Margot Fonteyn
Dive into the life and artistry of Dame Margot Fonteyn (1919–1991), England’s legendary prima ballerina assoluta. Explore her biography, career, philosophy, and memorable quotations.
Introduction
Dame Margot Fonteyn (born Margaret Evelyn Hookham; 18 May 1919 – 21 February 1991) stands as one of the most celebrated classical ballet dancers of the twentieth century. Born in England, she spent virtually her entire dance career with the Royal Ballet, eventually being honored with the title prima ballerina assoluta. Renowned for her ethereal grace, technical purity, and expressive lyricism, she held audiences spellbound across decades. Beyond her stage achievements, her reflections on art, life, and integrity continue to inspire performers and admirers alike.
Early Life and Family
Margaret Evelyn Hookham was born in Reigate, Surrey, England, to Hilda (née Acheson Fontes) and Felix John Hookham.
At age 4, she (and her older brother, Felix) began ballet classes in Ealing under Grace Bosustow. Her mother was deeply involved — she would accompany young Margaret to classes and even learn the basic positions herself to better understand what her daughter was being taught.
Due to her father’s work, the family relocated to China in the late 1920s, where Margot continued her dance studies.
Youth and Education
Back in England, Fonteyn’s formal dance education progressed through the Royal Academy of Dance and other instruction.
By 1935, she had become a principal dancer within the company. The Sleeping Beauty, Giselle, and Odette/Odile in Swan Lake — despite having limited existing references from previous dancers in the British ballet tradition.
Career and Achievements
Rise with the Royal Ballet
Fonteyn remained loyal to the company — from its Vic-Wells origins through its evolution into the Sadler’s Wells Ballet and later the Royal Ballet. The Sleeping Beauty as Aurora became signature roles, helping to define the English ballet style.
World War II years forced adaptations, but choreographers like Frederick Ashton created works especially for her (such as Dante Sonata in 1940) to suit the moment.
Personal Struggles, Partnerships & Later Career
In 1955, Margot Fonteyn married Panamanian aristocrat Roberto Arias, adopting the married name Margot Fonteyn de Arias.
Her famous partnership with Rudolf Nureyev, who was nearly twenty years her junior, became legendary. Their chemistry onstage revitalized her career into her fifties and beyond.
Honors & Legacy
Queen Elizabeth II appointed her prima ballerina assoluta (a rare and highly esteemed title) during a 60th birthday gala, capping her career.
After her death, several memorials and institutions honored her legacy:
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A statue in her hometown (depicting her in her favorite role of Ondine) by sculptor Nathan David
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The “Fonteyn Ballroom” at Durham University’s student union building, and the foyer in University College, Durham
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Memorial services placed in London (Westminster Abbey) and Panama
Personality, Philosophy & Style
Margot Fonteyn was known for her discipline, humility, and devotion to her art over self-aggrandizement. Her approach combined classical purity with emotional transparency.
She viewed dance as inseparable from life. She believed in maintaining respect for the “frame” even when challenging or discarding rules, and in distinguishing the seriousness due to one’s work from taking oneself too seriously.
Her strength through adversity — continuing to dance while supporting her husband’s care — exemplifies a life in which art and resolve were deeply entwined.
Famous Quotes of Margot Fonteyn
“The one important thing I have learned over the years is the difference between taking one’s work seriously and taking one’s self seriously. The first is imperative and the second is disastrous.”
“Genius is another word for magic, and the whole point of magic is that it is inexplicable.”
“Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike.”
“If I have learned anything, it is that life forms no logical patterns. It is haphazard and full of beauties which I try to catch as they fly by, for who knows whether any of them will ever return?”
“When I left the stage door and sought my orientation among real people I was in a wilderness of unpredictables in an unchoreographed world.”
“Ballet is more than a profession — it is a way of life.”
“Traveling carries with it the curse of being at home everywhere and yet nowhere, for wherever one is some part of oneself remains on another continent.”
“The first night is the worst possible time to make a hard and fast criticism: the baby never looks its best on the day it is born.”
These lines reflect her deep reflection on art, identity, imperfection, and discipline.
Lessons from Margot Fonteyn
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Work deeply, but remain humble.
Fonteyn insisted on taking her work seriously while avoiding ego. That balance preserved her integrity and enduring respect. -
Let technique serve expression.
Her mastery of classical form never overshadowed emotional honesty. Technique was a vehicle, not an end in itself. -
Resilience amid adversity.
Her personal life, marked by suffering and responsibility, did not derail her commitment to her art. -
Stay true to self.
She believed real artistic greatness arises when one finds authenticity, not imitation or pretense. -
Art and life interweave.
To Fonteyn, dance was more than performance — it was a life lived through movement, challenge, and humility.
Conclusion
Dame Margot Fonteyn occupies a rare place in the history of ballet — not only for her technical brilliance and long career, but for the elegance, earnestness, and dignity she brought to the stage and to her life. Her voice through dance remains a touchstone for what classical form, emotional truth, and moral clarity can accomplish together.