There is more to ballet than a princess, a fairy, and a dying swan, because South African ballet is pirouetting to share robust African stories on a global stage, moving beyond classical archetypes. Dirk Badenhorst believes this shift is important for sharing South Africa’s ballet on the international platform.
It’s a quiet revolution that requires artistic vision, independent funding, and determined leadership. Dirk is equally confident and ambitious that it is possible. He has experience as a dancer, the director of Mzansi Ballet, and as CEO of the South African International Ballet Competition to inform him. He has spent decades developing South African ballet to international standards, and he is determined to ensure that South African stories are told on a global stage.
Mzansi Ballet’s works, such as Bengingazi and The Gold Rhino of Mapungubwe, weave local history into the language of ballet and show how cross-cultural tradition and innovation can share local stories on an international stage.
Bengingazi is notable for its fusion of dance forms, blending classical ballet with traditional South African dance styles, specifically Pantsula, and sometimes Flamenco. The production has been performed internationally. A notable highlight was when Mzansi Ballet presented Bengingazi alongside the classical work Harlequinade in Brazil.
The Gold Rhino of Mapungubwe tells the story of the ancient Mapungubwe civilisation and the discovery of the Golden Rhino, exploring themes of history, colonialism, and reclaiming African heritage. It is a fusion of classical ballet, Afro-ballet, and contemporary dance, and has been presented internationally.
The artistic success of The Gold Rhino of Mapungubwe rests on the collaboration between choreographer Angela Revie, costume designer David Tlale, and the multi-composer score led by musical director Mark Cheyne, which features original compositions from Grammy Award-winner Wouter Kellerman.
The stage isn’t just a place to dance. It’s a place to tell a story, shape a career, and carve a legacy. Dirk Badenhorst spoke to The South African about leadership, mentorship, and the ROI of South African ballet.
From South African ballet dancer to company director, what inspired Mzansi Ballet?
South African ballet plays an important role in positioning South Africa globally as an equal partner in the creation of the arts. In particular, there is a need for independence when creating new ballets and staging existing ballet productions.
How do you balance artistic vision with business and fundraising demands?
This is an essential balancing act to ensure artistic independence while raising money, as the creation and staging of South African ballets should never be impacted by your funders. However, it is possible to engage potential funders to support your artistic goals while also achieving their goals.
How has judging internationally shaped your approach to developing local dancers?
I wanted to expose South African audiences and students to international ballet standards. This led to the creation of the South African International Ballet Competition to explore international ballet training standards and performances.
Networking with international ballet companies and schools has informed my artistic direction and enabled collaborations between them and South African ballet.
This is the legacy I hope to leave South African ballet, ensuring that it remains uniquely South African and comparable with international ballet standards.
How can South African Ballet reflect local stories while preserving classical roots?
South Africa can use the language of ballet to tell uniquely South African stories without sacrificing the integrity of the ballet or narrative. Mzansi Ballet’s creation of Bengingazi and The Gold Rhino of Mapungubwe are two examples of how South African Ballet.
How would you describe your leadership style in running a ballet company?
I am indeed a true proponent of micromanagement when I am running both the South African International Ballet Competition as well as Mzansi Ballet. I do believe in surrounding myself with star performers and star staff, which leads to both of organisations that I work with being able to create incredible productions.
How do you mentor South African ballet dancers for a professional career?
The Mzansi Ballet School exposes our dancers from a young age to the disciplines required by a professional company. We have also created the Mzansi Ballet Junior Company for younger dancers.
Through the South African International Ballet Competition, we have created wonderful collaborations with international ballet companies to mentor our South African ballet dancers in the world of classical ballet.
What is Dirk Badenhorst’s creative process behind a ballet production?
As director of Mzansi Ballet, I decide on the next production, I then secure the choreographer, after which the costume designers, set designer, and lighting designer will get together and start the process of creating the ballet for the dancers of our company. This is a process that could take anything from six months to three years, all depending on the size and scope of the production that we are working on.
How do you cultivate new audiences for South African ballet?
This is a challenging process. We are fortunate to have some sponsors who help us reach new audiences. We engage with schools, both private and public; we go into the townships; we perform in a variety of places and spaces to make an impact on as broad a new audience as possible.
We work tirelessly to ensure that the stigmas that exist about ballet are overcome and dispelled. We try very hard to encourage and convince parents that ballet is indeed a worthwhile and sustainable career option.
What is the cultural ROI of investing in the South African ballet?
The solutions to South Africa’s challenges should come from within South Africa, and I believe the creative arts, and in particular ballet, can go a long way in fostering the creativity to find these solutions.
In a country where we are faced with so many challenges, the Arts play an incredibly important part and role in ensuring that there is a feeling of hope and positivity in our country.
What has South African Ballet taught Dirk Badenhorst?
South African ballet has taught me perseverance and positivity, and it has taught me to never give up and to never take no for an answer, to ensure that this beautiful art form continues to exist and thrive in South Africa.
I believe that both ballet and the Arts should move from surviving to thriving and that a partnership of private and public funding is the only way to achieve this. So, ultimately, ballet has taught me that I am able to operate in both these spheres with confidence and passion.
