Henry Haagensens Ballettskole 1951-1954

The establishment of Henry Haagensen’s ballet school in 1951 marked the beginning of a golden age for dance instruction in Narvik. Aud Ljunggren in her oral history, believed that Henry’s legacy is the enormous interest for dance in Narvik, and eventually the inclusion of dance instruction in the community run music school four decades later. (Ljunggren, 2018)

Henry ran his school in two periods, the first from 1951-1954 and the second from 1957-1980. Many earlier students maintain that “every” girl in Narvik had, at some time in their youth, danced under Henry’s guiding hand. In the first year of activity, he already had 70 students, including earlier students of Bjørhus. (Haagensen, Danseprosjekt 1993/1997 i Narvik kommune, 1992) (Nordlands Framtid, 1951) (Harstad Tidende, 1964)

When Henry started his school late 1951 classical ballet was still in its infancy in north Norway. An amusing article in Fremover in 1953 entitled “Naked Dance at the Royal” indicated the general public’s understanding of classical ballet and the costumes worn in dance. Fremover reported that the duo Tony and Maud, from Denmark, were on their Norwegian tour, and that Royal Hotel director Hamnes, had engaged them to perform a “naked dance”. Apparently the good turn up was rather disappointed because the Pas de Deux; “Adam and Eve” to Warsaw Concerto, turned out to be gracious classical ballet in tight sitting full-length body leotards and not what they expected – a striptease show. (Fremover, 1953)

Henry’s first student recital was on the 2^nd of June 1952 in the Kinoteatret (Cinema Theater) with tickets costing three crowns for adults and one-and-a-half for children and sold at E. Norvik (Dagbladet Fremover, 1952). Sadly, the local newspaper did not write a review. They did however write about his next production six months later.

Henry advertised instruction his newly established Henry Haagensens Ballettskole (Henry Haagensens Ballet School), in Fremover 1^st October 1952 in Tøttavangen, offering dance instruction once a week on Fridays at 15.00. Tøttavangen was owned by the folk dance group BUL Narvik (Bondeungdomslag). It also had a popular café with three Johan Løvholts paintings which are now exhibited at Museum Nord. It was also to become Narvik’s first state-of-the-art disco in 1985.

Henry also staged his early productions in Håkonshallen on the northern side of Narvik Church in the suburb of Frydenlund.

BUL Narvik

At their height BUL had over 100 members. When BUL celebrated their 100 years jubilee in March 2013, they had only twenty active dancers, the youngest at 50 and the oldest at 91.  (Martinsen, 2013)

Narvik Revyamatører

Henry not only started a ballet school, but also an amateur revue company,
Narvik Revyamatører (Narvik Amateur Theatre) late 1952. Fremover reported that after only three months in existence, the company was to give its first premiere in what they called, Vi som vil opp (We Will Up),  Friday 9^th January 1953.

Narvik Revyamatører consisted of twelve teenagers, with eleven performing in their first production. Henry Haagensen divided Vi som vil opp into two acts; the first with earth as a setting, and the second on the moon. The message was that the moon was neither better nor worse than earth. (Fremover, 1953)

In the revue genre, dance was often interspaced between vocal items, sketches, and live music in what was very familiar and popular with audiences at the time. In other words Henry’s first productions were not pure dance recitals. The entertainment genre, revue, has its roots in 19th century popular entertainment and melodrama but grew into a substantial cultural presence of its own during its golden years from 1916 to 1932.

In her oral history, Henry’s teacher, Gerd Kjølaas, explained how she trained her students. Firstly she strived to develop each individual’s innate ability, and secondly she, in addition to instruction in modern dance, also taught them choreography and pedagogy. So, Henry had an excellent basis in choreography and pedagogy, when he later started his own ballet school. His years under Kjølaas and his performances with Kjølaas and the Ny Norsk Ballett were refelcted in Henry’s choreographies, which were a mixture of concrete, easily understood, entertaining, and often amusing modern themes danced to a wide range of music, from classical, to jazz, to the latest popular melodies. (Danseinformasjon, 1997)

Fremover’s journalist gave Henry’s first show a good review and went on to correctly predict that Narvik Revyamatører and Haagensens Ballett, as it became known locally, would become a central part of Narvik’s cultural scene. The success of this first production was due to his imaginative scenography, stage props and professional instruction, all very new to Narvik and north Norway. For example a street scene in the first act contrasted well with the lunar landscape in the second and showed Henry’s imagination and skill, not only as an instructor, but also as a scenographer. The six dance numbers and the sketches were well received, with dancers Kirsten Hagen, Else-Marie Hårstad, Greta Lian, Gerd Olsen, Solveig Teimann and Per Berg performing.  The song numbers however, were of a varying quality. Music was live, by Håviks Kvartett, with Hans Bjerke on piano, a legend in the Narvik music scene. Hans Bjerke also played the contrabass in the Town Orchester.

It is to Henry’s credit that he as a private person chose to engage musicians to accompany his show, as it would have been an extra expense not easily covered by ticket sales.

Most people who have lived a while, especially in Narvik, will remember Einar Haavik and his band. After he had his debut in 1946, he has composed and played both jazz, swing, and latin. A long series of recordings and concerts were sent by NRK Radio. In 1957, Einar Haaviks Quartet as one of the first Norwegian jazz bands, to play on a cultural exchange to the Soviet Union. Then the quartet consisted of Einar on accordion (piano/vibraphone), Kjell Frykholm, base, Harald Lindkvist, violin and guitar and Harald Hansen on guitar. Einar Haavik’s Quartet was to become one of Norway’s most renowned jazz bands. This first class live band added a touch of class to Henry’s early productions.  (Hansen J. D., 2008)

Fremover’s journalist wrote well, reflecting reflecting insight into theatre and dance, something rarely seen in today’s local newspapers. He described the phone sketch by Henry Pettersen as hilarious and Henry’s parody of the head porter at Hotel Rondeslottet in the number “Peer Gynt” as entertaining. In those days, Henry often performed in his own revues. The sketches were well written and acted with amusing punch lines. When interviewed by Fremover, Henry said that, “Narvik was going to be very pleased with their new revue company.” And indeed they were. (Fremover, 1953)

Blanda Drops

Henry’s next production had the premiere Friday 4^th December 1953 with sold out shows on the 5^th and 6^th and was called Blanda Drops (Mixed Lollies) Blanda Drops eller Sangen om Viktoria-Vik was a variety show with a potpourri of numbers with sixteen aspiring amateurs, accompanied once again by Håviks Kvartett with Hans Bjerke on piano. Tickets cost three crowns and purchased from Egil Norvik. The performers were; Tove Fredriksen, Kirsten Hagen, Oddveig Kajander, Greta Lian, Lillipi Martini, Beth Pettersen, Siv Pettersen, Ellen Sandøy, Solveig Teimann, Tony Thomassen, Per Berg, Per Bjerke, Magne Hamstein, Terje Indstøy, Harry Pettersen and Erik Rønning and of course, Henry Hågensen himself

Fremover gave the two act show with its 18 numbers, a mixed review. The first act was a little tame, with only two sketches Stortingsvalg and Kunstens vei sung by Lillepi Martini, of any note. The second act, however, was far more successful, with some well-written sketches and good punch lines, mostly about local issues. It opened with Musikkskolen (Music School) sang in a sextet. Greta Lian sang En rød paraply (A Red Umbrella), Per Bjerke performed Hvilehjemmet (Rest Home). Harry Pettersen with the evening’s climax, Anton. Terje Indstøy sang Unnskyld – unnskyld at jeg spør (Excuse Me For Asking). Solveig Teimann sang and danced Blue Moon. Kirsten Hagen, Ellen Sandøy, Siv Pettersen, Beth Pettersen and Tonny Thomassen had minor roles. In this review Henry’s multi-talents as a painter, choreographer, dancer, and even as a singer, became evident. However there was one thing the Fremover’s journalist noted that Henry should, “kutte en del oplagt vulgære ting” translated, “Cut the obviously vulgar text!” (Fremover, 1953). He was not alone in including risqué text to attract an audience.

Henry’s last production in the first period was his Christmas recital 10^th December 1954 at the Kinoteateret. Henry still dreamed of an acting career.  So he returned to Olso in 1955 to work for Det Norske Teateret (The Norwegian Theatre) as a theater painter. However in a short three years he was to return to Narvik and restart his ballet school.

Henry’s student Aud Ljunggren, in her oral history, believed that Henry’s legacy is the enormous interest for dance in Narvik, and eventually its inclusion in the community run music school, four decades later. (Ljunggren, 2018)

Sources

Featured Photo: 24 piker Narvik taken by Fotofirmaet M.Lind sold to Museum Nord
Fremover. (1953, 11 28). Lokalrevy på trappene. Fremover, s. 4.
Fremover. (1953, 11 11). Nakendans på Royal. Fremover, s. 4.
Fremover. (1953, 01 03). Nytt revyselskap startet i Narvik. Fremover, s. 4.
Fremover. (1962, 12 07). Hågensen & Co. runder en milepel. Fremover, s. 4.
Martinsen, L. (2013, 03 09). 100 år gamle ungdommer Fremover.

This page is written by Fiona Jane Ellingsen and based on extensive research in local Narvik newspapers, films on NRK, Henry Haagensens personal archives and research in works about dance in Norway.
Images, videos and audio are available under their respective licenses.
Cover photo i from Henry Haagensens Ballett archives, photo Carl Knutsen, 1953. Henry surrounded by Bodil Øiesvold (15), Elinor Mevåg (14), Ingebørg Nordvik (14), Kirsten Foshaug (married Lian) (12) and Inger Anderson (14) (married Henschien) Aged 17, Inger started her dancing career at Chat Noir, Oslo, and later worked at Det Norske Teater in the 1960’s.

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