remove_filter ('the_content', 'wpautop'); Full Time Dance Auditions | dancetrain magazine

Full-Time Performing Arts Courses 2019



Back To Top

Alegria Dance Studios | 0411 707 419
Hilary Kaplan
What is a common issue for first year full-timers? First year fulltimers struggle with the transition from a normal academic school and after hour classes to a day with increased dancing hours and then have to be self-motivated to do and keep up with the schoolwork.
The first few weeks, they are usually very tired and we have to remind them to pace themselves so as not to injure themselves or burn out.
We also suggest they have a physio appointment every 4-6 weeks just to ensure that all is working harmoniously.

Do you believe it is appropriate to have favourites? Definitely not. It is not appropriate to favour a student for whatever reason.
Obviously some students are more talented than others or perhaps others are a pleasure to work with even though may not have the ideal physical for a ballet dancer, but I strongly believe that each student should be treated the same and encouraged to achieve his/her full potential. After all, they are paying the same fees and should be afforded the same opportunities according to their capabilities.

A story from when you were a full-time student I did my full time training at the Royal Ballet School and my teacher was Pamela May who was a very respected former prima ballerina with the Royal Ballet.
One day I saw these 3 company dancers walk in – 2 men and 1 woman – to join in our class.
I soon realised who they were- Rudolf Nureyev ( close to the end of his career) , Antoinette Sibley and Anthony Dowell who were the new Fonteyn and Nureyev .
It was such an incredible experience and privilege to be dancing in the same studio as these extremely famous dancers.

What do you hope students gain from your class? I hope students take with them not only the strong technique, musicality and performance skills we teach them, but also the life lessons, which prepare them for what lies ahead.

Role of technique in a dancer’s career? A good, pure technique is crucial for a solid career in dance. It will prevent injuries and will guarantee excellent results and ongoing consistency in performances.

First term issues? As most new full-time students are unaccustomed to the extended hours of the course and managing their schoolwork by correspondence, they are often very tired. Also, if they are working in a different way from what they are used to, they sometimes have minor injuries e.g. shin splints or the occasional tendonitis.

When should you see a health care professional? We are very aware of safe dance measures but we nevertheless suggest students see a physiotherapist once a month to ensure that everything is in order as a preventative exercise. Students see a podiatrist if and only when needed.

How important is a consistent work ethic? A consistent work ethic is vital at all times as this trains them for future employment. Directors want not only good dancers, but dancers who are bright, alert, motivated, willing, reliable, and with a pleasant disposition who can work as a team.

Key to positive teacher/student/parent relationships? Teachers, students and parents need to respect one another and realise everyone has a role to play in creating the dancer. Students need to trust their teachers and believe that are getting the best possible training. Parents need to trust the teachers and not interfere unnecessarily in their method of training. Teachers need to realise that while the training of the students is all important and time is short, they need to also ensure that the students are not being deprived of family and social life, so they can develop as normal human beings with their own individuality too. The students need to be, not only physically strong, but psychologically too.

Back To Top

Australian College of Physical Education (ACPE)

Move Into a Career in Dance | | 1300 302 867
Established in 1917, ACPE is a leading national provider of Bachelor degrees in dance, sport, health, fitness and education and is a private higher education institution with nationally accredited degree programs registered with the Tertiary Education Quality Standards Agency. Study at the purpose-built campus in the mecca of sports excellence, Sydney Olympic Park. Dance courses deliver a mix of theoretical and practical learning that enable students to secure a career in dance across many different industry contexts.
Bachelor of Dance Education
Time: 4 years full-time or part-time equivalent
Aims: To provide the knowledge and skills for students to become a qualified Dance teacher and Physical and Health Education teacher. This specialised degree, unique in Australia, develops the requisite pedagogical knowledge and understanding to be an effective classroom ready teacher with students undertaking school based practical experiences throughout their degree.
Subjects: Dance History, Foundations of Dance, Understanding Health, Skill Acquisition, Dance Composition, Dance Production, Popular Dance Styles, Musculoskeletal Anatomy and Physiology, Professional Experience, Classroom Skills, Curriculum Planning for Learning and Teaching HPE, Classical Dance Styles, Practices in Movement, Child and Adolescent Development, Curriculum Planning for Learning and Teaching Dance, Dance Analysis, Theory and Application of Playing Sport, Contemporary Youth Health, Social Influences and Student Diversity, Dance Performance, Elements of Movements, Teaching Skills, Youth Health and Resilience, The Inclusive Classroom, Applied Exercise Physiology, Aboriginal and Torres Strait Islander Education, Current Issues: A Teaching Research Report, Dance and Technology, and Literacy for Learning and Teaching.
Bachelor of Dance Practice
Time: 3 years full-time or part-time equivalent
Aims: To produce graduates who are able to work in a range of capacities in dance development and the dance industry by providing students with the skills and knowledge required to be leaders within the dance industry and a wide range of community groups, in roles such as teachers, dance artists, facilitators, and administrators.
Subjects: Foundations of Dance, Understanding Health, Skill Acquisition, Dance Composition, Dance History, Dance Production, Popular Dance Styles, Musculoskeletal Anatomy and Physiology, Classical Dance Styles, Functional Anatomy, Professional Integrity, Introduction to Sports Business, Dance and Somatics, Dance and Technology, Exercise and Social Development through the Lifespan, Building Professional Relationships (WIL), Teaching Skills: Dance Studio, Dance Promotion, Dance and Health (WIL), Dance Performance, Dance and Communities, Introduction to Performance and Exercise Psychology, Event and Project Management (WIL).
Bachelor of Health Science (Dance)
Time: 3 years full-time or part-time equivalent
Aims: To enhance a professional’s understanding of synergies between dance and health science to facilitate work in both public and private organisations across a range of occupations. Students will learn how to apply scientific principles to dance movements, and develop a greater understanding of dance techniques and the risks associated with improper execution.

Subjects: Foundations of Dance, Understanding Health, Chemistry, Application of Maths and Statistics for Health and Sport, Dance Composition, Biology, Musculoskeletal Anatomy and Physiology, Biochemistry and Nutrition, Dance History, Classical Dance Styles, Systems Anatomy and Physiology, Applied Exercise Physiology, Popular Dance Styles, Dance and Somatics, Principles of Health Promotion, Biomechanics, Professional Integrity, Human Pathophysiology and Pharmacology, Research Design and Epidemiology, Research in Action (Dance), Psychology, Health and Physical Assessment, Small Business Management Principles, Exercise Prescription through the Lifespan, Dance Performance.
Performance opportunities (for all courses above): Assessments in class; extra assessment pieces; end of year performance. Students can join the ACPE Dance Company and the Cheer Squad, The Treasures, performing at graduation, community events, and relevant competitions and events.

Diane Grant Head of Department, Dance.
What is a common issue for first year full-timers? Transitioning to full-time tertiary study presents challenges, whether the student comes directly from high school study or after a gap year or period of work. Adaptability is key to a successful tertiary learning experience. Making the transition from the dance studio environment to the tertiary dance environment also requires students to come to their theory and practical subjects open to new ideas and new ways to experience dance that may be different from or challenge what they already know.

There are adjustments to be made to meet the expectations of higher education, which include more rigorous research, referencing and writing skills. Time management is also a common issue. Today’s tertiary students are over-extended with commitments to family, to work and to study. Students need to prioritise and make choices to create a healthy study pattern that will allow them to succeed rather than over-extend in their commitments, which can have spiralling effects and lack-lustre results.

Do you believe it is appropriate to have favourites ACPE provides an adult, professional learning environment in the dance studio and the classroom. Each student makes and works toward their own goals, and they are treated as individuals with respect as we guide them towards achieving these goals.

A story from when you were a full-time student I have been a full-time dance student through all my stages of study, which meant dance classes every day after school, daily dance classes and university subjects by day and dance company rehearsals at night, and fitting in work to support myself during graduate dance studies; it is learning about life and the world through dance. All the long hours of learning to dance and learning about dance have been invaluable and have contributed greatly to passing on this knowledge to new generations of students.

What do you hope students gain from your class? Through the duration of the Dance course, students engage in many different subjects from differing disciplines and viewpoints. The Dance students are familiar with the discipline and commitment required in studying dance, and readily apply these attributes to tertiary studies, placing them in a good position for success. Students need to recognise and fill in the gaps in their knowledge base and learn to make connections with all the knowledge they acquire; dance classes and theory subjects all interrelate. Students can connect what they learn in one subject to other subjects across semesters to deepen their learning experience.

Role of technique in a dancer’s career? Dance technique is the foundation of physical skills and understandings developed over time upon which dance students are able to perform a variety of dance styles with confidence, expression and conviction. Dance technique requires persistent training, and inherent in dance technique is an understanding of safe practice at all times, where the body is conditioned to be free from the risk of injury.

First term issues? Transitioning to tertiary study presents challenges, whether directly from high school or after a gap year or period of work. Adaptability is key to a successful learning experience. Students are expected to meet their educational challenges with maturity. Adapting from the dance studio environment to the tertiary dance environment also requires students to come to their theory and practical subjects open to new ideas and new ways to experience dance. Time management is also a common issue. Today’s tertiary students are over-extended with commitments to family, work and study. Students need to prioritise and make choices to create a healthy study pattern that will allow them to succeed.

When should you see a health care professional? It is important for students undertaking a three or four year dance course to fully acknowledge the physical requirements of consistent dance training. Students should consult a physiotherapist or other practitioner for a full body check to ensure that the prospective student is capable of meeting the physical requirements of the course. If, during the course, physical problems occur, it is vital to address the issue or injury immediately and act to minimise it.

How important is a consistent work ethic? A consistent work ethic in dance studies means valuing the acquisition of knowledge and applying new ideas and concepts to broaden current understandings. Persistence, curiosity, responsiveness and reflection all contribute to a positive work ethic.

Key to positive teacher/student/parent relationships? The student/teacher relationship is one of mutual respect and learning. Dance teachers and lecturers guide students in their learning and provide individualised feedback to assist them in meeting their full potential. Connect with the teachers in all subjects, ask questions, apply feedback and build skills in each dance class, theory tutorial and assessment task.

Back To Top

Brent Street

Australia’s Leading Performing Arts Training Facility | | 1300 013 708
OPEN DAY: May 26 2019 9:30am registration
Cutting-edge training from the industry’s best coaches and teachers producing the most employable talent for over three decades. Alumni can be found on stage in Australia, multiple international tours and productions, on the West End and Broadway. Brent Street Pty Ltd (RTO ID: 91488) is a Registered Training Organisation approved to deliver nationally recognised training. We have direct links to Focus Talent Management, Brent Street Creative Entertainment Consultancy, Hayes Theatre, Broadway Dance Centre NYC and countless Australian and international contacts in the entertainment industry – all of which will prove invaluable to students in launching their professional career.
Diploma of Musical Theatre CUA50213
Time: 1 year
Aims: Designed for students either with a background in singing, dancing and acting or who excel in one or two performance areas and wish to refine their skill sets in the others and extend their musical theatre performance skills to a professional level.
Subjects: Classical Ballet, Theatre Jazz, Hip Hop, Tap, Dance Audition Techniques, Safe Dance Practice, Musical Theatre History, Vocal Technique, Audition Repertoire and Masterclass, Harmony and Score Reading, Music Theory, Theatrical Make-Up and Hairstyles, Nutrition, Anatomy, Body Conditioning, Career Planning – self-promotion, networking, marketing, budgeting (includes 20 hours of volunteer work placement), Various guest lectures/ masterclasses/ industry forums.
Performance opportunities: 2 musical productions; 1 self-devised cabaret; End of year industry showcase.
Diploma of Dance (Elite Performance) focusing in Performing Arts CUA50113
Time: 1 year
Aims: An intensive course based around the “Triple Threat” performer.
Subjects: Classical Ballet, Jazz, Hip Hop, Acrobatics, Tap, Commercial Lyrical, Pas de Deux, Urban Contemporary and Classical Contemporary, Acting, Singing, Performance Skills (and opportunities), Safe Dance Practice, Repertoire, Floor Barre, Theatrical Make-Up and Hairstyles, Career Progression including audition and casting preparation, Mentoring and how to prepare to be a freelance artist, Nutrition, Anatomy, Body Conditioning, Cultural Dance History and Theory.
Performance opportunities: Numerous competitions; Corporate events; End of year industry showcase.
Diploma of Dance (Elite Performance) focusing in Classical Contemporary CUA50113
Time: 1 year
Aims: To produce a versatile, employable and technically diverse dancer by responding to the needs of contemporary dance and dance-makers working in the world today
Subjects: Classical Ballet, Commercial and Urban Contemporary, Classical Contemporary, Jazz, Lyrical, Pas de Deux, Hip Hop, Acrobatics, Commercial Lyrical, Contact and Improvisation, Choreography, Career Progression including audition and casting preparation, Mentoring, Nutrition, Anatomy, Body Conditioning, Performance skills and opportunities, Film, Repertoire, Floor Barre, Acting, Safe Dance Practice, Cultural Dance, History and Theory, Various industry workshops/ masterclasses/ forums.

Performance opportunities: Numerous competitions; Corporate events; End of year industry showcase.
Brent Street Academy
Time: School Years 9, 10, 11, and 12.
Aims: To provide talented, passionate, driven and highly engaged students an opportunity to study academic subjects alongside performing arts subjects.
Subjects: Classical Ballet, Commercial and Theatre Jazz, Hip Hop, Tap, Commercial Lyrical, Urban Contemporary and Classical Contemporary, Acting, Singing, Performance Skills (and opportunities), Physical Conditioning.
All academic studies are through Cairns School of Distant Education (CSDE). In addition to your CSDE Contact Teacher, an Academic Supervisor is in attendance daily to oversee the student completing their studies.
Performance opportunities: Numerous competitions; End of year industry showcase.

Lucas Newland Managing and Creative Director
What is a common issue for first year full-timers? Transitioning from the Department of Education system into a purely performing arts-based style of learning does have some challenges. Whilst we mentor, support and provide guidance students are expected to be self-motivated, responsible and professional at all times. Although many have dreamt of fulltime study few realise the huge amount of work, both physically and mentally full-time performing arts study involves. Brent Street prides itself on being the most industry connected training organisation in the country where all students are given the same opportunities. However, it is up to the individual to use the valuable class time to make the right impression, cement good relationships and take on all the training and advice given by the industry’s finest.
For students and parents
Full-time training is the first big step out of school towards a professional career. My advice? Savour every moment in every class and be prepared to go right outside your comfort zone. Do this and you will finish the year a better performer, both technically and emotionally, with all the tools you need to carve your place in the industry.
Do you believe it is appropriate to have favourites I don’t believe in favourites, especially as the head of a training organisation. I want every student to be the best possible version of themselves. However, I do think that in any industry hard working, talented, humble, disciplined, respectful and goal-oriented people are always met with more opportunity.
A story from when you were a full-time student I didn’t train in Sydney, or at a huge school. Moving to Brent Street was a big change for me. I quickly learnt that discipline, hard work, persistence and being open to new challenges were key. During the second term of the course I remember a time where I was feeling confused, overwhelmed and lost. I was second guessing my time in the course and felt I wasn’t making the most of it. I remember having a meeting with one of the course mentors and they told me that each class was an opportunity and that my only competition was the dancer I was in the class beforehand. This lit a fire in me! This has carried me through not only my training but into my career and now with my business endeavours. I try to engrain this same philosophy in my current students.

What do you hope students gain from your class?
I talk a lot when I teach. I love describing feelings and scenarios to the students to inspire them to move or perform their work in different ways. I try to explain to them that while dance makes us feel so many things, the art of performing is to make your audience feel the intent of the piece. Don’t be selfish with your emotions. Let the audience feel the same.
People relate to other people, so be honest and true and you will be unstoppable.
Passion, presentation, technique, work ethic and emotional connection are the building blocks I hope my students will take with them to create a long and rewarding career.

Back To Top

Classical Ballet 121

A personal approach
Accredited | | | 0451 953 768
Students are enrolled in Distance Education Schooling. Tutoring is provided for best possible academic results. CB121 resides at Dance 102 a short walk from St Leonard’s station. Director Gillian Revie, former ballerina with The Royal Ballet and guest artist with The Australian Ballet offers personal guidance and equal attention to every student. In addition to the rigorous world-class ballet training, focus is given to physical and mental wellbeing. We nurture confident young dancers who understand their individual strengths and limitations, which leads to positive and realistic decision making for their futures. Our physiotherapist/anatomy tutor works closely with the faculty and students for a healthy, injury free studio. Students have successfully secured places in vocational schools such as QPAC, Houston Ballet Academy, Royal Ballet School, English National Ballet School, Jacqueline Kennedy Onassis School, and Dutch National. 100% of all RAD examinations have passed with distinction and we have had finalists in the Alana Haines, YAGP and Genée.
Classical Ballet 121 Part-Time
Part-time tuition can be provided to suit the needs of the individual. Programs can be tailor made around schooling/other dance commitments or activities.
Classical Ballet 121 Full-Time
Levels are determined by standard and numbers. Ballet, Pointe, Solos and Pas de Deux are split into standard appropriate groups with no more than 12 dancers in each class. Students age 13-18 are accepted into the school by audition and are placed in levels according to their ability. Classes begin at 8.30am and finish at 3.30pm Monday–Friday. Dancers are encouraged to take extra-curricular lessons that will complement their training. RAD exam work is led and prepared by Teresa Johnson as required.

Time: The length of this course depends on the individual. With our flexible structure, students are encouraged to take the time needed to achieve their personal goals.
Aims: To prepare students for the next step in their pursuit of a career in classical ballet. We care about our students dreams and aspirations and work hard to encourage them in the most appropriate direction to achieve them. Attention is given to CV writing, biographies and research on worldwide vocational schools and companies. We also provide unique opportunities in dance related subjects to encourage forward thinking and an appreciation of the broader picture.
Subjects:Fitness – Pilates, Yoga, In Power, Stretch. Dance – Ballet, Pointe, Solos, Virtuosity, RAD, Repertoire, Character, Pas De Deux, Contemporary, Spanish, Jazz. Education – Research, Anatomy, Ballet Theory, Tutor Doctor, Self Savvi. Workshops – Dance Styles, Dance History, Choreography, Benesh Notation, Stage Design, Nutrition. Private mentoring is available with Gillian Revie, Alistair Stewart, Alisha Coon and Natalie Ayton.
Performance opportunities: Termly Open Days, In House Choreographic Competition, Selected national and international competitions, End of year presentation, External event opportunities.

Back To Top

The Conlan College

Individual Attention from World Class Teachers in State of the Art Facilities | | 02 9144 6532
The Conlan College prides itself on working with each student to attain their personal best, with world-class teachers and small classes facilitating individual attention for each student. For the past three years, every full-time graduate has gained a place in the finishing school or company of their choice. The new, state of the art facilities in Pymble (5 minute walk from the station) comprise of six large studios (all with fully sprung floors and performance quality tarket), an in-house dance physiotherapist, lockers and change room facilities, dedicated café, yoga/pilates room and an academic study area. Parents are welcomed as partners in their child’s progress and encouraged to become part of The Conlan Community.

Full-Time Course
Time: 2-4 years (depending on standards upon entry)
Aims: To focus on each student to ensure they follow their own individual path, whether that is to an elite classical finishing school, a contemporary career, a university course, teaching or other goal.
Subjects: Vaganova Classical and Character, RAD Classical, Contemporary (Martha Graham, Cunningham), Pas de Deux, Choreography, Repertoire, Jazz, Company Class, Eisteddfod Groups and Solos, Improvisation.
Performance opportunities: Eisteddfod Groups and Solos; Examinations; Whole College concert; Professional positions (e.g. The Australian Ballet Company child roles, Limitless Dance Company).

Certificate IV in Dance (Elite Performance) CUA40113* & Advanced Diploma in Dance
(Elite Performance) CUA60113*
*offered in partnership with ATOD RTO 31024
Time: 1 year – Certificate IV; 1 year – Advanced Diploma
Aims: To focus on each student individually to ensure they are successful in gaining their Certificate IV in Dance (Elite Performance) and Advanced Diploma in Dance
(Elite Performance) Nationally recognised qualifications.
Subjects: Contemporary (Martha Graham, Cunningham), Open Classical Class, RAD Classical Option, Partnering, Choreography, Repertoire, Jazz, Company Class, Eisteddfod Groups and Solos, Improvisation.
Performance opportunities: Eisteddfod Groups and Solos; Examinations; Whole College concert; Professional positions.

Alfred Taahi Head of Nationally Accredited Courses

What is a common issue for first year full-timers?
First year students often find the length and intensity of the full-time training day to be very difficult. If you have joined a quality course, it is a huge step up from part-time training and it takes time, perseverance and dedication to develop the physical and mental stamina that is needed. The expectations in every class will be much higher than they have ever experienced before and they need to be ready to handle that.

The advice I would give to parents is to feed them well. Soups, lots of vegetables, fish and fruit need to be every day foods for them. You need to teach them to eat well so that when they head overseas, they know how to look after themselves. One of the hardest things to do when everything is new, maybe very few people speak your language and you’re trying hard to fit in and work hard, is to work out what you should be eating.

I also say to both parents and students to be patient. Understand that you are changing your body and your mind and that takes time. Just ask any professional sports person.

Do you believe it is appropriate to have favourites
I do not believe, nor have I ever believed, that having favourites is appropriate. You see it still in so many full-time programs and it is very damaging in any group. Students who are the favourites can become very self-important and stop working as they should, and students who are not the favourites can become very disenchanted. In my experience no teacher can know who will or won’t “make it” and anyone who claims to, is not telling the truth.

If you consider the student who does not have all the “gifts”, every day is still the same for them. They get up early, they exercise, stretch, go in to their classes, more exercises, more stretching then go home to get up and do it all again the next day. Everything they ever achieve, they have worked incredibly hard for, as nothing is given to them. That kind of attitude develops strength of character and the determination to never give up. When the going gets tough, they keep going because for them, it’s always been tough.

I teach from the philosophy that if we develop the human, the dancer will follow. All human beings are created equal and we need to treat them as such.

A story from when you were a full-time student
I have so many wonderful memories of both good times and difficult times. My training was not easy but all my experiences led me to become the performer that I became.

One thing that stands out about my student days is that I was accepted into The Royal Ballet School, however due to financial constraints, I was not able to complete the full three years. Having attained very good marks in my test classes, my teacher encouraged me to audition for Frankfurt State Opera Ballet. I was accepted in and that was the start of my professional career, which ended with 12 years as a Principal Dancer with Sydney Ballet Company some decades later. So what I am saying is that there is not a single way to attain your goals. I thought my life was over when I had to leave The Royal Ballet School but it was not. It was only just starting and I was fortunate enough to go on and have a very successful career.

What do you hope students gain from your class?
I try to make sure my students leave with the tools to take advantage of any opportunity that comes along. In this industry, we don’t know what is going to happen tomorrow so all we can do is to be physically and mentally prepared for anything that might present itself. I hope that my students understand how extensive our world is and that there are way more than two or three Companies in the world.

Emma-Jane Morton Senior Teacher

Role of technique in a dancer’s career?
Good and well-executed technique will ensure a dancer’s longevity, prevent injury, build strength, flexibility and refine movement quality.

First term issues?
Exhaustion, muscle pain and concentration.

When should you see a health care professional?
In a perfect world approximately once a month would be ideal, this would ensure that little niggles can be addressed and rectified without major consequences.

How important is a consistent work ethic?
Extremely important, one should always strive for their personal best in every class. Speaking from experience not every role that you will perform will inspire you but you must always put the same amount of effort into everything asked of you. This quality is well respected by directors and choreographers.
Key to positive teacher/student/parent relationships? Most of the communication with parents is through the director of the school Susan Anderssen. Nevertheless, there needs to be a trust between what the teacher/director is saying and the parents. Teachers have the students best interests at heart and are helped to achieve results with the support and understanding of the parents. Students need to also trust in their teachers. Each point of the triangle has its role and success relies on common respect.

Back To Top


Relevant Training for Today’s Industry | | 0430 110 824
Dargie FULLTIME is open for 2019 in Broadway, Sydney. With a top faculty of agents, current entertainment employers and industry professionals, our course is about relevant training for today’s industry. Focusing on technical training, commercial and industry practice/readiness, this is where you need to be for 2019. Students will graduate technically proficient, with the ability to quickly pick up and retain varied styles of choreography and will have a sound knowledge of what is required to work as a professional entertainer. The course is located 5 minutes from Central Station.

Dargie FULLTIME Diploma of Dance (Elite Performance)
Time: 1 year
Aims: To produce all round professional performers with strong technical and commercial training, who understand ‘life after full-time’ and can find employment in the competitive world of professional entertainment.
Subjects: Ballet, Commercial, Jazz, Tap, Lyrical/Contemporary, Audition Technique, Fitness Training, Musical Theatre, Vocals, Acting for Camera, Heels Technique, Hip Hop, Choreography, Industry lectures, European Cabaret, Burlesque, Image Management, Business Practice.
Elective Majors: Vocals, Acting for Camera, Musical Theatre.
Performance opportunities: Graduation and Charity events/charity fundraisers; View professional rehearsals and work alongside current professionals through Dargie’s Professional Agency and Production Company. Students do not perform for free at corporate events that would otherwise be paid jobs for professionals. We believe in preserving the professional dance industry so that students may graduate into a world with many paid opportunities available.

Ben Murray Co-Director

What is a common issue for first year full-timers?
I think there are 2 main issues that new full-timers face. The first being physical exhaustion. A lot of full-timers are travelling long distances each day as well as training 40 hours per week. It takes a bit of time for the body to get used to. Once they get past the first month, it does get easier! I also find that new full-time students are extremely hard on themselves. Full-time is a process and a journey – you will not receive your dream ‘pro standard’ results instantly. It takes time! My advice is to keep working hard and fighting for your dreams everyday, but students need to be patient and kind to themselves throughout this journey.

Do you believe it is appropriate to have favourites
Absolutely not. Every student in a full-time grade is paying and working to be the best dancer/performer they can possibly be, therefore each and every one of them deserves guidance and attention to detail in their personalised training. ‘Favourites’ based training is simply inappropriate and so 10 years ago.

A story from when you were a full-time student
Personally I was overseas working on contracts at full-time age, but I consider my first few contracts as my full-time training. I simply had to learn the industry tricks of the trade on the job. I want my students to be prepared for the finer details that come with contract work/employment during their training. There is so much more to the world of professional performance than your technique and style. Obviously your technical and style training must be of a very high standard to get the job, but there are other factors that are crucial in today’s industry that many students are not taught at full-time.

What do you hope students gain from your class?
I want my full-timers to be industry ready. I want for them to be technically proficient, up to date in their style and ready for the industry as it is today. Being an agent and employer myself, I’m very aware of what casting directors and employers want right now. When my students are finished their training, I want them to get employment and have a rewarding career.

Back To Top


We Are Passionately Committed to Striving for Brilliance | | | 02 9746 0848
ED5INTERNATIONAL is proud to offer their unique accredited Advanced Diploma of Performing Arts, exclusive to ED5INTERNATIONAL. Guided by William A. Forsythe with founders Elena & Mario De Cinque it boasts Australia’s leading faculty. Graduates perform in Musical Theatre, television, stage, theme parks, overseas contracts, cruise ships and a multitude of other entertainment arenas. The course is Accredited by ASQA (Australian Skills Quality Authority), NRT (Nationally Recognised Training) and AQF (Australian Quality Framework). ED5INTERNATIONAL is located in Bakehouse Lane, George Street, North Strathfield, a short 5 min walk from North Strathfield train station, there is ample street parking available. Our students will become the employed performer. They achieve this through dedication, discipline, talent and a lot of laughter and love. Our course is also full of a lot of joy, for the love of performing arts. Our mission has been to create, enhance, elevate the profile of Performing Arts in Australia and internationally and we are proud to say our mission has been and continues to be accomplished after 18 years. We are passionately committed to striving for brilliance.

ED5INTERNATIONAL 10149NAT Advanced Diploma of Performing Arts
Time: 2 years
Aims: To produce talent that is industry ready and employable at successful completion of the course. During the course each student is individually monitored, assessed and guided to achieve successful Graduation and a career with longevity. ED5INTERNATIONAL graduates are currently very strongly working in the Entertainment Industry both nationally and internationally.
Subjects: Musical Theatre, Jazz, Tap, Ballet, Singing, Contemporary, Hip Hop, Acting, Group Harmonies, Repertoire, Performance Coaching, Cabaret, Lyrical, Nutrition, History of Musical Theatre, Music Theory, Anatomy, Image Management, Make-up, Acrobatics, Improvisation, Choreography, Audition Technique, Mock Audition Class, Heels, Strength and Conditioning, Yoga, Cardio, Pilates, Swing Class and more.
Performance opportunities: Repertoire Performances, Acting Showcase, Graduation Performance, Arnott’s Biscuits Charity Ball, Nicole Fitzsimons Fundraising Ball & Cara House Charity Function

Emma Logan Teacher

What is a common issue for first year full-timers?
A common issue that is prevalent in first year students is one of coping mentally with studying full-time and with dealing with what is a huge life change. You are not only pushing yourself physically but also mentally. It is a huge step out of your comfort zone with many students moving away from home and interstate as well as stepping away from their part-time dance studio and dealing with the first lessons of coming into themselves as a performer and a person in adult life. Many of these are hard lessons to learn and keeping a healthy mindset is really important.
You don’t want to waste time sweating the small stuff when your course time is so limited and you want to gain as a much as you can from those years. Lean on those around you and trust in the course and its support system. If ED5INTERNATIONAL is anything, it is a family where students are nurtured in and out of the studio. Chat to teachers and students and be open to what is happening around you, learn from this time and its role in your journey. Make sure a clear and healthy mindset is a priority. Keep doing the things that make you ‘you’ outside study time and know it is ok to make mistakes and grow from them – this is what this time is for!

Do you believe it is appropriate to have favourites
I don’t think it is a matter of favourites but rather rewarding hard work and the hunger to achieve. Once study is done and you are standing in the audition room, class favourites don’t apply any more. Hard work, persistence and a great attitude will always pay off.

In today’s professional climate, in my experience employers may gravitate towards certain dancers for many reasons but being an easy person to work will always be a winning factor. At the end of the day the factors that contribute to why people are booked are usually beyond your control but what you can do is that let that be fuel to your fire, use it to your advantage and make it push you to become a better performer in YOUR space.

A story from when you were a full-time student
Full-time training at ED5INTERNATIONAL not only gave me skills for my career but connections for life. My best friends are those I meet during full-time study who I have gone on to share not only the stage but life milestones. My work connections still remain strong within those I met in full-time and I also found a family and support system within the Directors and staff that is invaluable. All ED5INTERNATIONAL Graduates are a testament to the Directors Elena De Cinque, Mario De Cinque and William Forsythe. My first international contract came from a recommendation from a teacher from my full-time year. I have gone on to now become a choreographer and director for this company many years later. I think the greatest lessons I learnt was how to hold myself, how to connect with those around me and how to be versatile not only for our industry but abroad as well. What it has become is a life changer for me, setting me up for and supporting me not only through professional achievements but personal ones as well.

What do you hope students gain from your class?
I hope students will learn to push the boundaries of their skill set and become comfortable with learning what it is that they bring to the table to work and sustain a career for the long run. I hope students learn the importance of skills within business, marketing, CV writing, audition skills and most importantly how to be a professional, easy to work with person. I aim to teach the importance of versatility and how to open their eyes to the skills that will help get their foot in the door to attain work both here and overseas.

Back To Top


Looking for an all-round triple threat full-time course? | | 02 9545 3033
Ettingshausens PRO faculty has been carefully selected for their strengths in their respective fields. World class teachers and mentors such as Stephen Tannos, Cassandra Bartho, Eden Petrovski, Neale Whittaker, David Mclean, Sophie Holloway, Sarah Stollery, Natasha Crane, Gaynor Hicks, Jo Ansell, Kate Larter, Julian Caillon, Tobias Madden, Troy Harrison, Jake Murray and Aimee Regan make up the weekly teaching faculty. Students receive personal attention and advice from Australian and International Industry Guests, including but not limited to: Kelley Abbey, The Squared Division, Marko Panzic, PJ Clarke, Amy Campbell, Thern Reynolds, Kaylie Yee and Michael Stein. The renowned facility offers 12 fully equipped air-conditioned studios, professionally staffed reception and office, separate junior and senior campuses, plenty of parking and a student area with kitchen. RTO#40539.
Certificate IV Dance CUA40113
Time: 1 year
Aims: To refine students’ talents, extend their skills and build their knowledge of the professional performing arts industry whilst developing their unique brand.
Subjects: Jazz, Contemporary/Lyrical, Hip Hop, Latin, Choreography, Improvisation, Tap, Singing, Acting, Acrobatics, Fitness, Nutrition, Performance Theory, Business Skills, Modelling, Dance to Camera, Broadway Jazz, JFH.
Performance opportunities: Mardi Gras; Comedy Festival; Australian Dance Festival Showcase; Festivals; Corporate Events; End of year Graduation Show.

Certificate IV Teaching and Management CUA40313
Time: 1 year part-time
Aims: To produce the dance teacher and choreographer that everyone wants to hire. To provide the tools to make a positive impact as a teacher and skills to build the studio of your dreams by learning the secrets of running a successful dance studio and how to create your own professional dance business from well-known mentors.
Subjects: Dance Technique and Choreography, Safe and Effective Teaching, Planning Classes and Assessing Students, Production Management, Business Management and Operations, Managing Small Teams, Marketing The Small Business.
Performance opportunities: Practical teaching placements across all age groups and genres; Show production; Professional dance events; Concerts.

Gaynor Hicks Teacher

What is a common issue for first year full-timers?
Everyone starts off very confident and excited for the year ahead but few are prepared for the emotional and mental struggle. Many students come from different studios and are not prepared for the self-doubt/little fish big pond scenario. I would suggest just being aware that it is a hard year or couple of years ahead but that’s why we do it, we enjoy the fight.

Do you believe it is appropriate to have favourites
I believe It is appropriate to showcase good talent but there’s a difference between favourites and praise. When a student is in my class and does something great that catches my eye, I love getting the student to do it again so the class can see. This example from a fellow student shows it can be done and may offer a different perspective to executing the step.

A story from when you were a full-time student
One thing I remember best about full-time is my tight knit circle of friends. I believe having a strong support system around you is crucial in this industry and full-time dance allowed me to make the friends that now support me and my goals as a performer and choreographer. We all completed full-time together in 2011 and ever since, I consider them my favourite and most valuable connections.

What do you hope students gain from your class?
I hope that students gain confidence within their ability and to remember the main reason why we do this and why we push ourselves so hard – because we love it. I know full-time gets very hard and you can sometimes lack motivation but you just have to remain positive and excited for the rest of your career that lies ahead.

Sophie Holloway

Role of technique in a dancer’s career?
Technique is a prerequisite for any dancer, as it helps to sustain an injury-free and fully mobile body. A dancer’s body is their instrument, it continually needs to be strengthened and reassessed over time. Technique also enables a dancer to execute more difficult movements and in a long term career, having strong technique means you are more likely to be employed for a wider range of work and performance opportunities.

First term issues?
Many students battle with fresh or pre-existing injuries in their first term due to over-use as well as lack of strength. Dancing 6 hours a day, 5 days a week – the recovery time between classes is sometimes not enough for their level of technique. The over-use, repetition and stress on the body causes this. Trying new skills, too early, can be another factor. Give your body sufficient rest and recovery time, implement correct warm up and cool downs, do lots of stretching and ensure you only attempt skills at your level.
When should you see a health care professional? Do not ignore minor aches and pains in the hope they will disappear on their own. Many students self diagnose or ignore pain, in fear of missing out on dancing. Consult with a physio at the earliest stage possible, to help with quick relief and injury prevention. A dance specialist physiotherapist understands that the priority is to keep you dancing.

How important is a consistent work ethic?
A teacher can tell a lot about a student’s potential by analysing the way they apply themselves in classes and most importantly, their consistency. A strong work ethic makes you reliable and shows self motivation, imperative skills for booking gigs later on. It means you continually apply yourself in all genres, self correct, take initiative and tackle your weaknesses with confidence and determination.

Key to positive teacher/student/parent relationships?
A successful and rewarding relationship among teachers, students and parents doesn’t happen overnight. Many ingredients come into play to make this a harmonious and rewarding experience however the first is trust. Trust that the teacher will know the pace the student should be learning at, the choreography they should be attempting, the music, the amount of classes they need etc. Also, communication is important. Students should feel like they can ask for help when needed and parents and teachers should be able to discuss concerns freely.

Back To Top


Tailor made curriculum for a tailor made professional dance career |
FIRST POSITION AUSTRALIA offers the highest training for classical students. Our Intensive programs are designed for dancers from junior through to pre-professional levels. With our internationally renowned faculty: Vicki Attard, Vadym Domashchenko, Hassan Sheta, Mark Dubovsky and Cloudia Elder, we concentrate on the refinement of skills and the professional development of the dancer. Our Programs are deeply committed to a high caliber of training to maintain the respected tradition of classical ballet. We focus on coaching correct placement technique, correct physical development, and personal discipline balanced with pure aesthetic vision, emphasising the joy, beauty and tradition of classical ballet.

Intensive Ballet and Contemporary Programs
Time: Part-Time Program: (12-18 years old)
Intensive Trainee Ballet Program: Junior Transition Division (7-10 years old); Pre-Professional Division (11- 18 years old).
Aims: To nurture promising talent so that every provision is made for them to be the best.
Subjects: Open Classical Ballet, RAD Ballet, Vocational Grades, Repertoire, Variations, Pas de Deux, Pointe, Neo-Classical, Pilates, Stretching and Body Conditioning, National Character, Contemporary, Nutrition, Audition Training Technique.

Back To Top

FSDance & College of Creative Arts

Creating Artists of Tomorrow
Accredited | | 02 4973 3133
FSDance & College of Creative Arts produces exceptional dancers who are independent & equipped for the Dance Industry. Experience powerful growth with one-on-one guidance and expertise from inspiring & professional mentors. Dancers are encouraged to develop their own artistry and to explore expression through other ‘creative arts’ mediums giving diversity and an edge on their competitors. Whilst ballet and contemporary are the foundations for the full-time courses, a comprehensive list of subjects are offered and students are personally coached to enable employment in a wider context of dance and related careers. Our Transition Schooling Program is tailored specifically for the dancer who wishes to complete their schooling alongside increased hours of dance training. Students thrive as a result of the holistic, nurturing, learning experiences in Education & the Arts.
Diploma of Dance (Elite Performance) CUA50113
Majoring in: Classical Ballet or Contemporary Dance
Diploma of Dance (Elite Performance) CUA50113
Majoring in: Commercial Dance
Diploma of Musical Theatre CUA50213
Certificate IV in Dance CUA40113
All Full Time courses Auspiced with the Australian Teachers of Dancing (ATOD)
Transition Program
Time: Courses are taken between 1-3yrs full-time depending on ability and previous training.

Aims: FSDance & College of Creative Arts strives for excellence in every program and encourages a healthy self-esteem and confidence through dance and personally assists every student to achieve their personal dreams. We seek to challenge students’ creativity and expression, to continue to provide new and exciting opportunities in dance and performing arts, empowering them to be the best they can be. We are proud of our many graduates that are now dancing professionally in Australia & overseas, in ballet, theatre & commercial styles, running their own studios, or have successful employment in related dance careers.
Subjects: Comprehensive training in RAD Ballet & Open Classes, Exam Coaching, Repertoire, Pointe, Pas de Deux, Character, Contemporary, Jazz, Singing, Musical Theatre, Pilates, Drama/Mime, Anatomy, Nutrition, Music, Safe Dance Practice, Dance History, Composition, Acrobatics, Career Preparation & Audition Technique. ** Creative Arts classes to enhance dance training; include movement in photography, textures & environments, drawing, painting, design and music.
Performance opportunities: Mid-year performances & End of Year Productions, Graduations, Comps, Festivals and Corporate events.

Back To Top

Joanne Grace School of Dance

Be Inspired. Be Challenged. Reach your potential | | 0413 006 110
Joanne Grace School Of Dance is an emerging full-time school situated in Wollongong. Offering courses for the passionate and dedicated, and providing relief from lengthy commutes to the CBD for students outside Sydney. Graduates have secured contracts, short term offers, scholarships and/or summer school offers with various cruise ships, theatre shows, and contemporary and classical dance companies and schools around the world including Joffrey Ballet School, Rambert School, New Zealand School Of Dance (Classical and Contemporary stream), The Australian Ballet School, Alvin Ailey, Sydney Dance Company, The Australian Ballet, Royal Ballet School, West Australian Ballet, New Zealand Ballet, English National Ballet, Royal Winnipeg Ballet School, Palucca Hochschule für Tanz Dresden and Houston Ballet Academy. Certificate IV is offered via an auspice arrangement with National College Of Dance Pty Ltd RTO#91281.
Certificate IV In Dance CUA40113
Time: 1 year

Aims: To further develop, inspire and challenge, with the aim of helping dancers reach their full potential as artists, through exceptional teacher/student ratios and a careful, structured and individual approach in all classes, and to provide students with a Nationally Recognised Qualification.
Subjects: Classical Ballet, Pas de Deux, Pointe, Repertoire, Boys Coaching, Contemporary, Pilates and Conditioning, Choreography
Full-Time or Part-Time Program
Time: Full-Time (5 days/wk) or Part-Time (on an individual basis)
Aims: To improve strength, flexibility and alignment to assist with injury prevention and longevity as well as develop a strong sense of performance and artistry in both Classical and Contemporary dance, and prepare students for pre-professional training leading to a career in classical or contemporary dance. Also, to support students existing schooling whilst maintaining the connection to their dance school of choice when choosing the part-time option.
Subjects: Classical Ballet, Pas de Deux, Pointe, Repertoire, Boys Coaching, Contemporary, Pilates and Conditioning, HSC Dance.
Performance opportunities for all courses: Competitions and Masterclasses locally, state wide and internationally.

Joanne Grace-Morgan Principal

What is a common issue for first year full-timers?
Quite often there is external pressure to perform well or to be successful because of the path that has been chosen. We should understand that the path is chosen because the student has an obvious talent but more importantly because dancing makes them happy. I would encourage the students to “relax” and enjoy waking up to a day in the studio which is full of rich learning experiences and personal development and to focus on what can be gained by taking this pathway not what external pressures tell you could be lost.

The students often look too far into the future and worry about their place in the dance world. Dance takes time and for some, opportunities may happen more immediately than others – my advice to the students would be to continue working at your maximum and with each day brings new experiences and opportunities. Work on your short-term goals and focus on yourself and your own development and not compare your work to others. For both students and parents the biggest thing is “trust”. Trust in the experience of your teachers and your school and be encouraging to your dancer. Dancers at times can be filled with self-doubt – encourage them to continue working towards their goals.

Practical issues involve tiredness both physically and mentally. The younger dancer needs the maturity to be guided by their teachers rather than their peers judgment. The expectations of full-time training are far greater than after school training so they should prepare themselves for these challenges. Parents should help balance the students life, allow them to indulge in their passion but also give them the chance to feel “normal”!

Do you believe it is appropriate to have favourites
I don’t believe in any era it was ok to have favourites but I think students and their parents need to understand that students differ in the way they work with their teachers and this in turn affects the teaching process. Those students who ‘give’ to their teacher both creatively, mentally and physically are inspiring to work with both in class and choreographically. This does not make them favourites but a more coachable student. It is possible to develop these skills over time when each dancer can acknowledge their role in the teaching process. Each dancer has different attributes some dancers required the security of working behind another to assist with their musicality or the development of their personality on stage: this takes time.

A story from when you were a full-time student
Throughout my training I had four 1.5 hour classes of Martha Graham technique a week. I found the technique rigorous and not at all pleasant for my body. I tried to approach each class with positivity but at times this was difficult. I was often looked at and told I was not giving my best (despite my best efforts). I persevered and continued to work with the appearance of my efforts going unnoticed. I noted down in my journal the exercises methodically week after week because I had to not because I wanted to. It was only years later when I became a teacher that the true value of the technique became apparent to me. I have since crossed paths with the teacher whose classes I didn’t enjoy and was able to express my gratitude and laugh about my journey to this point.

I think as dance students we will all encounter classes that we don’t respond to for a variety of reasons or teachers we don’t “gel” with. Developing perseverance and courage to continue working hard at something you don’t enjoy will help you to value every opportunity good or bad however it is perceived at the time. Had I switched off during these classes I would not have been able to impart the values of this technique in my students and my knowledge base would be that little bit smaller!

What do you hope students gain from your class?
In the short term I hope my students walk out of each class wanting more. I hope they learn how to apply the mental to the physical and I hope that each class develops more passion and drive in the student. I hope to teach them how to be inspired by each other but also to use each other as their drive to push forward. In the long term I hope they can walk away from their training having the skills to succeed in whatever their chosen career is. Skills such as the ability to: be respectful to their peers and to those in a higher position, to be thoughtful and understanding, to carry themselves with confidence, t To be disciplined in the work environment, to be consistent and persistent and to be gracious and humble. I hope that my dancers have no regrets and that they continue to strive for the things they want to achieve beyond the studio walls.

Back To Top

Lee Academy

The Most Complete & Versatile Training Program | | 02 4358 1528
Lee Academy Full-Time makes the link for dancers from students to professionals. Providing a guided career pathway for aspiring performers and giving students every opportunity to expand their skills, nurture versatility and explore artistic self expression.
LA Fulltime PTY LTD : RTO #70230
Advanced Diploma in Dance (Elite Performance) CUA60113
Diploma in Dance (Elite Performance) CUA50113
Diploma of Musical Theatre CUA50213
Acro and Aerial Fulltime: including Diploma in Dance (Elite Performance) CUA50113
Certificate IV in Dance CUA40313
Certificate IV in Dance Teaching and Management CUA40113
Certificate IV in Arts Administration CUA40813
Certificate III in Dance CUA30113
Time: Advanced Diploma: 3 years
Diploma: 2 years
Cert IV: 1 year
Cert III: 1 year

Aims: To enable students to take a huge leap closer to their dreams and guide them into a successful professional career with a nationally recognised qualification.
Subjects: Accent Training, Acrobatics/Gymnastics, Acrodancer, Acting, Anatomy and Nutrition, Ballroom Dance, Choreography, Classical Ballet (RAD), Contemporary, Dance Psychology, Heel Technique, Hip Hop, Industry Practices, Jazz – Broadway, Jazz – Commercial, Kicks Turns Leaps (Ktl), Lyrical, Musical Theatre, Musical Theatre Theory and History, Partnering, Pointe, Pop Vocal, Private Tuition, Professional Development, Performance Psychology, Silk Tissue, Trapeze and Lyra, Stage and Screen Choreography, Stage and Theatre Practices, Stagecraft, Tap, Theatre Dance, Theatre Vocal, Theatrical Make-Up, Tumbling/Flips, Vocal Ensemble.
Performance opportunities: Multitudes of performance opportunities available in the best theatres and performance spaces across the country.

Jo Cotterill

Role of technique in a dancer’s career?
Technique, along with versatility, work ethic, communication skills & passion for dance are tantamount in achieving a long and happy career. At Lee Academy Fulltime, we make sure that all our students have technique classes across all genres of dance whilst in full-time to ensure that the journey of a sensational career begins and continues.

First term issues?
A common issue amongst first year full-timers would be challenges with adherence to the training schedule. Our class timetable is designed to work perfectly and get excellent results when it is undertaken in its entirety. I encourage all dancers to be in class as much as possible.

When should you see a health care professional? It is important that all dancers be proactive in prevention of injury by taking weekly technique classes, and staying fit and healthy. Make sure your body and your mind get adequate rest. If you do get an injury see a professional immediately and follow their advice. Never ignore an injury.

How important is a consistent work ethic?
A consistent work ethic is essential whilst studying as our students work with industry professionals every day with most hiring dancers straight out of our classes. We also have many international guest artists come into our facility to share their knowledge and skills, which provides great opportunities for our students to learn and network for job opportunities.
Key to positive teacher/student/parent relationships? We are committed to open and honest communication at all times, between the dancer, parents and support team and the teaching team. This always leads to enjoying successful & rewarding relationships.

Michael Stone Teacher

What is a common issue for first year full-timers?
Muscle soreness & fatigue in general. My advice would be to concentrate on developing excellent self-management practises such as taking the time to rest your body at the appropriate times, ensure you get enough sleep and have a very healthy well balanced diet. Developing these basics early on will ensure that dancers new to full-time quickly acclimatise to the training schedule and are able to get the most out of their amazing experience.

Do you believe it is appropriate to have favourites
Favouritism…. Honestly to me is an odd term which is often misused by a full-time student when they do not understand why a particular performance opportunity, class placement or casting is offered to another individual other than them (this can go both ways actually, a full-time student could misconstrue an opportunity as favour). Any time a student or parent feels that they are experiencing negative effects of favouritism, it is important to seek counsel from the teacher involved, or, in an extenuating circumstance the Management Team.

A story from when you were a full-time student
During my 2nd year at Lee Academy I auditioned for Universal Studios Singapore and was successful! It was an exhilarating feeling that day, that my hard work & commitment was rewarded.

What do you hope students gain from your class?
I hope my students gain technical skills and versatility that will enhance their chances of getting a job initially when they graduate. The skills we teach are able to be utilised in many and varied ways throughout performance years as well as when they move into creative or managerial roles in the arts.

Back To Top

The McDonald College

Australia’s Leading Academic and Performing Arts College | | 02 9752 0507
The McDonald College is the only school of its kind in Australia, which provides students with a combined academic and performing arts education. We are Sydney-based, non-denominational and co-ed, catering for Years 3-12. We specialise in Acting, Ballet, Dance, Music and Musical Theatre. As an industry provider for over 30 years, we have produced an impressive alumni network both locally and internationally. From Film and Television, to Ballet and Broadway, our diverse alumni successes are a testament to our teachings. Some of our alumni include Amanda McGuigan (The Australian Ballet), Daniel Raso (Grease the Mega-Musical, Matilda), Dimitri Kleioris (An American in Paris on Broadway, Flesh and Bone), Emma Watkins (The Wiggles), and Kip Gamblin (The Bodyguard: Musical, All Saints, Home and Away, Neighbours). Enrolments open all year.
Performing Arts College
Time: School Years 3-12.
Aims: To provide our students with the opportunity to pursue their passion for the performing arts whilst benefitting from a full academic education.
Subjects: Performance streams include Acting, Ballet, Dance, Music and Musical Theatre.
Performance opportunities: Yearly performances at some of Sydney’s biggest venues including NIDA Playhouse and Riverside Theatres.

Lucy Eaton

What is a common issue for first year full-timers?
During the first year of full-time training, dancers are adapting to hugely increased demands on their instrument, as well as working with other highly-trained and highly-competitive dancers. My suggestion for families is to support the athlete as well as the artist. Listening actively to your dancer debrief can be as helpful as a home-cooked meal or a good nights’ rest. My advice to dancers is to learn only to compete with yourselves. Avoid the temptation to compare yourself to others and run your own race. You do you.

Do you believe it is appropriate to have favourites
Favouritism is a loaded issue among teachers. I believe it’s important to create a learning environment that reflects the professional dance landscape. Traditionally, qualities that constitute favouritism are commitment, punctuality, presentation and perhaps a pleasant studio manner. These remain favourable characteristics, but it is a teacher’s responsibility to conjure these behaviours in each dancer rather than simply accepting them from one. Each dancer plays a role in the group, whether it be a class or a company. Remember that nobody can be everybody’s favourite – you can be the biggest, juiciest apple in the world, but some people just don’t like apples.

A story from when you were a full-time student
It took me six years to finish my degree. I deferred my Bachelor of Dance Education to pursue performance, to address some lingering health concerns and to start a contemporary dance company. It was a business plan barely in the infant stages, with very little working in its favour (no staff, no studio, no reputation and no money)! Over the last five years, Dance Dr. has become job, my pride and joy and has been the catalyst for some beautiful working relationships. Although it set me back a year or two in my studies, my advice is to take opportunities when they present themselves, and learn to find opportunity where there is none.

What do you hope students gain from your class?
In the short term, I hope that dancers can feel safe and proud while undertaking a task that is very physical and emotional. Learning to dance requires vulnerability, it requires being sweaty, making embarrassing mistakes and trying to be beautiful all at the same time. I’m hopeful that dancers feel confident doing this in my class.
In the long term, it’s important to me that my students learn to move beautifully and wisely and that they remember what brought them to class in the first place.

Back To Top

National College of Dance
Producing Australia’s Future Leading Artists | | 02 4952 9294
In 2017, 100% of our graduating students received offers from institutions all over the world. Statistically National College of Dance, located in Newcastle NSW, is one of the most successful schools within Australia. Every student receives world class training from some of the most acclaimed teachers in Australia, all in the comforts of being close to home and without the worries and expense of having to go to a big city.

• Classical Ballet and Contemporary streams up to Diploma level;
• The extra support of preparing students for auditions through regular in-house audition classes;
• Career planning sessions;
• Life skill sessions;
• Assistance with photo portfolios;
• Audition videos;
• Healthy eating nutrition sessions;
• Train in Australia’s most dynamic coastal town
Certificate III In Dance CUA30113
Time: 1 year part-time (Distance Education Year 10); 2 years part-time (Distance Education Year 9)
Aims: To prepare students at the start of their journey towards a professional career by focusing on a foundation level in all genres with a concentration on the foundations of classical ballet, and technique and performance in all genres.
Subjects: Technique, Ballet, Jazz, History, Nutrition, Anatomy, Choreography, Audition Techniques, Teaching, Goal Setting And Career Planning.
Certificate IV in Dance CUA40113
Time: 1 year
Aims: To train dancers, with a concentration towards choreography in both classical and contemporary, and develop skills leading to audition for a wide variety of national and international ballet or contemporary programs. A lead in to further training in pre-professional dance programs, musical theatre productions, stage shows, pantomimes, fashion parades, TV shows, films and commercials.
Subjects: Ballet, Contemporary, Jazz, History, Nutrition, Anatomy, Choreography, Goal Setting and Career Planning, Audition Preparation.
Diploma of Dance (Elite Performance) CUA50114
Time: 1 year

Aims: To produce a strong, versatile and employable performer able to perform complex technical routines across a wide range of dance genres in preparation for a professional career within Australia or Internationally.
Subjects: Ballet, Contemporary, Jazz, History, Nutrition, Anatomy, Choreography, Goal Setting and Career Planning, Audition Preparation.
Intensive Training Program
Time: 1-3 years part-time from School Years 7-9 (½ day to 2½ days per week option available)
Aims: Designed as a bridging program between a student’s academic training and working towards full-time training.
Subjects: Ballet, Contemporary, Jazz, Choreography.
Performance opportunities for all courses: Mid-year performances; Competitions; Extras; Festivals; Corporate Events; End of year productions. Our students regularly perform to live musicians and we have one commissioned composer where students are choreographed to while the music is being composed.

Brett Morgan Artistic Director

What is a common issue for first year full-timers?
The most common issue new full-time students have is coping with the amount of additional hours on their body and how to change their eating habits. Most students simply don’t realise the amount of healthy balanced foods they need to eat throughout the day and usually don’t eat enough. This means they can become fatigued very quickly. Also, sore, tired muscles which have not been used before. Parents need to give students time to rest their minds and bodies, help them plan their daily food and receive any professional treatments from health practitioners.

Do you believe it is appropriate to have favourites?
No, we hope that no teacher ever sets out to have favourites however this is a really difficult question to answer as “favouritism” is different in everyone’s minds. Could it be the attention in the classroom with corrections or the role someone received that another dancer wanted? It doesn’t mean that a student is being favoured in all instances. Ideally, every student receives the equal amount of attention in each class but in some instances, this isn’t possible. If a student is struggling and needs that extra attention to keep up, through to the students who have mastered steps and needs to be given additional work. We find the students who are the most eager and willing to learn and receive direction will receive the equal amount of attention from their teacher in return. Also, students are ready to take on challenges of roles at different times in their training will be given those opportunities, so teachers need to balance keeping those students ahead of the game while still encouraging and fulfilling the needs of the other students. Simply some students are ready earlier than others and this can be misconstrued as favouritism.

A story from when you were a full-time student
I was lucky enough to be trained under the tutelage of Miss Valma Briggs at the Saill Academy, she nutured and developed a passion of classical dance through her own love of dance. During my full-time training at the Saill Academy we shared a building with Pat Condon Entertainment. In this particular year in 1981 Pat Condon Entertainment had brought out Liza Minnelli to tour and we got to meet her. She watched class and gave me such kind and amazing words. It was one of the most inspiring moments I’d ever had and I knew I wanted to be a dancer.

What do you hope students gain from your class?
In the short term I want them to develop a technique for mastering open classes as opposed to set classes, which in turn will hold them in good stead for any auditions they would like to take for potential overseas placements in schools or companies.

Role of technique in a dancer’s career?
Technique plays a huge role in dancers longevity. Firstly being a safe and strong dancer. When going in and out of difficult steps as well as taking risks with virtuosity, having strong technique prevents you from getting injured and makes you durable and consistent. The second aspect is the aesthetics of performance, with strong technique it will be the foundation of all aspects of dance genres and will assist in promotion and employment in work.

First term issues?
The most common issue dancers have is simply tiredness. Generally their weekly hours increase by a third which really takes a toll on a young person’s body both mentally and physically. Getting plenty of rest and a healthy diet is crucial at this time.

When should you see a health care professional?
A new full-time student should get a massage once a week and if any injury presents itself they should have it seen to immediately with their preferred carer. You need to learn to understand your body and have it cared for appropriately. Good nutrition is also key in muscle maintenance and energy levels.

How important is a consistent work ethic?
A consistent work ethic is vital to employment opportunities. This of course also equates to good time management. Getting into a familiar routine and being open to direction in a polite courteous way is how we improve and what outside prospective employers take notice of. Directors will take work ethic as a key ingredient to employment.

Key to positive teacher/student/parent relationships?
The most essential ingredient for teachers, students and parents is trust and communication. The students and parents need to trust the teacher and all parties must be honest and able to consistently communicate with each other.

Back To Top

Newcastle Ballet Theatre

Excellence in Classical Ballet & Contemporary Dance Training | | 02 4956 9372
NBT’s Full-Time Program aims to improve and refine technique, strength, knowledge, and presentation. Focusing on Classical Ballet, and with over 30 studio hours each week, including Private Coaching, dancers are challenged to become stronger technicians, and well rounded artists, ultimately preparing them for entry into the professional dance world. All qualifications are issued through ATOD (RTO #31624). Non-Certificate study is also available.

CUA30113 Certificate III in Dance
Time: 2.5 days per week Part-Time
CUA40113 Certificate IV in Dance & CUA50113 Diploma of Dance (Elite Performance) Time: Full-Time Program.
NBT Full Time Program
Time: 2 years (Certificate IV in Dance 1st Year full-time), (Diploma of Dance – Elite Performance 2nd Year full-time).
Aims: To mentor and train young dancers, in a positive and professional environment, to become technically sound and well rounded artists.
Subjects: Classical Ballet, Pointe, Variations/Repertoire, Contemporary, Boys Coaching, Pas de deux, Pilates, Yoga, Stretch & Conditioning, Aqua Fitness, Dance History, Anatomy, Competition Coaching, Choreography
Performance opportunities: 2 Concerts annually, as well local and national competitions & local performances

Back To Top

Redlands Ballet & Dance Academy

Dance Tuition Combined with Academic Study | | 02 9908 6461
The unique Redlands Ballet and Dance Academy, established in 1998, is a nurturing and challenging environment enabling students to combine academic study with a full ballet and dance program. Over 250 students from Kindergarten to Year 12 participate in the various programs developing confidence, mental alertness, commitment and exceptional strength of character. Students can either undertake vocational Dance education and training in Secondary School, including the choice of HSC and IB Dance, or participate in Ballet, Jazz, Contemporary and Tap as a co-curricular activity. The Academy has provided an important stepping stone for students to gain places in overseas Ballet Schools such as the Royal Ballet School of London, the National Ballet School of Canada, the School of American Ballet, as well as our own Australian Ballet School.
Higher School Certificate Dance
Time: 2 years – Years 11-12
Aims: To undertake a broad study of Dance as an art form organised around the three interrelated components of Performance, Composition and Appreciation. The course is a precursor to university or vocational study of Dance.
International Baccalaureate Dance
Time: 2 years – Years 11-12
Aims: To develop the creative aspects of composing original works, the comparative knowledge of several dance styles from more than one culture and/or tradition and an understanding of dance technique and facility in performing dances. The course is a precursor to university or vocational study of Dance.

Year 8-10 Curriculum Dance
Time: 3 years – Years 8-10
Aims: To develop Performance, Composition and Appreciation skills as a precursor to HSC or IB Dance.
Subjects: HSC Dance – Core: Performance, Composition, Appreciation; Major Study – Performance, Composition, Appreciation, Film
IB Dance – Performance, Composition and Analysis, World Dance Studies
RAD Grades and Senior Examinations
Performance opportunities: Students have many performance opportunities including Eisteddfods externally, the School’s Gala Arts Festival, Musical and end of year Ballet & Dance Concert, all held at The Concourse, Chatswood and the School’s Speech Night.

Karen Martin Director
What is a common issue for first year full-timers?
The main area of support we provide to first year students at the Redlands Ballet and Dance Academy is how to balance the hours involved in their dance training with their Year 7 academic studies, to ensure they make a successful transition to Secondary School and continue to develop in both their dance and academic programs.

Do you believe it is appropriate to have favourites?
The school culture at Redlands recognises each student as an individual, with their own unique talents and passions. At the Redlands Ballet and Dance Academy, every student is individually nurtured and each student’s talents and passions are celebrated.

A story from when you were a full-time student
As a student of the renowned teacher Valrene Tweedie, a dancer with the original Ballet Russe, many long hot days were filled with laughter and lots of hard work.

What do you hope students gain from your class?
Our primary concern is for the overall wellbeing of each student so they are healthy, happy and supported to achieve their potential in both their dance and academic studies. Through providing a nurturing environment in specialist dance facilities, including four studios with specially sprung floors, our dance program is INtailored to each individual student to maintain a high level of wellbeing while achieving their goals.

Back To Top

Sydney College of Dance

Creating Successful Futures for Aspiring Young Artists | | 02 9450 2652
SCD offers professional Full-Time Dance and Transition programs for students from the age of 11-20 years. The internationally renowned syllabus, ArtistPro International, optimally prepares students for an international career in ballet and contemporary companies. Dancers will achieve a strong adaptable technique; develop their own individual artistry and are guided to achieve the psychological and emotional readiness needed to enter the professional dance world. Students will be individually prepared for mid-year assessments, RAD exams; professional school and company auditions; scholarships; national and international competitions. The focus of our program is always on the individual. Class numbers are kept small to meet the needs of each student and recognise and nurture individual talent and potential. Regular opportunities to discuss and set long and short-term goals are an integral facet of the program.
ArtistPro International
Advanced Diploma of Dance CUA60113* (5 days) for advanced pre-professional students (ages 16+) (In partnership with ATOD – RTO 31624).
ArtistPro Full Time Dance (5 Days) for experienced pre-professional students (ages 14+)
ArtistPro Transition (1-3 Days) for students getting ready to start Full Time Dance (ages 14+).
ArtistPro Youth Transition (1 Day) for students starting pre-professional training (ages 11-15).
Time: Dependent upon age and level of each student.
CUA60113 – Advanced Diploma of Dance (18-month) Jan 2019-July 2020

Aims: The ArtistPro Full Time Dance and Transition Program (APP) has been created to enable graduates to emerge as complete dancers who are ready to work and succeed in a professional dance environment.
Subjects: Ballet, Contemporary, Ballet & Contemporary Variation, Girls Pointe & Technique, Boys Ballet Technique, Pas de deux , Virtuosity, Improvisation, Composition & Choreography, Company Repertoire, Studio Pilates (Reformer available), Safe Dance & Injury Prevention, Nutrition for dancers, Performance Psychology, Performance & Audition Coaching, Private Coaching, Career planning, Preparation for auditions & Preparation for national/international competitions and Dance history, Stage Makeup and Hair.
Performance opportunities: Each year a professional full-length end of year theatre production – Sydney Ballet Theatre Youth Company (SBTYC) – and an annual Winter Showcase on a stage. National and International Tours, Eisteddfods, International Competitions, Scholarships, Dance Festivals and choreographic competitions.

Xanthe Geeves Artistic Director

What is a common issue for first year full-timers?
A common issue, particularly in the first couple of weeks of full-time, would have to be the adjustment to the physical requirements in a full-time training schedule. Students feel muscle soreness and are pushed to their limits regarding endurance. Into their third week, all students see the adjustment their bodies have made and energy levels, power and strength begin to improve. This is an adjustment period where students need to listen to their body’s needs so as to avoid over-straining muscles. With an increased level of physicality, it is important that proper consideration is given to increased nutritional needs to support increased physical exertion. Students, in partnership with parents and teachers, need to develop short term and long-term achievable goals and not expect instant results.

Do you believe it is appropriate to have favourites?
I have never thought that it was EVER appropriate for a professional teacher to have personal favourites. It is a teacher’s role as a mentor to recognise and help realise the individual needs and artistic potential of every student. A critical part of the development of a student’s pre-professional training is the nurturing of self- belief. This can only be built on the foundation of a teacher- student relationship involving the student’s trust and the teacher’s belief in the student.

A story from when you were a full-time student
In my very first pas de deux lesson all the male and female dancers were lined up on the opposite sides of the room according to size.
As I looked across, after doing a double-check of the numbers, I realised that I was paired with the First Principal Dancer of the Dresden Semper Oper Ballet Company! My heart sank, the class was in their third year of pas-de-deux and I had never, ever done one before!
It turned out that he was a very generous and amazing partner and I had the experience of my life in my first week of full-time dance!

What do you hope students gain from your class?
In the short-term, I would hope that students gain an understanding of the need to not compare themselves to others and that progress is very much an individual journey. I would hope that they learn from each other and support each other through their time together.
Once their time with me is ended, I hope my students are confident of their ability as dancers and artists and are inspired to take on all challenges ahead of them. I know that they will be able to collaborate with other dancers and choreographers and contribute their creativity to the artistic process.

Role of technique in a dancer’s career?
A dancer’s technique plays a vital role in the longevity of a dancer’s career. A weak technique can result in incorrect alignment and an imbalance of muscles which can lead to chronic injuries. Professional company directors expect their dancers technique will ensure a high quality of movement in any type of choreography.

First term issues?
When dancers increase their hours from part-time to full-time, they will experience energy depletion from the increase in physical exertion. Focusing on correct technique will assist in avoiding injuries. Many students struggle to balance their academic and dance studies because of tiredness and lack of time management skills. To ease into this transition dancers should increase hours incrementally to build up strength and avoid overloading developing bodies.

When should you see a health care professional?
I think it’s vital to have a dance physiotherapist to assess students initially to identify any potential problems and to set short term and long term physical goals. A tailored conditioning program to improve areas of weakness and to also prevent injuries is optimal. During the assessment, a physio will also refer students for podiatry treatment if necessary. Teachers working in collaboration with health professionals ensures that each student’s needs are specifically addressed.

How important is a consistent work ethic?
Drawing from my personal experience, after working with different directors and choreographers, opportunities always resulted from a strong work ethic, consistent effort and reliability. It’s important for students to learn, that through consistent hard work, self-determination and positive frame of mind, they will be resilient through adverse times. Directors want to work with dancers who inspire them as artists, dancers they can trust, and dancers whose professionalism they can rely upon.
Key to positive teacher/student/parent relationships? A teacher needs to look at each student as a unique individual and be fully aware of their strengths and areas needed to be worked on. Communication with parents is an ongoing process and can be initiated by both parent and teacher. If parents understand that a teacher has the best interests of their child at heart then trust will be built in the relationship. An important part of the student/teacher relationship is the ongoing process of review and shared goal setting. The teacher is there to facilitate, through careful guidance, the student’s talent and future prospects as a professional with a long lasting career.

Back To Top

Tanya Pearson Academy

A Selective School for the Talented and Dedicated | | 02 9439 4424
The Tanya Pearson Academy is internationally renowned for its quality of training in classical ballet and its outstanding students achievements. In 2014 Lucinda Dunn OAM (The Australian Ballet’s longest serving ballerina and former Tanya Pearson student) was appointed Artistic Director. With the esteemed and reputable faculty bringing extensive international experience, five studios plus on-site physiotherapy facilities and academic tutoring, excellent public transport, the Academy continues to remain a leader in providing world-class ballet training. Many students have gained success in international competitions including the Prix de Lausanne, Genée International Ballet Competition and Youth America Grand Prix. The Academy prides itself on its extensive alumni who are now performing professionally around the world and is committed to its mission of creating career opportunities for dancers overseas and within Australia. 2018 graduate Cameron Holmes was accepted directly into The Australian Ballet.

Full-Time Pre-Professional Program
Full-Time Classical Ballet Program
Full-Time Dancers Program
Full-Time Junior & Senior Transition Programs
NEW Full-Time Cygnet Program
Time: 1-6 years (depending on age and level)
Aims: To nurture and develop artistry whilst inspiring and educating young dancers to excel with a strong work ethic needed for a professional dance career.
Subjects: Classical Ballet, RAD Syllabus, Cecchetti Syllabus, Boys Coaching, Contemporary, Improvisation, Repertoire, Pointe, Competition Coaching, Anatomy, Nutrition, Dance Theory, Rehabilitation Classes, Technique Coaching, Pas de Deux, Pilates, Progressing Ballet Technique, Onsite Academic Tutoring.
Performance opportunities: Sydney City Youth Ballet; The Australian Ballet Company; Guest artists for youth companies or events; International Competitions, Overseas Audition Tours.

Lucinda Dunn Artistic Director

What is a common issue for first year full-timers?
The first few weeks are full of adrenalin and meeting new people and working out where you ‘fit’ in the class, as well as gauging fellow students talents. I advise to work hard, immerse yourself in the new methodologies, schedules and what is required of you from the faculty. Sore feet is often an issue as there is usually more time in pointe shoes than during the part-time schedule. It is important to learn to maximise time so that homework is completed, respect the academic values as well as the physical component of a full-time studies.

Do you believe it is appropriate to have favourites?
No, all students should have access to corrections and fair treatment so they can thrive within the class. A mixture of positive and constructive feedback is our Academy methodology in creating an inspiring environment to develop.

A story from when you were a full-time student
I was on scholarship at the Royal Ballet School, London, and developed a stress fracture in my spine, so was encased in a plaster cast, and spent many hours viewing classes as well as time in the physio room. Sometimes set backs shape how you perceive yourself, your dancing and ethics involved in moving forward.

What do you hope students gain from your class?
I hope students are inspired to work hardest for themselves not for me! I expect the students to listen and apply. I give them all the information I have developed in my career, and teaching years. I also like to give more mature students time to feel and explore their own artistry and develop a uniqueness and be confident to allow that to shine.

Role of technique in a dancer’s career?
Technique is imperative not only for aesthetics, but also for safe dancing and looking after one’s body. Understanding your technique, and the capabilities of your body, enhances lines, enables artistic freedom and the ability to develop as an artist.

First term issues?
Fatigue! I find that students coming into our full-time program in the initial weeks are very excited, but long and repetitive hours become evident in the body during Term 1. Also sore toes for the girls with increased amounts of pointe work. Trying to keep up with schoolwork needs to be kept in check, which having access to professional Tutors on site to assist with academic studies can help with.

When should you see a health care professional?
We have an onsite physiotherapy team, who give lectures on anatomy and ballet specific knowledge. It’s such a benefit to be able to have immediate care on little issues and questions that may become bigger issues if left too long. It’s a good idea to have a massage and preventative treatments, and have toes and feet cared for by a professional when needed.

How important is a consistent work ethic?
I’m adamant that work ethic is paramount in succeeding in today’s world, especially the ballet world! Students must be self-driven and ready to work in every class. Nothing is handed to you, you must work! Be self-motivated, watch, listen and implement corrections.

Key to positive teacher/student/parent relationships?
Lead by example, as a teacher, be prepared, on time, and positive. Leave all other external issues at home. Correspondence with parents, information, changes etc to be relayed and not left to be heard by others. Same applies with faculty, listen to concerns, suggestions, or queries, so everybody is aware of what is expected.

Back To Top

TNSPA.PROFESSIONAL @ The Next Step Performing Arts

Take THE NEXT STEP in your Performing Arts Career in 2019 and Join TNSPA.PROFESSIONAL Full-time Course NOW & | | 02 7900 3108
The Next Step Performing Arts is proud to present TNSPA.PROFESSIONAL, THE WINTERS EXPERIENCE & COLLEGE OF PERFORMING ARTS 2019. Audition now for our one year Full-time Performing Arts Course or College Of Performing Arts. TNSPA.PRO is a pre professional full-time performing arts training course for young artists looking at creating a career in the performing arts industry. We deliver the highest level of performing arts training. Guided by world-class teachers, experts and mentors in all area’s of the entertainment industry.

Diploma in Dance (Elite Performance) majoring in Performing Arts or Contemporary Dance
Time: 1 Year
Aims: Pre Professional Performing Arts course for students wanting a career in the entertainment industry.
Subjects: All areas of the performing and creative arts.
Performance opportunities: Graduation, Charities, Corporate Events, Film Projects and other professional opportunities.

Jason Winters Teacher
What is a common issue for first year full-timers?
Learning how to schedule your time each week/term to ensure everything gets done and you don’t get overwhelmed. It’s all super exciting at the start but the long term goal is to get through the entire year and graduate feeling at your peak!
Do you believe it is appropriate to have favourites?
Isn’t it our goal as mentors/teachers/leaders to provide the best overall experience to each student who comes our way? So I don’t believe in favourites and I present every young artist with all that I have to offer in terms of knowledge, guidance, and inspiration.

A story from when you were a full-time student
The teachers and schedules of 4-5 dance classes everyday taught me how to be an incredible diverse and skilled performer. Plus I was never in better shape in my life!

What do you hope students gain from your class?
I can only hope to inspire each dancer in some small aspect of their journey, but if it is possible to actually affect their way of thinking towards a more powerful and fulfilling life then I feel truly honoured to have been given that opportunity. The performing arts have the power to change the world by asking questions and presenting ideas that are not always in the mainstream way of thinking. And if I do my job properly, then every young person I teach will go into the world feeling that incredible power and responsibility.

Laura Webb & Kris Lewis

Role of technique in a dancer’s career?
Technique gives a dancer core strength. Being able to control your body allows you to control movement in motion. Without strength in the right areas as a dancer, it can cause injuries therefore shortening the life span of a dancer’s career.
First term issues?
Although this is our first year running full-time training, our extensive experience in the dance industry tells us that fatigue and the change of environment & training habits will have a huge impact on first time full-timers. Full-time is a pivotal point in student’s lives which creates questions about who they are as an artist. Also, injury prevention is a focus during first term due to a more intense and higher level of training.
When should you see a health care professional?
Once per month to ensure that their body is staying in peak condition and to strengthen weaker areas to avoid injury and better the overall result within training.
How important is a consistent work ethic?
Work ethic is the key in training. Within our course we will have industry choreographers & mentors training our students. Being that our course is exclusive and having industry mentors (potential employers) monitoring them on a weekly basis, students will be taught that work ethic is paramount to becoming successful within the performing arts industry.
Key to positive teacher/student/parent relationships?
Creating a community of open communication within a positive environment.

Back To Top

Village Nation

Once a Street, Then a Village, Now a NATION | | 02 9043 0338
Village Nation is committed to providing the best teachers and trainers alongside emotional and spiritual support to allow students to reach their fullest potential both on and off the stage. Village Nation currently operates from a state of the art studio located at 32 Bowden St Alexandria. All 7 studios are custom-built with sprung Harlequin floors, mirrors, sound systems, and audio/visual equipment. The campus is well serviced by public transport, bus and train services, with Green Square station only an 8 minute walk. Students are eligible to apply for Concession Opal Cards. Students in the course full-time may apply for Youth Allowance, Austudy and Abstudy.

RTO- 31624
Fulltime Cert IV in Dance CUA40113
Fulltime Diploma of Musical Theatre CUA50213
Fulltime Diploma in Dance CUA50213
Fulltime Cert IV in Dance Teaching Management CUA40313
Village Nation College
Time: 1 year
Aims: To provide students with the best all rounded education to prepare them fully for a professional career in the performing arts industry.
Subjects: Partnering, Jazz, Street Dance, Dance Performance, Ballet, Contemporary, Tap, Choreography, Performance Skills, Musical Theatre, Physical Conditioning, Hip hop, Lyrical.
Performance opportunities: Corporate Events working with industry professionals; Television appearances and Commercial opportunities; Australian Dance Festival; Graduation Performance; Prepared for Professional Auditions.

Back To Top


Amanda Bollinger Dance Academy

Queensland’s Elite Classical Ballet Academy Nurturing Talented Young Dancers to Achieve Their Individual Goals | | 07 5591 7027
ABDA the original Gold Coast ballet school offering Vaganova based program. Located near private schools and Southport bus/tram lines, the premises boasts 3 purpose-built, spacious studios fitted with tarkett floors and wall-to-wall mirrors, a study room, student lounge/kitchen, physiotherapist, and photographic studio. Students accepted by audition only. Teachers are former professionals with extensive teaching experience, with the careful training and nurturing of each child being paramount. Since 2008 every student has gained placement at the international school of their choice including: Royal Ballet School, John Cranko Ballet School, Princess Grace Academy, Junior Company of the Kirov Academy Washington DC, Bavarian State Opera Ballet School, San Francisco Ballet School, Rudra Béjart Ballet School Lausanne, Royal Ballet School of Antwerp, Palucca University of Dance Dresden, Tanzakademie Zurich, Tanzakademie Mannheim, ABS, NZSD, Rambert, London Contemporary Dance School, School of Contemporary Dancers Winnipeg, École Superieure de Danse de Marseille, École Professional Bruxelles.

Full-Time Program
Time: 1-3 years (depending on the age and level)
Aims: To prepare dancers from 14 years to join an internationally recognised Classical or Contemporary dance institution overseas or in Australia through extensive training and mentoring.
Subjects: Classical Ballet (Vaganova, ACB syllabus), Pointe, Repertoire, Pas de Deux, Contemporary, Character (ICDS syllabus), Composition and Choreography, Jazz, Drama, Body Conditioning (Yoga, Cardio, Pilates).
Half-Day Program
Time: 1-2 years (depending on the age and level)
Aims: To provide 12-13 year old dancers with the training and preparation required to join a Full-Time Program.
Subjects: Specialised coaching classes in Classical Ballet are provided in addition to the evening classes. Classes are recognised as an alternative to sport at the dancer’s academic school and are tailored around each student’s schedule.
Performance opportunities for all courses: Solos and Groups at local and international Competitions; End of year professional production; Galas; Displays.

Amanda Bollinger Director

What is a common issue for first year full-timers?
First year full-timers tend to struggle most with balancing their schoolwork via distance education and the increased hours of training. They usually need a term to settle into their new routines, but during this time they learn to manage their busy schedules very well! I encourage the students to set short-term goals in both their academic and dance studies, to avoid them becoming overwhelmed with the workload. I also find that they need to be careful not to overload their bodies with the increase in their classes, so definitely recommend a physiotherapist assessment and exercise program at the start of the full-time course to focus on any areas which need strengthening or extra care.
Do you believe it is appropriate to have favourites?
I don’t believe in favouritism as this breeds disharmony between the students, and does not benefit the dancers or the atmosphere of the studio. Each student needs to be nurtured on their own individual journey, and compared only to themselves the year before! Of course a teacher is drawn to those students who take our corrections on board quickly, and are open to feedback and constructive criticism, so I try my hardest to ensure that my students understand this and learn to focus on their own development.

A story from when you were a full-time student
I remember rehearsing for my graduation performance at the Berlin State Ballet School. I was to dance a solo from Lorenzia. At the time I was shocked that my teacher made me spend countless hours standing in front of the mirror dancing only with the top half of my body. She had trained under Kostrowitskaya, the prized student of Vaganova herself, and wanted to teach me the tiniest of details in the arm lines, head lines, eye lines and épaulement. Once I had grasped all of this, I was then allowed to rehearse the solo in it’s entirety. Learning to perfect not only the steps, but the intention and essence of each movement stayed with me through my professional years, and now carries through into teaching my own students.

What do you hope students gain from your class?
My initial goal is to make our students strong, both physically and mentally. Strong enough to endure the tough life of being a professional dancer, with all the highs and lows one encounters along the way. By the end of their time with me, our students are well trained in both classical and contemporary dance, and are fit and ready to handle the stresses of auditioning for company schools and junior companies.

Back To Top

Annette Roselli Dance Academy

Dedicated to Providing Exceptional Training for the Aspiring Dancer | | 0400 664 661
The Elite Training Programs along with the Junior Excellence Program have been developed to nurture, support and train talented and promising young dancers in Classical Ballet. Limited intake ensures students are fully supported and receive individual attention. The professional tuition is provided in a supportive and encouraging environment offering positive reinforcement and promoting confidence in each student. Students are encouraged to work hard, set individual goals and maintain a high standard of dedication to dance. Students are able to continue their academic studies through distance education. State of the art facilities include three large modern studios with sprung floor, dance vinyl, air-conditioning, kitchen, lockers and schoolroom. Dance society certificates can be used towards nationally accredited Certificates I – IV in Dance through Australian Dance Institute RTO 91600.

Audition: Sunday 16 September or by private audition.
Elite Training Program (Full-Time and Part-Time)
Junior Excellence Program
Time: Length of study is dependent upon age and level of student.
Aims: To prepare and develop students for a career in classical ballet.
Subjects: Classical, Pointe, Repertoire, Eisteddfod and Solo Coaching, Contemporary, Stretching, Body Conditioning, Progressing Ballet Technique, Pilates.
Performance opportunities: Repertoire; Scholarships; Bursaries; Eisteddfods.

Back To Top

Atelier Australia

Tailored Individual Training
Facebook: Atelier Australia | | 0408 077 865
“Atelier” is commonly used in Europe to describe an artist’s studio or workroom of the highest calibre. With staff dedicated to moulding high-performance and artistically superior ballerinas, Atelier Australia offers a very specialised training regime to a select group of students aiming for an illustrious career in classical ballet. Students are auditioned by arrangement. Atelier boasts an exceptional track record, with our alumni going on to dance with leading classical companies and schools around the world including the Royal Ballet Company, The Australian Ballet, San Francisco Ballet, Opera National Bucharest, Staatsballett Berlin, West Australian Ballet, Royal Danish Ballet, Royal Ballet School, Canada’s National Ballet School, Queensland Ballet’s Pre-Professional Program and Jette Parker Young Artist Program, and Dutch National Ballet Academy.
Full-Time Ballet Program
Time: Length of training will be advised upon audition.
Aims: To equip young dancers with the technical and artistic skills required to attain a career in classical ballet.
Subjects: RAD Syllabus, Pointe, Character, Open Work, Repertoire, Contemporary, Ballet Theory.
Performance opportunities: Eisteddfods and Competitions at local, national and international level as well as several In-House performances.

Heidi Landford Director

What is a common issue for first year full-timers?
I find that most students aren’t actually prepared for the reality or workload of training full-time. The whole notion of dancing full-time has been romanticised and so when they actually start doing so many hours, they aren’t prepared for how tough it is, or how hard they have to work. I find a lot of students think that coming full-time is enough and they don’t realise that consolidation of corrections and self-practice are still essential to moving forward and improving as quickly as possible. I often talk to my students throughout their training about how competitive every profession is these days if you want to rise to the top. Giving them examples to make them realise that it isn’t just ballet and dance that require this focus and work. It is often a really big wake-up call.

Do you believe it is appropriate to have favourites?
Every student who walks through the door deserves the same quality and amount of attention, however I do often point out to my students that teachers are only human, and we will naturally gravitate to harder-working, keener and more conscientious students. Their job is to walk through the door with the right attitude and work ethic, and my job is to make sure each and every student is taken care of and given what they need.

A story from when you were a full-time student
I spent 3.5 years full-time with Prudence Bowen. They were the very best years of my life and I have so many stories and memories. One of the best is from my first year of full-time, when we tried to play an April Fool’s joke on Miss Bowen by wearing our stockings over our leotards. It took her four hours to notice, and when she finally did, she said it made our legs looks longer and forced us to keep doing it for the following four weeks.

What do you hope students gain from your class?
I hope that every student leaves a class with me with confidence, feeling great about themselves and with a few little gems that can help them in future. My long-term students I hope to leave me with their love of dance stronger than ever, injury free, and lovely people as well as proficient dancers.

Role of technique in a dancer’s career?
My teacher used to tell me that all injuries stemmed from incorrect technique, therefore correct technique is absolutely paramount for a long and injury-free career. The more I teach, the more I believe this is true. It’s also really important for dancers to understand their bodies and their physical limitations in pursuit of correct technique. Sometimes forcing things like turn out or flexibility when the body is just not structured to move that way can be dangerous, so it’s important to have correct technique and dance within your means.

First term issues?
We always start the year off slowly to reduce the risk of injury. Young and new full-timers need to push themselves without having unrealistic expectations after a term. It’s much more important to have a sustainable drive and work ethic than to feel bitterly disappointed or burnt out after the first ten weeks.

When should you see a health care professional?
Prevention is always better than cure, so we recommend weekly Pilates with a physiotherapist so our students have the strength to take on full-time training.

How important is a consistent work ethic?
A consistent work ethic is the most important thing in a dancer’s career. I have seen less talented dancers go far further in their careers because of their focus, drive and work ethic than those blessed with perfect physical attributes for ballet.

Key to positive teacher/student/parent relationships?
The key in any relationship is consistent communication. I try to maintain an open and approachable attitude to the students and parents I am dealing with, so everyone is aware of what is going on and we are all moving towards a common goal.

Back To Top

Central Queensland University

Be what you want to be | 13 27 86

Ella Barresi Dance Teacher

What is a common issue for first year full-timers?
Students learning to prioritise what to practice and when. I think the biggest issue is there is such an overwhelming amount of information in the initial weeks and, on top of academic work, there is the expectation that students will maintain a thorough practice regime for their practical work. My advice would be to make good use of your time. If students have an hour between classes, resist the urge to sit and chat with other students – use that time for dance practice, singing practice etc. Students will be much less stressed at exam time for it. Another issue is when there is a transition straight from school to a full-time course; there is so much independent learning required at university and you really do ‘get out what you put in’, there isn’t teachers chasing you for assessment like there is at school. Parents can encourage and support students in taking responsibility for their own learning and time management.

Do you believe it is appropriate to have favourites?
I believe at the end of the day, it’s natural to prefer some things over others. However, in a learning environment, it’s important as a teacher to push that aside. Each student has the right to learn and be given the opportunity to excel. It’s inevitable that some personalities clash, but working in an environment with someone that tests you prepares you for a professional environment. Teachers and students both have to put their personal preferences aside and put their all into classes. If a student is committed to studying at a full-time level, then it’s important they are pushed to reach their own personal best.

A story from when you were a full-time student
My final performance in my third year though, was a straight play – Necessary Targets, directed by Peter Cousens. I had always relied on being a strong dancer for my castings throughout my degree and this completely different experience was totally out of my comfort zone. I’m so glad I took the opportunity though, because it really pushed me as a performer. It was hard and emotional, but we were all so proud of what we had created at the end of the performance season. I remember getting to the last performance and thinking, “this is why I’m here”. I’m very fortunate to be able to share what I’ve learnt with my current students now, both at school and university.

What do you hope students gain from your class?
I hope my students learn to practice everything they are taught, not just what they’re going to be assessed on. My passion for dance and my teaching values, mean my students develop good technique and are familiar and confident with terminology so they can walk into an audition and understand completely what is going on. One thing I always say to my students is “You may walk into an audition and be standing up the back. If you make knowing your terminology and technique requirements a priority, you’ll be able to pick up choreography without seeing the choreographer”. I also want my students to enjoy their classes. I think sometimes in the performing arts we work so hard we forget why we started in the first place. It’s because we love it – I think it’s important that that is never lost

Back To Top

Conroy Performing Arts College

Train with the Best to Be the Best | | 07 3205 7717
As one of Australia’s best known training facilities, Conroy Performing Arts College has a proven track record of producing industry-ready professionals of the highest standard. With one of the country’s most qualified list of technical teachers, CPAC also fly’s choreographers from interstate on a weekly basis. Courses offered are not accredited as we don’t want to be bound by the theoretical constraints in scheduling – you’re here to learn real-world skills in the studio. Students are offered the choice of receiving assistance to complete a CERT IV in Dance. CPAC is unique also in it’s offer for students to finalise their CSTD and RAD qualifications, culminating in their CSTD Teaching Diplomas. Graduates are world-renowned for their adaptability, technicality, versatility, and a strong work ethic. Alumni span across all genres in the industry including Musical Theatre, Cruise Lines, Disney, Universal Studios, Cabarets, Film & television, and even the Radio City Rockettes!
Diploma of Performing Arts
Time: 2 years
Aims: To gain employment for all graduates! Students are trained across a variety of genres, with high-level coaching in multiple career paths, opening a world of opportunity for them in the future. A solid foundation in technique is insisted on, and versatility in multiple choreographic styles. Conroy students graduate as true ‘triple threat’ performers! With unlimited classes offered in the evenings and weekends, CPAC ensures students are progressing at an accelerated pace in all genres – students attend upwards of 25 classes per week.
Subjects for Diploma and Part Time Cert: Jazz Technique, Commercial Jazz, Singing, Classical, Tap, Contemporary, Acrobatics, Drama, Lyrical, Heels, CV & Showreel Preparation, Audition Preparation. CSTD (Commonwealth Society of Teachers of Dance) Jazz, Tap, and Diploma, RAD Vocational Grades Classical.

Performance opportunities for Diploma and Part Time Cert: Graduation performance as well as competition performances. Students are regularly offered professional opportunities in corporate functions, major public events, television appearances, and paid professional shopping centre appearances.
Part-Time Certificate of Dance
Time: 1-2 years
Aims: To provide advanced training one day per week to accelerate students’ learning, and provide a seamless transition into full-time training after high school. Students are offered the chance to be given assistance to complete a CERT IV in Dance if they wish. CPAC happily liaises with schools to facilitate the completion of a government accredited qualification.

Back To Top

Dance Force

Everybody deserves greatness | | 0410 237 699
Dance Force has become one of Australia’s leading performing arts facilities with a very high percentage of its graduates gaining employment in the industry. Located on the Gold Coast, all courses are nationally, government accredited and in association with Empower Dance Pty Ltd. Every week students are exposed to a minimum of 12 teachers who are some of Australia’s most sought after choreographers as well as our industry Fridays where an interstate teacher is flown in weekly. Full-Time students are able to attend classes at our part-time studio at no extra cost. Dance Force dancers are known for their versatility, hard working attitude and humbleness, making them employable in all areas of the performing arts industry. Students receive individual attention with an intake of 1 group per course. Most importantly, you are joining a family.
Certificate III in Dance CUA30113
Time: 1 or 2 year option
Aims: For school aged students to obtain a qualification whilst still studying as well as to prepare them for full-time.
Subjects: All Dance Styles, First Aid, Dance Teaching, Business and Marketing, Health and Safety.
Certificate IV in Dance CUA40113
Time: 1 year
Aims: To provide individual dancers wanting a career in the performing arts industry with the tools and guidance required to develop their technique and performance in all genres to an exceptional standard. Deliver an important education in the workings of the entertainment business including marketing their own unique brand.

Subjects: Ballet, Jazz, Contemporary, Hip Hop, Musical Theatre, Singing, Lyrical, Business and Marketing, Choreography.
Academic Excellence program
Time: 1, 2 or 3 year option
Aims: To allow students who are wanting to work towards a career in the performing arts industry whilst finishing school. Their schooling timetable is incorporated with their full-time training. Students have one teacher per 5 students to ensure they have the individual attention needed to achieve their desired results.
Pre-professional Year
Time: 1 year (3 or 5 day option)
Aims: This course is 100% practical and aimed at refining the dancer’s skills and ensures that on completion they are at an exceptional standard and can begin their journey in the professional world.
Subjects: Ballet, Jazz, Contemporary, Hip Hop, Musical Theatre, Singing, Business and Marketing, Choreography, Developing your own unique brand.

Heidi Jennings Teacher

What is a common issue for first year full-timers?
I think one of the major issues students have when they first start full time, is leaving home and living away from their family and friends. They do great in first term, as it’s a new adventure and a start to the next exciting chapter of their lives. But you tend to see them fade towards the end of second term. They become tired, sore, not cooking proper meals and not looking after themselves properly as other things are becoming a priority. That’s when they need a re-group about how they can help themselves. Meal prepping, minimising late nights, getting regular remedial therapy and staying in contact with their friends and family back home are very important and highly encouraged.

Do you believe it is appropriate to have favourites?
Their are always going to be people that you are drawn to in the class room, students that are committed, dedicated 100% and just excel at your choreography. I don’t think that I would ever call them my favourites. If you give the students all of your knowledge and all of you in a class room environment, work hard and have fun, they will give you the same respect back. Therefore everybody will be working hard, striving to reach their goals and then their is no need for favouritism.

A story from when you were a full-time student
Full-time for me, was up there with being a few of the best years of my life. I left home when i was just 16 and moved to Melbourne to train in Ballet at Danceworld 301. It was tough leaving at such a young age, but was the best decision my parents and I ever made. I grew up so much and learnt a lot about myself. I was from a small country town in New South Wales and moving to the city really opened my eyes. I not only grew and improved as a dancer, but I grew as a person and discovered so much about myself in those 3 years. Full-time was the best decision I think I ever made. It took me all over the world and led me to experience so much in my life.

What do you hope students gain from your class?
I hope that i can give my students the confidence and knowledge of the industry to believe in themselves and know that they can achieve great things, if they put in the dedication and commitment. Also making sure that they understand that things are just not handed to them, they need to work hard, move up the ranks and always stay humble and be that YES person that everybody wants to employ.
In the short term, I hope that they grow not only as dancers but as people. I have always believed that if you work hard enough for something, you can do anything.

Nicole Wells Principal

Role of technique in a dancer’s career?
Having the correct technique and training is imperative for a dancer. Without technique injuries become more frequent. This becomes even more important once students start working professionally as it can be hard to find the time and motivation to keep up your technique training.

First term issues?
A lot of students don’t realise how demanding full-time is both physically and mentally and can become quite overwhelmed in Term 1. We always ensure that during this term staff work with students on time management, looking after their bodies, nutrition, finding time to relax and having a positive approach. Students fears quickly disappear by the end of Term 1 as they start to see the results of their hard work which then puts the fire in their belly for the rest of the year.
When should you see a health care professional? We advise our full-timers to have a remedial massage or see a physiotherapist weekly especially in Term 1 when the body is trying to adapt to the increased workload. We have a physiotherapist we work closely with to ensure students are seen promptly. Staff, students and physiotherapist work together to ensure exercises and rehabilitation are adhered to.

How important is a consistent work ethic?
Having a consistent work ethic and respectful attitude is the most important quality for a performer. We expose our students to a number of different teachers and choreographers from all over Australia and overseas. It’s extremely important for students to be respectful and give 100% to their future employers.

Key to positive teacher/student/parent relationships?
Running a dance studio is my life, my dream, ensuring those students who train with me also realise their dreams, is part of that. All the teachers and choreographers I bring in to work with the students have the same values and are 100% invested. It’s extremely important for the lines of communication to be open between staff, students and myself. The students spend so much time with us they need to feel comfortable to be honest. We acknowledge it’s a big decision and investment for parents to send their children to full-time, we ask that they trust in the staff as we also want what’s best for their child. Communication and having each other’s back is the key!

Back To Top

Danielle’s Studio of Dance

Dedicated to Excellence | | 0407 492 767
Our Full-time & Elevé program students are nurtured by an inspiring faculty in a dedicated environment. Each student is encouraged and inspired to reach their full potential through careful and consistent training. Students have been offered places at The Australian Ballet School, Koninklijk Conservatorium Den Haag, Royal Ballet School, Akademie des Tanzes Mannheim, Balletschule Theater Basel, Palucca Schule Dresden, Dusseldorf Ballet Company, Heinz Bosl-Stiftung Munich, Hamburg Ballet School, Tanz Akademie Zurich, Canadian National Ballet School, Charlotte Ballet, English National Ballet School, Narodni Divadlo Ballet, Vienna Opera Ballet School, Rudra Bejart Lausanne school, Junior Ballet de Geneva, New Zealand School of Dance and WAAPA.

Time: Tailored to student’s age & ability
Aims: To develop dancers with strong technique, artistry, musicality and creativity, a thinking dancer for todays repertoire and beyond.
Main Subjects: Classical Ballet, Pointe, Repertoire, Pas de Deux, Contemporary, Musical Theatre, Jazz, Acro, Pilates, Anatomy, History & Theory.
Students complete their academic studies via Distance Education.
Performance opportunities: Eisteddfods & Scholarships Locally, Nationally and Internationally. Annual concert and in-house concerts.

Danielle Williams Principal

What is a common issue for first year full-timers?
Commencing the year by writing your goals and aspirations will help you develop a plan and stay focused. Some students need better time management in relation to completing their distance education but we are fortunate in QLD to have a very good provider who are supportive and flexible. We encourage them to complete their academic work in time and not fall behind. We also insist our full-time students attend physiotherapy at least once per month which keeps them on top of any niggles or concerns.

Do you believe it is appropriate to have favourites?
I believe every child deserves to be taught properly. It comes naturally to me when teaching to correct each and every child in the class. I would find it very difficult to ignore any student. Instilling the work ethic, ‘Hard work beats talent when talent doesn’t work hard’ is something students do relate to and understand.

A story from when you were a full-time student
When I was full-time at the National Ballet School (when the beautiful late Gailene Stock was in charge) Maggie Scott came and took a class. At the end of the class myself and another student were offered a place in The Australian Ballet School for the following year. I will never forget that day. It was all about being in the right place at the right time. Unfortunately for me, shortly after I was injured and had to stop dancing. I have had many lucky students over the years who have secured places in schools or companies from similar opportunities.

What do you hope students gain from your class?
I hope that their love and appreciation of our beautiful art form increases whilst training with us and beyond. Instilling a dedicated work ethic and witnessing the students develop and achieve a love of port de bras gives me so much joy. Encouraging students to see, feel and emote the beauty of dance is so much more than the tricks and other unmentionables you see on stage sometimes at competitions. I’m a purist!

Back To Top

Promenade Dance Studio

Your Journey to SUCCESS | | 07 3733 0900
Promenade’s Pre-Professional Programs provide part-time and full-time intensive dance training for the aspiring professional dancer. Our unique programs focus on refining technique as well as developing artistry by encouraging the individuality and creativity within each dancer. The courses offer students the flexibility to choose a program that meets their individual needs and at the same time enhances their versatility as a performer. Our programs offer students access to cutting edge technique and the opportunity to be mentored by some of the best professionals in the industry. Students train daily in state of the art facilities, which provide the optimal environment for their performance development and increase their employability in the dance industry.
Pre-Professional Programs
Ballet/Contemporary CUA50113 Diploma of Dance (Elite Performance)
Commercial Dance CUA50113 Diploma of Dance (Elite Performance)
Musical Theatre CUA50213 Diploma of Musical Theatre
Time: 1 or 2 years (Full-time)
Aim: To provide students with a solid, technical foundation that will prepare them for the transition into higher dance qualifications and/or full-time dance training.
Subjects: Ballet/Contemporary – Classical Ballet, Contemporary, Pointe, Repertoire, Jazz, Performance Coaching, Physical Conditioning, Partnering, Improvisation & Composition, Acrobatics, Anatomy & Nutrition, Performance Psychology
Commercial/Musical Theatre – Musical Theatre, Vocal Coaching, Acting Coaching, Jazz, Cabaret, Heels, Hip Hop, Ballet, Contemporary, Acrobatics, Physical Conditioning, Improvisation & Composition, Performance Coaching, Anatomy & Nutrition, Performance Psychology.

Pre-Professional (Non-Diploma) Ballet Program
Available to talented applicants from 13 years of age.
Performance opportunities for all courses: Eisteddfods, Scholarships and Bursaries including International Ballet Competitions, In-house Performances and Theatrical Productions.
Dance Excellence Program
Certificate III in Dance CUA30113
Time: 1 or 2 years (Part-Time)
Aims: To provide students with a solid, technical foundation that will prepare them for the transition into higher dance qualifications and/or full-time dance training.
Subjects: Ballet, Contemporary, Musical Theatre, Hip Hop, Physical Conditioning, Improvisation & Composition, Performance Coaching, Anatomy & Nutrition.
Junior Elite Program
1 day per week, students from 9-11 years
Senior Elite Transition Program
3 days per week, students from 11-13 years

Rosanna Castellana Principal

What is a common issue for first year full-timers?
The mental and physical fatigue of full-time training due to the extended hours of training that the students are not used to. Also the realisation that full-time dance doesn’t always equate to instant success. Many more ingredients are required for the success of this pie! Students can be single minded in their focus which can narrow their opportunities in the industry. We believe equal respect and work ethic in every genre related to their strand, even if it puts them out of their comfort zone a little, will broaden the knowledge, skillset, and versatility of the dancer. Meeting with the parents to share our staff’s own experiences and journey always sheds light on other ways to look at the creative arts industry and the variety of employment opportunities that exist. Success can be packaged in many different ways!

Do you believe it is appropriate to have favourites?
I find ‘favourites’ is more a term used by students who hold the belief that the singling out and giving positive attention and correction to a particular student by the teacher is viewed as ‘favouritism.’ I always put this back in their lap and ask them why they feel this is happening. 9 times out of 10 the ‘favourite’ student is the one who always gives 100% in every class both mentally and physically. Problem solved – do the same!!

A story from when you were a full-time student
I just loved my whole journey and still do. Whenever things did not go to plan, it only made me more determined to pick myself up, dust off the hurt and prove to myself and my teacher that I could do it. I learnt that it didn’t matter whether you danced at a nursing home or the Opera House, the level of professionalism, performance and joy you brought to the stage should always be the same.

What do you hope students gain from your class?
I hope they take with them the passion that will carry them through their dance career in the good times and the not so great, and along with that the skill to be able to exude their love of dance with their audience! I hope that when their time with us comes to an end, they have grown, developed, and gained a wide range of skills that not only sets them in the right direction for a wonderful career in this industry that we love, but also in everything they do in life.

Back To Top

Queensland Ballet Academy

Developing the Artists of the Future | | 07 3013 6666
The Academy provides a clear career pathway, producing young dancers whose talents and abilities are in demand throughout Australia and Internationally. Offering world-class training programs for gifted students from 10 years of age, as well as masterclasses, workshops and an annual Summer School. All programs are supervised by Artistic Director Li Cunxin and Academy Director Christian Tátchev, and supported by our highly acclaimed coaching team. QB are thrilled to extend programs to include aspiring dancers from Years 7 – 12 in a purpose-built, on-campus facility set to open in 2020. This facility will bring together the academic and artistic training of young talented dancers, enabling them to complete their dance classes and schooling on one site at Kelvin Grove State College. Entry to programs is by invitation or audition, ensuring a learning environment committed to technical and artistic excellence.
Jette Parker Young Artist Program
Time: 1 year
Aims: To prepare young artists at the start of their professional careers with a full-time apprenticeship through elite coaching, unique mentorship and opportunities to perform as part of the Company ensemble.
Subjects: Work-based training with the Company including classes, Classical Ballet and Contemporary performances.
Performance opportunities: Queensland Ballet’s Mainstage season, standalone productions and other prestigious events.
Pre-Professional Program
Time: 1 year
Aims: To prepare students for a successful career through daily, professional training to develop their skills to the highest artistic and technical standards. Graduates are equipped to audition for professional ballet and contemporary dance companies.
Subjects: Classical Ballet, Male Technique, Pointe, Pas de Deux, Repertoire, Contemporary, Male Fitness, Body Conditioning, Yoga, Pilates.
Performance opportunities: At least two Company productions per year; professional end of year showcase and other prestigious events.

Senior Program
Time: 1-3 years during Years 10, 11 and 12
Aims: This world-class training program, in partnership with Kelvin Grove State College, provides advanced students the opportunity to pursue intensive ballet training while simultaneously completing on-campus, senior academic studies in Years 10 to 12. Students who successfully complete the Senior Program graduate with a Queensland Certificate of Education and an OP or tertiary entrance ranking.
Subjects: Years 11 and 12: Classical Ballet, Male Technique, Pointe, Pas de Deux, Repertoire, Classical Character Dance, Contemporary Dance, Male Fitness, Body Conditioning.
Year 10: Ballet, Male Technique, Pointe, Repertoire, Contemporary Dance, Body Conditioning.
Performance opportunities: Mid-year demonstration and annual showcase, Prelude; students may also be engaged in Queensland Ballet mainstage productions.
Associate Program
Time: Weekly, 1hr 45mins classes during school terms
Aims: To supplement the ballet training which talented young dance students, aged 10 to 15 years, receive from community dance schools and teachers. The program also offers the opportunity to observe Company classes, rehearsals and performances.
Subjects: Classical Ballet
Performance opportunities: Students are given first consideration when the Company requires youth performers for a production.

Christian Tátchev Academy Director

What is a common issue for first year full-timers?
I find this often depends on the situation. At Queensland Ballet around 50% percent of our enrolments are interstate students and in these cases the students are young dancers who may face some difficult adjustments including living in a new city, attending a new school and adapting to a different method of training. It doesn’t take too long before a homesick student has made new friends and adjusted to living in a new environment, if anything this could be an exciting experience, so the key is to persevere. There are also students who have excelled in their previous training school, but once in our Academy they find themselves amongst dancers who are just as strong. The dancers need to focus on the outcome they desire and continue to train diligently. We offer the same training and information to all our students, so every dancer has an equal opportunity to excel, work hard and adopt the required discipline and work ethic.

Do you believe it is appropriate to have favourites?
I do not believe it is appropriate to have favourites in the class room. However, a teacher will prefer to work with dancers who are hardworking and respectful regardless of talent. These qualities will always shine through in a dancer.

A story from when you were a full-time student
When I was a student I was actually one of those interstate students I mentioned when I joined The National Choreographic School in Sofia, Bulgaria. I was only nine years old and my parents moved with me. It took me a while to adapt to my new environment and make friends. To be honest, I hated the first few years of my training. I was struggling with the material. I also remember watching my brother play outside with his friends while I was doing homework after the long days of dancing and academics. It was a very strict environment. One day I asked my Mother to take me out of school, I wanted to be a “normal” child. She refused, saying that only once I have graduated I will be able to make an educated decision and decide if I wanted to have a career as a dancer or not. I was not happy with this, however, about a year later all the training I was receiving made sense. I understood the material and what was required from me. It was just a matter of discipline. Consequently, I started performing with the Sofia Opera Ballet at the age of 15 and have never regretted a minute of my training or choosing ballet as a profession. Today I am so grateful my Mother made me stay at the ballet school. What we do is very special. It is not a job, it’s a lifestyle.

What do you hope students gain from your class?
I aim to teach dancers to not only become strong technicians and artists, but to also learn the discipline and respect the art form demands. I am very pedantic when it comes to pathways of arms, legs and head from position to position. The correct technique and artistry needs to be mastered and applied in training, repertoire and on stage. Every dancer will have their own journey, own pace in their progress and a unique way of development. The key objective is to ensure the students have a wealth of knowledge available to them as they mature to allow them to make sense of everything they have learnt from us over the years. Then they can draw from that knowledge and training as they progress in their dance careers. We also need to consider that these dancers may also become teachers one day. They will teach what they know – what we have taught them. There is a great responsibility in this and I really hope that my students, should they choose to follow this path, will one day become fine dance educators.

Back To Top

Qld National Ballet School

The Art of Excellence | | 0415 951 077
Students are offered the highest regarded faculty of former professional dancers available. Graduates have been accepted into Hamburg Ballet School, Bejart Ballet School, Houston Ballet II, English National Ballet School, The Australian Ballet School, Basel Ballet School, Royal Ballet School of Antwerp,Le Centre International de Danse Rosella Hightower, Elmhurst Ballet School-Birmingham, Central Ballet School-London, Akademie des Tansz-Mannheim, Miami City Ballet School, Orlando Ballet School, Arizona Ballet School, Queensland Ballet Pre-Professional Year, Sydney Dance Company Pre Professional Year and many more. Fully government accredited and nationally Recognised Training Organization (RTO#31713) Full-Time courses are offered in the new purpose built facility, which is within walking distance to public transport with student fares. Youth Allowance and Austudy/Abstudy approved with schooling through Cairns School of Distance Education (subsidised fee) offered as well. The Annual Maina Gielgud Male Scholarship now available.

Advanced Diploma in Dance (Elite Performance) CUA60113
Certificate IV in Dance CUA40113
Time: Advanced Diploma: 2-3 years
Cert IV: 2-3 years
1 or 2 day options available for students in conjunction with local high schools.
Aims: To ensure students develop all the skills to pursue a career in the dance industry with particular dedication to developing dancers with strong, refined and secure classical ballet technique with a solid contemporary technique. Students are trained to be versatile dancers and experienced performers.
Subjects: Russian Vaganova Method of Classical Ballet, Contemporary Dance, Pas de Deux, Pointe, Repertoire, Performance, Stretching and Strength Conditioning, Cardio, Jazz, Industry Development Practices. Australian Conservatoire of Ballet Exam syllabus classes also available.
Performance opportunities: QLD National Ballet School (2 performances); Local and interstate Eisteddfods; Live performances with the Kelvin Grove Wind Orchestra and Lord Brisbane Imperial Orchestra.

Clare Morehen Teacher

What is a common issue for first year full-timers?
Aerobic fitness and stamina are definitely issues affecting new full-time students. Transitioning from limited hours to full-time requires the next level of fitness and a more heightened understanding of one’s body. Dance training, particularly ballet, is structured in an anaerobic manner with short bursts of intense activity followed by a break period for correction or new instruction. To prepare for long intense hours of training, variations, performances, auditions and exams, dancers should add aerobic training to their personal exercise regime. Jogging, skipping and running are easy ways to begin this training with only the need for good supportive footwear. If you have access to riding and elliptical equipment, this is a wonderful way to gain strength as it increases the heart rate quickly with minimal impact to the body. Dancers should build up to sessions of 20 minutes.

Do you believe it is appropriate to have favourites?
I believe all students develop at different rates and respond to varying types of training and instruction. Every student deserves the right to the expertise of their coach and the chance to progress. The amount of professionals who have been told that ‘they would never make it’, for this reason or that, is quite staggering. I believe you never know when the next ‘ah-ha’ moment or milestone will be reached by a student or what future principal artist, choreographer, repetiteur or teacher is developing right in front of you. Having said this, the quickest way to frustrate a coach is when a student is either not paying attention, or not attempting to implement correction. Focus and determination are essential traits of successful artists.

A story from when you were a full-time student
I really began to develop as a dancer when I began Pilates training during my first year at the Royal Ballet Upper School. Pilates exercises focus on particular muscle groups in isolation, developing the correct activation, strength and alignment for each. When I began to understand the power and precision of each muscle, I was able to implement my new understanding into my classical training. Movements are not only how they ‘look’ but how they ‘feel’ in the body. I gained a new understanding of my body and how with control, I was able to have freedom.
Side Note: As a second year student at the RBS, I played the role of ‘Manon’s Aunt’ to both Sylvie Guillem and Darcey Bussell in MacMillan’s Manon. It was equal parts thrilling and terrifying!

What do you hope students gain from your class?
I hope dancers get a strong understanding of the importance of a good and solid technique (including epaulement!), but also that dancing is so much more than just steps and positions. It’s an artform and a way of expressing yourself. I hope that dancers leave my studio with passion, confidence, and a belief in themselves and their own potential.

Back To Top

Queensland Dance & Performing Arts

Australia’s First Fusion of Dance and Circus Arts | | 0407 103 860
QDPA offers a professional Full-Time Dance and Circus training program for students from the age of 12-22 years. Dancers accomplish a strong technique; develop artistry and are guided to achieve the psychological and emotional readiness required to enter the industry as a professional performer. Students are prepared for mid-year and end of year assessments, Borovansky exams, professional school and company auditions, international summer schools, scholarships and national competitions. As well as International competitions; Prix de Lausanne (Switzerland), Alana Haines (New Zealand) and YAGP (USA) for approved students. Class numbers are kept small to individualise and meet the needs of respective student’s potential. Regularly setting long and short-term goals is an essential aspect of the program. Students will be given access to professional guidance regarding auditions, CV preparation, DVD production and portfolio shoots. Safe Dance and Injury prevention are central features of a professional career and because of this we have an appointed dance physiotherapist and certified Pilates instructor to support and educate students in managing their physical needs.

The School is passionately committed to training and dedicating ourselves to investing in the artistic potential of youth for the development of the dance art form. The School affirms its dedication to train an individual through its well-structured and varied syllabus and through the provision of excellent role models in its faculty and guest artists. Partnership with Asset College
Diploma of Dance (Elite Performance) CUA50113
Time: 1 year Full-Time, 24 Months Part Time (add 6 months for Circus skills).
Aims: To train and create prospective young professional artists to succeed in professional international ballet, contemporary or circus companies. In addition, students may progress as a precursor to University.
Subjects: Principal Subject areas – Classical Ballet, Contemporary, Circus and Acrobatics. Minor Subjects – Hip Hop/Jazz

Maria Teixeira Director

What is a common issue for first year full-timers?
Most dancers are very disciplined and can manage full-time with very few issues. Some students go through some difficulties that hinders their advancement for example niggling injuries, lacking nutrition, keeping up with school work and assignments by distance education making the transition challenging. Family support is required to ease the first-year struggles. My advice is to seek pastoral care or counselling from school if it is available to them. Talk to your teacher and express your concerns. Injuries are a part of our profession and need to be managed regularly. Good nutrition, maintain fitness, know your body and its limitations apply the RICE rule straight away and have a good physio at hand.

Do you believe it is appropriate to have favourites?
I’d like to think I don’t have favourites. It is subjective it depends on one’s perspective. There are students who consistently work hard, push and go that extra mile. They hold value to your correction thrive on your critique and can apply the correction straight away. On the other hand, there are students who are unable to take correction or critique so it’s a fine line and balance between an overall class correction and critiquing individuals. I generally know my students and how much I can push, and critique them. I’d like to think that all my students are there to fulfil a dream. Whether they have talent or not, hard work, determination and a strong positive attitude will get you there.

A story from when you were a full-time student
I loved every moment of it. I teamed up and worked with my partner till we dropped. I lived, ate and breathed it. We both loved being corrected and expected it. We pushed and challenged each other. When injuries popped up, we worked around them and did everything possible to get back on track. It was a great experience.

What do you hope students gain from your class?
That they develop exceptional technical technique, artistry, and became well-rounded creative and open-minded performers. I hope that they become the best version of themselves using their knowledge to stay motivated, dedicated and hold on to their dream.

Back To Top


Flinders University

TAFE SA, Adelaide College of the Arts

Learn where the professionals learn | | 08 8463 5000
Flinders University in partnership with TAFE SA, Adelaide College of the Arts offers a Bachelor of Creative Arts (Dance) degree specialising in elite dance performance. The combination of study associated with theoretical knowledge and skills necessary for professional practice is essential for gaining employment in the field of contemporary dance performance. This course offers a rigorous program of study, intense dance training and the building of integral choreographic skills in purpose-built teaching spaces. Helpmann Academy I Mill Dance Award enables one College graduate to undertake a 3 month residency in Sweden. Teachers: Peter Sheedy, Lisa Heaven, Shane Placentino, Kailea Nadine-Williams. Guest lecturers: Larissa McGowan, Niv Marinberg, Michael Getman, Kimball Wong, Jo Stone, Terry Simpson and Tobiah Booth-Remmer. Students enroll concurrently in TAFE SA’s Advanced Diploma of Dance (Elite Performance)(CUA60113) and Flinders’ Bachelor of Creative Arts (Dance).

Bachelor of Creative Arts (Dance)
Time: 3 years
Aims: For students to train as a professional performer in the contemporary dance industry and develop a mix of dance techniques and skills in state-of-the-art dance studios, alongside a grounding in dance theory and history that supports professional practice.
Pre-Requisites: Minimum ATAR is 60. Applicants are required to audition and meet the University’s minimum entry scores.
Subjects: Contemporary Dance, Classical Ballet, Composition, Production Performance, Double Work, Yoga, Pilates, Anatomy and Kinesiology, History of Dance, Critical Studies, Music Studies for Dancers, Career Management, Dance Vocational Secondment, Song and Dance, Live Arts, Performance.
Performance opportunities: Industry Secondments (final year). Adelaide College of the Arts have also partnered with the Australian Dance Theatre (ADT) giving our students the opportunity to benefit from ADT’s globally acclaimed artistic director Garry Stewart and ADT dancers experience.

Back To Top

Terry Simpson Studios

South Australia’s Leading Dance Studio | | 08 8223 4374

Terry Simpson Artistic Director
Role of technique in a dancer’s career?
Technique is so very important as it’s what creates safety in training – the safest way is often the correct way. Dance is not a very safe past time, human beings weren’t meant to turn out etc so being able to do those things properly takes care of the body in the long term and it also builds up the correct muscle tone for your body.

First term issues?
Many dancers new to full-time are enthusiastic and want to go to as many classes as they can but this can, and often does, lead to fatigue. Whilst at full-time they are staying at school and increasing their dance load, which also increases their physical and mental fatigue. Being able to manage their time both within and outside full-time and finding time to rest is very important which is why I spend time with my students timetabling their lives to ensure everything is manageable.

When should you see a health care professional?
Prevention is of absolute importance so we teach students to learn to recognise issues themselves. Our course includes pilates and complimentary activities, and many of our teachers are physios as well. Of course, if they do develop a niggle or major injury we recommend seeing a health professional. We try to ensure the child isn’t reliant on health professionals to know what is happening with their own bodies. This reduces the added stress and cost of consistent health professional appointments to prevent injuries. Rest is also essential as is massage to help stave off injuries and ensure their bodies stay supple.

How important is a consistent work ethic?
Inconsistent work creates injury – coming in and working yourself to death and going away for 3 weeks causes injury. Working up to a performance or exam, the amount of work increases and if they are not fit or managing their bodies prior to that the risk of injuries is increased.

Key to positive teacher/student/parent relationships?
Trust is very important and the basis of a great student, teacher, parent relationship. Students coming through the school community will already have a great relationship with the teachers from when they were quite young. For those students new to the community, it’s best to build a relationship and develop the trust between teacher and student first. But you also need to keep the parent in the loop as teenagers think they are handling everything really well and that may not be the case. Always have a meeting with the parents and the student, and keep the doors open at any time.

Back To Top


The Australian Ballet School (ABS)

Australia’s National Centre for Elite Vocational Classical Dance | | 03 9669 2807
As providers of a unique, professional dance-training program, the ABS nurtures and encourages the internationally recognised qualities of Australian dancers. The ABS offers training for students from all over Australia and overseas, producing dancers possessing a strong classical technique with a great emphasis on artistry, purity of line, coordination and a quality of movement, free of any stylistic mannerisms. Full-time training commences at Level 4 with fully integrated academic studies and accredited courses from Level 5. Practicum teaching faculty: Lisa Pavane (Director), Sheryl Bates (Executive Head of Teacher Training), Megan Connelly, Simon Dow, Jiayin Du, Katrina Edwards, Christine Howard, Michela Kirkaldie, Irina Konstantinova, Sergey Konstantinov, Sabrina Lenzi, Kirsty Martin, Joanne Michel, Sakis Michelis, Andrew Murphy, Christine Vavladellis, Lynette Wills, Margaret Wilson.
Level 4 (non-accredited)
The first year of full-time training, it is offered alongside Academic Year 8 or 9 at the Victorian College of the Arts Secondary School (VCASS). Students in Level 4 are expected to achieve well in their academic studies as well as consolidate and expand their technical and artistic dance skills.
Subjects: Classical Ballet, Pointe Studies (F), Foundation for Gymnasium Training (M), Foundation Pas de Deux, Repertoire/Variations, Performance Preparation, Contemporary, Character, Body Conditioning, Theatrical Make-Up, Performance Psychology, Anatomy/Injury Prevention, Nutrition, Introduction to Music And VCASS Academic Programme
Performance opportunities: May include Showcase and End of year performance.
Accredited Courses
The ABS is a NVR RTO (provider code 3132, CRICOS code 00253A) offering the following, accredited courses:
Diploma of Dance (Elite Performance) CUA50113
Time: 2 years (Levels 5 and 6)
Aims: To encourage the special qualities of Australian dancers including youthful freshness, expressiveness, athleticism, musicality and strong technique.
Subjects: Various subjects supporting the technical training and artistic development of the student. In addition Music, Performance Psychology, Nutrition, Cultural Studies and VCASS Academic Programme.
Performance opportunities: May include the following at Arts Centre Melbourne: Morning Melodies; Showcase; End of year performance.
Advanced Diploma of Dance (Elite Performance) CUA60113
Time: 1 year (Level 7)
Aims: To produce graduates of the highest calibre who are capable of integrating effortlessly into The Australian Ballet and top professional dance companies in Australia and around the world.
Subjects: Various subjects encompassing Technical Training, Artistic Development and Academic Subjects through VCASS.
Performance opportunities: May include Morning Melodies; Showcase; End of year performance.
Graduate Diploma in Classical Ballet 10296NAT
Time: 1 year (Level 8)
Aims: To prepare students for the dance profession at a virtuoso level by refining their dance technique and developing their professional skills through career development activities and performances.
Subjects: Various subjects encompassing Dance Technique, Professional Skills Development and Performance.
Performance opportunities: May include Morning Melodies; September Showcase; End of year performance. The Australian Ballet Regional Tour – the highest quality productions are taken to regional areas around Australia for approximately six weeks every year.

Graduate Diploma of Elite Dance Instruction (Teacher’s Course) 10328NAT
Time: 2 years (generally delivered part-time over an extended duration)
Aims: To train the professional dancer with the appropriate attitude and aptitude in the methodology of vocational dance training, based on an eight level system derived from the Vaganova method. The target group for the course is by nature very specific, therefore the number of course participants at any one time will be small. In order to deliver the course to the highest standard, the small cohort of trainees allows the delivery of the course to be structured as a mentor-model adapted to the individual needs of participants.
Subjects: Classical Ballet Pedagogy Professional Development Training and Practicum. Units delivered are: develop a multi-level training program for elite dance students; plan, deliver and assess dance at an elite level; design and implement an individual professional development plan in dance teaching; foster the health and well-being of elite dance students; provide coaching to elite dance students; select and apply music for dance exercises; and implement and monitor WHS policies, procedures and programs

Kirsty Martin Classical Teacher

What is a common issue for first year full-timers?
The first year of full time training can be challenging for many students and parents as they adapt to new environments that are for some, very different from what they are used to. Moving to a new city, new home, making new friends and adapting to new schedules, are all contributing factors that will effect a students’ and families life.

The teachers at The Australian Ballet School have all gone through the experience of full time training and leaving home at an early age, so the students have our support and understanding, as we can totally relate to these challenging stages throughout their journey in becoming a professional dancer.

While focusing on providing the upmost care and support, it’s also integral for us to guide the students into this profession with clear expectations and education of what lies ahead in the future. Nurturing resilience, the importance of commitment, dedication to their training, and a love and respect for the art form, are all important aspects that need to be considered for a life of a dancer.

The initial transition can be overwhelming for some, and completely fine for others. Parents and students should expect it may take a little time initially to settle in to their new environments, and that this is normal and part of the process. Students are so well supported and all staff are aware of the physical and emotional adjustments that they may be going through. Teachers at the School are very experienced in ensuring that training programmes, curriculum and teaching methods are all carefully tailored towards the health and well-being of the students’.

Do you believe it is appropriate to have favourites?
I don’t believe teachers’ having ‘favourites’ is of any benefit to anyone. Of course there are always going to be individuals that may draw a teacher’s attention for various reasons, but a teacher’s role is to impart knowledge, to share, to observe and connect with every student in the class. This is a huge responsibility, but that is the teacher’s job. Classical Ballet is an art form, which like any form of art, will resonate or connect with people in different ways. So maybe there will be at times a certain quality, style, physical attributed that a dancer has that appeals to you as a teacher, but a good teacher acknowledges the variety of talents and individuality within the class, and works with each body in front of them.

A story from when you were a full-time student
I remember my days as a student at The Australian Ballet School very fondly, but also experienced my own challenges.
I left home at 16, as at that time the School was a three-year full time school only. My first year was the hardest. I’d come from a small country town ballet school, and only doing after school classes 3 times a week. It was a lovely school with fantastic teachers who invested endless time into their students. I did not only do ballet, but Tap, Jazz, Contemporary, character and song and dance! So basically it was a lot of fun and even though ballet was my passion, it definitely wasn’t my only focus.
Adapting to full time ballet all day was a huge shock, both physically and emotionally. Suddenly I was in this very serious and elite environment alongside girls that had been full time prior, or were from the city and were exposed to what the ballet profession was really like. I was very naïve I suppose.
I became very homesick in my first year and wanted to give up ballet entirely at one stage. Thankfully my parents toughed it out and didn’t come and rescue me, as they knew it was just the process of adapting to a vastly different life to what I knew. I realise it must have been very hard for my parents at the time and I now of course appreciate their strength and insight.
I did get through it, with the support of my parents, Gailene Stock and my wonderful first year teacher, Aigul Gaisina. My next two years were challenging in more positive ways. Exciting, stimulating and full of wonderful opportunities and experiences that made me who I am today I suppose, both professionally and personally.

What do you hope students gain from your class?
I don’t think of my teaching being a short-term experience for my students at all. Maybe that is the reality for some, who knows? But I would hope that there will be little pockets of knowledge that my students will carry with them forever. Of course they are children, and their brains are going through many phases of development so they may not retain it all, but I think on a subconscious level things do stick. This is why teaching is both a privilege but also a huge responsibility. What we say or do can have profound effects on a student’s life. I love teaching students over a certain course of time, because it gives you the opportunity to really connect and get to know their personalities. My students will also help me become a better teacher throughout the journey.
In my classes, I focus on providing a clear balance of technique, artistry and musicality. I try and help my students understand that these three areas are integral and should be focused on equally in order to develop themselves as not only dancers, but artists. It is important to keep in mind that nothing is achievable instantly, and that patience, positivity and realistic expectations are the key to long term success, and the attitude one must have to progress and develop. I love to focus on the details of technique and artistic nuances, and the importance of personal practice. It is the time and care spent on detail that makes the difference and what I hope my students will instil in their approach to their training and ongoing artistic development.
It’s always a bit sad when your time with your students end, but also really rewarding to see how they’ve grown and developed throughout the process.
I encourage students to continue to be open minded and curious forever, and to try and take on board something from every teacher they work with.

Lynette Wills

Role of technique in a dancer’s career?
Technique plays a crucial role in the longevity of a dancer’s career. A good technique is based on the most correct way a movement should be demonstrated and should protect the dancer from unnecessary injury. A dancer has the opportunity to fine tune and study their technique daily in ballet class, this gives them the opportunity to develop and adjust accordingly.
First term issues? Fatigue, both mentally and physically, would probably be the most common issue when first entering full-time dancing. Each movement is very detailed and it takes time for the information to transfer into the body. Young bodies especially can take time to adjust to the workload.

When should you see a health care professional?
All dancers will need to see a physiotherapist and a podiatrist throughout their training and career. For a student I would recommend finding a sports physiotherapist that has worked with dancers previously, as they will have a better understanding of the terminology and the unique demands that ballet can place on the body. How often you will need to be treated will be guided by physical suitability and injury.

How important is a consistent work ethic?
A key ingredient to being successful in dance is dedication. You have to push yourself consistently every day to see results. It is not uncommon for these qualities to flow into other aspects of a dancer’s life. Academic studies are strongly encouraged now and provide a necessary balance in their lives as well as the opportunity to be building skills in preparation for when they have to stop dancing, whether that is at 15 or 40.

Key to positive teacher/student/parent relationships?
A good understanding of the demands and challenges of this vocation would be helpful information for the parents unfamiliar with this industry. The reality of a career in dance can be vastly different to the public image. I believe that honesty between the student/teacher/parent relationships is most helpful for all involved. Working with a passionate approach and building the trust and confidence of the students you are working with, are to me, the key values to the teacher student relationship.

Back To Top

Jane Moore Academy of Ballet

Beauty, Grace, Power, Strength, Performance – A Dancer’s Journey Begins Here | | 0457 131 320
The Academy is committed to training and developing young dancers, supporting and encouraging them to achieve their goals and to reach their full potential. Jane Moore, founder and Principal is a registered RAD Teacher with over 40 years’ experience. Established in 1987 the Academy has an enviable industry reputation with students regularly being accepted into The Australian Ballet School. This includes Mia Heathcote, Marcus Morelli, Sasha Moffat, Brooke McAuley, Brittany Haws, Maddie Graham, Kristy Corea and Emma Dowling. Following their recent success at the Prix de Lausanne, Emily Bray was accepted into the Royal Ballet School London in 2016, Isabella Wagar into the Dutch National Ballet Academy’s Traineeship in 2017 and Matisse Lewis on a full scholarship into the prestigious ‘John Cranko Schule’ in Stuttgart, Germany in 2018. Jane’s purpose built, fully fitted studio has fulfilled one of her lifelong dreams but her ambition is for her students, some of whom have gone on to join The Australian Ballet Company including Eloise Fryer, Kristy Corea and Marcus Morelli; The Queensland Ballet Company including Mia Heathcote and Vanessa Morelli: The Dresden Opera Ballet Company, Brooke McAuley; and The Manilla Ballet Company, Abigail Oliveiro. VCE VET Certificate II in Dance is offered to Coaching Program students studying Y10-12.
Full-Time & Part Time Classical Coaching Program
Time: Level 4/5 1-2 years Full-Time, Level 1-2-3 2-3 years Part-Time
Full-Time & Part Time Classical Coaching Program
Senior Coaching program Level 4 & 5 15+ yrs. (approx. Yr 9+)
Coaching Level 3 14+ yrs.(Year 9+)
Coaching Level 2 13+ yrs.(Year 8-9)
Coaching Level 1 12+yrs (Year 7-8)
Aims: The Academy provides students with access to professional, highly qualified and dedicated teachers who are committed to training and developing their students, supporting and encouraging them to achieve their goals and to reach their full potential.
Subjects: Full-Time Ballet Coaching Program: Classical, Pointe, Repertoire, Contemporary, Character, RAD Vocational Syllabus (optional), Body Conditioning, Creating a CV, Eisteddfod / Scholarship Solo Coaching, Personal Fitness Training.
Full-Time ballet students elect to study their secondary school academic subjects via Distance Education. *VET Dance Year 11 and 12 is offered at the academy and can be started in Yr10
Practical Dance Classes per week: Classical, Repertoire, Pointe, Pas De Deux, Contemporary, RAD Vocational Syllabus, Character
Performance opportunities: Eisteddfods, Prix, Annual Jane Moore Academy Concert, Festivals and Corporate Events

Jane Moore
Qualifications: RAD Registered (Studied with Kathleen Gorham and Martin Rubenstein).
Focus: Classical RAD
Experience: Teaching for 40+ years.
Transitioning to full-time? Students must be mature enough to cope both physically and emotionally with the demands of full-time prior to full-time dance training. Have clear and honest discussions with teachers/staff so you have a realistic understanding of the demands of vocational training and a student’s potential. Discuss the individual student’s attributes and seek the best possible training to achieve the best possible results.
Role of technique in a dancer’s career? Technique, with careful, correct training of the muscles and alignment of the body, helps prevent injury and supports the dancer’s longevity and potentially long career.
First term issues? Adjusting to self-motivated distance education schooling. Implementing an intelligent eating program to aid in maintaining a healthy body that will be working longer and more demanding hours. Getting enough sleep and allowing a rest day – Sundays are great to keep a balance in their busy schedules.
When should you see a health care professional? As all students from at least 15 years are still developing physically and at the same time increasing their dance hours, they should be seeing these professionals regularly, not only for rehabilitation but also for aiding in injury prevention.
How important is a consistent work ethic? Of the upmost importance! We try to explain that a day off is healthy, but a week off in training can feel like 2 weeks. A focused and reliable student becomes a desired company member.
Key to positive teacher/student/parent relationships? Whilst keeping a respectful teacher/student relationship, it is important to provide adequate communication via paperwork, emails and parent teacher interviews. A parent needs to have confidence and trust in the teacher’s advice and coaching skills. A positive partnership in these relationships can provide a healthy and nurturing pathway to a successful career.

Back To Top

Jason Coleman’s Ministry of Dance

We Don’t Just Teach Shapes, We Shape Lives! Harder, Better, Faster & Stronger! | | 03 9329 6770
JCMOD sets the standard of excellence in dance, performance and musical theatre training. We’re proud to offer a high standard of training, complemented by outstanding facilities used regularly for industry rehearsals and auditions. Direct industry links greatly benefit students as they study in world-class facilities alongside Australian and international production companies. Further support offered to students includes ongoing guidance and support from FTC staff, and on site physiotherapists. We provide students with the tools they need to be the best version of themselves. Ministry takes pride in their graduates continuing careers in all aspects of dance, entertainment and performance. Graduates are performing throughout Australia and internationally with credits including Musicals, Contemporary Dance Companies, Cruise Ships, Choreography, Production and Management, Music Videos, Tokyo Disney, Universal Studios and more.
Diploma of Dance (Elite Performance)
Diploma of Musical Theatre
Certificate IV in Dance
Certificate IV in Musical Theatre
Certificate IV in Dance Teaching & Management

Time: 2 years
Aims: To provide students with the opportunity and skills relevant to the industry and to ensure graduates leave with the ability to work in diverse aspects of the industry.
Subjects: Jazz, Ballet, Hip Hop, Contemporary, Tap, Choreography, Performance skills, Commercial Dance, Acro, Latin, Musical Theatre, Singing, Acting, Dance Teaching, Partnering, Audition Techniques, Heels & Make-Up.
Performance opportunities: Corporate functions; Community events; Professional performances; Mid-year performances; Mid-year show for Musical Theatre students; End of year showcase.

Eilidh Dragovic Director of Education and Business Development

What is a common issue for first year full-timers?
Our full time course cohort is made up of young performers from all over Australia and New Zealand. Naturally students aspiring for a career in the performing arts have extensive training in their area of expertise and are often one of the top performers from their local area.
A big transition that many of our students face is when they commence their professional studies in an environment surrounded by performers with equal or more skill and experience than they themselves hold. For some, this can be a daunting experience in recognising that their immediate competition is fierce. At the Ministry of Dance we stream our technical classes based on facility and previous experience and some students can find this process disheartening when not being placed in the most advanced groups at the commencement of their studies. In reality this has no significance to the career prospects of each individual as it is the attitude, dedication and perseverance of how you approach your studies that will shape your prospects as an industry practitioner.
My advice is to trust the expertise of the teaching panel as decisions are always made with the best interest of the student in terms of long term achievement and career sustainability.

Do you believe it is appropriate to have favourites?
I believe teaching is like raising or being a part of a family, you may have a favourite but it is never the same person from day to day! At the Ministry we encourage students to reflect upon their strengths and interests. Discover what your niche is, explore your personal strengths and carve out career pathways that stimulate you as an artist. All students differ; some may be incredible technicians but struggle with self- promotion. Some may have exceptional leadership skills in production, choreography and communication. It is finding what interests you and promoting yourself as a leader in that market.

A story from when you were a full-time student
I completed my BA Honours at London Contemporary Dance School. This was a three year program where the 30 students in my year level ranged from 17 different countries. Reflecting upon this it was such an incredible atmosphere and school to be a part of. I distinctly remember during one of our first academic lectures we were asked to talk about our hobbies. All of us spoke about dance. Our lecturer challenged us to find a new hobby as this was the start of the transition from dance being a hobby to dance being your career. I found this advice invaluable as it made me feel OK to not always love every class that I did. On the days when I did not love getting up in the morning and going to class I was able to recognise the training as work and get on with task at hand!

What do you hope students gain from your class?
My teaching aspirations are for students to not only have an understanding of the art form but also to have a genuine interest of the context of their industry. I encourage my students to reflect upon their own personal class and performance experiences and discover through research how this relates to the great performers and creators of their preferred genre. My hope is that through creative exploration and analyses of their art form graduates will continue to use these skills when teaching, choreographing, performing and managing projects and through this create new benchmarks in Australian live performance.

Back To Top

Kelly Aykers Full Time Dance

Join the Revolution | | 0401 753 205
Kelly Aykers is revolutionising the way we experience dance. Again, running at capacity this year, a strictly limited number of students will be chosen in 2019 to benefit firsthand under the guidance of one of the dance world’s true giants. Each course is personally curated and assessed by Kelly and students will have the opportunity to experience and develop that same passion and fire that will launch them into a future in the dance industry. Featuring a teaching roster hand picked by Kelly that represent the cream of their chosen fields, Kelly spearheads five full-time courses that will not only ready students for a career within the entertainment industry, but redefine the industry itself.
Elite Dancer’s Course (not accredited)
Time: 1 year
Aims: To maximise the dance technique, understanding and stamina of the dancer, company performer, professional or recent graduate to lift their game to the next level.
Subjects: Ballet, Jazz, Contemporary, Hip Hop, Tap, Ballroom, Acrobatics, Pilates, Body Conditioning, First Aid, Nutrition, Make-Up.
Certificate IV in Dance CUA40113
Time: 1 year
Aims: To provide a complete and exhaustive regime of technique and training to suit the modern professional as a prelude to pursuing a lifetime in dance (Automatic pre-requisite to the Diploma Course).
Subjects: Ballet, Jazz, Contemporary, Hip Hop, Tap, Ballroom, Acrobatics, Pilates, Body Conditioning, First Aid, Nutrition, Make-Up, Choreography, Career Management, Artist Development.
Certificate IV Dance Teaching and Management CUA40211
Time: 1 year
Aims: To prepare students with the business and management knowledge as well as comprehensive dance training to run a successful dance business also featuring invaluable practical training throughout the year in conjunction with Kelly’s junior school.
Subjects: Ballet, Jazz, Contemporary, Hip Hop, Tap, Acrobatics, First Aid, Nutrition, Safe Dance, Safe Dance Teaching, Business Management, Stage Management, Make-Up, Choreography including mapping.
Diploma of Musical Theatre CUA50211
Time: 2 years
Aims: To be a comprehensive and exhilarating pre-cursor to life on stage where students will combine all the rigour and technicality of the Elite Dancer’s course with extensive singing, acting and stagecraft.
Subjects: Ballet, Jazz, Tap, Contemporary, Acrobatics, Hip Hop, Acting, Singing, Music Theory, Vocal Theory, Nutrition, First Aid, Theatre Make-Up, Business Management, Stage Management.

Diploma of Dance (Elite Performance) CUA50113
Time: 2 years
Aims: To be a complete immersion in all things dance. Building on the Certificate IV, the Diploma of Dance takes dancers to the next level in a carefully structured course, which prepares graduates for a life in professional dance.
Subjects: Ballet, Jazz, Commercial, Contemporary, Tap, Acrobatics, First Aid, Safe Dance, Safe Dance Teaching, Nutrition, Business and Career Management, Stage Management, Choreography, Advanced Skills, Music Theory, Make-Up, Fitness Training and Programming.
Performance opportunities for all courses: Masters of Choreography; Australian Dance Festival Showcase (Sydney); Victorian Dance Festival Showcase (Melbourne); Film, Television, Event performance (e.g. Opening Ceremonies); Corporate work; Presentation of Kelly’s professional choreography to clients and producers; Mid-year Raw Showcase; Dance roles in full-scale Musical Theatre production / Cabaret (lead roles for Diploma MT students); Triple Bill annual performance in which agents and industry professionals are invited to seek out talent.

Kelly Aykers Artistic Director

What is a common issue for first year full-timers?
The main issue I deal with in the first year of full time training is mentoring the students in regards to keeping themselves in check with their own journey and not comparing themselves and their skillset to others in the room.
I’m a big believer in each student being aware of where they sit in their training and in being able to identify their own strengths and weaknesses in their training. As people come in all shapes, sizes and personalities, it is the same with dancers so each one needs to have individual mentoring in regards to things like retaining choreography, technique, placement skills, image branding, as well as a good social skill ability.

Do you believe it is appropriate to have favourites?
I never have favourites in the class room and pride myself in handling my business in a fair and constructive environment. I believe it is my duty of care to teach all students on a level playing field irrespective of skill set or my own rapport with them. Over my many years of teaching I have seen time and time again the mess that favoritism can have on classroom dynamics which is why I don’t abide by this sort of behavior

A story from when you were a full-time student
I was a very young 16 year old when I left my family home in Ballarat to study Full Time Dance in Melbourne. I was lucky enough to have a big brother with a spare room living in Hawthorn who very generously kept an eye on me and allowed me to find my own way in the adult world. It was hard to be away from Mum & Dad and exhausting to say the least but I soon found my own like-minded group of friends and, that time was really the foundation of the work ethic I still maintain to this day. I also look back on that part of my dance journey as one of the most exciting times of my life.

What do you hope students gain from your class?
I hope students learn in their time with me that a healthy ego is an important part of being a good leader and mentor. I like to think I am a very approachable person and, despite the fact that I have dealt with some of the biggest names in the industry and found myself a lot of the time in a power position, I make a point of treating all that I come across with equal respect. I personally believe you attract what you put out tenfold and believe that my success and reputation in my chosen field is a direct outcome of this belief.

Role of technique in a dancer’s career?
No dancer needs injuries so technique for all genres of dance is the backbone of a dancer’s longevity. It ensures the placement of knees, hips, shoulders, spine and ankles is correct so that the dancer can perform eight shows a week without injury, which is the standard company performance schedule. It also guarantees the correct shape and style can be executed within the choreography. Aside from that, good technique informs every step a dancer makes and poor technique will always read from front of house.
First term issues? Psychological issues of comparing themselves to each other are frequent in the first term until they settle and realise that each of them are on their own journey and that each of them have their own strengths and weakness to embrace.

When should you see a health care professional?
As the stress of a 30 hour work load is new to their bodies, any issues must be addressed professionally and as early as possible so that they can understand the need for correct maintenance. Working through an injury is never a good idea so responsible self-management is a must.

How important is a consistent work ethic?
It is everything. Very few performers make their name from holding back so a solid work ethic is essential to getting the most from your training. That dedication and commitment early on will bleed into their professional life and keep them at the forefront of the industry.

Key to positive teacher/student/parent relationships?
Communication, communication, communication.

Back To Top

National Institute of Circus Arts

Australia’s Centre of Excellence in contemporary circus arts training. | | 03 9214 6975
A national arts training institute offering Australia’s only Bachelor of Circus Arts. The degree is accredited by Swinburne University of Technology and the institute is located at its Prahran campus. NICA’s mission is to deliver innovative training programs to talented students, whose performances will re-imagine circus. As the only training institution of its kind in Australia, NICA fosters passion, creativity and a high level of skill in its graduates who will be recognised as inspiring circus artists. Also offered are Certificate III and a Certificate IV in Circus Arts for students who are preparing for a career in the circus industry, or entry into the Bachelor of Circus Arts course. Employment opportunities offered through CircaNICA, Australia’s leading agency for professional circus artists. Courses can lead to work in community, contemporary, social and traditional circus. It can also lead to stunt work, corporate and festival work as well as teaching and work with other sectors of the international performing arts market. Applications close: 24th August 2018. CRICOS provider code: 00111D
Bachelor of Circus Arts Course code: BA-CIRCA1. CRICOS course code: 078080F CRICOS provider code: 00111D
Time: 3 years (full-time)
Aims: To push the boundaries of circus as an art form to create work that is innovative and inspiring. This elite degree strives to produce employable, skilled and creative artists who will be respected nationally and internationally in the global circus and physical theatre industry.
Study areas include: Circus foundation skills including tumbling, handstands, flexibility, manipulation, aerial and partner work. Group acts incorporating adagio, aerial, juggling, hoop-diving and teeterboard. Circus specialties including: trapeze, tissu, rope, handstands, tightwire, contortion, Chinese pole, rolla bolla, juggling, hula hoops and clowning. Fitness, strength and conditioning for circus artists. Performance skills incorporating improvisation, acting, vocal techniques and approaches to devising innovative performances. Movement skills encompassing ballet, contemporary dance, improvisation, contact and composition. Circus history and cultural studies.
The circus business and career management. Technical aspects of circus production, equipment and safety in the circus environment. Anatomy, physiology, nutrition and sports psychology for circus artists.
Certificate IV in Circus Arts Course Code: 10111NAT. CRICOS code: 086127G CRICOS provider code: 00111D
Time: 1 year (full-time)
Aims: To provide training in preliminary level circus skills and knowledge. The Certificate IV can be used as preparation for the Bachelor of Circus Arts or for those currently teaching in social or community circuses wishing to upgrade their skills.
Study areas include: Circus foundation skills including tumbling, handstands, flexibility, manipulation, aerial and partner work. Group acts incorporating adagio, aerial, juggling, hoop-diving and teeterboard. Circus specialties such as: trapeze, tissu, rope, handstands, tightwire, contortion, Chinese pole, rolla bolla, juggling, hula hoops, and clowning. Fitness, strength and conditioning for circus artists. Performance skills and movement skills for circus artists. Anatomy, physiology, nutrition and sports psychology for circus artists. Safety in the circus environment. Circus history, traditions and practice.

Certificate III in Circus Arts Course Code: 10110NAT
Time: 2 years (part-time)
To be considered for the Certificate III in Circus Arts, students must plan to combine NICA training with Year 11 or 12 studies at the Centre for Adult Education (CAE).
Aims: Offers young people the opportunity to gain a nationally recognised qualification in Circus Arts. The course provides basic training in contemporary circus arts for students who wish to pursue a career as a circus performer. The Certificate III can be used for preparation for the Certificate IV in Circus Arts and as an entry-level qualification in circus arts.
Study areas include: Circus basics including tumbling, handstands, flexibility, manipulation, aerial and partner work. Fitness, strength and conditioning for circus performers. Performance and movement skills for circus performers.

Meredith Kitchen Teacher

What is a common issue for first year full-timers?
The students at NICA have an extremely full and exhausting schedule in 1st year that dance is only a part of. They are adults even if they are young ones and it can be their 1st year out of home, especially if they have travelled from interstate or internationally to be here.
I think a fairly common issue for them is proper affordable nutrition and enough sleep. The adjustment to the increase in hours of daily physical training can be daunting and at the beginning totally exhausting both mentally as well as physically. We all know that repetition creates good technique but both teacher and student need to recognize and implement a safe, sustainable and holistic training regime, which includes good food and sleep. I think this is recognized more and more in the industry in comparison to when I was a student.

Do you believe it is appropriate to have favourites?
That’s a tricky question. As we all know good technique is only part of the art form. What makes a good artist/performer is something more allusive and less tangible. It’s a certain quality that comes from within and is expressed through a well trained body. We are all at the core subjective beings. In saying that however, everyone has their own qualities that grow and develop in different ways and at different times and through different methods and circumstances. It is important as a teacher to be very attentive to all students and draw out the best from each and every one.

A story from when you were a full-time student
That time in my life feels like a lifetime ago. Parts of it were very challenging and I remember wanting to give up at certain points. I always enjoyed getting up in the morning and going to class as it just became part of the fabric of your life, even if at times you lost sight of why you were doing it. On a lighter note, we used to do lots of eisteddfods and I remember this time I was performing a solo Hungarian character dance. I stepped out on stage and went blank. I continued and proceeded to make something up for the duration of the music. To my surprise I won the section and the feedback was that it was very authentic.

What do you hope students gain from your class?
I am teaching students who are here to become circus performers. I hope that by the time they finish the course they have the confidence to move within their own technical range. My main hope is that they leave here with skills to create, choreograph and structure their own work/acts

Back To Top

The Northern College of the Arts and Technology

Follow your passion | | 03 9478 1333
The Northern College of the Arts and Technology provides programs and pathways for talented students who want to concentrate on their passion, whether it be in the performing arts, visual arts, design, media, trades or technologies. NCAT caters for Year 10, VCE, VCAL and post-secondary students in a mature, adult environment. Teachers work alongside students fostering individuality and personal growth, encouraging diversity and individual passions. RTO Number: 6736
YR 10 Dance, VCE Dance & VCE VET (CUA20113 Certificate II in Dance)
Time: Starting in Year 10 the Dance program goes over three years and is a combination of VET and VCE scored and non-scored. Or entry at any year level (Year 11 or 12). Entry to the college is via audition only.
Aims: To develop student’s technique and versatility through a variety of dance styles by participating in weekly technique classes; gaining choreographic experience and performance experience across a range of styles. Support students in audition preparation and a career in dance alongside a mainstream academic program.

Subjects: Dance Styles include Jazz/Commercial Jazz, Contemporary/Lyrical, Musical Theatre and Ballet. Classes include Choreographic and Structured improvisation skill development. Theory classes include text analysis in preparation for VCE studies; VET theory classes include audition techniques, safe dance practice and entertainment industry knowledge.
Performance opportunities: Regular in-house showcases, and an annual dance concert.
Academic Course Program
Time: Year 10, VCE, VCAL and VET
Aims: To provide innovative and engaging curriculum. Our teachers remain at the forefront of educational developments and industry trends with specialist teachers and choreographers alongside academic dance staff.
Subjects: Year 10 Dance, VCE Dance, VCE VET Dance, alongside other academic subjects including English, Maths, Design, Drama, Fashion, Media, Multimedia, Music, Photography, Sound Engineering, Visual Arts, Sport & Recreation, Psychology, Business Management & others on offer.

Lee-Anne Di Stefano Teacher

What is a common issue for first year full-timers?
At our school students don’t study full time dance but study VCE dance and VET or Year 10 dance alongside a full time academic program. Often new students want to find their place in the class yet are too self-conscious to be themselves or perform in class. They tend to hold back as they don’t want to stand out; of course this is the exact thing you need to do in an audition is stand out and perform on stage…so that is my challenge to get students to perform in class.

Do you believe it is appropriate to have favourites?
As a school teacher I wouldn’t say you have favourites you want each individual student to improve and work to their full potential. Of course you see the students who work the hardest, are most reliable, are the most dedicated, passionate etc they are the ones who will get employed down the line.

A story from when you were a full-time student

I trained at Marie –Walton Mahon when I was 15-16, I did full time after Year 10, so I did year 11 via correspondence. Basically it was my favourite year of my life as a dance student as I was dancing with my friends every day. We all had such a good work ethic and were trained so well (I am so thankful for all that ballet/technical training, even though I didn’t want to be a ballerina it has served me well in my career).

What do you hope students gain from your class?
Enjoyment, versatility and improved technique. Enjoyment usually comes from the music I’m usually inspired by music and make current playlists so students are engaged and enjoying themselves. I teach pretty much all styles throughout the year, after their 3 years with me at the college I think they look back and see the many styles we have done and performed in our concerts, hopefully they appreciate the quality education. And of course technique is the foundation, I hope all students take on their feedback (it is hard to change some bad habits/technique learnt prior to coming to the college though).

Back To Top

Damian Smith Artistic Director

What is a common issue for first year full-timers?
First year full-time dance students, like any other first year students often struggle with a few things. For many of them, it’s their first time leaving home. Some to a foreign country and culture or some to a new city, it’s a big adjustment for these young students to leave their families, their friends, and their way of doing things. Many of them suffer from homesickness at the beginning, which is normal and often temporary, until they adjust to the new way of doing things. My advice is, bring a little bit of home along with them. Pack some photographs and memorabilia which can help the student feel more comfortable in an unfamiliar space.
Some also struggle with the day to day responsibilities. Having to be independent and without their parents around, they must quickly develop time management skills, be punctual with their new schedule and most importantly, depending on the school and their students arrangements whether they’re in boarding facilities, living with a new family or having to rent an apartment, preparing meals and making sure that have a good, healthy diet. Most people have the misconception that it’s bad to eat carbs. This is not the case for athletes and people have a physical lifestyles and schedules. The increase of hours of a full-time dances schedule can often double even triple in the amount of hours they’re accustomed to dancing weekly. You need Carbs to increase your metabolism in order to dance all day so a good, well-rounded healthy diet is something we should all prioritise. Bring healthy snacks to nibble on during breaks and make sure you stay hydrated. This can also decrease the risk of injuries.

Another common issue for first year students is they often come from a smaller school where they were perhaps the best in their school, given more attention, admired by the younger students, getting the lead roles in productions all builds up their confident. Coming to a new full-time program they’re entering a class with other students who also where the best. These are difficult times for teenagers especially in a judgmental and competitive line of work.
Like many other careers that require a little competition they must develop a thick skin and work hard to present themselves with confidence. I think a little competitiveness can encourage students to strive further and also make them think about what’s at stake. If you want something you must go out and grab it. And in order to do that you must show confidence, commitment and courage.

Do you believe it is appropriate to have favourites?
To take on a professional career in dance you must have the talent, technique and motivation. It’s here in full time programs that students seeking this career can become familiar with the ins and outs of being a professional dancer.
At the National Theatre Ballet School we have three levels and I have set up a Mentor program in which third year students are assigned as mentors to the first year students. This creates provides the first year student with guidance and support during this pivotal time.
Do you believe in todays climate it is still appropriate to have favourites, no – yes, why?
Whether I agree with it or not isn’t the issue. It’s how we deal with it. Because there are always going to be favourites in any sport or classroom. Some excel better than others. Even if the teacher distributed the lesson equally. So instead of trying to avoid something which can’t be avoided, I think it’s better to educate others on how to deal with the impact it might have on a student and helping them see what’s really happening behind the emotional garbage which is igniting the situation. For example,
Becoming a favourite is not a sustainable goal. It’s validating the opinion of others as more important than your own. You don’t come to ballet school to impress your teachers first. If you work on impressing yourself with your development and increased ability than thank your teacher and be proud of yourself. Students need to understand they are the person in control of their destiny, not the instructor. The instructor is there to teach and the student to learn. Beyond that is up to them.
Not being a favourite doesn’t have to be a negative experience but a positive one. Most thoughtful people who succeed were not always the favourite in their classes, but perhaps saw the opportunity to learn from those chosen as favourites, studied them and asked questions; what is it they are doing differently? How could they apply that to themselves? You can see it as an opportunity to gather information and improve your own process.
Are you able to share a story with us from your own full-time training days when you were a student?

A story from when you were a full-time student
I was 16 years old halfway through my full-time course at the McDonald College, competing in the Sydney Eisteddfod Advance Ballet competition while performing and rehearsing with the Australian Opera Company in their production of Death in Venice in the role of Tadzio. I was exhausted but very happy to be dancing every day all day. I remember going on for the finals at the Opera House to do my Classical Variation of Don Quixote. I was almost finished when in the middle of a jump, I recall everything going black and the music fading out as though someone had turned it down. My first thought was ‘don’t fall over and please don’t go off the front of the stage’. I managed to land the jump not seeing where the floor was and stopped in a pose for what felt like an eternity. Then I could hear the music again and so my body just kept on dancing. I was still in complete darkness and petrified. In a matter of seconds my sight returned to normal and I could see again. I wasn’t exactly where I thought I was or should have been on stage but not far off. I finished the variation without diving off the edge of the stage into Maina Gielgud’s lap. I was shocked when they called my name as 2nd place and went out there white as a ghost. I believe it was fatigue and just a little run down. That same week I had completed the final performance with the Australian Opera and was offered to go to New York City to audition for the School of American Ballet. I was in shock again. New York? I have never even dreamed of anything like that. I flew to New York in July and was accepted into the school for their full-time program. I returned to Australia and finished more of my schoolwork and then left for America to live in September and begin my full-time training.
I took multiple ballet classes each day and would go to an open studio space called Steps on the upper Westside,a few block from where I was living. I was star struck to be in the dance studio next to Mikhail Baryshnikov, Rudolf Nureyev, Alexandra Ferria and Julio Boca, stars of the New York City Ballet and many more. I was in dance heaven.

At School there were about 30-40 boys in my class all different nationalities and all very talented. After the first week I was invited to join the special men’s class with several other male dancers Mr Stanley Williams thought had potential. It was this class that led to the New York City Ballet Company. Mr Stanley Williams was a master ballet teacher and had a very unique way of training. The first few weeks I could barely understand a word he was saying and would just follow those who had been there long enough having learned what the sounds meant. And eventually I too was able to understand. Coming from Australia I wasn’t really familiar with the George Balanchine style of the New York City Ballet and it was quite a shock to see how some of the guys around me danced. I recall Mr Williams grabbing my back leg in arabesque and asking a student to grab my front arm, then each of them pulled. This was to elongate the line of my position opening my working leg hip and stretching forward with the body. I was also asked to lift my heels off the floor at the bottom of my demi plie in order to achieve a deeper plié. That wasn’t all, my hands where far too stiff for their training and I was told to imagine holding a gold ball in my palm with my thumb and long index finger and then separating the other 3 fingers so that if you were to look at the hand in high fifth position you could see each finger and especially the pinky sticking out. And then to finish it off was encouraged to allow my wrists to soften and so that the hand could move in extension and flex ion on the wrist. You could imagine my horror. But I remember what one of my teachers said to me from the McDonald College, remember you’re there to learn new things and add to the things you’ve already been taught, not to change and forget everything you know. And so that’s what I did. By adopting both of these styles I could adjust my throughout my career.
So I say to all those students who are embarking on the next exciting chapter of their life into first year full time programs around the world. 1. Don’t forget your first instructor who helped you get this far.
2. Don’t forget what they have taught you.
Keep an open mind and an open heart because the ballet world is a small place and you never know who you might come across again and what the situation might be.

What do you hope students gain from your class?
Of course there are many, many things I want students to gain from my teachings, but as an instructor you wish you had more time to prepare them. Just as it took me years to gather information, it takes time to train and coach a student. This may sound cliché and obvious but most importantly you must take your time and be present. Love each moment to the fullest because it’s short and will be over before you know it.
I hope my classes teach students the responsibilities of being a professional dancer. A dancer’s body is their instrument. Like an office, except you live in that office 27/7. You don’t check out or take time away from work because it’s always with you. It’s important you take good care of your body and respect it. Exploring new ways to work, be open to fresh ideas, styles and don’t ever stop learning. Exercise the mind not just the body, be a good listener. Especially to the music, your choreographer and instructor. Never forget how you felt when you fell in love with dance and remind yourself that it’s not all about you.

Back To Top

Patrick Studios Australia

Exceptional Growth – Continued Success | | 03 9521 1735
The school prides itself on its commitment to providing the highest level of training paired with unmatched industry opportunities. In the pursuit of creative excellence in education, PSA’s aim is to train and develop those whose vocation is to work in the professional theatre and related industries to the highest calibre possible. We do this by providing a supportive, inspiring and creative environment from which students can enrich their quality of life through the practice of dance, music and theatre. Our education program fosters students on their personal journey to become innovative, creative artists by teaching skills and discipline needed to succeed in a competitive industry. To achieve this mission, PSA has identified six goals: To continue to elevate its educational and artistic standards by aspiring to be fresh, diverse, inspiring and creative. Provide a caring, supportive, inclusive environment that supports equal opportunities for all students. Ensure technical and artistic training is matched with educational needs, creating a balance for both the mind and body. Continue to provide a collaborative work environment that supports students and teachers alike. Continue to train students using a diverse range of working industry professionals of the highest order, providing them with valuable tools and contacts to use in the world of dance and theatre. Create full rounded performers with strong technique and preparation so that they are completely ready for the professional world.

Performing Arts,
Musical Theatre
Academy (high school of performing arts yr 7 – 12), Elite

Time: Performing Arts (2 years), Musical Theatre (2 years), Academy – high school of performing arts years 7-12 (6 years)
Aims: To build high skills and strong minds ready for any type of career in the performing arts industry. Our aim is for our graduates to be employed and have longevity in the industry. We don’t train dance teachers, we train professional artists.
Subjects: Performing Arts: CERT II in Dance, Cert III in Dance, Cert IV in Dance inclusive of Tap, Jazz, Ballet, Music Theatre, Hip Hop, Contemporary, Acrobatics and Voice.
Musical Theatre: Cert II in Dance, Cert III in Dance, Cert IV in Musical Theatre, Diploma in Musical Theatre inclusive of Voice, Acting, Tap, Jazz, Ballet, Music Theatre, Audition Prep, Cabaret, Repertoire and Dialect Coaching.
Academy: VCE/VET Dance inclusive of Tap, Jazz, Ballet, Acting, Voice, Contemporary, Hip Hop, RAD, Circus, Acrobatics and Music Theatre.
Performance opportunities: Mid Year Showcase, End of Year Showcase, a Complete Musical Theatre Show, Eisteddfods, many corporate events and professional gigs,

Back To Top

Russian Choreographic Academy

A commitment to excellence | | 03 9882 5378
The Russian Choreographic Academy (RCA) provides gifted students with the opportunity to study the pure system of ballet training (Vaganova). This system has trained some of the world’s greatest dancers and is in high demand internationally. These students will work with master classical teachers from Russia, brought to Australia under contract to the RCA. These teachers have graduated from either the Vaganova Academy St Petersberg (Kirov) or Moscow Bolshoi Academy. The Academy is committed to providing its students with superior training, balanced by a broad artistic and academic program. A partnership with some of Melbourne’s leading secondary schools also allows students the opportunity to pursue their artistic dreams without sacrificing an academic education. All classes are limited to a minimum number to enable students to receive a more personalised level of coaching. The Academy features 3 fully-fitted professional studios with sprung floors, mirrors, heating, cooling and spacious dressing rooms. It is located just 6 kilometres from Melbourne’s CBD and is close to all public transport.

Full-time (Professional)
Full-time Ballet/Academic Program (Years 9-12 academic)
Part-Time Ballet/Academic Program (Years 7-8 academic)
Junior Program (students aged 9.5-12.5 years)
Time: Dependent on age and level
Aims: To prepare students for a career in classical ballet internationally.
Subjects: Classical Technique, Pointe Work, Male Technique, Partnering, Contemporary, Character for Classical Dancers, Historical Dance (15th century dance, as required in classical ballets), Conditioning and Pilates, Repertoire (Corps de ballet), Solo Repertoire and Variations, VCE VET Dance (as per Victorian Education Department).
Performance opportunities: Numerous guest performances; Studio performances and performances in professional theatres in Victoria.

Back To Top

Spectrum Dance

Be Seen | | 03 9830 6588
As the name “spectrum” suggests we offer a broad range of varied but related dance and performance subjects, the features of which overlap. The outcome being that Spectrum Dance students become highly versatile performers to ensure a maximum longevity in their chosen career. All members of the teaching faculty are working in the industry. Students receive an individually tailored curriculum to achieve advanced performance techniques in all facets of dance, singing and acting to ensure they become Triple Threat performers. Students are given opportunities to engage in the entertainment industry (Industry Based Learning) placing students at the forefront of their peers. Spectrum offers nationally accredited dance and musical theatre courses. Directors Trish and Katie work closely with their faculty of highly acclaimed dancers, choreographers and instructors to deliver the most outstanding accredited full-time dance course within Australia.
Spectrum Professional Program (non accredited)
Time: 1 year
Aims: An immersive course where performers are prepared for immediate entry into the industry. The course draws on the students’ strengths and nurtures their weaknesses to produce an accomplished performer with a technique grounded in knowledge, creativity and exploration.
Subjects: Advanced Commercial Dance Techniques, Classical Ballet, Jazz Technique/Progressions, Pas de Deux, Hip Hop, Tap (traditional/street), Acrobatics, Pilates, Partnering, Fitness Training, Choreography, Lyrical, Audition Preparation, Show Business Skills, Business Management.
Certificate III in Dance CUA30113 (delivered in partnership with Swinburne University of Technology RTO#3059)
Time: 1 year
Aims: Provides the foundational skills to aspiring performers seeking a career in musical theatre and/or commercial dance. Students are given the opportunity to explore and develop a range of dance genres at a pre-professional level for the live entertainment industry. Students are prepared for a higher level of study through intensive classes and performance opportunities.
Subjects: Classical Ballet, Pas de Deux, Hip Hop, Tap (traditional/street), Lyrical, Commercial Dance, Partnering, Pilates, Barre Attack, Fitness Training, Acrobatics, Auditioning Techniques, Vocal Training, Jazz Techniques/Progressions, Industry Knowledge, Show Business Skills.
Certificate IV in Dance CUA40113 (delivered in partnership with Swinburne University of Technology RTO#3059)
Time: 1 year
Aims: Extends on foundational skills gained in the Certificate III in all aspects of performance. Students develop versatility as dancers and performers building the skills to sustain longevity in the dance profession. Students are provided with the opportunity to explore their creativity and broaden the knowledge of their craft. Successful completion of this course leads to further training and specialist qualification at Diploma level.
Subjects: Classical Ballet, Pas de Deux, Hip Hop, Tap (traditional/street), Lyrical, Commercial Dance, Partnering, Pilates, Barre Attack, Fitness Training, Acrobatics, Auditioning Techniques, Vocal Training, Jazz Techniques/Progressions, Industry Knowledge, Show Business Skills.
Diploma of Musical Theatre CUA50213 (delivered in partnership with Swinburne University of Technology RTO#3059)
Time: 1 year
Aims: Lead by Stephen Wheat, students who have a background in vocal study, dance and acting will be tutored in performance and production skills to emerge as versatile performers of a professional level expected in all musical theatre, stage, film and television performance.
Subjects: Vocal Development, Drama, Stagecraft, variety of Dance and Movement genres, Choreography, On-camera Performance Skills, Theatrical Make-Up and Hairstyling, Auditioning Techniques, Performance Technologies, Fitness Training, Business Management, Industry Knowledge, Show Business Skills.

Diploma of Dance (Elite Performance) CUA50113 (delivered in partnership with Australian Teachers of Dancing RTO# 31624)
Time: 1 year
Aims: A technical and performance focused course delivered at an advanced level of training. Subject areas are delivered in a greater depth of study with an emphasis on choreography, improvisational, solo performance and ensemble techniques.
Subjects: Classical Ballet, Pas de Deux, variety of Contemporary Techniques, Commercial Dance, Partnering, Hip Hop, Choreography, Lyrical, Jazz Technique/Progressions, Tap (traditional/street), Barre Attack, Pilates, Acrobatics, Auditioning Techniques, Show Business Skills.
Performance opportunities (for above courses): Mid-Year performance, showcase performance at the Australian Dance Festival and the extravagant End of Year Showcase performed at The Palms Crown Casino. All Spectrum Dance students have the opportunity to engage in performance through our Industry Based Learning Program (IBL), through Spectrum Talent Agency which includes corporate and children’s entertainment.

Back To Top

Transit Dance

Your Future Starts Here | | 03 9376 0516
Transit Dance Full-Time courses are specifically designed to provide the highest level of training in both Contemporary dance and Performing Arts. As a performance based course, all students participate in four professional production seasons each year (a total of 21 individual performances), making it one of the most practical and hands on dance courses in the industry. Boasting a world-class teaching faculty, capped class sizes, focus on career progression, and Nationally accredited qualifications; this unique training institution has quickly become a leader in the field of dance education. Led by industry Directors Paul Malek, Chris Curran, Adam Wheeler, Kim Adam, Daniel Jaber, Jayden Hicks and Karen Malek, Transit Dance is the ideal training institution for any dancer serious about a career in dance. RTO #31624
Pre Professional Pathway – Contemporary Dance: CUA50113 Diploma of Dance (Elite Performance)
Time: 2 years full-time
Aims: Focusing on Contemporary technique, performance and creation; the pre-professional pathway courses have been specifically designed to enhance the individual as an artist, develop their skills, creativity and knowledge as well as encompassing all the necessary tools to ensure a sustainable career in the contemporary dance industry.
Subjects: Include, but are not limited to: Contemporary Technique, Classical Technique, Improvisation, Floor Technique, Partnering/Duo, Pilates and Conditioning, Yoga, Performance Technique, Dance Composition, Breakdance, Anatomy and Nutrition, Dance History, Marketing and Publicity, Acting and Stagecraft, Business Development Skills, Multimedia & Dance on Film and Independent Theatre Production.
Pre Professional Pathway – Performing Arts: CUA50113 Diploma of Dance (Elite Performance)
Time: 2 years full-time
Aims: A uniquely designed Jazz based course aimed at preparing students for a professional career as a dancer in many areas of the Performing Arts including Musical Theatre, Cruise Ships, Theme Parks and Cabaret, just to name a few.

Subjects: Course studies include, but are not limited to: Jazz Technique, Classical Technique, Pilates & Conditioning, Travel, Turn, Cabaret, Fosse, Commercial, Broadway (through the eras), Aerial, Swing, Cabaret, Ballroom, Salsa, Tap, Hip- Hop, Breakdance, Circus Arts, Acting, Prop Technique, Acrobatics, Anatomy and nutrition, First Aid, Marketing and Publicity, Budgeting, Production Company Research, Audition Techniques, Production skills and lighting.
Performance opportunities for Pre Professional Pathway Courses: Students participate in four full scale production seasons each year, and work with leading Australian choreographers on new works. Students also have the opportunity to audition and perform at corporate events and festivals through our in house talent agency, Transit Management Australia.
Other Courses include:
Dance Teachers Course: CUA40313 – Certificate IV Dance Teaching & Management (1-2 years)
Transit International Professional Pathway (Tr.IPP): Professional Contemporary bridging program (10 months)

Back To Top

Victorian State Ballet

Victoria’s premier Ballet Company boasting a repertoire of outstanding classical ballets and contemporary dance works. |
The Victorian State Ballet is Victoria’s premier ballet company boasting a repertoire of full length classical ballets to neo classical and contemporary works. Accompanied with the state’s leading pre-professional program and driven by an internationally recognised faculty of industry professionals, focus is on training, coaching & nurturing selected graduate students. The pre-professional program is the main feeder program into the VSB. Entry is by audition and consists of a ballet class and a prepared classical ballet repertoire variation. The company course offers a unique platform of opportunities to students to open up and grow their dance career. These include exposure to the daily life of working in a professional company in rehearsal, regular touring and performances with VSB’s Company productions and events throughout the year.

Pre-Professional Program
Time: 1 year
(prerequisites: minimum of 3 years full-time Classical and Contemporary training)
Aims: Provides graduate students with the highest level of training in classical ballet technique and artistic skill, meeting today’s industry standards for entry into the Victorian State Ballet and leading professional ballet companies worldwide.
Subjects: Classical Ballet, Contemporary, Pas de deux, Pointe, Male Technique, Production, Repertoire, Body Conditioning, Pilates, Artistic Coaching, Jazz Techniques, Limber, Choreography.
Performance Opportunities: Hands on experience in a ballet company with opportunity for choreography and performance with a minimum of 25 shows per year.

Michelle Sierra
Role of technique in a dancer’s career? Technique is vital to the longevity of a dancer’s career. Proper grounded technique based on recognised systems and delivered by experienced faculty is extremely important to train the muscles correctly for health, strength, maximum protection from injury and to support a long term career. Our training embraces the Vaganova method as it is a proven system used by professional dancers worldwide in strength training for ballet, sculpting the muscles for long, lean beautifully aesthetic lines, and warming up the body for injury prevention.
First term issues? We find a vey high level of energy, enthusiasm and expectation is present when students commence full-time training. This usually lasts for most of the term and even longer when performances take place early in our season. When dancers start to experience fatigue, normal at the professional training level, their motivation can drop slightly. This is where inner passion and embracing the process of routine, hard work, and repetition plays a vital role. Dancers spend more time in the studio than on stage so it is important to understand and to manage expectation and fatigue mentally, physically and emotionally.
When should you see a health care professional? We believe it is vital that the whole dancer is well taken care of, with the areas of foot and physical health and nutrition being so important to the training and maintaining of the body throughout the rigorous full-time training programs. We recommend regular checks, plans and follow ups with health care professionals each term.
How important is a consistent work ethic? This is extremely important, it is the key to keeping the dancer open to receiving from mentors and trainers. Improvement and long lasting results come from repetition in the studio. A consistent work ethic enables dancers to build long lasting skills and a solid technique, stamina and strength plus an attitude where they feel a personal satisfaction and the joy of the hard work process. This attitude will prove to any director offering employment that the dancer is reliable, embraces hard work and will be well grounded on stage.
Key to positive teacher/student/parent relationships? First and foremost to trust your Director, teaching faculty and mentors. Without trust we cannot do our best for you. Be open to change, especially when your Directors, mentors and trainers have many years of world-wide industry experience working in a number of professional ballet companies and with renowned choreographers, in diverse cultures and with other professional fellow artists. Parents, understand the highly competitive industry and level of hard work the students need to experience and undertake in order to reach their full potential and embark on a career in this field. Communicate with your Directors and trust that they know what they are doing.

Back To Top


Katharine Mantle Performing Arts Academy | | 0436 457 390

Katharine Mantle Director

What is a common issue for first year full-timers?
Initially self-management of school work in combination with an increased dance load is often something that first year full time students can struggle with. We find it is vital for students and parents to sit down and put in place strategies to assist new students with their time management.

Do you believe it is appropriate to have favourites?
I don’t feel it has ever been appropriate for any teacher to ever have a favourite student. Our role is to seek and develop the attributes in everyone to their fullest potential.

A story from when you were a full-time student
Not in particular but I would like to share the importance I learnt of not placing an emphasis on the results at competitions but placing the importance on working towards your own personal goals and beating your own personal best.

What do you hope students gain from your class?
A strong foundation of technique, with a greater understanding of how their own individual body works. The ability to develop a strong work ethic and self-motivation in class and for students to be able to develop their own unique artistry.

Back To Top

Pevnev Ballet Academy

Passion. Precision. Professional. | | 0431 766 950
The Full-Time Training Program, led by Sergey Pevnev (former Principal dancer with the West Australian Ballet), is based on the Russian Vaganova method, a training system that involves the body holistically with equal attention paid to the upper body, legs and feet. Sergey trained for eight years at the renowned Vaganova Ballet Academy in St Petersburg before embarking on a successful ballet career. Students will profit from this valuable knowledge and experience, working with Sergey and his dedicated team on a daily basis. Classes are kept small to guarantee each student receives equal attention. Contemporary, Character Dance, Pas de Deux and Conditioning are included providing all elements needed for a well-balanced dancer. The focus is on a high level of performance and aims to foster elite dancers on their path to a professional dance career.

Time: 2-4 years (depending on age)
Aims: To provide quality training in small group settings, focusing on developing the individual, strengthening technique and performance quality, and preparing students for a professional career in dance.
Subjects: Classical Ballet, Pointe, Repertoire, Contemporary, Pas de Deux, Character, Conditioning.
Performance opportunities: Ensemble and solo opportunities at dance festivals and competitions, in addition to the Pevnev Ballet Academy annual concert.

Back To Top

Western Australian Academy of Performing Arts – WAAPA

Specialised Unique Dance Training | | 134 ECU
WAAPA’s Dance programs prepare classical and contemporary dance artists through teaching methods designed to develop and refine the skills of each individual. Offering a breadth unique to WAAPA and preparing students for a seamless transition into a wide range of careers, the dance programs are intensive and performance based (35-40 contact hours p/wk). Professionally credentialed staff: Nanette Hassall (Coordinator/Senior Lecturer – on sabbatical for 2017), Kim McCarthy (Coordinator, Classical Dance), Andries Weidemann (Lecturer, Classical Dance), Danielle Hunt (Lecturer, Classical Dance), Justin Rutzou (Coordinator, Contemporary Dance), Michael Whaites (Lecturer and Artistic Director of LINK Dance Company), Sue Peacock (Acting Head of Dance/ Lecturer), Jayne Smeulders, David Mack, Kynan Hughes and Brooke Leeder. Recent guest choreographers: Rafael Bonachela, Leigh Warren, Gareth Belling, Nils Christe, Amaury Lebrun and Oded Ronen. Students regularly participate in national and international tours. Undergraduate dance auditions: Melbourne, Brisbane, Canberra, Adelaide, Sydney, Perth and Darwin.
Diploma of Dance(Elite Performance) CUA50113
Time: 1 year
Aims: To provide intense technical training and stylistic practical experience in a performance based course.
Subjects: Ballet, Pointe, Pas de Deux, Repertoire, Solos, Performance, Contemporary, Choreography, Dance History, Music for Dance, Anatomy, Nutrition.
Performance opportunities: 3 major performances each year with a range of Australian and International choreographers.
Advanced Diploma of Dance(Elite Performance) CUA60113
Time: 1 year
Aims: To take a holistic approach to the needs of the dancers of the future, building the skills required for lifelong sustainability in the dance profession whilst encouraging dancers’ individuality, confidence, flair and creativity.
Subjects: Ballet, Pointe, Pas de Deux, Repertoire, Solos, Performance, Contemporary, Choreography, Dance History, Music for Dance, Body Conditioning.
Performance opportunities: 3 major performances each year with a range of Australian and International choreographers.
Bachelor of Arts (Dance)
Time: 3 years
Aims: To encourage students to pursue individual goals as dance performers, choreographers, educators, researchers or administrators and provide insight into dance as an art form, and social and educative experience whilst developing skills in communication, critical thinking, research and analysis.
Subjects: Contemporary Dance, Ballet, Performance, Choreography, Dance History, Music, Acting, Yoga, Aerial, Tumbling, Feldenkrais, Alignment and Body Conditioning.
Performance opportunities: International exchange programs; International performances; Secondments with Australian companies; 3 major performances each year with a range of Australian and International choreographers.
Bachelor of Arts (Dance) Honours (Link Dance Company)
Time: 1 year
Aims: To bridge the gap between university studies and professional practice and facilitate contributions to choreographic processes whilst creating seasoned and compelling performers.
Subjects: Offered in two modes. Company Research: a member of LINK Dance Company for the year, undertaking 25 hours per week of practical dance classes plus an intensive rehearsal and performance schedule and a professional development component undertaken in an international setting each year.
Individual Research: enables outstanding students to learn and apply practical, theoretical and research skills in either or both creative (choreographic or other media) and scholarly areas of dance.
Performance opportunities: New works are commissioned, with some works also restaged by seminal artists. The company performs locally, interstate and internationally.

Sue Peacock Acting Head of Dance

What is a common issue for first year full-timers?
If they haven’t done full-time training before- students are likely to find the first few weeks at University a bit tiring or over-whelming. There are plenty of staff and fellow students around to support or mentor the first years. Healthy food and plenty of sleep is a good start, perhaps a regular chat with family or friends at home also helps.

Do you believe it is appropriate to have favourites?
Favourite students or favourite teachers? We try to offer all students the same level of pastoral care, support and technical (dance) information. I believe the culture within the University and certainly WAAPA is one of equal opportunity.

A story from when you were a full-time student
Our studios were in an old school, it was not unusual to dash across the road in your pointe shoes, trying to avoid getting them wet in the rain.

What do you hope students gain from your class?
The dancing is obviously a very big part of the training but equally important is understanding who you are, why you are in the room, where you want to go and how you think you might get there. Learning is a continuous process. I would hope that students leave with a curiosity that both sustains and drives them forward into whatever future they decide to pursue.

Kim McCarthy

Role of technique in a dancer’s career?
A strong and consolidated technique is imperative for dancers longevity and artistic expression. It is the foundation upon which the dancer builds their career and is the tool they use to achieve the day-to-day physical expectations required of them. A good technique should keep the body in the correct alignment and be the basis of the language the dancer uses to express themselves on stage.

First term issues?
The students who have travelled from interstate can, at times, struggle with some level of homesickness. Fortunately it soon passes once they fully integrate themselves into the WAAPA family. Our course is quite demanding both physically and mentally and that can be quite a challenge in the first few weeks. This however does depend on the level of training the student has had previously.

When should you see a health care professional?
At the beginning of semester one we engage health care professionals to discuss nutrition and ways to work within a budget so as to make healthy food choices when preparing meals. We also have a physiotherapist come on campus each week to consult and treat students and create injury management strategies for dancers when necessary. We also have connections with many accredited health care professionals and counsellors and will recommend students see the relevant professional if we have any concerns or feel it is in the students best interests. There is also a gym on campus with one of our units delivered at the gym.

How important is a consistent work ethic?
Consistency is key to achieving excellence in any arts endeavour and we value it highly at WAAPA. Whether you are an independent artist or working full-time in a company it is the ability to maintain a consistent work ethic towards your physical and artistic wellbeing that will sustain you throughout the ups and downs of your career.

Key to positive teacher/student/parent relationships?
At WAAPA we have a huge amount of contact hours with our students and are diligent in making sure we find time to engage with them. The policy at ECU and WAAPA is that we deal directly with the student. This is about student confidentiality and learning to take personal responsibility for their learning and career path. We have an open door policy in regards to students and parents are always welcome to visit, see performances and chat with staff.

Back To Top


New Zealand School of Dance (NZSD)
Providing world class training in classical ballet and contemporary dance | | +64 4 381 9252
The New Zealand School of Dance (NZSD) is one of the Southern Hemisphere’s leading dance training institutions with an international reputation for producing versatile and employable dancers. The full-time program prepares students for a career in dance performance. They major in either Classical Ballet or Contemporary dance, while maintaining a strong base in both disciplines. The NZSD has an outstanding faculty of teaching staff. Guest tutors and specialists in Anatomy, Dance History, Nutrition, Yoga and Performance Psychology round out the holistic training. The School’s impressive purpose built facilities house five dance studios, a 200 seat theatre, library, Pilates/GYROTONIC® and physiotherapy suite. Students have access to a state-of-the-art gym and hostel accommodation. Secondment opportunities are available through the NZSD’s excellent relationships with leading dance companies. Around 75% of graduates enter careers in dance performance.
New Zealand School of Dance Certificate in Dance Performance
Time: 2 years
Aims: To prepare students for a performance career in dance.
Subjects: Classical majors: Classical Ballet Technique, Contemporary Technique, Pas de Deux, Classical variations, Pointe, separate male and female classes.
Contemporary majors: Contemporary Technique, Classical Ballet Technique, Contemporary Repertoire, Partnering, Yoga, Choreographic Practice, Improvisation.
All students: Nutrition, Dance History, Anatomy and Music studies.
Performance opportunities: Studio performances; Choreographic Season (Contemporary students only); Graduation Season.
New Zealand School of Dance Diploma in Dance Performance
Time: 1 year (after completing the Certificate)
Aims: To focus on performance skills through a range of performing experiences, secondments and professional placements.
Subjects: Classical Ballet Technique, Contemporary Technique, Pas de Deux, Classical variations, Pointe, separate male and female classes, Career Planning.
Performance opportunities: Graduation Season; Secondments; Professional Placements; Choreographic Season (contemporary students only).

Back To Top