Immersing in the WAAPA Dance Experience

Published in Print May 2025 order now!

words and image by Danielle Brown

On 11 March, I had the incredible opportunity to spend a day with the second-year Contemporary and Ballet Bachelor students at the Western Australian Academy of Performing Arts (WAAPA) in Perth. There is nothing quite like immersing yourself in university life—connecting with students and teachers, observing classes, and getting a sense of the day-to-day rhythm of such a dynamic environment. Being on campus and witnessing the energy, dedication and passion of these emerging dancers offered me a unique and insightful perspective into the culture and ethos of tertiary dance training in Australia.

Throughout the day, I engaged in enriching conversations with both staff and students, gaining a deeper appreciation for the demands and rewards of full-time dance study. I was fortunate to speak at length with Susan Peacock, WAAPA’s Course Coordinator of the Dance Department. Sue is a highly respected figure in the Australian dance community, with an impressive career as a freelance choreographer, performer, and teacher, working across major cities and institutions. She also brings a valuable somatic perspective to her work, being a Certified Feldenkrais Practitioner—an approach that deeply informs her teaching and care for student wellbeing.
One of the key conversations we had centred around a growing concern within the dance industry—the increasingly young age at which students are leaving school to pursue full-time dance training. It was particularly thought-provoking to hear Sue’s reflections on this issue, especially in light of recent research that tells us the human brain continues developing until around the age of 25. She spoke candidly about the challenges that arise when teenage dancers are placed in high-pressure, adult-like environments without the social and emotional maturity to navigate them effectively.

Sue shared that when auditioning prospective students, WAAPA dance staff are very mindful of the social and emotional vulnerability of young students entering the tertiary training environment. Although talented and technically capable, some may not have yet developed the social skills, resilience and life experience needed to thrive not just in their training, but in life beyond dance. She highlighted the increasing need for educators to build robust support systems around these young dancers, to help them manage the mental, emotional and physical toll of early specialisation and full-time study.

This raises important questions for us as an industry: Are we pushing young dancers into full-time training pathways before they are ready for that intensity? Is this happening at the expense of their broader education, social and personal development? Is there a better balance between the time and dedication required to master the physical demands of dance, and the time that is also essential for the development of the person, and finally the artist? Given the small percentage of dancers who ultimately realise their career aspirations, perhaps it’s time to reconsider the model. Could we look at a more holistic approach to train, nurture and educate the dancer and the person?

Sue also spoke about the significant difference she sees between students who have come through WAAPA’s full three-year program, and those who have completed a fourth year of training with LINK Dance Company. LINK graduates, often in their early 20s, present with a noticeably higher level of maturity, professionalism, and readiness for the workforce. This difference is not just in their technical skill, but in their confidence, communication, and ability to navigate the complexities of a career in the arts. It underscores the value of a more gradual, well-rounded developmental approach—one that balances dance training with academic study and life experience.
Fortunately, in Australia, we are privileged to have access to world-class dance training that sits alongside strong academic pathways. This integrated model allows students to continue their broader education while pursuing their artistic ambitions—a crucial factor in fostering both cognitive and emotional maturity. It’s a model we should celebrate and protect.

Dance education today exists in a highly competitive landscape and hopeful young dancers may enter full-time training enticed by the possibility of fast-tracked success. This reality does exist -but perhaps only for those who are unusually single -minded and exceptionally talented. How do we guide all students, ballerina or otherwise towards a sustainable and rewarding future?

Head of Dance at WAAPA, Sue Peacock, urges caution.

“A general education is really important because you can’t dance forever,” she says. “Eventually you’re going to need to do something else. If you haven’t finished high school, you don’t want to be 30 and going back to school because you can’t meet the entry requirements to re-train for a new career. Parents and children may not consider this a priority when thinking about full-time training.”

Peacock highlights the importance of encouraging young dancers to stay in school and take advantage of structured programs that allow students to pursue both academic and dance training simultaneously.

“There are high schools and dance schools with integrated dance and academic programs—the Australian Ballet School, VCASS in Victoria, John Curtin College of the Arts here in WA, and others. These programs allow students to undertake extensive dance training, while still expanding their education and social development.”
Many private studios may not have the capacity to manage the broader educational outcomes of their students. Although offering distance education allows students to prioritise their dance training, the integration of physical and and academic programs may not always be monitored. When moving into tertiary institutions such as WAAPA, insufficient experience or preparation to achieve the required level of academic study may prove problematic.

Peacock, with decades of experience in the industry, has seen this pattern too often.

“It’s hard when all the focus is on elite ballet training. But working in professional dance requires more than just technique. Choreographers today want thinking dancers—not just dancers who do as they’re told. Communication skills, critical thinking, and emotional intelligence all come from a well-rounded education.”

She stresses that the best dancers she’s known are those who have cultivated more than just physical skill.

“I can’t think of any incredible international dancers who aren’t intelligent and haven’t studied things outside of dance. You must be a whole person, to be a good performer.”

Taking on full-time training too young can also create social and academic challenges.

“We prefer students to have at least completed Year 11. This is a university—our acting, music, and theatre students might be in their mid-20s. So younger students often feel overwhelmed by the social dynamics outside the studio. They might become shy, reclusive, or academically struggle simply because they haven’t developed those foundational skills yet.”

She adds that the demands of a full-time dance course are immense.

“Our students are here from 8:30 to 5:30. It’s go, go, go all the time—from studio to academic classes. If they haven’t already developed some resilience and self-management skills, it can be a tough environment.”

Peacock also discusses the challenges faced by young interstate students living away from home for the first time. “They’re dealing with everything—nutrition, homesickness, maturity, self-discipline.

On the other end of the spectrum is the LINK Dance Company, WAAPA’s fourth-year pre-professional program—a space where the full maturity of dancers begins to shine.
“The structure is like a real company. They do class and rehearsal and focus on a thesis project for their Honours degree. It’s more self-directed, which prepares them for professional life. They often work part-time, manage their own time, and begin stepping into the independent dance sector.”

LINK students gain real-world experience, including international tours and industry secondments.

“Last year they travelled to Korea. Every year, when they come back from an international tour, they’re different people. It’s amazing to see that transformation. They start networking, applying for fringe festivals, joining community projects. You see them becoming self-managers.”

She attributes much of this growth to the creative leadership of Artistic Director Michael Whaites, whose background with Pina Bausch fosters a deeper level of artistic engagement.

“Michael’s process asks students to bring themselves into the work. He uses questions, not commands. It forces them to think, reflect, and contribute. That’s when they start understanding that training is very different from the profession.”

In professional environments, the expectations shift dramatically.

“As a student, everyone must be given an opportunity. But in the profession, you either get picked or you don’t. You must reflect, learn, and adapt to each new situation. Self-motivation becomes critical, and LINK helps them develop that.”

WAAPA’s graduates are now performing across the globe, testament to the effectiveness of this pathway.

“You see our students in international companies, in the Perth Festival, in major city projects. That tells you it’s working—not just in technique, but in maturity and industry readiness.”

Peacock reflects on the role time plays in developing confidence and identity.

“So much baggage drops away with age. The insecurities, the confusion, the pressure to be something you’re not. In LINK, they start discovering their unique qualities and learn how to celebrate them.”

She acknowledges that the sense of urgency, to start full-time training young, is part of ballet’s traditional culture.

“There is a ballet mindset that you must be young or it’s too late. But most contemporary companies aren’t looking for graduates—they want experienced dancers.”
She hopes the dance world will continue evolving in step with new training knowledge and science.

“The physicality has changed, the bodies have changed, the training has changed. We’re seeing longer careers because we understand how to train better.”
In Australia, geography still plays a part, where a student grows up can shape their journey.

“If you’re in an isolated town, maybe you’re not aware of these changes. If you’re in New York, you see a different reality. It’s about broadening horizons.”
Her final message is clear: focus on the bigger picture, not just the narrow goal.

“If there’s only one dream and it doesn’t work out, what then? You have to teach students how to recognise opportunity and act—not just wait for it. The industry is demanding, but it’s also full of possibilities for those who are able to recognise and respond to an opportunity.”

Spending a day at WAAPA was a powerful reminder of the vital role that higher education plays in shaping not only dancers, but well-rounded, thoughtful, and resilient young people. It also reinforced the importance of having open conversations about the pathways we’re offering our youth and how we can better support their long-term growth—artistically, mentally, and personally.