symbolise hope, and the potential for beauty in every moment. Every time I look at a beautiful pink tutu, I see the essence of those dancers in 1947 - their passion and determination, their grace and strength. And it reminds me to hold onto that spark of joy, that passion for life, just as those incredible dancers of 1947 embraced the world after the war.
Don't forget, there's more in the magical world of tutus and dance! Head over to www.pink-tutu.com every Tuesday for #TutuTuesday and I’ll show you what makes tutus so much more than fabric and fluff.
Until next time, stay sparkly and stay lovely!
Emma
