With the school run done, Itziar Mendizabal sits down to reflect on the first few weeks in her new role, teaching upper school students at The Royal Ballet School in London.
“I’ve just sent a message to a previous teacher of mine, to tell him I’ve been thinking about him, as I used a turning exercise he used to set, for my students!” she reveals, her words a charming peek into her new world, that clearly holds much respect for her past.
Having performed professionally in four companies across her dancing career, including as a principal dancer at Leipzig Ballet since 2008, followed by 15 years as First Soloist at The Royal Ballet, Mendizabal brings a wealth of unique and diverse knowledge to impart to her new students, and she is relaxed and generous as she shares her views and goals, acknowledging that the transition from dancer to teacher is very different, with 16 dancers to worry about now, instead of just herself!
“If I hadn’t been a dancer, I would have trained as a teacher. I’ve had a teaching mind from the beginning,” Mendizabal says. “Perhaps teaching is in the blood; both of my parents are retired school teachers. I was always the student who was looking around the studio to help problem-solve. To help different dancers with individual issues.”
What becomes apparent very quickly during our discussion, is that Mendizabal cares deeply about the person as much as the dancer she is teaching. As well as continuing to build their technique and strength, she has a strong interest in developing the individual qualities and strengths of the dancers she will guide and teach throughout the upper school. She notes that she’d already been amazed at their rate of improvement in just their first few days together at the start of term and comments on how their rapport and trust in each other as teacher and students is already beginning to grow.
“It is so special to be a little part of their journey,” she smiles. “It’s so privileged as a teacher, to be able to work with such talented students, who have the focus and ambition; they come with you on the journey in the studio. You can’t ask for more than that.”
Mendizabal has had a lot of international influences in her training, having grown up in Hondarriba, Spain. As a result, she has become very adept at adapting to different schooling techniques, all of which have been incredibly enriching to her own dancing and performance work and will continue to benefit the students now guided by her.
Recalling her own training days, she remembers advice given to her by Cuban teacher Menia Martinez who would call for three pirouettes: “Even if you’re crooked!” “It was very powerful,” Mendizabal describes, “because we spend so much time worrying about shape and line, and this advice instead asked dancers to just go for it, and polish later.”
Iain Mackay, Artistic Director of The Royal Ballet, says of Mendizabal’s recent placement as teacher, “Itziar is a remarkable artist, and her wealth of stage experience, artistic insight, and deep understanding of classical and contemporary repertoire will be invaluable to the school.”
In fact, Mendizabal found herself thrown in at the deep end, having to cover teach whilst still in training.
“The students were preparing for appraisals, and I was in a boot from a stress fracture, so was unable to demonstrate anything!” she explains, acknowledging the great communicative skills teachers develop to express and describe what they want. Mendizabal completed The Royal Ballet School’s Professional Dancers Teacher’s course in 2014, and has guest taught at intensive courses since then. In finding her pathway, she has also taught company class on occasion for The Royal Ballet and discovered it was not for her, explaining that at company level, the rapport is different as dancers already know what they need and how to gain that from taking class, whereas she prefers as a teacher, more in-depth work.
“I want to help dancers to understand that as they start to attend auditions, eyes go to those who remain honest to who they are,” Mendizabal says, knowing that she was best suited to working with students who are a little older, recognising the artists they already are and developing them to push even further in their own personal way. “That next step. That is my strong skill. It is not just steps. Expanding on what they have already gained, maintaining technique while we use artistry, so that by the time we do solos – more technical choreography – we have a stronger base to build from.”
We touch on the fantastic provision of healthcare tools available for dancers at The Royal Ballet, including Pilates, Nutritionists and Sports Psychologists. Very different from years ago, we agree, but so positive that all this behind-the-scenes work is in place to support healthy dancers and young people in their training. Mendizabal is also keen that her vocational students understand that a dance career can look very different for each of them. “A wonderful dance career is possible in many different companies,” she advises. “Success is you being happy, where you are most suited as an individual.”
Wise advice, and it’s inspiring to listen to hear her insight, as she begins to coach her students in the Lilac Fairy solo from The Sleeping Beauty, one of the many roles she herself has danced. “We are just beginning to look at the direct framework,” she explains, describing how she will guide dancers through difficult moments. “Where to look, where to focus, where to put the weight, and how to stay in control in tricky moments. Remind yourself who your character is – for example, a fairy. Talk to yourself – what are you trying to say? Artistry is a tool to use to regain focus and control.”
Mendizabal adds, “Ballet is evolving. But that shouldn’t be at the cost of the art form; we must always remember that. Through artistry, that is how we reach audiences emotionally.”
Lucky students at The Royal Ballet Upper School to be receiving such rich input and guidance from Mendizabal, and we look forward to the results of her nurturing, guiding them into successful careers.
By Louise Ryrie of Dance Informa.
