Henry Haagensens Ballettskole 1957-1981

Disappointed with Oslo, Henry Haagensen returned to Narvik late 1957, this time for good. He worked for a short time in an advertising agency, however decided that his talents lay in teaching dance and decided to re-start his ballet school. The first 25 pupils quickly increased to 170, spread over 10 classes.

When asked by a journalist why he decided to break off a professional career in Oslo he said; I wanted to use my creative energy to the full. And continued, I was tired of doing the bidding for all the world’s producers and instructors.  (Fremover, 1999) Henry was a very strong personality and wanted to use his artistic talents on teaching.

Motivation to teach dance

The question about why he wanted to teach, and not perform, was the standard question journalists returned to time and time again when interviewing Henry. He never seemed to tire of being asked and each new answer revealed more and more of the frustration he felt about his years in Oslo.

In one interview from 1962, he dryly said he didn’t miss Oslo at all, adding, that he found dancing professionally disappointing, and that his talent lay in his ability to teach children the “delight in dancing” or “terpsichore”. He commented, I’m not going to hatch out ballet stars. I just want to give as many little girls as possible the confidence to go out on stage and discover the joy of dance, follow the music and carry themselves nicely. He was content to run a small ballet school with healthy happy Narvik children. An admirable ambition. (Fremover, 1962)

Dance localities

In the early 1950’s, Henry Haagensens Ballett recitals were staged in the Kinoteateret and Håkonshallen. However these localities were not ideal venues for dance.  

New Theater

It was decided to build a new theater called Folkets Hus (The People’s House) on a corner block in the heart of Narvik. Construction began in 1953. The council later purchased the neighboring building, which meant that Folkets Hus could span the block from Dronningens gate, or Gate 2, to the main street Kongens Gate, or Gate 1, as it is known locally. Folkets Hus opened in 1956; fronted onto the town square and occupied most of that quarter. Initially there were no plans to build a stage, however with an extraordinary council grant of 1.150.000 NOK, Theatersalen was added to the plans. (Fremover, 1953)

On Henry’s return to Narvik, he was then able to stage his yearly productions in a modern theatre with seating for 600, an orchestra pit, stage, rehearsal and dress rooms, and studios to conduct his classes back stage in the Speilsal (mirror room) or on the fourth floor in the Studiosal. During a recent renovation of Folkets Hus, after a fire backstage, the mirror room was renamed Haagensen sal in his memory.

Narvik Revyamatørene re-started

Henry restarted Narvik Revyamatørene, with a show on 8^th April 1958, starring amongst others an earlier student, Kirsten Foshaug (married Lian) who was to take over Henry’s ballet school in 1982 after he retired in 1981. It wasn’t long before Henry established what was to become a tradition in the city – two large yearly student recitals, one at Christmas and the other at the end of the school year in spring. This expanded in the 1960’s to include a yearly Presseshow during the annual Vinterfestuke (VU/Winter Festival Week) in March. Later in the 1970’s, when Henry established a ballet school in Harstad, he staged student recitals during Festspillene I Harstad (FINN). Haagensen Ballet School also performed in several TV shows including NRK Gammeldans fra Narvik with Sverre Cornelius Lunds Ochester, at Folkets hus, during VU1969, NRK’s Falkeklubben 6^th April 1970, the NRK’s Barne TV (Children’s  TV), 5^th and 12^th November 1976 and Ska vi dains førr dæ? in Harstad under Barnasfestspill (FINN) in 1978.

As was the norm then, Henry had responsibility for everything, and in many ways this is still the case in dance recitals in Narvik today. Henry created his own work place in what was, and still is, a profession dominated by women.

Dance – a spartan existence

In almost every interview, Henry was asked about why he (as a man) chose dance as a career. His answer rarely changed replying, “When you are a young man and dream of becoming a ballet dancer, you hold it for yourself, because no one would understand anyway,” and, “When quietly, you leave to become a dancer, actor, learn theatre painting and the starvation that follows, it’s not okay to be talented in so many directions, and to be penniless from the very start of life.” (Fremover, 1962)

People don’t generally understand how much perseverance and determination it takes to become a top dancer. Especially in the male roles. In Henry’s generation male dancers were stigmatised, however this has changed today. For Henry, this stigma was compounded by poorly paid precarious employment conditions both in Oslo and Narvik. When Henry trained, no national ballet school existed, so Henry’s dance education was limited to what he could afford on his meagre wages.

To illustrate the working conditions typical of the period we need look no further than the contract Henry signed with the Sand-Schanke Sommer Show, Bjørn Sands’s and Einar Schankes’s revue Ferske Fjes (Fresh Faces) in 1957 at Det Norske Teateret, Oslo. Despite responsibilty for both the choreography and dancing in the show, Henry received under one percent (0.8%) of the ticket sales. First the Luxury Tax (30%) and Tono (10%), was subtracted, then the remainder was split between the eleven members of the cast. With a full house for every show, the most Henry could have earned, was a paltry 3,000 crowns (42,400 in 2018) for the three months show from its opening night 13th June to its closing mid August. No wonder Henry spoke of stavation in Oslo.

By the mid 1960’s Henry’s school was firmly established, however it was a financially tough existence. When interviewed for his spring recital in 1961 the journalist asked three-and-a-half year old Anne Karin what she wanted to be when she grew up. Her inevitable answer was, “Only dance!” to which Henry commented, “Spartan existence!” Unlike music; dance did not receive financial support from the council. Something Henry regularly touched on in his interviews.

When interviewed about the importance of the help given by parents in preparing for the school’s 10^th jubilee in 1962 he said, “They sit there year after year, pleased with their children’s progress. The other day a mother told me that her six-year old daughter was in Eirid Jakobsen’s music kindergarten. I had in fact noticed how her daughter’s musicality had improved and thought, I wonder if anyone notices what is done for children in music and ballet in Narvik, and how these activities build a community. If so, it wouldn’t hurt with a little financial support. Even though both activities are recreational, they are still very valuable ones at that.” (Fremover, 1962)

This did not escape the attention of Ingeborg Haakstad, who after moving to Narvik from Oslo, where her daughter had studied dance, sent a letter to the editor March 1966, where she took up the financial situation for dance instruction in Narvik.

She wrote that instruction cost 60 crowns (630 in 2018) each semester, but for half the amount, 30 crowns (315 in 2018), one could study music in the community run music school for a whole year. A yearly ballet fee of 120 crowns (1,260 in 2018) covered the hire of the studio at Folkets Hus, music, decoration, lighting, costumes and Henry’s salary. At the time Henry had about one hundred students spread over seven classes. Haakstad felt that the community should give Haagensen Ballet financial support, such as a grant, free training facilities or a scholarship to his pupils’ trips. She went on to ask the same question that just about every dance teacher has asked in Narvik; “Everyone in Narvik knows how important the dance school is to the cultural life of the city, so why does the council still act as if dance is “noe tøv og noe ordentlig jåleri”, translated – that dance is nonsense and a joke, and forget that it is in fact an important pastime?”

Haakstad’s letter is extremely interesting because it indicates that already in the mid 1960’s, dance instruction was thought to be a natural part of the council-run school alongside, and on equal footing with, song and music instruction. And that economically it was cheaper to take music lessons.

Today (2019) instruction in Narvik kulturskole costs 3,082 crowns for a single weekly class. That is two-and-a-half times as expensive compared to Henry’s fees in today’s money. Today Narvik kulturskole charges 5,677 crowns for four weekly dance lessons. Up until 2008, dance students paid a flat yearly fee regardless of how many dance classes they took. There was also a reduction for siblings. This meant there was no financial barrier for talented children who wanted to take as many classes as possible and who came from families will little disposable income. This was exactly the same in Henry’s school. He went to great lengths to keep the costs of his school at a minimum so that being poor was not a barrier to learning to dance.  

However, as they say in Norway, “You have to have salt on your food.” Meaning you must have enough to live on. Haakstad understood the enormous loss to Narvik if Haagensen sought better paid work elsewhere.  (Haakstad, 1966)

With the potential loss of Haagensen to Narvik’s northern neighbour Harstad, politicians in the council raised the posibility of giving Haagensen a small grant to his school in 1966. Ofotens Tidende, wrote an interesting article entitled, “Beautiful ballet Show in Harstad” about the 1966 council debate. When Høyre (Liberals) suggested a grant of 1,000 crowns (10,450 in 2018) to Narvik’s ballet master, Arbeiderpartiet (Labour), who controlled the council, baulked; and following up with at times condescending and derogatory comments, blocked the grant because, “Funding dance instruction was a waste of public monies.” Haagensen’s gracious response was to remind the council, once again, that he ran a valuable educational activity for youth and that, “it would be nice to be on safe ground.” As the saying goes, prophets are not recognised in their own city – not until, of course, they nearly lost their “prophet” to Harstad . (Scrapbook, 1945-1980)

In the first twenty years of the school, the only grant ever given to Haagensen from Narvik council was a 3,000 crowns travel scholarship (24,400 in 2018), which he received three years later April 29^th, 1970 for his contribution to youth.  (Thomassen, 1970)

With a meagre annual salary of 12,000 crowns (125,200 in 2018) from his school, Henry took on small jobs in many of the city’s amatuer theater productions. By the early 1960’s the school was becoming very popular and well respected. His students were invited to dance in many of Narvik’s neighbouring towns and friendship cities. After one such performance in Harstad, 24^th and 25^th February 1962, which also visited Bardufoss and Heggelia, the review rated his show “better than visiting professional companies” and were particualrly spellbound by Anne Guri Nedberg’s (1947 – 2019) Le Cygne, (Svanans død) that Henry had adapted from Fokine choreography (1905) to Camille Saint-Saëns’ music.  (Fremover, 1962)

So, Henry ran a school that everyone could afford where a family’s financial situation did not stop a child from reaching his/her dream. Henry’s school was financed through tickets sales to student recitals, stage work for other amateur theatres and student fees. However a lack on a living wage motivated Henry to accept an invitation from Harstad to start a ballet school there.

Many years later, when dance instruction had become a part of the Narvik Kommunale Musikkskole, Henry wrote a worried letter saying that the fees in the council school were too high and should be lowered to a level where everyone could attend. (Haagensen, H. 1992, 10 18)

In 1973 Henry said, “That it would be impossible for anyone else to start a (private) ballet school in Narvik. If it wasn’t for my stage craft abilities and technical expertise the ballet school would not have never existed.” (Scrapbook, 1945-1980)

Haagensen Ballett in Harstad

At the invitation of Harstad Amatørteater in 1964, Henry established a ballet school as part of the theatre’s Barneteatergruppe (Harstad Amateur Theater Children’s Theater). His first course ran on Saturdays and attracted one hundred pupils spread over 7 groups. (Fremover, 1964) It was an explosive start with 173 pupils dancing in the first student recital at 17:00, Sunday the 24^th May at Samfunnssalen, with the second performance the following Monday. Jostein Turtumøygard, the leader of Harstad Amatørteater, was the master of ceremonies. With its 14 choreographies, spectacular scenery, costumes, and lighting it left Harstad audiences astounded that so much could be achieved in Henry’s short half year course.  (Harstad Tidende, 1964) (Harstad Tidende, 1964)

As in Narvik, Henry’s pupils recall his strict lessons. Elin Johansen commented that missing class was not an option. (Harstad Tidende, 1964)

Later that year the second course attracted two hundred and fifty pupils of which thirty four were adults in what they called “Plastikk” dance, probably what is otherwise referred to as creative dance today, where dances explore personal expression with no right or wrong way of moving. These classes are designed to expand and extend movement range by drawing inspiration from a range of external stimuli including music, props, emotions and working with other dancers.

To manage this explosive increase in students, Thurid Haugland, the leader of the Barneteatergruppe helped Henry administer the school in Harstad. (Fremover, 1964) This increased activity would have boosted Henry’s income, however one can wonder how Henry coped with the weekly bus trips to Harstad rain hail and shine, on top of a busy schedule in Narvik.

Already the first year of dance instruction gave results when Henry’s student Bjørg Høiland successfully auditioned for the Swedish revue company Kit Gays Troupe.  (Harstad Tidende, 1964)

The student recital at Christmas also received rave reviews. In particular the adult class’s dance “Ball in Versailles” was of such a quality that Henry invited these dancers to perform in his Christmas recital in Narvik that year. Liv Torbergsen neé Ramstad, originally from Narvik, performed with her daughter Ingrid in this Harstad group.  Liv had attended Hjørdis Ellefsen’s Gym training in Narvik with Henry Haagensen when they were children. (Harstad Tidende, 1965)

In the summer of 1965, 80 of Henry’s students were invited to perform in Festspillene I Nord Norge (FINN/North Norwegian Festival in Harstad), 17:00, Friday 11^th June at Samfunnsalen, Harstad.  All 15 dances were new, except “Ball in Versailles”, and were especially composed for the festival. Henry also danced in the pantomime “The Happy Twenties”.  Henry says in this interview that he started his school in Narvik early 1951. In the summer of 1965, Henry had more students, over 200, in Harstad than in Narvik (Harstad Tidende, 1965).

So positive were Harstad to Henry’s school that late 1965 they invited him to move to Harstad.

Ballet recitals

The large number of pupils who studied ballet from 1957-1981 had its background in Narvik society at the time. In the 1950’s and 1960’s Narvik was one of the richest communities in the country and families were able to afford ballet tuition. With its male dominated work force, over half the population were housewives and had the time to follow up their daughter’s ballet hobby. Parents could assist Henry’s ballet recitals – such as in the production of costumes. Narvik even had its own clothing industry at the time with professional seastresses and in general mothers were more adept at making home-made costumes than today. Some I have been told, even made them from kitchen curtins as cloth was expensive. (Svendsen, 2002 P81 and P87)

Henry’s dancers also performed in projects run by the Norsk Operaselskap / Den Norske Opera (The Norwegian Opera) when they visited Narvik. In 1976, Henry’s pupils danced in The Merry Widow (Den Glade Enke), an operetta by the Austro-Hungarian composer Franz Lehár. The responsibility to co-ordinate concerts between Narvik Byorkester (Narvik Town Orchestra), DNO and Henry’s ballet school, was taken over by an opera committee in Narvik in the 1980’s. (Svendsen, Med Takt og Tone – Narvik Byorkester 1915 – 2015, 2015 P77-78).

Henry conscientiously celebrated the school’s jubilees during his Christmas recitals, starting with the 10^th in 1962, the 15^th in 1967, the 20^th in 1973, and the 25^th in 1978. The details of these recitals can be found in the pages detailing Haagensen’s choreographies

Henry was still active in his retirement, running courses in rosemaling, scenography and creating choreographies for the Presseshow and the Norske Opera (The Norwegian Opera). However from the early 1990’s Henry lived a recluded life in his home in Leirvik, a small community north of Narvik.

Narvik Kulturpris

Henry never realised his dream of becoming an actor in Oslo, but instead he became a legend in Narvik. He was a multi-talent, who despite his showmanship, was a private person. He could be abrasive, but to his pupils, he showed warmth and concern for their well being. He had a strong sense of his own worth, had an admirable devotion to the stage, and understood the value of an education in dance in a child’s development.

Haagensen was awarded Narvik’s kulturpris (Culture Prize) in the council chambers, 17th December 1992. In 1976 Henry was awarded an Honorary Navy of Narvik City (Æresrallar) for his contribution to culture.

In 1978, during FINN in Harstad, Haagensen was awarded Esso-prisen for by the festival’s director, Carl Grønningsæther for his boundless creativity and contribution to culture.

Henry passed on the 2nd of March 1999, 74 years old, and is buried in Narvik. A picture of Henry hangs in Teatersalen in Folkets Hus, Narvik. He was awarded Statens Kunstnerlønn from 1980.

He dedicated his life to the performing arts and is fondly remembered by everyone for his landmark contribution.

---

Sources

Fremover. (1962, 02 27). Ballett-jentene gjorde stor suksess i Harstad. Fremover, s. 3.
Fremover. (1962, 12 07). Hågensen & Co. runder en milepel. Fremover, s. 4.
Fremover. (1964, 02 18). Ballettskole i Harstad nå. Fremover, s. 2.
Fremover. (1964, 09 09). Stor oppslutning om ballettskolen i Harstad i høst. Fremover, s. 9.
Haagensen, H. (1992, 10 18). Danseprosjekt 1993/1997 i Narvik kommune. Brev til Narvik Kulturavdeling v/ Fiona Jane Ellingsen. Narvik, Norge: privat.
Haakstad, I. (1966, 03 10). Byens Ballett. Fremover Ordet Fritt, s. 3.
Svendsen, O. (2015). Med Takt og Tone – Narvik Byorkester 1915 – 2015. Narvik: Forlaget Kristiansen.

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: 1959 Barbro Larsen, Jorunn Lande and Randi Svedenborg. Private collection.

Home

Note that it is not permissible to copy this article and publish it on any other websites, public publications, exhibitions, educational documents, broadcasts and transmissions without the prior permission of the author, Fiona Jane Ellingsen.
Posting content without permission of the copyright holder can result in legal action.
The use of photos and videos on websites, public publications, exhibitions, educational documents, broadcasts and transmissions without the prior permission of the author Fiona Jane Ellingsen is prohibited. This includes embedding photos on social media sites. Such actions diminish the ability to of the content’s owner to profit from this project.