By Rain Francis.

Rudolf Nureyev was one of the single most influential people in the history of dance. This year marks 20 years since his untimely death, but also 75 years since his birth. In celebration of this great man, many special events, gala performances and tributes are taking place worldwide in 2013. There has been so much written about him, and he has become something of an enigma. But what was he really like? We ask two professional dancers who knew him personally, Frederic Jahn and Patricia Ruanne.

Jahn and Ruanne are both involved with The Nureyev Foundation, and worked with Nureyev for many decades during their illustrious careers. In Patricia’s case, this relationship began in 1964, when Raymonda was presented at the Spoleto Festival in Italy, during the epoch when Margot Fonteyn’s husband was shot. For Frederic, it began in 1969, when Rudolf staged Don Quixote for The Australian Ballet.

How well did you know Rudolf Nureyev?

Frederic Jahn
I began to know Rudi better when we were working on Romeo and Juliet. I had worked with him before, as a very young corps de ballet member of The Australian Ballet. I was cast as the Old Don in Don Quixote, as Helpmann’s second cast, so I was privy to a lot of personal information, which was a tremendous learning curve in stagecraft.

Rudolf advised me to go to Europe, indicating that I should benefit from a wider professional platform than could be found in Australasia. This interest in a young dancer’s future was typical of the generosity he showed to fellow artistes. In my mind, I didn’t understand why he should single me out, but he clearly recognised some potential in me that I didn’t know I had. These ‘good old days’ were the platform of our relationship.

We discovered that most of the time he was by himself in London when he was choreographing Romeo and Juliet. Everybody thought that being a celebrity, he was wined and dined every night, when in fact he was just in his flat by himself. We would drop by and go to lunch or dinner. We established a close relationship, but I don’t know if we could say we were real friends. I felt he had trouble trusting people, and rightly so, as many used him for their own political ambitions, and still continue to do so.

I once dressed him in Italy; the dressers were scared of him so the management asked me if I would do it. I was the interim Ballet Master in Naples for the time Nureyev was there. I felt I was a friend, and it felt just as if you were helping a chum next to you do up his costume. The performance was already 20 minutes late, and a public of 3000 excited Italians were all clapping in unison to get the open-air show going. Italians can be very rowdy. He wasn’t going to be rushed, and the more noise they made, the gigglier he became. The management was knocking at the door, and I had to keep telling them he needed a few minutes more, at which point he said, “Ricky, have you heard the story about Bear and Rabbit sitting on edge of the wood?” I said I hadn’t, and he proceeded to tell me this scatological tale. We both left the dressing room giggling like schoolgirls, passing the fuming theatre management. Needless to say, when he came on stage, the audience was in a frenzy. He had in fact calculated that being late would drive the audience to this point, and he would give a performance that would be, for many people, a life-long memorable event. I felt that incident bonded us, and became the origin for many dinnertime anecdotes.

Rudolf Nureyev and Patricia Ruanne

Patricia Ruanne
I came to know him as well as he would allow. We had a good working relationship as dancers, and certainly he never gave me personally any ‘grief’ as a partner, which was not always the case with other dancers!

This agreeable understanding intensified once I went to join him in Paris. There was much discussion about the development of his dancers and I began to learn things on an entirely different level. Equally, he was always generous enough to listen to my thoughts on a subject, acknowledging that being on pointe was one asset he had never mastered. His demonstration of professional respect and affection to both myself and also to Frederic when he was there was naturally very helpful towards the Paris Opera dancers’ perception of us.

He frequently asked me to be hostess to his host at his home in Paris, so I met some fascinating people and we had a lot of fun. He couldn’t bear pretentious posturing; some folk were never invited back, or we would retire to the kitchen on the pretext of checking whether his cook was drunk yet, and try to dream up some plausible excuse for getting rid of someone who was boring him to tears. His proposals were generally along the lines of something dreamed up by Sweeney Todd; rather gory, but very funny. Lord knows what his guests made of the shrieks of laughter echoing from the back pantry!

He trusted me quite early on with the knowledge of his illness, and I spent every Sunday with him once he was obliged to be hospitalised towards the end of his life – something I remain glad to have been able to do.

What do you think is the biggest misconception about him?

Frederic Jahn
That he was bad tempered and rude and had no respect for others. He was not. It takes two to tango. Rudolf reacted to how people reacted to him, full stop.

Patricia Ruanne
I agree. I have seen him explode, but it was never without just cause. He had no time for laziness, indifference or lack of commitment to our profession. ‘Wasting time’ appalled him, given the brevity of a dancer’s performing life and he was incapable of understanding a lack of enthusiasm for anything related to the stage.

What was his greatest legacy?

Patricia Ruanne
This is an almost impossible question to answer. For my generation – and those who were able to see him perform at his best – there will forever remain the image of just how much can be accomplished by sheer hard work, dedication and never falling into the trap of believing your own publicity.

Personally, I think the strongest link to future generations will be the fact that he was also a great teacher, and instilled this care for others into so many younger dancers, some of whom are now directing companies. Watching them coach dancers in roles they once performed themselves, one can see the influence of Nureyev quite clearly.

He once said to me, when I was struggling with an exceptionally difficult company who appeared incapable of coping with his challenging choreography, “Are they doing the best they can? If so, and even if it’s not the standard you would like to see, you have to love and respect them for giving all that they are capable of.” I think that says a lot about the kind of man he was, and I try to apply this great advice always.

What can students today learn from him?

Patricia Ruanne
Don’t waste time – there’ll never be enough of it. Never give up on yourself. Always work to the best of your ability, but don’t let yourself sink into a depression when in a bad patch. Just keep at it – it will come back if you don’t frustrate yourself mentally. Keep your sense of humour and care about yourself.

Rudolf did not have a perfect physique and had to overcome many technical problems. Nonetheless, he had the most sensational career. It’s a perfect example of belief in self, dedication and determination.

For more information about Rudolf Nureyev and the list of tribute events taking place this year, visit www.nureyev.org.

Photos courtesy of Frederic Jahn and Patricia Ruanne. Top photo: Rudolf Nureyev and Frederic Jahn in rehearsal.

By Rain Francis.

In 2014, all children will be entitled to study dance as a subject as part of The Australian Curriculum: The Arts: Dance. In order to prepare teachers to teach dance in their classrooms, Ausdance Victoria is offering a teaching series called “Dr. Dance.”

Developed by Dr. Katrina Rank, “Dr. Dance” will run as a pilot program in selected Victorian schools in 2013, and aims to provide generalist primary school teachers with the skills needed to teach dance to primary school students. Dance Informa’s Rain Francis spoke to Dr. Rank and her colleague, VET Coordinator Kate Kaleb, about The Australian Curriculum: The Arts.

This is exciting news. What do you think it will mean for dance, and for children? 

Dr. Katrina Rank
My interest in the curriculum is for its creative and critical potential and in the ways it engages the whole student, kinaesthetically, kinetically, spatially, visually, inter and intra-personally. The Australian Curriculum: The Arts has a strong focus on students learning about dance by creating movement through improvisation and developing dances through choreographic processes, learning and consolidating dance skills and learning about performance by observing performances, presenting to others and reflecting on their dance experiences.

Kate Kaleb
One of the exciting aspects of the national curriculum is that children and young people are expected to be taught and to achieve fundamental motor skills. The development of physical skills is now recognised as being as important as cognitive and social skills. Fundamental motor skills are expected to be developed though dance and physical education, with key skills building progressively at each level of the curriculum. The dance-specific aspects of the curriculum are geared towards creating and responding to dance, which means there may be more opportunities for dance artists to work in schools as choreographers, teachers and performers.

Will the curriculum be taught in all Australian primary schools?

Dr. Katrina Rank
The Australian Curriculum states that all children are entitled to study dance. That’s quite a statement. All Australian students now have the opportunity to study dance through a curriculum that is consistent across states. However, it will not be compulsory. There are no hours set for dance.

Kate Kaleb
The national curriculum covers primary and lower secondary, up to Year 10. Each state will implement the national curriculum in it’s own way. Victoria has been quick to embrace the national curriculum. Other states may or may not be in the process of embedding it.

How has the “Dr. Dance” series been developed?

Dr. Katrina Rank
The “Dr. Dance” series is a training and professional support program for generalist primary school teachers who have an interest in teaching the new dance curriculum in their school. It is designed for people who have a strong enthusiasm and love of dance. They do not have to be experienced practitioners, but some dance experience, in any style, is best.

I have developed the program to cover basic dance theory, anatomy and childhood development, safe dance practice, foundation skills and how to teach them progressively, and basic choreographic skills. The program content is important, but so too is teachers’ availability. At present we’re looking to deliver the “Dr. Dance” series over seven two-hour sessions. I anticipate that teachers will want to extend their engagement and continue for another series of seven weeks.

What sort of dance will be taught in schools?

Dr. Katrina Rank
It will vary according to school and resources (mainly what teachers can offer), but I must stress that the curriculum is not going to be met if students only learn set dances, technique or motor skills. A major focus is learning through making and experiencing. If a child goes to art class and only ever learns how to cut and paste paper flowers, or painting by numbers, we would not accept that they were receiving a great art education. We would expect that the child expresses his or her own ideas and represents a worldview or perspective.

Kate Kaleb
A wide range of dance styles and dance philosophies will find a home in the classroom. What happens in an individual school will depend on the skills of the teachers and on the network of dance professionals they are able to access, as well as the needs of their student cohort. For instance, cultural dance is a great way for students to learn about other countries and for students from migrant backgrounds to develop their cultural identity. Hip-hop is great for developing physical skills and creativity (in coming up with your own moves), allowing students of all skill levels to be included. All dance styles can be used to tell stories and express emotions. The great thing about dance in a school setting is that all students can be included, whether they think of themselves as dancers or not.

Will teachers receive ongoing support from dance professionals?

Dr. Katrina Rank
We always encourage teachers to become Ausdance members, as through us they hear about many other wonderful opportunities provided by the dance profession. Ausdance Victoria is always finding new ways to support teachers and to develop resources that are fresh, innovative, useful and affordable. Over the past two years Ausdance Victoria has been working with other associations to produce digital and paper-based resources for teachers.

I am currently writing a book that guides generalist teachers through the major aspects of dance in the curriculum: preparing for a dance program, the body as the instrument of dance, the Elements of Dance, loads of practical activities and choreographic ideas for Foundation to Band 6. I also provide feedback to ACARA (Australian Curriculum, Assessment and Reporting Authority) on behalf of dance teachers. Whenever possible I make a call out for responses that I then collate, compare and feed back into the system.

If you are a teacher and are interested in finding out more about the “Dr. Dance” series, or have any questions, email education.vic@ausdance.org.au or call (03) 9689 2055.

Photo: Ausdance Victoria Industry Day. Photo by Claire Bradley.

Need a little holiday shopping inspiration?

Check out Dance Informa’s Christmas Must Haves guide full of great gift ideas for the dancers and dance teachers in your life.

Click on the image below and get shopping!

Merry Christmas readers!

Dance Teacher Web and Dance Informa invite you to attend a Conference & Expo unlike any other in an unparalleled setting – the Red Rock Resort, Las Vegas! Described by attendees as “the one and only conference truly for dance teachers and studio owners,” Dance Teacher Web LIVE is three full days packed with interactive sessions, expo resources and special events. This must attend conference will provide you with the very best in teaching tools and products to enhance your business, career and life.

For more information and to register visit www.danceteacherconferenceexpo.com

Showcase National Dance Championships will increase its national tour this season to include up to 18 Regionals. With a massive prize pool of over $85,000 up for grabs this year, the search is on for the next generation of the nation’s TOP dance studios. Who will be it be?

They have reached out once again and invited more dance studios this year to give them the chance to win the title of “Australia’s next TOP Dance Studio”. Apart from the fantastic cash prize of $5,000 to the TOP winning group it also gives the studio national recognition for its outstanding efforts.

The Gold Coast National Finals, held annually at Jupiter’s Casino, have always offered many opportunities to dance schools, including the ever popular Summer Dance Workshops held during the event and the Battle of the Star Show held on the last day, which has the best of the best dance schools in the nation compete for the overall titles.

Jupiter’s Showroom has just undergone a 20 million dollar upgrade and the dancers at Nationals this year will be having the opportunity to perform in the best and newest performance venue in Australia.

Showcase has always been the leader in offering massive prizes and this past year was no exception. There were not only the four Dancer of the Year trips to the USA and Canada awarded, but there were also trips presented to dance teachers which included an all expenses shopping trip to Bangkok. Three dance teachers were also awarded the pinnacle prize to attend the US Federation of Dance Competitions Gala show in Cancun Mexico.

Peter Oxford, the National Director of Showcase, has his sights on expanding the many opportunities for Dancers all over Australia by adding competitions in Darwin, the Sunshine Coast, Fraser Coast and Newcastle this season, in addition to the ever popular cities such as Sydney, Canberra, Perth, Melbourne, Hobart, Brisbane, Auckland and Christchurch.

Dance studios can enter solos, duo, trios and groups, in many forms of dance including jazz, lyrical, contemporary, tap, ballet and hip hop.

Showcase attracts over 7,500 acts in any one season! There’s some amazing talent out there and you can be part of it!

Showcase looks forward to seeing some new studios at one of their 2012 regional cities as they travel around Australia and New Zealand.

Remember…Everyone’s a STAR at Showcase!

How to Enter
Dance schools and soloists wanting to be part of the Showcase Nationals must qualify with 85 points and over at one of the regional championships that are held in select cities across Australia and New Zealand.

Want more info?
The website www.showcasedance.com has complete information on the event, including entry forms and rules. The large cities do tend to fill before the closing date, but dancers are allowed to travel out of their own area to qualify in another city. National Finals dates are scheduled for January 14th -21st 2013 at Jupiter’s Casino.

Become a fan of Showcase on Facebook. www.facebook.com/showcasedance and check out our website for past competition results, videos of the Nationals and more.

Contact
Call (02) 9662-1598 or email dance@showcasedance.com with any questions

By Chris Bamford.

Being a dance teacher is one of the most rewarding jobs in the world, but I might be a little biased as I am one. There’s nothing more rewarding than seeing a student improve, grow and reach his or her full potential in your class.

But what about the teachers?  We place so much emphasis on the students’ conditioning, care and injury prevention, yet we have a tendency to forget about ourselves.

Long gone are the days where the teacher just sat in a chair with a cane and explained what the students had to do. We teach a lot more visually and practically these days. The teacher generally shows the wrong way and the right way to do steps and movements and goes to the extremes so students can see and understand the differences. This can put teachers at risk, especially when they may not be as fit and limber as they used to be.

Being a dance teacher, and especially a studio owner can be very stressful. You need to wear so many hats and manage many facets of a business from customer service, complaints, marketing and finances to general administration.  Then add an annual concert to the mix, and maybe a summer school and eisteddfod, and let’s face it – we are stressed! So we don’t need to add injury to our lives.

What can dance teachers do to reduce the risk of injury? Let’s start by looking at what some of what the most common dance injuries are

• Muscle strain

• Joint sprain

• Bruising

• Muscle soreness

• Fractures

Understanding what these injuries are and what causes them can help identify problems early, as most teachers do with their students. But what about yourself?  Let’s look at what can cause these injuries during the many hours of instructing and choreographing that each teacher does.

Excessive range: This applies to movement that forces a joint or body part beyond a safe range. For example, hyper flexion at the neck or over-arching the back.

Excessive load: Movement that places excessive weight on or through a joint or muscle. For example, knees bending below 90º when landing or straight leg sit-ups.

Ballistic: Repetitive dynamic movement that stretches muscle tissue beyond the normal range. This sort of movement is often explosive and uncontrolled. For example, bouncing (of knees, spine), overly repetitive kicks, leaps, head isolations and arm flings.

Sustained: The holding of a position that places excessive stress on a muscle group or joint. For example, a coccyx sit or balance on one leg for a long period of time.

Repetitive: Too much repetition can be dangerous. Even safe movements performed too many times can cause injury. For example, jumps, push-ups and lifts.

In my opinion, when you’re teaching for four hours in a row or more, you can’t avoid some of the above movement types, but it’s important to be aware of them and to think about how much we demonstrate a movement if we feel strain, pain or any warning sign. Injury and stress are always going to be in our lives, it’s the nature of the dance business, but here are some tips to help you reduce them:

• Remember occupational health and safety rules.
• Get a regular remedial sports massage or visit the physio.
• If you have injured yourself, but still have to teach, use an assistant teacher or senior student for demonstrating until you have fully recovered.
• Keep up regular classes for technique and strength. We can get so busy, but we too must be in class regularly. I have heard of large dance studios holding a teachers’ class once a fortnight and rotating who from the staff takes the class. This helps the teaching staff to keep up their technique and fitness.
• Keep hydrated and eat a well balanced diet.
• Make sure to get plenty of sleep. You need energy to energize your students and a rested mind to be creative.
• If you are teaching for long period of time pace yourself and take regular breaks if you can.

At the end of the day, teachers need to remember to take care of themselves. We inspire and nurture talents, yet we sometimes forget to inspire and nurture ourselves. Start to look after yourself so you can continue to give to your students for years to come. Being a great dance teacher is just as important as being a great dancer.

Source: www.curriculumsupport.education.nsw.gov.au/primary/pdhpe/dance/dan004.htm

Photo: © Viorel Sima | Dreamstime.com

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

An event not to be missed!
Jason Coleman’s Ministry of Dance, North Melbourne
Friday 13 – Sunday 15 April 2012
More information can be found at www.atod.net.au/danceconvention

Following on from a successful inaugural convention in 2009, the 2012 Come Together Dance Teachers Convention will take place in Melbourne this April. The event will be held at Jason Coleman’s Ministry of Dance.

Throughout the convention there will be specialised workshops, two full days of lectures for teachers, master classes and trade exhibitions.

A huge drawcard at the 2009 Convention was American motivational speaker Rhee Gold. Once again Rhee will be the opening keynote presenter this year and will hold two specialised workshops. “The chance to hear Rhee Gold alone is in itself an opportunity not to be missed”, cited Karen Malek, President of the Australian Teachers of Dancing.  “The tools and practical information Rhee shares in his sessions provides dance teachers with a new framework they can instantly apply to grow and develop their dance businesses.”

Rhee Gold

Marc Brew, Artistic Director of Marc Brew Company and esteemed choreographer will be the closing keynote speaker. Trained at VCASS and The Australian Ballet School, Mark is now based in the UK. Marc will perform during the convention and teach a contemporary master class.

Other master class teachers include Grant Davies, Kelley Abbey, Marco Panzic, Vicki Attard, Etienne Khoo and Christine Denny.

Other speakers include Janet Karin OAM, Wayne Aspinall, Grant Davies, Lisa Howell, Kelley Abbey, Vicki Attard, Lucinda Sharpe, Terrie Wayside and Nick Ilton.

The Teachers Convention will give dance educators a chance to come together with like-minded professionals to share information, ideas and most importantly enjoy the benefit of continuing their professional development.

Come Together Dance Teachers Convention
Jason Coleman’s Ministry of Dance, North Melbourne
Friday 13 – Sunday 15 April 2012
More information can be found at www.atod.net.au/danceconvention

Top photo: Marc Brew

By Emily C. Harrison MS, RD, LD.

One of the things we can be assured of is that there will always be a new food, diet or health fad. Gluten free is the latest trend. Well-meaning celebrities and food companies out to capitalize on the latest fad, complicate the minefield of misinformation surrounding the topic of gluten. I have even seen bottled water and shampoo recently labelled as ‘gluten-free’. What are we to make of this new fad? What is gluten and should dancers avoid it?

For the majority of people, gluten is not a problem and is part of a normal healthy diet. However, there is a small segment of people who may need to limit or avoid it all together.

What is gluten?
Gluten is a term that describes tiny parts (amino acids) of a group of proteins. Basically it is a naturally occurring protein found in rye, barley, triticale, spelt, kamut, bulger, oat bran, some oats, and all wheat products. Gluten is what makes bread tender and doughy. Other food products that may also contain hidden gluten are malt flavor/ extract, hydrolyzed vegetable protein, beer and ale.

Should dancers avoid gluten?
The answer for the vast majority of dancers is NO! Gluten is not a scary, artificial, or chemical additive that must be avoided. It occurs naturally in the whole grain products mentioned above. Whole grains are an important source of good, energy producing carbohydrates that dancers need to keep them going during class, rehearsal, or performance. Whole grain products contain fibre, B-vitamins, some iron, and some protein. Dancers who unnecessarily avoid gluten may become deficient in important nutrients. For most people, there is no reason to avoid gluten and there are many reasons to eat the healthy whole grains that contain this natural protein.

Is there anyone who should avoid gluten?
Yes. Going gluten-free is the best known treatment for anyone with coeliac disease, an auto-immune condition in which the body reacts to gluten like it is a foreign invader. In these cases damage to the intestines results from eating gluten which causes pain, bloating and nutrient deficiencies.

The prevalence of gluten allergy has grown over the years. We are now more aware of it than ever. There may be cases of a more mild gluten intolerance that cause bowel discomfort, eating issues, and even behaviour problems, particularly in young children. Good scientific evidence in this area is in its preliminary stages. There is not enough evidence to suggest that avoiding gluten can help with autistic spectrum disorders.

If you suspect a gluten sensitivity talk to your physician or dietitian. A blood test can detect antibodies formed as an immune response to digested gluten.

Going gluten free requires careful reading of food labels and planning ahead if one is going out to eat. There are phone apps that help track the gluten content of many food items that can help with the confusion. Seeing a registered dietitian is very important if one suspects a gluten allergy or intolerance. Some gluten-free alternatives are corn, corn flour, quinoa, quinoa flour, rice, potatoes, soy flour, arrowroot, amaranth, flax, millet, bean flours and Jerusalem artichoke pasta. A gluten free diet can be healthy if planned well. In some cases a vitamin/ mineral supplement may be necessary.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University, USA. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Top photo: © Irochka | Dreamstime.com
Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Brian Nolan 

In the Australian dance world, there is a very privileged assembly of leading and influential teachers. In Victoria, we are fortunate to have three standout Divas of Classical Dance. Over the next three issues Dance Informa will be highlighting these talented teachers who have helped shape ballet in this country.

In our first interview we’ll be going 120 kms north of Melbourne, to the home of Sovereign Hill, the Gold Rush, the Royal South Street Competitions, and our first Classical Diva. In the Cecchetti world there is a lady who stands heads and shoulders above the rest – Carole Oliver. Carole is renowned for her indubitable and assiduous attention to detail, her stunning routines, her signature tutus, her students’ flawless eye make-up and the incredible ‘ballon’ that is synonymous with her pupils.

Carole or ‘Miss Oliver’ is known for the standard she has achieved in her Cecchetti based school in Ballarat. Supporting Carole is her sister Cheryl who choreographs many of the wonderful routines we see performed in competitions all over the state. The propinquity of these two sisters is what has made Carole Oliver and her school so very successful. Carole has trained many successful students from the Australian Ballet Company to Stuttgart Ballet in Germany and many of her past and present students represent Australia in Cecchetti and International Ballet competitions all over the world.

This year in August 2011, Carole celebrated her 50th year of teaching. In a reception honouring her 50 years, Carole was flattered and thrilled when past student, Amy Harris, who is currently a Soloist with the Australian Ballet, paid tribute to her.

Carole Oliver FISTD, FCBA – CICB, CERT V1 Examiner, Life Member

Who influenced you to become a dance teacher?

It was my mother and her passion for ballet. She had studied for many years herself as a girl, and because I grew up before the days of television, I recall spending most Sundays choreographing dances for my sister (Cheryl). We would perform in the living room for our family that evening.

When you first started teaching what were your aims and ambitions?

In my early years I really only taught students under the age of about 12, as I wanted to develop my own style and I constantly found it difficult with older children as I had to strip away too many technical problems before I could even begin.

Have you achieved your aims?

Let me just say that I feel very, very proud when I am watching my students perform on the stage.

What is your proudest moment in all your years of teaching?

There are so many, but I think one of my proudest moments probably came on the evening of my 50th anniversary celebration. Throughout the evening it gave me the opportunity to reflect back on the past 50 years and to see what I have managed to achieve.

What is your favorite step and why?

There are many. To select just one would be too difficult. However, a correctly placed pas de chat is high on my agenda, as well as a beautiful and sensitive port de bras, an exquisite arabesque or attitude. A fabulous jump will certainly lift my emotions!

If you could meet anyone in history who would it be and why?

The last Tsar (Nicholas II) of Russia. I would love to have received an invitation to one of his Grand Balls held at the Winter Palace (the Hermitage) in St Petersburg.

What do you think is the most important thing that has happened or influenced dance in the last 10 years?

YouTube, because it brings the world of dance right into your home!

What would you like to see happen in the next 10 years?

I feel there is a great need for us to offer and provide more opportunities for our aspiring and many talented dancers – more ballet companies would help.

What is your favourite ballet?

La Fille Mal Gardée. I just love Ashton’s choreography, it has so many beautiful moments. Also, Graham Murphy’s Swan Lake. I adore his work and his modern take on it.

What is your favourite piece of music?

Vivaldi and his Four Seasons. It has the passion and emotion to transcend me to a very happy place. Raymonda by Glazunov is another. All that beautiful music in one score – heaven!

You have produced many wonderful dancers throughout your career, is there one that stands out?

There are so many and for so many different reasons, but, two stand out. One is Amy Harris (Soloist Australian Ballet) because of her commitment and the determination that she showed from a youngster and still shows today. The other is Andrea Briody (ex Sydney Dance Company) because she never gave up. When classical opportunities didn’t happen for her she changed her focus and became very successful.

Do you think ballet competitions are necessary?

Yes, I think they provide a wonderful opportunity and foundation in stage performance. On a more personal level, it also allows students to deal and cope with disappointment and/or success, which are skills they will need to carry through life. In addition, children love to dress up and perform. It can also provide many friendships from within their peers. Just as long as it is not taken too seriously and for the wrong reasons.

Tell us about your role as a Cecchetti examiner.

Like my mother, my training was in the Cecchetti method of classical ballet. I was appointed as an examiner 30 years ago and today I am a Senior Examiner as I examine all levels within the Cecchetti system.

How would you like to be remembered?

I hope that I will be remembered as a passionate lover of ballet. Classical ballet has been my whole life and I am honoured and grateful to have been able to share my dream – especially with my family!

Next Issue: An Interview with Audrey Nicholls.

Photo: Carole Oliver and Amy Harris of The Australian Ballet at Carole’s 50th anniversary celebrations