"Let go of 'normal' then we can move forward"

Christopher Hampson has been the Artistic Director of Scottish Ballet for nearly a decade. The past year has seen some of the most challenging times in the company’s history.

He talks to Giulia Ascoli about how the company has pivoted to maintain their strong links with audiences and the community.

Christopher Hampson

Photo by Helen Maybanks

Could you describe the impact that the COVID-19 pandemic has had on Scottish Ballet and how you have been responding to it?

At the beginning of lockdown in March 2020, there was no chance of performing, touring or even training, so we looked to augment our output through other means.

Our artistic and engagement work has moved online. We’ve created live streams for communities that engage with our dance health work, and initiatives for frontline key workers within the NHS. We’ve also created new dance films, which premiered as part of the Edinburgh International Festival, alongside making and distributing our first ever feature film, 'The Secret Theatre'.

One of the most important elements of our pivot towards the screen was, and continues to be, to take our audiences and supporters with us. We’ve found as a company that we are agile and resilient in collaborating and creating work to keep our communities engaged.

The Brexit transition phase ended on 31 December 2020, with new rules coming into effect on 1 January 2021. How have these changes affected you?

We are yet to experience any direct or immediate impact as our supply chains and visa processes are yet to be tested, due to us not being on tour. Looking ahead, visa applications already take a considerable toll on resources. I can’t imagine this will get any simpler as we move into the future.

In what ways do you believe COVID-19 has transformed the dance landscape? What do you think will be its long-term effects on the sector?

Over the last five years, we had already committed significant resources to developing our work for digital platforms through our ground-breaking Digital Seasons. This allowed us to boldly stride on in the digital space during this last year and be brave in our decision making to quickly grasp that live performance and touring would have to take a back seat for a while. However, the impact on the dancers, choreographers and all our artistic support staff has been immense. They have needed to tap into their resilience and have greater autonomy – not something which comes naturally to dancers who are used to working together, collegiately.

One continuing challenge is, even when there is the opportunity to return to the studio, the dancers need to be brought back up to ‘performance’ standard safely and injury-free, which takes time and patience from all involved.

For dancers, not being able to practise and exercise their discipline to a high level is akin to a racing driver only being allowed to drive their racing car up and down their driveway.

The excellent working relationship between our Artistic and Performance Medicine Teams has been vital in supporting our dancers through their own personal journeys.

How have recent events reshaped international partnerships and collaborations?

COVID-19 has had the most immediate impact. The pandemic hit when we were in New York with our main company and our Youth Exchange group. We’d managed to open 'This Is My Body', a double bill of 'MC 14/22', choreographed by Angelin Preljocaj and 'Sibilo', choreographed by Sophie Laplane, at The Joyce Theater, but it closed after a few days.

This led to the cancellation of the same bill, and our important London presence at the Linbury Theatre at The Royal Opera House, and the cancellation of 'The Crucible' US tour to the Kennedy Center and Spoleto Festival (2020).

We’re thankful that we continue to have meaningful connections and relationships, and this year we’ll be working virtually with our friends at Move NYC – whom we collaborated with last spring when in New York with our Youth Exchange.

What are the key lessons you’d say you’ve learned over the last year?

There’s something to learn from any situation, good or bad. For me, being transparent with decision making and as an executive team, Steven Roth (Executive Director) and I, giving regular weekly company updates has helped us all to remain connected.

Only focusing on what we have control over has been vital in supporting our staff and dancers with planning future seasons. Still, the most persistent question I’m asked by the company and audiences alike is, “When do you think we’ll get back to normal?”. My response is: “Let go of ‘normal’ – then we can move forward.”

Scottish Ballet dancer Anna Williams

Photo by Andy Ross

What do you see as the main challenges dance artists, makers and performers will have to face on the road to safely bringing back performances to full audiences? What will Scottish Ballet in particular need to succeed?

I believe the biggest challenge facing the dance sector is availability of employment for the graduates from 2020 and 2021, coupled with the loss of professional expertise from those within the industry who have not been able to work for nearly a year.

For choreographers and performers, the eagerness to get back to the studio and the stage will require even greater patience as our pathway out of the pandemic is unlikely to be speedy.

What gives you hope for the future?

The overall resilience of the arts in the face of adversity.

While this has been an incredibly challenging and adverse time, I believe there are elements of our artistic output that have flourished and will remain.

What’s Coming Up?

Scottish Ballet is offering online classes, events and films throughout 2021. Sign up to their free membership programme to access these.

As part of its commitment to stage five major new works in five years, the company is also preparing for the world premieres of two new productions, 'The Scandal at Mayerling' and 'Coppélia', as well as the return of 'The Nutcracker'.

Further Information

Visit www.scottishballet.co.uk for the latest company dates and news.

Photos: Top: Scottish Ballet's Bethany Kingsley-Garner in the filmed performance of 'Catalyst' by Nicholas Shoesmith, as part of Edinburgh International Festival's 'My Light Shines On.' Credit Mihaela Bodlovic