The Royal Academy of Dance, the Francis Crick Institute and Centre of the Cell, Queen Mary University, London, have collaborated on Speeding to Protection, a groundbreaking short film that visually translates the complex world of immunology through the art of dance. 

Speeding to Protection, a unique collaboration between Crick scientists and choreographers and dancers from the RAD, demonstrates how dancers embody the characteristics of cells, vaccines and viruses, and use movement to convey the dynamics of infection and immunity using dance to convey complex scientific ideas.

This film was showcased at a special event called ‘Rhythms of Immunity: choreographing the dance of vaccination’, held on 12 March at the Francis Crick Institute in London. The event explored the interplay between our immune system, vaccines and viruses, bringing it to life through choreography, dance and film. A panel discussion on collaborating across the art-science divide asked: how can scientific concepts be explored and communicated through dance? And what are the benefits of taking science beyond the boundaries of the lab – and onto the stage?

‘This project exemplifies the transformative power of dance as a medium for education and communication,’ explains Dennie Wilson, Programme Manager in the RAD’s Faculty of Education. Wilson choreographed the dance film, which featured dancers who are studying on the Faculty of Education BA Ballet Education Degree programme. ‘By collaborating with the Crick Institute, we have created a unique and engaging way to explore complex scientific concepts, making them accessible to a wider audience.’

Francesca Di Rosa, Visiting Scientist at the Francis Crick Institute, added, ‘this collaboration has been an incredible opportunity to see our research communicated via a beautiful and impactful art piece.’ The Institute’s mission is to understand the fundamental biology underlying health and disease. Its work helps improve our understanding of why disease develops, promoting discoveries into new ways to prevent, diagnose and treat disease.

Centre of the Cell is Queen Mary University of London’s flagship biomedical science, public engagement and outreach project. It is the first informal science learning centre in the world to be located within a research laboratory. ‘Future activities of this collaborative project will include ImmunoDance workshops in our Neuron Pod,’ says Fran Balkwill, Director of the Centre. ‘In these, dancers will teach the basic movements of immune cells and viruses to young participants, and researchers will explain the science behind the choreography.’

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1 Cleopatra and Caesar by Claude-Michel Schönberg

The music from Cleopatra, composed by Claude-Michel Schönberg for David Nixon’s ballet, is truly breathtaking. It brings back so many memories from my first year at Northern Ballet, dancing this stunning pas de deux between Cleopatra and Caesar, which I was privileged to perform so many times with Martha Leebolt. This beautiful piece transports me not just back to one of my favourite moments of my career but also to ancient Egypt, where their legendary love story unfolded.

2 Come Away with Me by Norah Jones 

This always brings me a sense of calm and peace. I love her as an artist – the simplicity of her music and the depth of her lyrics make her songs timeless. Her moody record is brilliant; it’s the perfect Sunday soundtrack, whether you’re unwinding with a cup of tea or, as I usually do, with a G&T in hand.

3 La Vida Es Un Carnaval by Celia Cruz 

This is a song that carries a message of optimism and resilience, encouraging us to embrace life despite its challenges and reminding us that difficult times are only temporary. I love this song because it connects me to my Cuban roots and invites me to celebrate life with joy and hope.

4 Spiegel im Spiegel by Arvo Pärt

Spiegel im Spiegel for viola and piano has to be one of my favourite pieces of music. It transports me back to key moments in my career: first, when I worked with Hamburg Ballet and John Neumeier on his Othello pas de deux, a highlight of my dancing career, and later in Dracula at Northern Ballet, where the main pas de deux was also set to this piece. Two very different stories, yet this music beautifully captures deep emotions and melodies, making it an unforgettable soundtrack to storytelling through dance. Since the first time I heard it, I was always very much connected to its melancholy and serenity, which make this piece of music a masterpiece of pure emotional depth.

5 Soltera by Shakira

This list – and my life in general – would be incomplete without a little Shakira. Soltera is the embodiment of joy and celebration after periods of change, serving as a reminder to always chase the fire and passion within myself. I aim to approach my life and goals unapologetically and fiercely, always armed with some Shakira-level confidence and a hip-shaking determination.

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Miyako Yoshida was a principal at the Royal Ballet and is now Artistic Director of the National Ballet of Japan. 

The best advice I ever received 

Among all the advice I’ve received over the years, the one that left the deepest impression came from a woman who simply told me, ‘just dance for your mom.’ Those words carried a meaning that went beyond the stage. She explained that, as a mother, watching her child stand on stage was a source of immense happiness, something pure and unconditional.

Her advice resonated with me even more profoundly because of her personal story. She had tragically lost her daughter in an accident, a daughter who happened to be the same age as me. Knowing this, her words took on an even deeper meaning – they weren’t just advice, but a reflection of her life itself, and a reminder of the love and pride that parents feel simply by witnessing their children shine.

When I stood on stage, when I felt crushed by the pressure of the performance, I found myself clinging to her words. I remembered what she told me and imagined that my own mother was watching me from the audience. This simple act of imagining her presence brought me a sense of peace and comfort. It reminded me of why I dance – not just for perfection or applause, but for the pure joy and love that it brings to myself and others.

The advice I would pass on 

I hope that dancers can truly enjoy their time on stage. Despite the struggles and challenges they face during their preparation, when the day finally comes I want them to let go of those burdens and embrace the pure joy of performing.

In particular, I want to offer this advice to the dancers of the New National Theatre Japan, who have the remarkable opportunity to perform Giselle at the Royal Opera House in London this July – a dream stage for any dancer. Right now, they are navigating the intense pressure and demands of preparing for such an extraordinary performance. However, when the curtain rises, my greatest wish for them is to let themselves dance freely and wholeheartedly.

The time in a dancer’s life to express themselves on stage is incredibly precious and fleeting. The chance to stand in the spotlight is a gift, and not fully savouring this privilege would be such a loss. I hope they give everything they have and cherish every moment, as these experiences will become unforgettable memories that shape their journey as artists.

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National Ballet of Japan rehearse Giselle.

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Recently I observed a demonstration class of the Karsavina syllabus, and I was reminded once again of the wonderful heritage of the Royal Academy of Dance. That we have direct links to Tamara Karsavina and the Ballet Russes, one of the most important and influential companies in the history of ballet and dance, is an incredible privilege. 

The history and knowledge which has been passed on through the RAD is something we can be immensely proud of and should be a source of constant inspiration. Imagine the impact on RAD members and students of being guided by Karsavina, whether through her teaching or numerous essays … the dancer who created the title role in Fokine’s Firebird speaking directly to them! 

That unique relationship has continued to be on offer to RAD members throughout its existence – a direct link for our teachers to channel what happens in their studios to performances taking place around the world. Whether it be learning from Margot Fonteyn via the Fonteyn syllabus, through Antoinette Sibley’s passion and understanding of the Romantic Era via the Grade 7 syllabus or benefitting from Darcey Bussell’s energetic and dynamic advocacy for the brilliance of dance across multiple forms, the RAD provides an opportunity to learn from people who understand the endless magical possibilities that exist within ballet and dance and how to develop the skills necessary to bring those opportunities to life.

‘Imagine the impact of being guided by Karsavina – the dancer who created Fokine’s Firebird speaking directly’

As a dancer I too have known the excitement of learning from original creators and expanding my own armoury of skills and techniques and I am keen that RAD members can have their own experience of new styles of movement that are increasingly seen in the world’s leading ballet companies. 

There is no doubt that the RAD is special. That has become even more apparent to me as I celebrate one year in the role of Artistic Director. Our members are passionate and knowledgeable, and it is my view that we are all custodians of this organisation and the artform. This is our shared responsibility, and we must continue to take opportunities to equip ourselves with the knowledge and understanding to best navigate the challenges of today’s world. 

As choreographers incorporate additional styles of dance into their pieces for ballet companies, I believe the RAD should continue to match its recent history in providing its members with a direct link to what is happening on international stages, providing the best opportunity for our students and participants to learn about the magic and the endless possibilities that exist in ballet and dance.

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