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"Capturing dance motion in a photograph is easy now but capturing the decisive moment of drama or grace that brings dance it’s power as a theatrical experience is quite another. Persson’s best pictures have a raw, artless truth that is rarely found in the perfect formality of much dance photography"
(Ismene Brown, Daily Telegraph)
Born in Sweden, Johan Persson began his career as a dancer. He first studied at the Royal Swedish Ballet School and then in 1983 joined the National Ballet School of Canada. He joined the National Ballet of Canada in 1990 and was promoted to principal dancer in 1996. In September 2000 he joined The Royal Ballet as a principal dancer. Ironically it was an enforced rest necessitated by a chronic injury that gave Persson the opportunity to return to his other great passion – photography.
“I love the whole magic of it,” he says, “capturing a moment that tells an entire story.”
Persson’s photographic career started with the gift of a Kodak Instamatic albeit it was not until his mother bought him a Canon single-lens reflex camera in 1987, as a late birthday present, that his serious involvement began. Thus well-equipped, Persson enrolled in former National Ballet School teacher Jeanette Collins' Grade 11 photography class. "She gave me an excellent grounding in photography, including lab work," Persson recalls appreciatively. "Jeanette gave us a lot of freedom to explore ideas and when she saw how much I enjoyed it, she used to let me use the lab on weekends and even bought me extra printing paper.
By the autumn of 1991, Persson had saved up enough money to invest in a Leica M6 rangefinder model. "I dreamed about owning a Leica for years and waited until we were on tour at the Orange County Performing Arts Center. I took the bus to Los Angeles because I knew I could get a better deal there." He still has the M6 and has added a range of attachable lenses. "It's a fairly basic camera and I still turn to my SLR, a Canon EOS Elan I bought several years ago, for theatre work."
Although the demands of being a principal dancer limited his photography Johann was commissioned, while still a member of the National Ballet, to shoot images and his work appeared in many of their publications. In February 2002, when an old knee injury flamed up again and while waiting for the operation, Johann searched for something fulfilling to replace his dancing. He approached the Royal Opera House management with the idea of an extended photo essay that would give audiences a glimpse into the private world of the dancer. Tony Hall, the Royal Opera House's new chief executive and a champion of accessibility, was immediately enthusiastic and the fact that he had an extensive portfolio to offer for viewing doubtless strengthened his application. "It really wasn't that hard a sell."
The company's existing relationship with Oberon Books ensured Persson had a publisher.
As a popular and familiar member of The Royal Ballet, Persson found his colleagues more than co-operative. "The dancers were great. I tried to be unobtrusive so as not to distract them. In the end, it was easy to sustain their trust. I offered them approval of the results and only one photograph was withdrawn by request. I was shooting to within just a few days of my publisher’s deadline. I had only a week to get the final prints in!”
Creating his first book proved to be a pleasure. The decision to quit dancing was an ordeal, triggered by endless self-questioning and many sleepless nights. "It was a very hard decision to make, but when you're dealing with a type of injury that can even threaten your ability to walk, you have be very serious about it. It would have been very hard to come back. In the end, you have to rely on instinct."
In 2003 he published his first book, The Royal Ballet 161 images, and has had exhibitions at The National Theatre , The Royal Opera House, the Riverside Gallery in Richmond and Mikimoto, Tokoyo, Japan.”
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