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David Poole (dancer)
David Poole (17 September 1925 – 27 August 1991) was a South African ballet dancer, choreographer, teacher, and company director. During his thirty-year association with dance companies in Cape Town, he had "a profound effect on ballet in South Africa.〔Marina Grut, "Poole, David," in ''International Encyclopedia of Dance,'' edited by Selma Jeanne Cohen and others (New York: Oxford University Press, 1998), vol. 5, p. 226.〕 He is internationally recognized as a significant figure in the world of dance.〔Peter Brinson, "David Poole," obituary, ''Dance gazette'' (London) 209 (February 1992), p. 13.〕
==Early life and training==
Born in Cape Town, the capital city of the Cape Province, near the southern tip of South Africa,
David Poole did not begin his dance training until the age of eighteen, quite late for a dancer with professional aspirations. He trained under Cecily Robinson and Dulcie Howes at the University of Cape Town Ballet School in the early 1940s and soon began performing in the Cape Town Ballet Club, of which Howes was the director and one of the principal choreographers. He appeared to notable effect in her ballets ''Pliaska'' (1944), set to music of Liadov, and ''Fête Galante'' (1945), to music by Prokofiev. He also danced in early works by the young John Cranko, including ''The Soldier's Tale'' (1944), set to the Stravinsky score, and ''Tritsch-Tratsch'' (1945), a jolly work set to the high-spirited polka of the same name by Johann Strauss II.〔Marina Grut, "Poole, David," in ''The History of Ballet in South Africa'' (Cape Town: Human & Rousseau, 1981), pp.400-402. The principal source of biographical information given herein.〕
In performances of these works Poole's particular talent was recognized by Howes, who added a special solo for him to her ballet entitled ''Suite'' (1936), set to music by Bach, and who recommended him for a bursary for study abroad. Consequently, Poole moved to London in 1947, when he was 22, and continued his studies at the Sadler's Wells Ballet School. There, under the strong supervision of Ninette de Valois and the administration of Arnold Haskell, he flourished, becoming proficient in classical ballet technique in remarkably short order.
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