Across Australia, a renewed commitment to professional development is reshaping the way classical ballet is taught. From The Australian Ballet School’s new Teacher Training Program and the Australian Institute of Classical Dance’s Borovansky Syllabus to Living Dance International’s international teaching community and Russian Ballet International’s arrival in Australia, educators are examining what it means to teach with knowledge, empathy and purpose. Through their different approaches, Mark Annear, Kathleen Hamilton, Beth Bluett, Sue Hodson, Jacomi du Plessis and Tianye Kang reveal an industry increasingly focused on the relationship between technical excellence, individual development and the continuing education of those entrusted with training the next generation.
There is a moment in every dancer’s education when the influence of a teacher becomes something far greater than the correction of a movement. It might be the first time a student understands how to find their centre of balance, the encouragement that allows a hesitant young dancer to discover their artistry, or the careful explanation that transforms a technically difficult exercise into something achievable. These moments rarely appear on examination certificates or competition score sheets, yet they can shape a dancer’s confidence, understanding and relationship with ballet for years to come. Behind them stands a teacher whose knowledge extends beyond the ability to demonstrate a perfect pirouette or explain the mechanics of a grand jeté. Great teaching requires an understanding of how individuals learn, how bodies develop and how artistic expression can be nurtured without compromising physical or emotional wellbeing.
Across the Australian dance industry, this understanding is bringing renewed attention to the continuing education of teachers. Established institutions are examining the relationship between classical tradition and contemporary educational thinking, while independent organisations are creating opportunities for teachers to explore different methodologies, refine their technical knowledge and connect with colleagues. Although their philosophies, curricula and professional pathways differ, the educators leading these initiatives share a conviction that teaching is not simply the transmission of knowledge acquired during a performing career. It is a discipline in its own right, requiring ongoing study, practical experience and a willingness to question familiar approaches.
For Mark Annear, who has returned to The Australian Ballet School following an extensive career at The Royal Ballet School, this distinction lies at the heart of a new Teacher Training Program designed to strengthen the pedagogical knowledge of emerging and established ballet educators. A graduate, former teacher and senior manager of The Australian Ballet School, Mark brings international experience and a deeply personal connection to the institution. “I had a wonderfully productive and inspiring time at The Royal Ballet School. However, as a graduate, former teacher and senior manager of The Australian Ballet School, it is this school that remains closest to my heart.”
Having served as Director of Training and Access at The Royal Ballet School, Mark is particularly interested in how advances in educational theory can inform the way classical ballet is taught. For generations, ballet training has relied heavily on observation, imitation, repetition and correction. While these remain important elements of technical development, Mark believes students must be encouraged to understand movement rather than simply reproduce it. “Learning dance, or indeed anything, should not rely on rote learning or simply copying others; students need to be supported in constructing their own knowledge.”
It is a significant distinction. A dancer who can reproduce a movement may demonstrate technical competence, but a dancer who understands why the movement works has developed knowledge that can be applied independently. This deeper understanding allows students to recognise their own physical capabilities, respond intelligently to corrections and develop greater ownership of their training. It also challenges teachers to consider whether their methods encourage genuine learning or simply produce immediate results.
Mark believes exceptional teaching begins with recognising the individual behind the technique. “The most important qualities for exceptional ballet teachers to have are empathy, understanding their students’ physical and emotional needs, a strong understanding of educational theory and pedagogy, enabling them to help all students progress.” His emphasis on empathy and psychological safety reflects a broader reconsideration of teaching practices that were once accepted without question. Ballet’s traditions remain fundamental to its identity, but Mark argues that preserving an art form should not mean preserving every historical approach to its instruction. “It is important for teachers to understand which aspects of tradition are vital for maintaining the essence of classical ballet, while also recognising that many toxic habits have been advocated as ‘good’ teaching for far too long.”
This willingness to examine tradition is particularly relevant in an industry where teachers often reproduce the methods through which they themselves were trained. The teacher who experienced a highly authoritarian environment may instinctively adopt similar practices, just as an educator who succeeded through repetition may assume the same approach will work for every student. Contemporary pedagogy invites teachers to examine these assumptions, recognise the diversity of learners and adapt their instruction accordingly.
The Australian Ballet School’s new program approaches this challenge through nine modules completed over a minimum of two years, combining online learning, onsite intensives in Melbourne and independent study. Participants will also complete a Professional Teaching Placement involving at least 60 hours of practical teaching with the guidance of a mentor. For Mark, this relationship between theory and practical experience is essential. “By observing other teachers, we can see effective teaching in action, while the guidance of a mentor helps us apply effective teaching skills to our own practice.”
Mentorship is also central to the philosophy of the Australian Institute of Classical Dance, whose Borovansky Syllabus provides teachers with a structured approach to classical ballet education while encouraging individuality within a traditional framework. For Artistic Director of AICD, Kathleen Hamilton, the strength of the organisation lies not only in the syllabus itself, but in the professional community that supports the teachers who bring it to life.
“The AICD is an open and friendly organisation, encouraging teachers to continue developing their knowledge by attending seminars, industry events and other professional opportunities,” Kathleen explains. Proudly Australian and not-for-profit, the organisation provides a progressive classical ballet syllabus from Pre-Primary through to Advanced 2 and Solo Seal, supported by examinations, assessments, scholarships and teacher development opportunities. Its commitment to affordability and accessibility is particularly important for educators working beyond metropolitan centres, where opportunities for specialised training and professional connection can be more limited.
Kathleen emphasises that the AICD welcomes teachers from a wide range of backgrounds, recognising that professional experience and existing qualifications are valuable foundations for further development. “Whether teachers are establishing their own studio, teaching in a school owned by someone else, working towards their first teaching qualification or coming from another syllabus background, the AICD welcomes their individual experience and goals.”
This flexibility is an important part of the organisation’s identity. Teachers do not need to have trained in the Borovansky Syllabus themselves to become involved, and those transitioning from other methodologies are encouraged to build on their existing knowledge rather than begin their professional development again. The AICD offers three levels of teacher status, Affiliate Teacher, Associate Teacher and Licentiate Teacher Certification, with applicants assessed according to their qualifications, technical understanding and teaching experience.
“One common misconception is that previous knowledge, qualifications or teaching experience will not be taken into consideration,” Kathleen explains. “In fact, when teachers apply to join the organisation, the Artistic Director and Examinations Board carefully assess their background and advise which teaching level is most appropriate.”
This recognition of individual experience reflects a broader understanding that there is no single pathway to becoming an effective ballet educator. Some teachers enter the profession following extensive performance careers, while others develop their expertise through academic study, syllabus examinations, mentorship or years of practical experience in the studio. The challenge is to provide meaningful opportunities for each of them to continue developing.
For Kathleen, one of the most rewarding aspects of the AICD’s growth is the culture of support emerging among its teaching community. “Experienced teachers are mentoring younger colleagues as they work towards their qualifications, creating a supportive and collaborative professional community.” At the same time, she believes a strong syllabus should provide teachers with room to express their own artistic identity. “Its flexibility gives them space to bring their own creativity and personality into the classroom.”
This relationship between technical structure and artistic freedom is fundamental to ballet education. A syllabus provides a progression through which students can develop strength, coordination, musicality and technical understanding, but the teacher remains responsible for bringing that material to life. Two educators may teach the same exercise while creating very different learning experiences through their communication, musical interpretation and understanding of the students in front of them.
The importance of this balance is also evident in the philosophy of Living Dance International founder Beth Bluett, whose own journey through several classical methodologies led her to establish a curriculum combining technical progression, artistic expression and personal development. Beth’s experience spans training in the RAD syllabus to Solo Seal under Joan and Monica Halliday, performing with Ronne Arnold’s contemporary dance company, working as a soloist with Rosella Hightower’s company and studying at The Royal Ballet School and the Martha Graham School in London. She subsequently spent nine years running a large RAD school in Sydney and another 12 years teaching the Russian Vaganova method under the mentorship of Christine Walsh AM.
One of the most influential moments in Beth’s development occurred during six months studying with Rosella Hightower in Cannes. Discovering how to locate her centre of balance transformed her understanding of classical technique. “My pirouettes went from 2 to 5 without any extra effort!” she recalls. What might appear to be a simple technical breakthrough became the foundation of a much broader teaching philosophy, one that emphasises the relationship between anatomical understanding, efficient movement and progressive development.
Beth believes students should be introduced to the foundations of correct alignment from an early age, allowing their bodies to develop the strength and coordination required for increasingly complex work. “There are building blocks of technique which need to be laid in a specific order so the body will be ready to sustain the more complex and physically demanding work,” she explains.
Her approach is reflected in Living Dance International’s curriculum, which progresses from Pre Primary through to Advanced 2 and identifies specific technical objectives through its Goals for Grade. Rather than treating ballet technique as a collection of increasingly difficult exercises, the curriculum considers how each stage prepares the body for what follows. This attention to sequencing is particularly important when teaching developing dancers, whose enthusiasm and natural ability may sometimes advance more quickly than their physical readiness.
South African educators Sue Hodson and Jacomi du Plessis, who have played an important role in introducing Living Dance International’s methodology internationally, reinforce this principle. Sue brings experience in RAD classical ballet, Martha Graham contemporary technique, Laban Movement Technique and dramatic arts, while Jacomi has more than 39 years of experience in education alongside her classical ballet training. Having first attended Beth’s seminar in Switzerland in 2013, they subsequently qualified as examiners and teacher trainers, sharing the curriculum across South Africa and internationally.
“Each grade has concepts that they have to master so that we know that their body will be ready for the next level, without putting undue strain upon developing limbs and joints,” they explain.
Their observation highlights an important responsibility shared by every ballet teacher. Technical progression must be guided by more than a student’s desire to achieve the next movement or advance to the next grade. It requires an understanding of physical development, appropriate preparation and the relationship between technical ambition and safe practice.
For Sue and Jacomi, the ability to perform a movement is only the beginning of the knowledge required to teach it. “It is very different to be able to do a movement and to teach someone else to do it correctly,” they observe. A technically accomplished dancer may execute complex movement instinctively, yet struggle to explain the same movement to a student who experiences it differently. Their conclusion is succinct: “Expertise does not always equal clarity.”
This distinction resonates strongly with Beth, who has encountered accomplished dancers whose performing experience did not automatically equip them to teach. “Even accomplished dancers do not necessarily know how to break technique down adequately to pass it on to students,” she explains. In her experience, dancers with more moderate technical backgrounds can become exceptional educators through curiosity, patience and a willingness to study the principles behind movement.
The same realisation has shaped the journey of Tianye Kang, founder of Kalirena Pointe, whose experience with Russian Ballet International offers another perspective on the transformative value of continuing education.
Unlike many educators whose teaching careers develop from childhood ballet training and professional performance, Tianye began learning ballet at 35, initially because she wanted to participate alongside her daughter. Her growing fascination with the art form eventually led her to undertake an Associate Degree in Dance at the Academy of Music and Performing Arts and pursue increasingly specialised study.
Following the death of her ballet teacher, Vadym Domashchenko, in 2024, Tianye found herself searching for opportunities to continue learning. Unable to find classes offering the depth she wanted, she enrolled in Russian Ballet International’s online teacher training. “I couldn’t find any equivalent classes that offered the same depth, so I decided to take my education into my own hands,” she explains. “RBI’s online format was exactly what I needed to keep learning.”
Tianye began with Level 5, initially approaching the course as an opportunity for personal development rather than preparation for a teaching career. “I certainly didn’t think I was qualified to teach anyone else back then,” she admits. Yet the experience awakened an enthusiasm for the academic study of classical ballet that she had not anticipated. “A switch flipped. I realised how much I loved studying ballet at a truly academic level, and I suddenly wanted to learn all of them.”
She went on to complete all seven levels, balancing her studies with university, family responsibilities, rehearsals and periods of illness. During one particularly challenging seminar, delivered in Russian with English translation by Russian Ballet International Director Dmitry Povolotsky, Tianye carefully timed her coughing fits to avoid missing the translated explanations. At other times, her determination to produce technically precise examination recordings saw her repeat exercises until she had exhausted herself. Reflecting on the experience, she remembers eventually stopping “not because I was finally perfectly happy with it, but because I literally had no physical energy left to be picky.”
What sustained her was the discovery that movements she had practised for years contained layers of technical and musical understanding she had never previously explored. She describes the training as “one continuous ‘aha’ moment”, with particular fascination for the relationship between barre and centre exercises, the structure of musical phrasing and the systematic progression of the Vaganova methodology.
Her experience demonstrates how continuing education can transform not only what teachers know, but how they understand the art form itself. Familiar movements acquire new meaning when their purpose, preparation and relationship to other exercises are examined in detail. For Tianye, this knowledge has influenced the way she approaches teaching at Kalirena Pointe, particularly her commitment to individual correction, appropriate class placement and careful preparation for pointe work.
“Ballet is a fine art, and it must be treated with respect, patience, and immense care. Art is not developed in a day.”
The importance of patience and progressive learning connects Tianye’s experience with the philosophies being explored by Mark Annear, Kathleen Hamilton and Living Dance International. Although each organisation approaches teacher education through a different methodology, all recognise that meaningful technical development depends on understanding the individual dancer and the sequence through which knowledge is acquired.
For Kathleen, the Borovansky Syllabus provides that structure while recognising that students may have very different aspirations. Examinations and assessments are available at every level, giving students opportunities to work towards achievable goals, but professional training is not the only pathway. The AICD’s Non-Vocational Assessment Program allows students in the major grades to continue developing their technique and artistry without pursuing a professional career, while its Adult Assessment Program provides opportunities for mature dancers.
This broader understanding of participation is particularly important in an industry where conversations about success can become dominated by professional placements, competition achievements and examination results. The majority of young people who study ballet will not pursue professional careers, yet their experiences in the studio can have a lasting influence on their confidence, discipline, creativity and appreciation of the performing arts.
The AICD’s commitment to teacher development is illustrated by Casey Angus, recipient of the Borovansky Teacher Scholarship offered through the organisation’s partnership with The Australian Ballet School. Having trained through the Borovansky Syllabus, Casey progressed from her Associate Teacher examination to her Licentiate Teacher qualification. Her scholarship provided a week of professional experience at The Australian Ballet School, allowing her to extend the knowledge she now brings to her own students.
Kathleen points to Casey as an example of the value of investing in educators, particularly when the benefits extend into their own classrooms. Casey continues to achieve excellent examination results with her pupils, demonstrating how opportunities for teachers to observe, study and refine their methods can directly influence the next generation of dancers.
The scholarship also illustrates the importance of relationships between organisations within the Australian dance industry. When established institutions share expertise and create pathways for teachers to experience different educational environments, professional development becomes more accessible and the benefits extend beyond any single studio or syllabus.
Yet technical development is only one part of the educational experience. Ballet is also an expressive art form, and teachers must help students discover how movement can communicate ideas, emotions and relationships.
For Beth Bluett, this responsibility is fundamental. “Dancers need to learn body language to convey meaning, so dance becomes an art form not just a sport,” she explains. Her ambition is for dancers “to express, inspire and lift those who watch, not just impress the audience by their dance prowess.”
Within Living Dance International, expressive stories, mime and lyrical movement are incorporated throughout the curriculum, encouraging students to explore emotional understanding alongside physical technique. Drawing on her experiences as a mother, Beth developed age-appropriate narratives exploring friendship, kindness, forgiveness and, for older students, identity and self-worth. These elements reflect the organisation’s Christian values and its belief that dance education can contribute to the development of the whole person.
“Our role as dance teachers augments what intentional families are hoping to instil in their children,” Beth explains. She describes the studio as part of “the village that raises a child”, recognising that teachers often influence students during formative years when confidence, personal identity and relationships are still developing.
Sue and Jacomi have observed the value of this approach through their work with teachers and students internationally, describing an environment in which “respect for each other and the emphasis on life skills creates an environment of inclusivity and acceptance”.
While Living Dance International’s philosophy is grounded in its particular values, the broader educational principle is relevant across the industry. Teachers influence far more than the technical abilities of their students. The language they use, the expectations they establish and the way they respond to mistakes can affect whether a dancer approaches challenges with confidence or anxiety. A studio that encourages questions and treats errors as opportunities for learning creates a very different experience from one in which students are afraid to make mistakes.
Mark Annear’s emphasis on psychological safety and student-centred learning speaks directly to this responsibility. His vision challenges educators to recognise that technical achievement cannot be separated from the circumstances in which learning occurs. A student may demonstrate impressive examination results while struggling with confidence, or may progress more slowly technically while developing exceptional musicality, creativity and resilience. The quality of their education cannot be assessed through a single measure.
For Mark, the most meaningful change would be a shift in the way teachers define achievement. “I would like dance teachers in Australia and around the world to understand and value process over product. It is not about the competition a student wins or the exam result they achieve; it is about their individual journey towards the best possible outcome and the progress they make throughout their training.”
This philosophy does not diminish the importance of examinations, competitions or professional aspirations. Rather, it places them within a broader understanding of development. An examination can provide structure and motivation, while a competition can offer valuable performance experience, but neither should become the sole measure of a student’s progress or worth.
Kathleen’s perspective complements this approach through the AICD’s commitment to allowing teachers to bring their individuality into a structured syllabus. While technical progression provides continuity, the organisation recognises that the teacher’s creativity and personality are essential to the experience of learning ballet. “It is wonderful to see teachers embracing that freedom and enjoying the opportunity to shape their teaching within a strong classical framework,” she says.
For educators working across these different environments, ongoing professional development offers an opportunity to strengthen both their technical knowledge and their capacity to respond to individual needs. It also provides something that can be difficult to find in the daily routine of running a studio: meaningful connection with other teachers.
Teaching can be an isolating profession. Many studio owners spend their days moving between classes, administration, examinations, rehearsals and performances, with limited opportunities to observe colleagues or discuss the challenges they encounter. Independent teachers may be particularly reliant on the methods they learnt during their own training, simply because they have few opportunities to experience alternative approaches.
Professional seminars, mentoring relationships and teaching communities can interrupt this isolation, creating space for questions, reflection and the exchange of ideas.
For Kathleen, this professional support is an important part of the AICD’s offering. Teachers can contact the Artistic Director for guidance, while State Coordinators and the National Examinations Coordinator provide assistance with syllabus updates, examinations and assessments. Annual seminars offer opportunities to explore technical principles and broader approaches to teaching, often with experienced industry professionals. The organisation also maintains a Borovansky Facebook community, allowing teachers to connect, exchange ideas and seek advice from colleagues.
This commitment to communication is particularly valuable for teachers in regional and rural communities, where access to specialist professional development can involve considerable travel and expense. By recognising existing qualifications and creating supportive pathways into the organisation, the AICD aims to make continuing education accessible to teachers working in a variety of circumstances.
For Tianye Kang, the desire to experience this kind of connection became the inspiration for bringing Russian Ballet International’s teacher training to Australia. Having completed all seven levels online, she understood the value of the education but also recognised what was missing from studying through a computer screen.
“In my heart, what I really wanted was to bring the online teacher seminar into a physical studio, to capture that face-to-face discussion and the social networking that follows.”
The idea developed after Tianye enrolled her daughter in Russian Ballet International Summer Intensives in Italy and Japan. Initially, she considered bringing an international summer intensive to Sydney, but her ambitions soon expanded to include teacher training. During a conversation with Dmitry Povolotsky outside a studio in Japan, she proposed hosting the program through Kalirena Pointe, even though her business did not yet have a physical studio.
What followed was a year of planning, persistence and collaboration, eventually developing into a program encompassing teacher training, a Summer Intensive and youth auditions.
For Tianye, the significance extends beyond organising another educational event. She wants Australian teachers to have greater access to detailed study of the Vaganova methodology and the opportunity to examine its principles rather than simply adopt exercises described as Vaganova-inspired.
“It means I can finally share something profoundly valuable with people just like me: teachers, adult students, ballet professionals and dance parents,” she explains. “It opens a new gate for the Australian dance community to experience alternative methodologies beyond the dominant syllabi we are used to here.”
Her preference for practical, in-person learning is unequivocal. “Face-to-face seminar is always better than face-to-machine.”
It is a sentiment shared by Beth Bluett, whose Living Dance International teacher seminars have been held across five continents since 2007. Although online resources allowed the organisation to continue professional development during and after the pandemic, Beth believes that something important is lost when teachers cannot gather together.
“What we miss is the spontaneous ideas and questions from the teachers,” she explains.
These spontaneous exchanges are often among the most valuable elements of professional development. A question raised by one teacher may reveal a misunderstanding shared by others, while a practical demonstration can communicate details of weight placement, alignment or coordination that are difficult to explain verbally. Teachers can observe not only what an experienced educator demonstrates, but how they communicate, adapt and respond to the people in front of them.
Sue and Jacomi particularly value the opportunity to observe whether teachers have physically understood a technical principle before attempting to teach it. Their work as international examiners and teacher trainers has reinforced the importance of combining clear explanations with practical experience and individual feedback.
Living Dance International’s return to in-person training will be marked by a five-day Teacher Training Seminar in Brisbane from 26 to 30 January 2027. Bringing together Beth and her international faculty, the seminar will explore technical foundations, teaching methodology and artistic development across Pre-Dance, Junior Ballet and Senior Ballet levels.
“We want to inspire teachers towards excellence but also give them practical tools that they can take straight back into their own classes,” Sue and Jacomi explain. Their hope is that educators will return home with greater confidence in communicating technical concepts and “a renewed appreciation for the uniqueness of every student”.
This desire to translate knowledge into practical teaching is also central to The Australian Ballet School’s new program. Mark Annear’s inclusion of mentored teaching placements acknowledges that educational theory becomes most valuable when teachers have opportunities to test, reflect upon and refine their methods in real classrooms.
The AICD’s annual seminars, scholarship opportunities and professional support networks similarly recognise that teachers benefit from observing experienced colleagues and developing relationships that continue beyond a single course or examination.
Taken together, these initiatives suggest a broader change in the culture of dance education. Professional development is increasingly being recognised not simply as a requirement for maintaining qualifications or learning new syllabus material, but as an ongoing process of intellectual, artistic and personal growth.
For some teachers, this may involve examining contemporary research into learning and psychological safety. For others, it may mean returning to the technical foundations of a classical methodology, developing a more detailed understanding of anatomy or discovering new ways to encourage artistic expression. For those transitioning from performance into education, it may involve recognising that the skills required to teach are different from those required to dance.
The diversity of available pathways is itself valuable. No single institution or syllabus can address every teacher’s needs, and the Australian dance community is strengthened when educators have opportunities to explore different approaches with curiosity and critical thought. The objective need not be to abandon the methods that have shaped their careers, but to understand them more deeply and consider how they can be adapted to serve the students of today.
For Kathleen, this is reflected in the growing number of teachers choosing to join the AICD and the willingness of established educators to support those beginning their professional journeys. The Borovansky Syllabus provides a traditional classical foundation, but its flexibility allows teachers to draw upon their own knowledge and develop a distinctive approach to their work. The result is a teaching community in which continuity and creativity are encouraged to exist together.
Tianye’s experience offers a particularly compelling example of how unexpected the journey of professional development can be. Beginning ballet at 35, she could not have imagined that her desire to learn alongside her daughter would eventually lead to academic study, teaching qualifications, performance opportunities, the establishment of Kalirena Pointe and an international educational collaboration.
“My entire relationship with ballet follows a distinct pattern: I start from ground zero, with no grand expectations of how far I will go, but my passion, curiosity, open-mindedness, and sheer persistence inevitably push me to places I never imagined.”
Her journey also challenges conventional assumptions about who can become a ballet teacher and what a teaching career should look like. Experience matters, but so does the capacity to learn. Technical accomplishment is valuable, but it does not replace pedagogical understanding. A teacher’s credibility is strengthened not by claiming to know everything, but by demonstrating a commitment to continuing their education.
For Beth, the invitation to teachers considering their next step is equally open. “Contact us. Tell us your dance story and your personal journey and what you are hoping to achieve,” she says. “We would love to help you reach your goals.”
Behind these different approaches lies a responsibility that extends well beyond the individual educator. Every teacher who deepens their understanding has the potential to influence hundreds of students throughout their career. A clearer explanation may help a dancer overcome a technical difficulty. A better understanding of physical development may prevent unnecessary strain. A more empathetic response may allow a young student to remain engaged with ballet at a moment when their confidence is fragile. A teacher who encourages artistry alongside technical precision may help a dancer discover a lifelong relationship with movement, regardless of whether they eventually pursue a professional career.
The impact of teacher education is therefore cumulative. Knowledge passes from educators to students, from experienced teachers to emerging colleagues and from one generation of dancers to the next. Classical ballet has always depended on this transmission, but the challenge facing contemporary educators is to ensure that what is passed forward reflects both the artistic heritage of the discipline and the best understanding available of how people learn.
The programs being developed by The Australian Ballet School, the Australian Institute of Classical Dance, Living Dance International and Russian Ballet International represent different responses to that challenge. One emphasises contemporary pedagogy and critical reflection, another provides an accessible Australian classical framework supported by mentorship, while others offer specialised methodologies, progressive technical education and international professional connections. Their differences are important, yet their shared commitment to developing knowledgeable, thoughtful teachers points towards an encouraging future for dance education.
Perhaps the most significant shift is the recognition that a teacher’s own learning journey should never be considered complete. Qualifications and experience provide a foundation, but they are not an endpoint. Each new student presents different questions, each generation brings changing expectations, and every opportunity to observe, study or exchange ideas can deepen a teacher’s understanding.
For Tianye Kang, completing seven levels of training was not the conclusion of her education but the beginning of a new chapter in which she could share that experience with others. “It’s to prove to myself what I am capable of and to continue providing support to people who benefit from it,” she reflects.
For Mark Annear, the ultimate measure of successful teaching is not the award a dancer receives or the examination they pass, but the individual progress made throughout their training. For Kathleen Hamilton, it is the strength of a supportive teaching community in which classical tradition and individual artistry can coexist. For Beth Bluett, it is the development of dancers who can communicate meaning and inspire others through their artistry. For Sue Hodson and Jacomi du Plessis, it is the ability to equip teachers with the knowledge and practical skills to nurture each student’s unique potential. And for Tianye Kang, it is the recognition that education can open doors far beyond those a dancer or teacher initially imagines.
In a profession devoted to helping others grow, perhaps the greatest example a teacher can offer is the willingness to continue growing themselves. The future of ballet education will be shaped not only by what teachers know, but by what they remain willing to discover. Every new understanding, every reconsidered practice and every meaningful exchange between educators has the potential to change what happens inside a studio. And it is there, in the daily relationship between teacher and student, that the true value of continuing education is ultimately realised.