Bridging the East and West

By Danielle Brown

When Perth-based arts advocate and event manager Leanne Curtis first imagined the Australasian Classical Gala (ACG), she wasn’t sitting at a theatre or a studio. She was driving past a construction site.

“I remember looking at the new WAAPA development going up,” she recalls, “and just feeling excited about what it would mean for the next generation of dancers. But I also wondered, does the world truly know what exists in Western Australia?”

That moment planted the seed for the creation of a genuinely community-driven non for profit classical and contemporary dance event, one designed to bring east-coast, international and west-coast dancers together through an opportunity-based platform that fosters connection, collaboration, and shared experience. For Curtis, Perth’s calibre of talent has never been in question, but its visibility, access, and connection to national and international pathways often have been.

“WA dancers have limited opportunities to connect with interstate and international peers without extensive travel,” she explains. “It created a real fear of missing out, young dancers were hungry for exposure, for community, for clarity around their pathways.”

Her solution was simple, bold, and deeply needed, to bring the world to Perth, instead of requiring WA dancers to go to the world.

“I wanted local students to train beside dancers from across Australasia,” she says. “And I wanted visiting dancers to walk away feeling their trip had genuine artistic value.”

The Australasian Classical Gala delivers on that promise through high-calibre masterclasses, seminars, performance experiences, and scholarships. Partnerships with institutions such as the Nacho Duato Academy and the Washington Ballet School give dancer’s direct exposure to company-aligned training and professional trajectories. Development scholarships support younger dancers, while trainee-pathway opportunities assist older students preparing for pre-professional transitions.

Reflecting on the early days, Curtis says there wasn’t one single moment that confirmed the Gala was the right decision, it was the collective weight of many.

“There wasn’t a dramatic turning point,” she admits. “It was the teachers and industry professionals who said, ‘Yes, we want to mentor these young dancers.’ It was the parents who told me they felt lost in the training landscape. It was the community support that made it clear something like this wasn’t just welcome, it was needed.”

One particularly defining moment came when eproductions became the Gala’s first corporate sponsor.

“That early commitment to a not-for-profit event meant so much,” she says. “It told me that others recognised the value and necessity of what we were trying to build.”

Curtis describes the ethos behind the Gala with ease: collaboration, inclusivity, education, mentorship, accessible pathways, artist welfare, performance development, and independence. These values underpin every element of the event.

“We work with people who genuinely share our vision,” she says. “Dance is only one part of a young performer’s journey. The environment around them matters just as deeply.”

When asked what she hopes dancers take away from the experience, Curtis offers both artistic and personal hopes.
“I want them to leave with technical insights that support their growth,” she says. “But I also want them to feel more confident, more inspired, and more certain about their potential.”

She believes some of the most meaningful outcomes are the connections dancers form.
“The friendships, the mentorships, the sense of belonging, that’s what stays with them.”
Perth, she says, was always the right home for the Gala.

“Western Australia has a passionate, engaged dance community,” she explains. “WA Ballet alone reaches around 10,000 students through outreach programs. There is so much talent and energy here.”

She speaks proudly of the cultural investment happening across the state, from government and philanthropic organisations like Mindaroo, to the strong community support for WA Ballet and Co3 Contemporary Dance. Perth’s proximity to Asia and Europe also strengthens artistic exchange, making it a strategic location for international collaboration.

And then there is something uniquely West Australian.

“In many ways, WA dancers have that ‘second child’ determination,” she says. “They work a little harder to be seen. It builds resilience, ambition, and a distinctive creative spirit.”

Curtis is quick to acknowledge the support she’s received from Ausdance WA, dancetrain, Diana de Vos OAM, Paul Knobloch and respected adjudicators, and local studios, all of whom have helped shape the event’s identity.

She also notes that Perth offers practical strengths families may not immediately consider: a modern performing arts centre close to the CBD, accommodation and dining within walking distance, and an intimate scale that fosters deeper connection between dancers and faculty.

“People tell us how easy it is to get around, how welcomed they feel. It creates a community warmth that can sometimes be harder to find in bigger cities.”

Looking ahead, Curtis envisions expansion. The Gala has already partnered with the International Youth Dance Competition across Asia, with more exchange opportunities under discussion.

“We want to broaden participation across Australasia, deepen international partnerships, and expand our educational offerings,” she says. “Long-term, we hope ACG becomes a truly regional platform that connects dancers and cultures across borders.”

For dancers travelling from interstate or overseas, Curtis’ message is clear:

“You will be welcomed into a warm, inclusive, and supportive environment. We prioritise mentorship, wellbeing, and meaningful artistic development.”

Scholarships support both younger developing dancers and older students pursuing trainee pathways, groups often underserved at other events. Partnerships with international schools connected to professional companies provide real, tangible next steps.

“This experience isn’t just about a weekend,” she says. “It’s about opening doors.”

The Gala’s international partners share this sentiment. In a statement from the Nacho Duato:
“Nacho Duato academy has welcomed Australian students into our academy before, and we are proud to have an Australian dancer in the Nacho Duato Company today. These connections have shown us that talent truly knows no borders. Dance has no frontiers, only the limits we place on ourselves and yet we know that, for many young dancers in Australia, access to international companies and choreographers can feel out of reach. The distances are great, and it is not always possible for European companies to travel and perform there.

This is why the Australasian Classical Gala resonates so deeply with us. It creates a bridge where distance disappears, bringing the spirit and artistry of European choreography closer to students who dream of it. We believe that the dancers who will benefit most are the ones who are hungry to grow: those who feel the call of the stage, who are curious, committed, and ready to open themselves to new artistic worlds.

For these dancers, opportunities like this are not just events, they are turning points.”

Statement from Washington School of Ballet: The Australasian Classical Gala is an excellent fit for The Washington School of Ballet, as it provides a unique opportunity for our organization to recruit exceptionally talented dancers into our programs while sharing with them our methodologies and artistic approaches crafted by the vision of our artistic director Edwaard Liang. For the dancers participating in the Gala, this collaboration represents a significant pathway to advance their professional careers in the United States, as we offer F-1 visas through our Trainee Program. Beyond recruitment, this partnership fosters a meaningful cultural exchange, promoting the ballet art form across continents and enriching both institutions through shared artistry and creativity.

As Curtis reflects:

“Talent exists everywhere. Opportunity should too.”

Through the Australasian Classical Gala, that opportunity now has a home, one that dancers across Australasia can travel toward, rather than away from: a home built in Perth, for the future of classical dance.