Joanna Vella

1. What gave you the incentive to dance?

It actually started as a challenge. I wanted to prove to my parents that they had made the right choice in sending me to ballet lessons. My father did not seem to think anything fruitful could develop from my attending ballet classes. As a child, I listened to classical music at my aunt and uncle’s house. I do believe this affected my assimilation of the music into classical dance.

2. When did you start dancing?

I was five, that is nearly 40 years ago. In those days it was a luxury to be sent to ballet lessons. I showed an artistic streak that translated into a love for classical ballet.

3. Define your style, if possible.

Ballet suited my patience and inner desire to dance. At the age of only six I performed my first solo at the Manoel Theatre and newspaper reviewers picked me out as a future ballerina. My achievements in the classical sphere of dance remained consistent after that and the more time passed, the more I felt ballet to be part of my character. It became the best thing I could do with my life. I believe that the Royal Academy of Dance is an institution that offers the best dance training in the world.

4. Is there any style you dislike and if so, why?

I feel the greatest affinity with

classical ballet and feel comfortable teaching it. There is no dance style I necessarily dislike, since a dancer must be versatile.

5. Why did you chose to teach?

Children must be taught the right way and that kind of education must start at a young age when children can be moulded into appreciating a form of art. Ballet demands a great deal of discipline and this is a skill that will serve the child for life. Children fascinate me – the way they look at you with such sincerity is an element that convinced me that teaching will give me great satisfaction.

6. What does dance mean to you?

Great perseverance, discipline and a love for the art.

7. How relevant are age and weight in the world of dance?

Ballet requires dedication and a good loose, strong body. A dancer must eat healthily to perform well

8. Do you think there is a Maltese market for dance?

The market for ballet in Malta seems encouraging. With so many ballet schools, the future should certainly be bright. However I think that other forms of dance, such as jazz and modern, can be seen to be more entertaining than classical.

9. What is the next step in your career?

I would like to see young Maltese ballet dancers benefiting from every opportunity to promote their careers and develop this art that will never die.

10. What are the fondest memories of your career?

Travelling abroad in my days of dancing with a folk group representing Malta was definitely the most exciting time. Those were experiences that made me feel proud and happy.

Janet Vella

1. What gave you the incentive to dance?

It was actually not my idea. I was a tomboy as a child, but my cousin convinced my mother to send me to a dance class.

2. When did you start dancing?

I went to this class at the age of seven. I started attending classical ballet classes at Tanya Bayona but in a few months moved to a jazz class. Although I respect classical ballet, and consider it the foundation of the discipline, I feel that my body adapted to the style of jazz much more. Later on I also studied Spanish dance with Deborah Mcnamara, which I enjoyed but jazz was still my forte.

3. Define your style, if possible.

The years of working with different people has given me my own style of dance which is very hard to define. I think style is defined gradually, as you mature and work with different people. As I developed as a dancer, I fused all the styles I had trained in, resulting in something that is all my own.

I went abroad and worked with many different teachers. This led me to absorb part of their style. Its funny, I’m not always aware of this but while choreographing a piece I notice elements of different styles creeping in.

In a nutshell I would say that before being introduced to the hip hop style, my dancing and choreography could be described as dynamic contemporary jazz.

4. What did hip hop inject into your style?

Old skool/new skool hip hop was introduced to me about three or four years ago when I studied in London under Patrick Allan, a New York dancer/performer. I later assisted him with the technical side of the class. The style suited my body and I felt the urge to take it home and make it my own. I added my new-found knowledge to what I had already developed. The next step in my evolution would be to fuse popping, locking and breakdancing into my style.

5. Is there any style you dislike and if so, why?

I hate performing classical simply because I do not believe it suits me. I love watching highly trained classical dancers, but that is as far as it goes, I’m afraid. Apart from that, I really cannot stand the repetitiveness of ballroom dancing. It is too unimaginative.

6. Why did you chose to teach?

When as a child I was asked what I wanted to be when I grew up, my answer was always: “definitely not a teacher”. Now all I want to do is teach. I came back from a scholarship in London with an “I have a lot to give” feeling. I wanted to pass on everything I had learnt. Also, I always loved being a leader.

I can proudly say that even though I was told I was too young to teach at 17, I succeeded. In that first year of teaching I also choreographed a dance that was then staged during the end-of-year production.

7. What does dance means to you?

Simply, it is a way of expressing myself without words. It is a way out of emotions and pain. I become a different person when I am on stage, it is a totally different world for me. I think it is probably the only chance I have to show people who I really am.

8. How relevant is age in the world of dance?

It is mostly relevant when leading a professional dancer’s life. When you are dancing for 12 hours every day, the body inevitably suffers. There is only so much wear and tear it can take. I believe if dancers take care of their bodies, age does not necessarily matter. The thing I would have a problem with is seeing a dancer who has aged visibly still taking the stage.

9. And weight?

It is obvious that no one can be seen on stage looking like the Michelin man! It may sound harsh, but it is only logical that the power of gravity affects the body and makes moves like jumps more difficult for someone heavy. I am not about to say how much dancers should weigh, but I do think people should look in the mirror before going on stage.

10. Do you think there is a Maltese market for dance?

More often than not, the Maltese public wants camp, somewhat cheesy, entertainment. My style could not be further from that – more than anything, it belongs to the theatre world and may often be misunderstood.

Dance is not funded, we sometimes have to pay to perform, which is a bit ridiculous. We only get a few chances to dance in a whole year and this leaves me thirsty for more. Unfortunately, one cannot be a professional dancer in Malta. Making a living out of teaching is not making a living out of dance. We cannot afford to live and breathe the art 24/7 because we have to put food on the table.

11. What is the next step in your care?

I aim to promote my young dance company, Moving Bodies, both locally and internationally.

28

HEAD: Man accused of murder

Point: Court told about defendant’s drug problem

A Sliema man was charged yesterday with the brutal murder of 32-year-old Josette Scicluna in San Gwann on Monday evening.

David Schembri, 28, from Sliema, pleaded not guilty to killing Ms Scicluna after repeatedly stabbing her in several parts of her body at around 7pm on Monday.

Mr Schembri, who at one point in the courtroom sported a radiant smile, also pleaded not guilty to being in possession of a weapon and ammunition without having a licence issued by the Police Commissioner, firing the weapon in a residential area and damaging property.

He was further charged with relapsing and breaching a court order handed down in September 2001.

Defence lawyer Edward Gatt informed magistrate Dennis Montebello that his client had a drug problem and needed to be able to receive assistance from the health authorities at the Corradino Correctional Facility. Magistrate Montebello ordered the director of the CCF to verify this information and provide assistance accordingly and in line with prison regulations.

Police inspectors Chris Pullicino and Mario Tonna prosecuted. Dr Edward Gatt appeared for the defendant while Dr Emanuel Mallia and Dr Giannella Caruana Curran appeared parte civile for the victim’s family.

Meanwhile, on 5 April, Mr Schembri was charged with attempting to murder Renard Mallia after allegedly hitting him with an iron bar, as well as with holding him against his will and seriously injuring him.

During this arraignment, Mr Schembri was further charged with stealing more than Lm100, causing damage to Mr Mallia’s property, driving recklessly and without an insurance cover and with being a relapser.

Joanna Vella

1. What gave you the incentive to dance?

It actually started as a challenge. I wanted to prove to my parents that they had made the right choice in sending me to ballet lessons. My father did not seem to think anything fruitful could develop from my attending ballet classes. As a child, I listened to classical music at my aunt and uncle’s house. I do believe this affected my assimilation of the music into classical dance.

2. When did you start dancing?

I was five, that is nearly 40 years ago. In those days it was a luxury to be sent to ballet lessons. I showed an artistic streak that translated into a love for classical ballet.

3. Define your style, if possible.

Ballet suited my patience and inner desire to dance. At the age of only six I performed my first solo at the Manoel Theatre and newspaper reviewers picked me out as a future ballerina. My achievements in the classical sphere of dance remained consistent after that and the more time passed, the more I felt ballet to be part of my character. It became the best thing I could do with my life. I believe that the Royal Academy of Dance is an institution that offers the best dance training in the world.

4. Is there any style you dislike and if so, why?

I feel the greatest affinity with

classical ballet and feel comfortable teaching it. There is no dance style I necessarily dislike, since a dancer must be versatile.

5. Why did you chose to teach?

Children must be taught the right way and that kind of education must start at a young age when children can be moulded into appreciating a form of art. Ballet demands a great deal of discipline and this is a skill that will serve the child for life. Children fascinate me – the way they look at you with such sincerity is an element that convinced me that teaching will give me great satisfaction.

6. What does dance mean to you?

Great perseverance, discipline and a love for the art.

7. How relevant are age and weight in the world of dance?

Ballet requires dedication and a good loose, strong body. A dancer must eat healthily to perform well

8. Do you think there is a Maltese market for dance?

The market for ballet in Malta seems encouraging. With so many ballet schools, the future should certainly be bright. However I think that other forms of dance, such as jazz and modern, can be seen to be more entertaining than classical.

9. What is the next step in your career?

I would like to see young Maltese ballet dancers benefiting from every opportunity to promote their careers and develop this art that will never die.

10. What are the fondest memories of your career?

Travelling abroad in my days of dancing with a folk group representing Malta was definitely the most exciting time. Those were experiences that made me feel proud and happy.

Janet Vella

1. What gave you the incentive to dance?

It was actually not my idea. I was a tomboy as a child, but my cousin convinced my mother to send me to a dance class.

2. When did you start dancing?

I went to this class at the age of seven. I started attending classical ballet classes at Tanya Bayona but in a few months moved to a jazz class. Although I respect classical ballet, and consider it the foundation of the discipline, I feel that my body adapted to the style of jazz much more. Later on I also studied Spanish dance with Deborah Mcnamara, which I enjoyed but jazz was still my forte.

3. Define your style, if possible.

The years of working with different people has given me my own style of dance which is very hard to define. I think style is defined gradually, as you mature and work with different people. As I developed as a dancer, I fused all the styles I had trained in, resulting in something that is all my own.

I went abroad and worked with many different teachers. This led me to absorb part of their style. Its funny, I’m not always aware of this but while choreographing a piece I notice elements of different styles creeping in.

In a nutshell I would say that before being introduced to the hip hop style, my dancing and choreography could be described as dynamic contemporary jazz.

4. What did hip hop inject into your style?

Old skool/new skool hip hop was introduced to me about three or four years ago when I studied in London under Patrick Allan, a New York dancer/performer. I later assisted him with the technical side of the class. The style suited my body and I felt the urge to take it home and make it my own. I added my new-found knowledge to what I had already developed. The next step in my evolution would be to fuse popping, locking and breakdancing into my style.

5. Is there any style you dislike and if so, why?

I hate performing classical simply because I do not believe it suits me. I love watching highly trained classical dancers, but that is as far as it goes, I’m afraid. Apart from that, I really cannot stand the repetitiveness of ballroom dancing. It is too unimaginative.

6. Why did you chose to teach?

When as a child I was asked what I wanted to be when I grew up, my answer was always: “definitely not a teacher”. Now all I want to do is teach. I came back from a scholarship in London with an “I have a lot to give” feeling. I wanted to pass on everything I had learnt. Also, I always loved being a leader.

I can proudly say that even though I was told I was too young to teach at 17, I succeeded. In that first year of teaching I also choreographed a dance that was then staged during the end-of-year production.

7. What does dance means to you?

Simply, it is a way of expressing myself without words. It is a way out of emotions and pain. I become a different person when I am on stage, it is a totally different world for me. I think it is probably the only chance I have to show people who I really am.

8. How relevant is age in the world of dance?

It is mostly relevant when leading a professional dancer’s life. When you are dancing for 12 hours every day, the body inevitably suffers. There is only so much wear and tear it can take. I believe if dancers take care of their bodies, age does not necessarily matter. The thing I would have a problem with is seeing a dancer who has aged visibly still taking the stage.

9. And weight?

It is obvious that no one can be seen on stage looking like the Michelin man! It may sound harsh, but it is only logical that the power of gravity affects the body and makes moves like jumps more difficult for someone heavy. I am not about to say how much dancers should weigh, but I do think people should look in the mirror before going on stage.

10. Do you think there is a Maltese market for dance?

More often than not, the Maltese public wants camp, somewhat cheesy, entertainment. My style could not be further from that – more than anything, it belongs to the theatre world and may often be misunderstood.

Dance is not funded, we sometimes have to pay to perform, which is a bit ridiculous. We only get a few chances to dance in a whole year and this leaves me thirsty for more. Unfortunately, one cannot be a professional dancer in Malta. Making a living out of teaching is not making a living out of dance. We cannot afford to live and breathe the art 24/7 because we have to put food on the table.

11. What is the next step in your care?

I aim to promote my young dance company, Moving Bodies, both locally and internationally.