|Special Guest Artists |
Lisa Pavane’s tenure as Director of The Australian Ballet School has been marked by exceptional leadership, navigating challenges such as the COVID-19 pandemic with resilience. Her commitment to student and staff well-being has been central to her directorship, fostering a supportive learning environment. Under Pavane’s guidance, the school has embraced digital upgrades and prioritised mental health resources, laying the groundwork for a technologically advanced and emotionally supportive educational experience. As she concludes her role in 2024, reflecting on her achievements since 2015, Pavane’s impact is evident in milestones like the upcoming 60th-year anniversary celebrations. Originating from Newcastle, NSW, Pavane’s journey with The Australian Ballet School began in 1978 as a student before transitioning to a In discussions on the post-COVID dance landscape, Pavane notes enrolment declines attributed to pandemic aftermath and a shift in preferences among young dancers. She also acknowledges a surge in job opportunities in the broader dance industry but expresses concern about potential gaps in emerging talent due to pandemic disruptions. Looking ahead, Pavane emphasises progress in diversity and inclusion discussions and advocates for increased support for First Nations dancers. She highlights the importance of digital enablement in dance education, envisioning a future with multimedia integration and immediate learning. Reflecting on her tenure, Pavane underscores the significance of mental wellness and the evolving role of teachers in facilitating self-directed learning. She acknowledges ongoing efforts to As Pavane transitions from her role, she cherishes moments of student progress and expresses excitement about future endeavours, including volunteer work and contributions to international panels on access and diversity in dance education. Pavane’s legacy as a visionary leader of The Australian Ballet School is deeply intertwined with her lifelong connection to the institution, leaving an indelible mark on its evolution and the art of dance. Lisa Pavane: “I have a strong “We find ourselves at a juncture where we can propel forward significantly in the realm of the digital space. This impetus stems from a driving force within our organisation, pushing us to explore and understand our digital needs. The focus is squarely on digital enablement, a critical aspect that demands attention as we strive to keep pace with technological advancements and enhance our capabilities in the digital sphere.”
Carole Oliver, a humble figure unaccustomed to discussing her own accomplishments, took a moment the night before our interview to reflect on her remarkable ballet career, a journey rarely revisited but one deserving of acknowledgment. As a revered Cecchetti Ballet Examiner boasting an impressive 43-year tenure, Carole’s passion for the craft is palpable. In her own words, “I’d much prefer conducting a class and participating in one than discussing myself in an interview.” Carole’s influence transcends the examination room, with students she’s mentored achieving professional success as dancers, teachers, and even examiners themselves. She remains dedicated to technical training, conducting master classes and mentoring numerous ballet teachers who have gone on to establish successful schools. Her achievements include coaching award-winning dancers and assisting students in securing spots in prestigious institutions such as the Royal Ballet School in London and The Australian Ballet School. A recent highlight involved presenting roses to her former student, marking the culmination of Amy Harris’s career as a Principal Artist with the Australian Ballet Company. This only scratches the surface of Carole’s contributions and accolades. It was a privilege to sit down with this Cecchetti icon. Carole’s Insights on Cecchetti Ballet and Examination Criteria: When evaluating dancers, I prioritise their preparedness, musicality, and artistry. Presentation in the examination room is crucial, with poise and precision making a significant impression. Live music enhances the examination experience, adding a special charm. To maintain Cecchetti’s essence while incorporating modern elements, I focus on preserving correct technique and encouraging movement exploration. Mastery of syllabus work and regular attendance are vital for success. Challenges and Rewards of Training Dancers within the Cecchetti Method: Our calendar is filled with events offering students diverse learning opportunities and fostering a sense of unity within the ballet community. The upcoming Cecchetti International Classical Ballet Competition in Michigan, USA, presents an exciting opportunity for students to showcase their talents on a global stage. Cecchetti work equips dancers with the tools to succeed technically and artistically, fostering a lifelong passion for ballet. Carole’s Personal Connection to Ballet: Ballet has been a constant in my life, igniting a passion that extends beyond the studio. Last night, as I revisited memories of former students, I was struck by the profound impact ballet has had on my life. It’s more than just a passion; it’s a lifelong journey filled with Carole Oliver, a distinguished Cecchetti Ballet Examiner with over 43 years of experience, reflects on her lifelong dedication to ballet. Despite her reluctance to discuss her achievements, her impact on students’ lives is profound, with many going on to successful careers in dance and beyond. Carole’s commitment to technical training and her ability to balance tradition with modern elements have shaped her teaching approach. She highlights the importance of preparedness, musicality, and poise in dancers’ examination performances. Carole’s passion for ballet extends beyond the studio, shaping her life and leaving a lasting legacy in the dance community.
Seth Collier, a 19-year-old dancer/actor/singer, has achieved notable success in his burgeoning career, securing commercial dance gigs, winning awards for his dance videos, gaining representation with a Los Angeles agency, and landing roles in major Australian films. Reflecting on his journey, Seth shared insights in a recent Zoom interview, shedding light on his Describing himself as Seth’s journey into making dance videos began in high school as part of the curriculum, where he found joy in the creative process. Recalling his early experiences, he shared, Despite initially Securing representation with MSA came unexpectedly during a chance encounter in West Hollywood, highlighting the unpredictable nature of the industry. Despite the uncertainty of contract work, Seth remains optimistic about his future in Los Angeles, aspiring to pursue opportunities in film, dance, and choreography. Reflecting on the challenges of the industry, he shared, In summary, Seth’s journey exemplifies the blend of talent, passion, and opportunity that characterises success in the dance and acting industry. His story underscores the importance of embracing spontaneity and remaining resilient in the face of uncertainty. | Safe Dance | Safety in AcroDance By Katie Godwin, dance physiotherapist with Kinetica Physiotherapy The introduction of Acrobatics into dance schools across Australia is a relatively new concept. It has gained popularity over the last decade to the point where Acrobatic tricks are commonplace in contemporary, and commercial choreography. The internet provides young dancers with an unending supply of acro tricks to try at home, and dance schools are under pressure to equip their dancers with the skills necessary to perform these tricks in class and in competition. But is it safe? As a parent, when we watch dancers performing Acrobatic tricks, it’s reasonable to
Unlike gymnastics, where there are strictly adhered to levels based on skill acquisition, not all Acro classes will follow a set syllabus. This is not to say that Acro syllabuses aren’t available. For example, Acrobatic Arts is a company that has developed and rolled out their own Acrobatic syllabus’. They offer teaching Many dance schools ensure that Dance Teachers teaching Acro are accredited by one of these companies. However, as for dance generally, there is no regulatory body that holds teachers accountable to these standards. Whether your dance school has teachers that are accredited, or follows a set Acro syllabus, is really up to them. This means that there is a range of teaching proficiency when it comes to Acro. And that may be cause for concern in some instances. The Acrobatic Arts Training course encourages teachers to progress dancers to higher levels and more complicated skills based on individual proficiency rather than age, though they acknowledge that grouping dancers based on age for timetable reasons may be more practical. It is important then that within these classes, the skills practised are tailored to the competency level of the individual dancer, rather than to the whole group.
The most obvious safety risk in Acro perhaps is that doing aerials and inversions carries the risk of head/neck injury. Most schools teaching Acro have some form of padded surface to learn tricks on, and ensure someone experienced is available to spot dancers doing new tricks. There should be a first aid protocol on site for what to do in the event of a dancer landing on their head, and teachers should be familiar with the latest concussion protocols which can be found here: Unlike gymnastics, the end goal of Acro tricks is that they’re to be performed on a stage (which is not padded in any way). For dancers who start learning skills on a padded mat such as an AirTrack mat, they eventually need to progress to a point where they are able to perform these skills on a hard floor. This requires many, many repetitions until that skill becomes automatic. That is, they can complete the skill
Skills such as these pose less of an injury risk in a traumatic sense, and more of an overload risk. Knee drops, Sarah Janes and Toe Breakers should only be done when a
One excellent attribute of AcroDance is that the set syllabuses incorporate a large amount of strength and conditioning. After all, preparing a dancer to be able to achieve the skills of Acro requires a huge amount of strength training. As one teacher explained: ‘my dancers who do Acro classes gain strength and endurance that benefits them across all of their dance genres’. While your classical ballet dancer typically needs to attend strength and conditioning classes outside of their dance class, in Acro, it is part of the syllabus. It’s important to remember that Acro is popular for a reason. Kids love to do tricks. With or without the best intended safety guidelines, kids will handstand, flip, back bend and cartwheel their way through childhood. Teaching them to do these tricks safely in Acro classes should be seen as a great opportunity for them to take these fundamental safety skills away with them to the backyard, hallway, and schoolyard. One thing’s for sure: AcroDance Dance teachers, parents and Health Professionals all have a role to play in ensuring that it is enjoyed safely by our young dancers, and continues to be a positive addition to our increasingly colourful and varied definition of dance in Australia.
One of the most admired and crucial aspects of ballet technique is the ability to achieve a beautifully pointed ankle and foot. Dancers tirelessly work towards attaining the desired flat line along the top of the foot, whether executing a pointed foot off the floor, during demi-pointe, or while in relevé position. This full range of movement is paramount for dancers to ascend en pointe gracefully. During relevé, where dancers lift onto their toes, the primary The bones along the lateral column of the foot include the heel bone or calcaneus, the cuboid, the 4th and 5th metatarsals, and the 4th and little toes. At times, dancers may encounter difficulties when trying to work through the foot to ascend Diagnosing cuboid subluxation can be challenging with conventional scans like X-rays. However, skilled manual therapists can identify the source of pain through direct palpation of the area.
figure 2 Several factors may contribute to the downward subluxation of the cuboid bone, including:
While dancers are slightly more prone to this rare issue, the good news is that it responds well to treatment when addressed correctly by a knowledgeable therapist. A registered health professional can mobilise the cuboid bone back into proper alignment or perform a manipulation technique to reposition it. This is often preceded by soft tissue massage to the foot and calf muscles. To stabilise the bone and prevent further subluxation, the therapist may also use a felt or foam post. Following treatment, dancers typically engage in specific exercises targeting underlying technical issues contributing to the pain. These exercises may include:
It’s crucial for dancers to follow up with their dance physiotherapist or treating health practitioner to figure 3 | ED5International Graduation | words and images by Danielle Brown ED5 International’s 2023 Graduation Leslie Bell’s work stood out with her gorgeous lines and well-rehearsed routines, while Nathan Sheens’ tap routines were polished and rhythmic, making both of them my favorite choreographers of all time. ED5 is renowned for producing triple threat performers, and there is no doubt that many of the 2023 graduates will soon be performing on professional stages. The vocal work was particularly impressive, a testament to Phillip Filo’s direction. The performance was high-energy, showcasing all the genres and earning a standing ovation. Stand-out | What is the job of a Swing? | Ever wondered what actually “IS” a Swing, what is involved and what makes a great swing? Here we find out a little more of an insight into the position of a swing in a Musical. by Danielle Evrat Meet Danielle Evrat, a creative, choreographer, and performer
What is a swing? A swing is a performer that covers multiple ensemble plots in a musical, sometimes they might also cover the leads, but that depends on the show and the “jigsaw puzzle” of the casting. There is onstage swings and offstage swings. If you are an onstage swing, it means you do have a track onstage in the show each night, it’s usually a more reduced track than the other ensemble members and therefore can be easily ‘cut’ if they need to step into the shoes of any of the cast they cover. An offstage swing is a little different, you aren’t in the show each night, you are offstage and only perform if someone
What makes a good swing? What are the major skills required? Some performers love and really gel with swinging, some not so much, in my opinion its partly a personality thing. You have to have the work ethic and mindset of a perfectionist, but you have to be able to let go of the perfectionist mindset in order to be able to deal with the pressure and
Most challenging part about being a swing? You have to learn and be on top of a lot of materiel, as you are covering a lot of cast. Other than the fact you need to be so knowledgeable and solid in the show in all aspects, you’re also potentially working with different performers each time you go on too. Eg; a show with a lot of dance partnering work, it means you will have a different dance partner when you go on for each different person, therefore being able to adapt to different performers, their energy, height differences, that’s all a great challenge as a swing when it comes to partner work and lifts. I believe performers finish a show a much stronger and aware performer after experiencing Split Track? What does that mean? A split track is essentially when you are splitting between multiple tracks in the one show to keep the show covered. It happens when there is a major cast change and there aren’t enough swings to cover all the roles that need to be covered. I’ve created (as a Resident and Dance Captain) many split track plans and also performed many split tracks (as a performer), especially through the Covid period. It’s a great How do you document being a swing? I use the same program when I’m in a creative position on a show too, it’s called Stage Write, it’s a Best part about being a swing? For me, I love the adrenaline rush, I love the challenge, I love the thrill. You are also incredibly “present” onstage when you are a swing, because you need to be and that’s a great feeling as a performer. It’s rewarding being a swing, it’s such an incredible job, good swings are vital to a show for it to be secure and safe. It’s also quite fun, you get to experience the show in many different ways rather than doing the same track each evening. Jenson Blight | Ruby Day
Prix de Lausanne 2024
words Darcie Virtue | images Gregory Batardon Queensland Ballet takes immense pride in announcing the exceptional accomplishments of two of its Academy members, rising stars Ruby Day and Jenson Blight, who distinguished themselves as The Prix de Lausanne is an international ballet competition held annually in Lausanne, Switzerland. Established in 1973, it is one of the most prestigious competitions for young ballet dancers aged 15 to 18. The competition aims to discover and support talented young dancers by providing them with opportunities to attend top ballet schools and join renowned dance companies around the world. Out of the 88 initially Queensland Ballet Academy Director, As the recipients of these prestigious awards, Jenson and Ruby will have the opportunity to further their training by entering one of the renowned Partner Schools and Companies associated with the Prix de Lausanne. Dancetrain had the privilege of speaking to Ruby and Jenson upon their arrival home. Jenson How did the opportunity to participate in the competition come about for you? The journey was quite challenging but also rewarding. It all kicked off around September when I got accepted. The process included filming a video, which, in itself, was a bit stressful. I remember being in front of the camera, and my director emphasizing the importance of it. It felt surreal to even be considered. The real intensity began around October and November when we started training, particularly after the release of the solos. Having graduated from Year 12 and completed Level One at school in December, I took a brief break for Christmas and New Year’s. However, the rest of the time was filled with Monday to Saturday classes, variation coaching, and sessions in both ballet and contemporary. The focused training was transformative, and I noticed quick improvement. With no school to distract me, I could fully concentrate on my craft. Yet, mentally, it was The pressure was both external and internal, with self-doubt creeping in when things didn’t go perfectly. However, having Mr.Tàtchev around was a blessing. He played a crucial role in lifting our spirits and calming us down. The stress was there, but the support from those around us, including each Can you share your recent experience at the Prix de Lausanne competition? Entering the competition was a mix of familiarity and new experiences. I had been to the venue a year earlier but wasn’t competing; I was part of the partner school choreographic project. So, I had a bit of an idea of what to expect, having been in the theater and witnessed the candidates stressing backstage. However, when Ruby and I walked into the orientation, it was a bit overwhelming. There During the orientation, we got a tour of the theater and had the first class on the first day, which wasn’t judged or televised. Julio Bocca led the class, and it was a bit surreal to be there with everyone. The atmosphere was a bit tense, and the intimidation factor kicked in as everyone around us seemed so capable and focused. As the week progressed, though, it turned out to be less intense than expected. We formed connections and friendships, cheering each other on backstage during variations, giving compliments The beginning was a bit stressful because of the uncertainty, but it evolved into a supportive and nurturing environment. The camaraderie allowed us to blossom, and the competition organizers had everything well-planned, including health talks in the beginning. Despite the stress, it was a well-organized and memorable experience, offering a mix of challenges and opportunities for personal and artistic growth. It was a bit like an out-of-body experience, and having traveled there before added a layer of familiarity to the otherwise unique and overwhelming journey. Could you highlight a memorable moment or experience from your trip to the Prix de Lausanne? One particularly memorable moment for me occurred after the finals, just before the announcement of the prizes. By that point, all the finalists had become good friends. We gathered backstage around a TV, and many of us had friends involved in the partner school project, performing during the interlude while the judges were deliberating. After our own performances, the stress had lifted, and we were sitting together, not necessarily discussing ballet, but just enjoying each other’s company. It was a unique moment of camaraderie as we chatted, laughed, and watched our friends dance on stage in Switzerland, all while wearing our little costumes and eagerly awaiting a significant announcement. In that moment, I realized the close bond that had formed among us, transforming strangers from five days ago into friends in the midst of a stressful environment. I felt grateful for the connections and support we had Ruby is a dedicated and hardworking young dancer who loves her Allegro ”I think it’s exciting and you get to move. I like to do the boys tempo” The initial spark to dance came from her older sister, who was already involved in dance. “I didn’t initially view ballet as a lifelong dream or aspiration. It was more of a gradual development and love for the art form. The suggestion from my teacher and the fact that my older sister had also auditioned for Queensland Ballet Academy motivated me to try it out. I love Queensland Ballet for both its elite training and the supportive, How do you believe the Queensland Ballet Academy is equipping you with the necessary skills and experiences to achieve your future goals in ballet? The structure of the academy focuses heavily on building a strong foundation and honing technical skills in the lower grades. However, as we progress The academy ensures that once we have mastered the foundational techniques, our training becomes more aligned with the expectations of a professional career. Throughout the year, we are presented with various opportunities to showcase our abilities. These range from in-house performances and demonstrations, where we display our classwork, to bigger-scale productions staged at our home theater, the Thomas Dixon Center. While I haven’t experienced a professional production yet, I believe these If you had to describe the lead-up to the competition in one or two words, what would they be? I’d say it was both intense and rewarding. The rehearsal process demanded hard work and dedication, but the results were truly fulfilling. When we resumed training Had you ever travelled for dance before? I’ve never travelled for dance, and I’ve only been overseas a few times, so that was quite… I wouldn’t say scary, but I definitely didn’t know what to expect with jet lag and how my body would recover. And obviously, the temperature, it’s so different. But I think I’ve managed it. How did you control your nerves? The Prix de Lausanne experience was quite special in terms of managing nerves. The week started with classes that the jury As the week progressed, the performances approached, and by then, I would describe the feeling as not necessarily calm but more familiar. The jury had already seen me in action, so I didn’t feel an overwhelming pressure. I saw the performances as a lead-up from the week, not a standalone moment. It felt like signing my name at the end of a letter—the letter being all the classes we had throughout the week. Why do you love to dance? I love to move and express myself through dance. It allows me to embody different personas and connect with the audience on a deeper level. The feeling of touching or moving someone with my performance is incredibly rewarding. | Competitions & Events | SHOWCASE Australian Dance Championships 2024: A Display of Exceptional Talent words and images by Danielle Brown On January 21st, 2024, at the illustrious Star on the Gold Coast, the Australian Dance Championships reached its zenith, concluding a remarkable week that brought together over 2000 exceptionally talented performers from Australia, New Zealand, and China. This grand event served as a platform for these artists to vie for the prestigious title of the nation’s top dancers for both Dancer of the Year (solos event) and Battle of the Stars (groups). Dancer of the Year (DOTY), to date, has seen over 1200 dancers accompany Peter Oxford on his Australian National Title winners tour to Europe for World Dance Movement A heartfelt congratulations is extended to the visionary founder of the Australian Dance Championships, Peter Oxford, and the dedicated crew working tirelessly behind the scenes, ensuring the seamless execution of this extraordinary showcase! Teen DOTY Ashleigh Webster from Compeat Dance RunnerUp Teen DOTY Keira Metierre from Brent Studios Winner The Australian Dance Championships has become a tradition at Star, marking its 21st consecutive year at this iconic venue. The enduring success of this event is not only a testament to the passion and commitment of Peter Oxford but also to the collective efforts of studio directors, choreographers, parents, family, friends, and supporters who contribute significantly to the event’s triumph. Special accolades were bestowed upon outstanding performers, with judges singling out remarkable Each National Title Winner took home $500 cash as well as tickets to Sydney Eisteddfod: Cultivating Dance Dreams By Danielle Brown For nearly a century, Sydney Eisteddfod has served as a beacon of artistic excellence in Australia’s vibrant performing arts landscape. Since its inception in 1933, this prestigious competition has provided a “Competing at Sydney Eisteddfod was the perfect platform to gain the valuable experience I needed to progress in my personal dance journey. I formed truly remarkable friendships; some of these friends I am fortunate to now train with at The Australian Ballet School! Although, I try not to compare myself to others, competing at a prestigious competition like Sydney Eisteddfod provided an idea of how I was progressing in dance for my age. Each performance over the years, taught me to be highly organised, cope with pressure, exercise good sportsmanship, strive towards my full potential, stay focused and ultimately achieve my dream. The performance opportunities provided at this prestigious event, meant I was seen by directors and choreographers which has ultimately guided my dance journey to where I am today at The Matia Ingrey, a National College of Dance graduate currently training with The Australian Ballet School Through interviews with a diverse array of participants, educators, and professionals, we gain insight into the profound impact that Sydney Eisteddfod has had on the lives and careers of countless individuals. Matia Ingrey, Charlie Carberry, and Elodie Lamont share their personal journeys, from their early experiences as competitors to their current endeavors as students at prestigious institutions such as The Australian Ballet School. Their stories highlight the transformative power of Sydney Eisteddfod, providing not only performance opportunities but also invaluable lessons in perseverance, dedication, and artistic expression. Charlie Carberry from The McDonald College now full-time student at Dance North Academy. Placed 2nd Robert and Elizabeth Albert Junior Ballet Scholarship 2023. image WinkiPop Media “I believe that competing at Sydney Eisteddfod inspired me to strive for a professional career. When I was performing with the best and being adjudicated by industry professionals, I was motivated to work harder and strive for higher. It also gave me the confidence to perform in international competitions which led me to gain wonderful opportunities and scholarships to schools all over the world.” Mia Zanardo, a Alegria Dance Studio graduate, previously with QLD Ballet now an artist with Hong Kong Ballet. image David Kelly Professional dancers Mia Zanardo, Grace Humphris, and Tyla Steinbach offer a glimpse into the world beyond the competition stage, reflecting on how their experiences at Sydney Eisteddfod laid the foundation for their successful careers. From networking opportunities to exposure to industry experts, Sydney Eisteddfod played a crucial role in shaping their trajectories and instilling in them the confidence to pursue their dreams on a global scale. “This was incredibly special to me as I remember the coaching and support I received from some very special teachers and it didn’t necessarily feel like I was rehearsing for a competition but more so for an opportunity to perform at such an incredible location with some amazing dancers.” Tyla Steinbach, a Tanya Pearson Academy graduate now with San Francisco Ballet – image Sydney Opera House 2016|WinkiPop Media Leading dance educators, including Hayley Macri and Bergen Blunt, emphasize the event’s significance as a catalyst for growth and development in young dancers. For many, Sydney Eisteddfod is not just a competition but a transformative experience that fosters resilience, camaraderie, and a deep appreciation for the art form. “Competing in such a huge event was an incredible experience. People came from interstate and NZ. It was a way to see the standard and for me to improve.” Hayley Macri had a very successful performing career before transitioning into teaching after securing accreditation with the Royal Academy of Dance in London. Macri is now on the Tanya Pearson Academy faculty. Pictured in 2001 at Sydney Eisteddfod – Winner of Championship “Competing in such a prestigious competition was a pivotal moment for me as a young and evolving artist. It stretched my boundaries, honed my dance skills, and sparked creativity within my performances. The excitement and anticipation I experienced are etched in my memory, evoking a sense of nostalgic joy.” Lucinda Worthing-Shore, a Tanya Pearson Academy graduate, now a Demi Soloist with Victorian State Ballet. pictured in Cinderella by Danielle Brown Lucinda Worthing-Shore and Janaé Kerr share their journeys from regional Australia to the international stage, underscoring the event’s role in providing opportunities for aspiring dancers from all walks of life. Their stories serve as a testament to the event’s inclusivity and its ability to nurture talent regardless of background or circumstance. “It was an absolute honour to have been given this opportunity, and stepping foot on this prestigious stage is a memory I will always cherish.” Janaé Kerr with Alexander Smith Guest Artists with Central Dance Company. Janaé, a Tanya Pearson Academy graduate is currently on a seasonal contract with The Australian Ballet. image Danielle Brown As Sydney Eisteddfod continues to evolve and adapt to the ever-changing landscape of the performing arts, it remains committed to its mission of nurturing dreams and shaping futures. With entries for 2024 now open, aspiring dancers have the opportunity to follow in the footsteps of those who have graced its stages before them, forging their own paths to success and leaving their mark on the world of dance. Join us in celebrating the legacy of Sydney Eisteddfod and the countless dreams it continues to inspire. “To be getting feedback from professional dancers and coaches was very important for my growth. To have an opportunity to dance on a big stage with the bright lights and the costumes at a young age was such a blessing, and not something anyone should take for granted. It wasn’t about the prizes or the placements. It was about exposure to the dance world and to network with others.” Grace Humphris, a National College of Dance graduate currently freelancing in Europe 2023 Senior Ballet Scholarship Finalist Ben Moss from Alegria Dance Studios. image Danielle Brown Hilary Kaplan and Archibald McKenzie, Principals of Alegria Dance Studios in Sydney, consider the Sydney Eisteddfod an annual event to be included on their calendar. “The Sydney Eisteddfod provides a great opportunity for our students and our teachers to showcase our work and gives them the opportunity to develop and grow as performers before a serious audience. Many of our students have appeared in various sections, ranging from short solos to big groups, grand ballet scholarships, and the Dance of Champions – in all of which sections we have had winners. But it’s just as much about the opportunity to perform in public in a competitive environment. This has, in many cases, also been their preparation for a later successful career in big professional companies around the world and in Australia. It is a prestigious competition with 2016 Robert Albert AO with Ballet Scholarship winner Lania Atkins. image WinkiPop Media
Robert Albert: 1934 – 2024 Follow Your Dreams 2024: 29 Years of Dance, Dedication, and Inclusivity with Kylie Drew words and images by Danielle Brown On January 17, 2024, Kylie Drew and her dedicated team orchestrated yet another highly anticipated edition of the Nationals for Follow Your Dreams, marking Kylie’s unwavering commitment to creating a safe space is exemplified by her sensitive and leadership-driven rules, including the mandatory wearing of tights and knee pads by all participants. These rules apply to everyone and go towards fostering a collaborative and infectious atmosphere that has inspired a thriving community spanning our nation. With From the youngest entrants to the unique Grand Masters category, designed to encourage those over 55 to take the stage, Follow Your Dreams offers an inclusive and exhilarating experience. The prospect of witnessing this vibrant celebration in person is truly wonderful and uplifting. I must confess, the temptation to participate in the 2024 season is hard to resist, making this competition an irresistible choice for dance enthusiasts and performers alike. Dedicated to fostering a safe and positive environment for kids to express their passion for dance, Kylie spoke about her commitment to avoiding the negativity and toxicity often associated with traditional dance competitions. “Traditionally, dance can be surrounded by negativity, and many competitions tend to foster a toxic environment. I take pride in steering clear of drama and avoiding any involvement with toxic behaviours from parents. Whether our participants dance for just one hour a week or commit 40 hours, our ethos remains incredibly inclusive—we welcome everyone with open arms,” affirmed Kylie, highlighting the competition’s commitment to fostering a positive and welcoming space for all. Phoenix Dance Company National Champions 7 years and under Broadway The Nationals buzzed with energy, with performers arriving up to two hours early to soak up the atmosphere. Kylie’s dedication to producing the season, which involves three months of organisation, is evident in the vibrant and welcoming community that has been created. “I take immense joy in witnessing the flourishing community we’ve nurtured, where individuals relish moments with their loved ones. It’s not just our family that originated it; we’re weaving a tapestry of new Kylie introduced a ‘tights’ policy when wearing a high cut leotard and made knee pads mandatory for all for dancers who perform knee drops within their routine , a decision she takes great pride in. Elaborating on the significance of these regulations, she emphasised, “Our dedication to safety is heightened by the mandatory use of knee pads, ensuring that our dance environment is not only a space for creativity but also a reflection of our commitment to Safe Dance practices,” In the face of challenges, such as the introduction of a ‘no tricks’ section, Kylie remains resolute in upholding her principles, ensuring that rules are consistently applied to all participants. Emphasising her steadfast commitment, she stated, Follow Your Dream adjudicators align with Kylie’s philosophies, creating a cohesive team that shares the vision for dance. Kylie expressed her admiration for dancers and the Australian dance training system, believing it to be of world-class standard. Kylie and her husband, Peter, who left their day jobs seven years ago to focus on developing Follow Your Dreams, have expanded the competition to the UK, adding scholarships and opportunities for Australian dancers. Kylie emphasises that dance competitions should be inclusive for all kids, regardless of their background or financial status. “We strictly prohibit any depiction of death themes on our stage. Our commitment to maintaining a family-friendly environment is Follow Your Dreams – entrepreneurs Kylie and Peter As Follow Your Dreams celebrates its 29th season and 10th year following the Nationals format in 2024, Kylie looks back on the journey with pride, acknowledging the challenges and the growth of the event. The commitment of participants, the welcoming environment, and the sense of community are aspects Kylie values deeply. Kicks Danceforce National Champions 14 and under Broadway “We appreciate every single entry. It’s a welcoming environment; they come as friends and they leave as family. We always say that,” In summary, Kylie Drew’s narrative is one of unwavering dedication, inclusivity, and a steadfast commitment to creating a positive space for dancers to pursue their dreams. Follow Your Dreams stands as a testament to her vision, with each season bringing Kicks Danceforce National Champions 12 years and under Contemporary | Dance Leaders talk Education post COVID | Charting the Course: Leaders Reflect on the Dance Industry’s Transformation Post-COVID words and images by Danielle Brown As we navigate through 2024, it’s crucial to reflect on the profound impacts of COVID-19 and ponder the way forward. Leaders in our dance community, such as Kathleen Hamilton, Anne Butler, Christine Walsh, Diane Gepp, Julie England and Lisa Maloney, provide invaluable insights into this critical discussion. These individuals not only educate our teachers and students but also guide the entire industry. Together, we explore the evolving landscape of the dance world post-COVID, embracing its transformative potential. During the pandemic, ballet schools swiftly transitioned to online teaching, leading to some permanent closures. Christine Walsh, Director of the Australian Conservatoire of Classical Dance, underscores the enhanced role of arts organisations post-COVID, advocating for digital learning and flexible exams. She emphasises the importance of exams as concrete milestones for dancers, despite the disruptions. Julie England, Director of Les Griffith Tap Dance Academy Syllabus, navigates the challenges of the post-COVID economic crisis. Despite obstacles, the academy gradually resumes normal operations, offering online exam options for flexibility. England states the importance of exams in validating students’ hard work and setting concrete goals for dancers. Optimism prevails for the dance world’s recovery post-COVID, with minimal complications. | Students Shine at Dance Events | | WHITNEY SCHOFIELD DANCE ACADEMY TRIUMPHS AT THE AUSTRALIAN CLASSICAL CHALLENGE Congratulations to Ollie To from the Whitney Schofield Dance Academy for his outstanding achievements at The Australian Classical Challenge in Newcastle this February! Ollie’s talents shone brightly as he emerged as a finalist for the Pre-Intermediate Contemporary Finals and a semi-finalist for the Classical division. Additionally, he received the class award in Contemporary, earned the boys’ Contact us today to celebrate your DANCEnews with our readers PIROUETTE BALLET SCHOOL MELBOURNE STUDENTS SHINE AT QUEENSLAND BALLET ACADEMY Students from Pirouette Ballet School Melbourne recently traveled to Queensland to participate in classes at the Queensland Ballet Academy for one week. Elodie and Ashley had an enriching experience alongside the full-time students of Queensland Ballet Academy. Elodie, in particular, was offered a scholarship for the intensive week and thoroughly appreciated the opportunity. She found the ANNOUNCING DANCE CAPTAINS AND MILESTONES AT SANDRINGHAM COLLEGE In 2024, Sandringham College proudly announced its dance captains for the year. The senior dance captains, Georgie L (pictured) and Claire M, both in Year 12, were celebrated for their outstanding leadership. Having joined the Dance Academy in Year 7 and completed VCE/VET Dance, Georgie and Claire exemplify dedication and talent. Additionally, Grace L in Year 9 and Taylor H (year TBD) were appointed to lead SYDNEY DANCE COMPANY: PRE-PROFESSIONAL YEAR 2024 Sydney Dance Company is excited to introduce the new cohort for the Pre-Professional Year 2024 program, renowned for shaping the future of contemporary dance. Established by Linda Gamblin, the program has trained over 250 students, with 60 aspiring dancers from Australia and New Zealand enrolled this year. Held at the iconic Walsh Bay studios, students work with 40+ choreographers, gaining exposure to diverse practices ARIA KEENAN SHINES IN NEW YORK: MOVEMENTS ACADEMY OF DANCE CELEBRATES SUCCESS At just 11 years old, Aria Keenan from Movements Academy of Dance in Brisbane Northside embarked on an extraordinary journey to New York! Following a successful audition for Joffrey Ballet’s Contemporary Summer Intensive, Aria seized the opportunity to immerse herself in the bustling dance scene of the Big Apple. During her time in New York, Aria not only participated in the intensive DANCE ACADEMY SUNSHINE COAST: WHERE CONFIDENCE MEETS SUCCESS! At The Dance Academy Sunshine Coast, we understand that dance is more than just movement; it’s a journey towards confidence and success. Our mission is to nurture confident minds and empower young dancers for the path ahead. Through our carefully crafted classes, we aim to instil courage, resilience, and creativity, providing a solid foundation for school readiness and lifelong learning. Join us on this TRANSIT DANCE ALUMNI ANNOUNCEMENT! Transit Dance is excited to share the news of our third-year graduate and ’23 alumni, Anika Boet, who has recently joined the prestigious Sydney Dance Company for their ’24 season. Anika’s remarkable talent and unwavering dedication to her craft serve as an inspiration to us all. The Transit team are incredibly proud of Anika for securing this well-deserved position with Sydney Dance Company. Her hard work and commitment have truly Stephan Bollinger Photography INTERSTATE OPPORTUNITIES Congratulations to the following nine students of the Amanda Bollinger Dance Academy on the Gold Coast, on their acceptance into the Australian Ballet School’s Interstate Training Program 2024: Aureoline Cumming, Angus Fraser, Stella Jackson, Maisy McDougall, Frances Ng, Jade Shi, Sophie Simonds, Ada Yang and Jessica Qin. These young dancers will have the opportunity to take specialised master classes in Brisbane, as well as personal OLIVIA BLASKOVIC SHINES AT HSC SHOWCASE LAUNCH AND CALLBACK Bossley Park High School’s talented dancer, Olivia Blaskovic, was recently invited to perform at the HSC Showcase Launch & Performance Preview 2024 at the prestigious Roslyn Packer Theatre Walsh Bay. Olivia mesmerised the audience with her Core Performance Dance from her HSC Examination. Continuing her streak of success, Olivia is also featured HSC CallBack held at the Seymour Centre. There, she showcased https://bossleypk-h.schools.nsw.gov.au/ EXCITING NEWS FROM THE DANCE ESTABLISHMENT! We are thrilled to announce that enrolments are now OPEN for both new and returning families. With a wide range of classes available, there’s something for everyone: • Mum & Me Classes • Pre School Classes • Royal Academy of Dance Examinations • Contemporary & Lyrical • Jazz & Tap • Pilates & Acrobatics • Part & Full-time Programs • Private & Team Competition Coaching • All-Star All Abilities Classes Visit our website at THE AUSTRALIAN BALLET SCHOOL CELEBRATES 2024 BALLET SOCIETY VICTORIA SCHOLARSHIP RECIPIENTS Congratulations are in order for our esteemed students who have been awarded The Ballet Society Victoria Scholarships for 2024! We are delighted to recognise the outstanding efforts and potential of Level 8 students Jai Fauchon, Madeline Flood, Rebecca Lopes, Emily Sprout, and Matthew Paten. We extend our heartfelt gratitude to The Ballet Society Victoria for their steadfast Image credit: F. Mutswagiwa (Level 8 students of The Australian Ballet School) Contact us today to celebrate your DANCEnews with our readers SPECIALISED COACHING STUDENTS CONTINUE TO ACHIEVE GREAT SUCCESS! Classical Coaching with Claire Campbell-Mahon Zoe Wijemanne (12yrs) was honoured to be awarded the Silver Medal (Performance B) at the Asian Grand Prix 2023 Finals! Not only did she receive to dancetrain in print SUCCESS STORIES FROM REDDAM HSC DANCE STUDENTS Last year, the HSC Dance students at Reddam were buzzing with excitement as they received numerous Callback nominations for their practical Dance examinations. Each student in the class earned at least one nomination for their outstanding work. Among these talented individuals, Zach Simmons stood out as his Core Composition piece, titled ‘Tetris’ and performed by Giulia Goldman, was selected for the prestigious showcase. Adding to his list of achievements, Zach filmed a Masterclass session with NESA, providing insights into his choreographic process and offering valuable tips for navigating the HSC. This episode NINE AUSTRALIANS AND NEW ZEALANDERS TAKE TO THE INTERNATIONAL STAGE AT PRIX DE LAUSANNE images Gregory Batardon Lausanne, November 2, 2023: A distinguished panel of nine jury members convened in Lausanne last weekend to select candidates for the prestigious Prix de Lausanne. Following a rigorous video selection process, 88 talented dancers, including 7 preselected candidates, have earned coveted spots in the international ballet competition. The event is scheduled to take place from January 28 to February 4, 2024, at the Beaulieu Theatre in Lausanne. Building on the worldwide success of its 50th-anniversary celebrations, the Prix de Lausanne will culminate with “Rising Stars,” a special performance showcasing past and present Prix de Lausanne winners and finalists. The jury, comprised Representing Australia and New Zealand at the Prix de Lausanne 2024 are: • Jenson Blight from Queensland Ballet Academy • Edward Cooley from Queensland College of Dance • Lauren Wycherley from Papilio Atelier • Georgia Lorange from Dance North Academy Ruby and Jenson Blight represented Australia as the sole finalists from the country out of the initially selected 88 candidates. The competition concluded with 20 finalists participating in the Finals held in Lausanne. Following the Finals, the esteemed Jury, led by Dame Darcey Bussell, President of the Royal Academy of Dance and 1986 Prize Winner of Prix de Lausanne, revealed the nine Prize Winners for 2024. Jenson Blight received the prestigious Bourse Astarte Scholarship Award, while Ruby Day was honoured with the Rudolph Nureyev Foundation’s Best Young Talent Award, recognising her exceptional talent and dedication. https://academy.queenslandballet.com.au/ Contact us today to celebrate your DANCEnews with our readers | NEW PHOTO GALLERIES JUST ADDED | It is free to share our images on socials!
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