As a dance teacher, Henry is remembered as authoritarian. Organising and teaching a large number of students would have been a challenge when then, as now, a district ballett teacher is responsible for “everything”. In Henry’s case it was all dance instruction, the administration of the school, and all production tasks in his shows – the light setting; scenography; costumes; and all choreography. In pictures from this period, there isn’t an ounce of fat on Henry. His pupils tell of high stress levels before productions, and bleeding toes from their pointe shoes; which they tackled remarkably well, as one remarked, “We just stuffed cotton wool between our toes and suffered in silence.” Admirable devotion to Henry and dance. No gain without pain.
How Henry is remembered
Henry once confided that after the final curtin, he would return home, exhausted, to the comfort of the congradulatory flowers and chocolates, and so I’m told, a little cognac. He confirmed this in an interview with Fremover, where he said that after his shows, in order to wind down, he drank himself silly and collapsed in a pile, to recover from the exhaustion of these productions and the emptiness afterward; not uncommon in show business.
Even today, social media is full of warm memories from many of Henry’s students, who post pictures from their days in Haagensens ballet, with framed photos placed prominently in their homes and photo albulms. Firm but fair; vitally concerned with their well-being; respected and admired; are all words they use to describe Henry. In short, Henry’s life was his students.
He gave his students confidence, and was sincerely interested in their welfare and lives. Concerned and sad when they were sick, and rejoiced in their achievements and progress. He saw the potential in every student, even those with lesser talent were given the opportunity to dance centre stage. Henry did not have favourites in his school. (Ljunggren A. , 2018)
In her oral history a student of Henry’s for twenty years; Aud Ljunggren, said that when she started dance at the age of eight, Henry had a very different teaching style from any other teacher she knew. At first he appeared rather strange, but as she got to know him, his outstanding qualities as a teacher were to inspire her for life. To many of his students he was an original, colourful personality.
December 1961, in an interview with Fremover, the journalist asked one of the youngest dancers, Ellen Inger, about Henry. Dropping into a split, she tried to demonstrate how (unreasonably) demanding Henry was, then added that she was a rather frightened of him as well, but at the same time adored him and dance. Listening to her reply; Henry chuckled. Many of his students wouldn’t have had the courage to say this out loud, however they would certainly have agreed with Ellen Inger, that Henry was a demanding, awe inspiring teacher.
The journalist then turned his attention to the youngest dancer, Anne Karin, and asked her what she dreamed of being. To which she replied a dancer. To be able to realise a dream you need opportunity. Opportunity to excel at dance requires a school. A ballet school, just like every other business, needs a solid economy to flourish. Haagensen struggled to make ends meet, running the school on a shoestring and without council subsidies. To Anne Karin’s dream he commented that a career in dance was a, “Spartan existence!”
Henry’s meagre income mostly came from his ballet school. He did however, teach Rosemaling for a time. The bi-annual shows promoted the school, gave students the opportunity to perform, and motivated them to excel. No student ever recalls him advising them to go further in dance. Perhaps he felt it was enough to learn the joys of dancing without the pressure to pursue dance as a career.
Haagensen’s Professional Students
Two of Henry’s most talented pupils chose dance as a career. Kirsten Lian née Foshaug, was a particularly gifted dancer, and was later to take over Henry’s school in 1982. Another was Anne-Guri Nedberg, daughter to Norma and Carl-Trond Nedberg. Anne-Guri danced for a short period with Den Norske Opera, was a scenographer, studied dance through Danselinjen, Filmskolen in Stockholm, and received Statens kunstnerstipend (National Artist Grant) for several years.
Henry’s Teaching style
Henry was not a technician. His classes did not commence with technique training on the barre, or include stretching. Primarily, Henry focussed on the choreography to his ballets. Henry was not a formally trained ballet teacher, however he did have a broad repertoire from his time in Oslo, Germany and England. This is reflected in his excellent choreographies. For example, if he required a series of pirouettes in the next show, that is what the class did. This style of dance teaching became a tradition in Narvik and was difficult to change when professionally trained dance teachers arrived on the scene. (Ljunggren, 2018)
Henry in full swing in his reindeer boots, handknitted sweater and cigarette, during the rehearsals for the 25th Jubilee for Haagensens Ballett, 1978. Fremover, 16th December 1978, P16-17
All together there were about 1500 to 2000 students educated in Henry’s ballet school. His outstanding productions were well received, and are fondly remembered. If running a private school in Narvik was not enough, he also ran weekend classes in the mid 1960’s in Narvik’s neighbouring city, Harstad. The approximately 100 dance students today (2019) in Narvik kulturskole, are taught by two full-time teachers and the administration has a school a principal and a secretary. It speaks volumes for Henry’s work capacity that he had so many students, with total responsibility for the school’s administration; the pupils’ instruction; and ballet recitals.
Why Narvik and not Oslo
When he was asked in 1971 if Narvik wasn’t a little tame after the carousel of Oslo he said; (Haagensen, 1971)
“Do you know what I said when I established this school in North Norway? I said to myself; I am so thankful that I can live in Narvik, in a small town where we can still see the sky, where we can breathe, and where we can stop and chat to each other. We have no idea how happy we are here. I can’t understand how kids can grow up in a concrete jungle, where they only see streets, cars and brick houses. And when I go to my mountain cabin at Veggfjellet, with all my latest ballet music and have time to reflect and create new dances in a unassuming little ballet school with healthy, happy Narvik children I certainly don’t miss it (the carousel of Oslo). “1971
Sources
Fremover. (1978, 12 16). Ballett-trinn gjennom 25år med Henry Haagensen. F
Ljunggren, A. (2018, 08 23). Oral History. (F. J. Ellingsen, Intervjuer)
Ljunggren, A. A.-P. (2018, 08 23). Oral History. (F. J. Ellingsen, Intervjuer)
Haagensen, H. (1971). Utstilling i forbindelse med Narvik kulturskolens 50 års jubileum 2003 Folkets Hus.
Featured photo: 29th March 1960 Henry Haagensen (left) with Kirsten Foshaug née Lian (right)
This page was written by Fiona Jane Ellingsen. Fiona worked as a consultant in Narvik kulturkontoret (Narvik cultural office); and later a music producer and dance teacher at Narvik musikkskole, later Narvik kulturskole (Narvik community school), from 1991 – 2006. If you wish to contribute to the history of Henry Haagensens Ballet School, take contact with the author.
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