By Rain Francis.

Starting to think about full-time dance training? Now more than ever there are some fantastic options out there – and they may be closer than you think. Gone are the days when you have to move to Melbourne or Sydney to get the best training. While there are some amazing courses offered in these two cities and a wealth of dance opportunities, don’t dismiss the high quality training options offered elsewhere – staying closer to home could be a good option for you.

One of the most important factors in staying closer to home is of course having your loved ones near. “The family can directly manage all aspects of their child’s development and training, providing hands on love and support,” says Canberra Dance Development Centre Director Jackie Hallahan. This means having a helping hand with everything from your day-to-day living tasks, to just having a shoulder to cry on when you are exhausted or frustrated.

“Dancing full time can be very demanding physically, mentally and emotionally,” says Beth James, director of Western Australia Conservatoire of Classical Ballet. “For a young student, having these demands – as well as living on their own without family – and having to go home to cook, clean, and prepare after an exhausting day can be tough. And of course, having your friends close by on your day off can be just what you need to keep a healthy balance away from dance.” Although you will make lots of new friends wherever you study, it’s wonderful to be able to keep in touch with your established friends – and not just on Facebook!

“In our experience, most students find the transition from high school to 30 hours a week of intensive training somewhat overwhelming, especially throughout the first term,” agrees Phil Talbot, CEO/Director of Principal Academy of Dance and Theatre Arts in Perth. “By being close to home they have the support of family members to help them maintain a healthy lifestyle and cope with stress, especially at assessment time.”

Canberra Dance Development Centre full time student Georgia Powley. Photo by Greg Primmer.

It is perfectly normal to find the transition to full-time training difficult. Besides dealing with a new environment, new people and the physical and mental stresses of such a full-on workload, if you’re living away from home there are additional pressures. It might be the first time you’ve had to do your own food shopping, transport yourself to the studio, pay bills and deal with other everyday realities. After a long day of training, it’s likely that all you’ll want to do is have a bath and then vegetate on the lounge room floor. This is where unhealthy habits can start to creep in, such as living on ‘convenience’ food. Living at home can give you more stability, so you are freer to put all your energies into your training.

Another thing to consider is money. Full-time training can place a large financial burden on you and your family, and training closer to home can help ease that considerably. Though it may be tempting to leave home and head for the big smoke, try to be realistic about the pros and cons.

Living at home can save thousands per year on rent and other living costs. And if you are living away from home, you’ll be paying much more to live in one of the bigger cities. Unfortunately, getting yourself into debt early on can really affect your future. “It’s not just the family – the student takes on the financial burden as well and this can interfere with decisions made down the track,” James explains. The reality is that you may not be able to travel to auditions or afford to do all the classes you need to after graduating.

Hallahan agrees, adding, “[Staying at home means that] the students’ parents may be able to invest more money in their child’s training rather than on additional living costs.” So if there’s any way to avoid getting into debt – or placing strain on your family’s finances – it’s advisable to investigate and consider these options.

Australia’s most successful dancers didn’t all come from the schools in the big cities. Terry Simpson Studios in Adelaide turned out Remi Wortmeyer (The Australian Ballet and Dutch National Ballet), Nicola Leahey (Compagnie Thor, Belgium), Jesse Scales (Sydney Dance Company) and Nicola Wills-Jones (Royal Ballet, Flanders). Graduates of Western Australian Academy of Performing Arts (WAAPA) in Perth have worked in Western Australian Ballet, Queensland Ballet, Australian Dance Theatre, Expressions Dance Company and many international companies.

There are also some world-class dance companies outside of Sydney and Melbourne. Adelaide has Australian Dance Theatre and Leigh Warren and Dancers, Townsville has Dancenorth and Launceston has Tasdance, just to name a few. Making yourself known to these companies while you’re training – either through secondments or taking company class – can be a great way to build relationships which may lead to employment after graduation. Also, if you are considering a career as a choreographer, do some research into the local grants available from your state’s branch of Ausdance, or from your regional council. Sometimes, being in a smaller centre can actually be an advantage; there are less people vying for the same funding dollars. So, make the most of all your area has to offer.

Of course, I’m playing devil’s advocate here; there are also advantages to flying the coop. The truth is that no matter where you choose to study, you will find a way to make it work, and to get absolutely the most out of every opportunity that comes your way. Your full-time training will be one of the most challenging things you will ever do, but it is also an exciting time which will pass you by far quicker than you can imagine!

Be sure to check out Dance Informa’s 2014 Full Time Dance and Auditions Guide, out this July. The Guide lists the best full-time schools and courses across Australia.
To check out the 2013 Full Time Guide, click here.

By Grace Edwards.

‘Success is sweeter and sweeter if long delayed’ is a saying that will find no argument from 18 year-old Sydney native and new Houston Ballet apprentice, Joel Woellner. Though he chose not to compete the first time he qualified for the semi-finals, Woeller’s patience has been ultimately vindicated after winning two prizes at this year’s Prix de Lausanne.

Over 250 hopefuls aged between 15 and 18 years old submitted DVDs to this year’s Prix, from which 20 competitors made it to the final round. Woellner was the only student from an American ballet school [Houston Ballet Ben Stevenson Academy] to win a prize. Ranking sixth overall out of 78 international competitors, he was awarded not only a scholarship but the competition’s contemporary prize.

Congratulations on your success Joel! How would you describe what you were feeling when you heard that that you had won two prizes?

Surprised, yet a huge amount of satisfaction! Having had such a vigorous training schedule, putting so much energy into Prix, then having it rewarded, is one of the best things I have felt. But even if I hadn’t placed, just being on stage at the finals of Prix de Lausanne is a moment in my life that I’ll never forget.

How did you prepare for the Prix?

The first time I was accepted [for the 2012 competition], Houston Ballet decided to hold me back for a year, so I didn’t go. This time though, I started my training for the Prix as soon as I heard that I was accepted. My teachers had agreed on my variation, so I went to YouTube to learn the choreography and to draw inspiration from the videos of professional dancers who had done it in the past. Once I’d learnt the steps to the variation I began visualising myself in costume on the stage of Prix de Lausanne.

I was then given rehearsal time with one of the Houston Ballet teachers, Andrew Murphy. Together we set the steps to music and slowly began to correct the variation. A few weeks later we were running the variation through and working very hard on perfecting every step. Mr. Murphy is well-known for running variations multiple times to build stamina and I was not an exception. After each rehearsal my legs were on fire, my lungs burning and my heart about to pump out of my chest. In each rehearsal, however, I visualised myself onstage dancing the variation perfectly.

I found that once I had gotten to Prix, dancing my variation on stage was easier because I had already been onstage in my mind. For me visualising is essential and a great tool that gives me confidence.

How did you select and prepare your contemporary solo?

I first saw my contemporary solo on the website of the Prix de Lausanne and instantly fell in love. The combination of the music, and the fluid and effortless movements of it captured my attention. I really love to tell a story through movement and emotion and I knew this solo was going to let me do that.

Joel Woellner performing his contemporary solo at Prix de Lausanne 2013. Photo by Gregory Batardon

I started rehearsals with my contemporary teacher, Pricilla Murphy. Her coaching was incredible! She taught me how to articulate my movements, as well as to keep a strong centre. Throughout my rehearsals with her I learnt so much about my body and how to dance in a truly contemporary style.

The day before I left for Switzerland a showing was put on in the studio theatre at Houston Ballet. The company members, the artistic staff and the Artistic Director were invited to watch, so many people came. This experience was a ‘dress rehearsal’ of what the Prix was going to be like. I was very nervous but I was well prepared so the performance went smoothly and the experience gave me so much confidence. I felt very self-assured afterwards and I knew that Prix was going to go well.

What do you think the judges were looking for most in their potential Prix prize winners?

I think the judges are looking firstly at the dancers’ technique and physique — can they dance steps confidently and do they physically look the part on stage? I also think they look at whether or not a particular dancer can survive in a professional environment.

From the small amount of company life that I have witnessed, I have noticed that the ability to learn and apply corrections to choreography is crucial. Someone that can take on board what a choreographer or artistic director is asking will always succeed. Having rehearsals with the choreographers of the contemporary solos represents a chance to showcase and improve upon this ability.

How have your wins affected your training goals?

Being a scholarship winner allows me to receive an apprentice contract with an associate company of the Prix de Lausanne. I’m proud to say that I have been offered and have accepted an apprentice contract with Houston Ballet. However, I know I’m not the ‘finished product’ as a dancer. Being a part of the company and dancing beside so many amazing artists will push me even more. I aim to work as hard as I can so that one day I may be as good as the people I’m dancing next to.

Prior to the Prix, you had also competed at the YAGP in 2010, at which you were offered and accepted a Houston Ballet II full scholarship. Do you think international competitions are important to a dancer’s development?

It’s clear that international competitions provide exposure and the chance to be offered places in professional schools. International competitions also allowed me to compare my abilities with the rest of my age group around the world.

That year [at the YAGP], I didn’t make the finals. I remember being disappointed, but I have always looked at this experience as a positive and I really think that’s how all competitions should be viewed. I knew that I wasn’t yet up to scratch with the rest of my age group so I was determined to make sure that I was.

For me, competitions are what started my professional career.

Without whom do you believe you might not have made it this far?

I decided that being a professional ballet dancer was what I wanted to do with my life around the time I started high school, so I moved dance schools and started taking ballet classes with Jo Ansell and Kim Traynor [at Ettinghausens Dynamic Arts, Kirrawee NSW]. Both took an immediate interest in my career. Their wisdom and knowledge helped me to improve my technique and choose the best path for my career. Ms. Jo and Ms. Traynor have been so influential in my career, and I want to thank them for their dedication and the hard work they have put into me. I truly believe that I would not be where I am today without their help.

What advice would you give young dancers who want to compete in the Prix?

The advice I would give is: Number one, absorb everything you can from the week. Every correction the teachers and coaches give you is invaluable. Stay in contact with every friend you make because the ballet world is so small that at some point down the road you are likely to bump into them again.

Number two, try not to think of the Prix de Lausanne as a competition and get hung up on whether you make the finals or not. Instead, look at the week as a way of enhancing your abilities technically and artistically.

Photo (top): Joel Woellner competes at Prix de Lausanne 2013. Photo by Gregory Batardon.

By Grace Edwards.

It goes without saying that in order to have a successful career in ballet, a dancer must eventually meet, if not transcend, the expectations of the directors who will employ them. Teachers shoulder the heavy responsibility of preparing their dancers for this eventuality. So how do those at the top of the field help their elite dancers to achieve this goal?

“Whether or not I like what’s going on in the ballet world, which I do, it’s making sure your dancers are quite up with the rest of the world,” says Leeanne Rutherford, Director of Ballet Theatre Australia.

Renowned ballet teacher Tanya Pearson of the Tanya Pearson Classical Coaching Academy believes that for better or worse, dancers must be trained to meet the ever increasing physical demands of the art. “The dancers nowadays are much more flexible and that’s demanded by choreographers. When I was training we were more musical and artistic. That was the emphasis then, not high extensions, but now at the moment there’s a trend towards that. Ballet has become a little more gymnastic.”

Pearson, however, emphasises artistry and the importance of interpreting roles to help her students stand out in the crowd amongst the many technical wizards churned out by ballet schools across the globe. In this way she reconciles her own teaching philosophy with the evolving standards of the art and believes that this has helped her dancers achieve success in international competitions such as the Youth America Grand Prix.

Apart from possessing a suitable physique and sufficient facility, the ability to coordinate steps easily, a high level of maturity and a ‘safety blanket’ of good grades are all crucial to a ballet student’s chances of professional success. However, some full-timers do transcend these ‘cookie-cutter’ prescriptions to be accepted into their courses. “Some students just have the ability to work on a regular basis,” says Rutherford. “It’s not a struggle, they’re just meant to do it. It’s like a calling for them.”

To help such talents, Beth James, Director of the West Australian Conservatoire of Classical Ballet avoids focusing too squarely on technique. “Jobs are vast, however, the dancers need to be in a good position to take them,” she says.  “It’s not just always the technique that’s going to make it there, it’s the whole package more so now. I try to help dancers in a more holistic way, to strengthen not only their bodies but their minds and their emotions as well. Organisational skills also need to be looked at.”

She points to self-belief as one of the most formidable but least talked-about obstacles to a young dancer’s success. “It’s learning to accept that although in their mind’s eye they need to be perfect, we are okay with them not being perfect and know that they are going to learn from their mistakes,” says James. “We respect that they are still above and beyond the acceptable range.”

Sonya Shepherd teaches Certificate II & III students at Charlesworth Ballet Institute. Dancer Charlotte Price (foreground) is now studying in Amsterdam. Photo by Darren Clark.

“Ballet’s got a bad rep for being a negative environment, so it’s about trying to turn that around,” concedes Briana Shepherd, who teaches at the Charlesworth Ballet Institute. “It’s actually quite hard. I mean, I often find myself being quite negative and I have to turn around and go, ‘Okay, would you want to hear it this way?’ You have to pay attention to how the students receive the corrections too, because everyone learns differently.”

At the Charlesworth Ballet College, the Institute’s professional programme, dancers are schooled in both academic studies and ballet. The college therefore takes on much responsibility for the overall development of their elite students as they enter their teen years. “Sometimes they want to go out, or they just don’t want to do it. But it’s making them understand that if they want a career they have to put in the hard work now,” says Shepherd. “I try to nurture the passion, to have them understand that yes, it is a lot hard work, physically and mentally, but it can be a very rewarding career path.”

Whilst finding ways to address the differing strengths and weaknesses of each student, teachers must also keep in mind the likely demands of their future employers. Tanya Pearson tries to tackle both by exposing her students to different methods of training such as Vaganova, RAD and Cecchetti.

“Each day we have a different teacher, male and female, and they’ve all been trained from different backgrounds. I feel that the exposure to these different styles will help them to follow any teacher that they may strike in an open situation. We also expose the students to regular performances with Sydney City Youth Ballet to be able to perform to an audience, because that’s what they’re training to become a professional dancer for,” says Pearson.

For particularly talented students, participating in international competitions can be beneficial in this regard, giving them an opportunity to see where they range amongst some of the world’s best pre-professional dancers. In a competition like the Youth America Grand Prix, dancers receive reports from the judges who are a selection of directors from schools and companies all over the world. “It’s interesting for students to see how other people see them and if they are marked fairly high in the range they can feel they are up there close to the winners,” Pearson observes. “They can know they’re going in the right direction and maybe next time they’ll be the winner or maybe next time, they’ll get a job. An audition process, after all, is a competition.”

But even for the perfect teacher with dream classrooms full of physically ‘ideal’ students, the fate of the young students is ultimately not in his or her hands. A student’s passion, work ethic and belief in their own capabilities are the major hallmarks of a young ballerina in the making, says Shepherd.

“If they’re willing to keep going, even when it becomes hard, they will get there.”

Photo (top): Charlesworth Ballet Institute students rehearse Paquita for a gala last August.  Liam Blair (former student now dancing with the Aalto Ballett Theater Essen,Germany, who was a guest for the gala) partners Charlotte Price. Photo by Darren Clark.

By Emily Yewell Volin.

Technique classes and rehearsals are a dancer’s job and a common misconception is that this training schedule provides enough exercise and conditioning to make a dancer performance ready. Not so. Dance Informa spoke with Nehemiah Kish (Principal Dancer, The Royal Ballet), Alice Hinde (Australia’s Dancenorth) and Glenn Allen Sims (Alvin Ailey American Dance Theater) to learn how they augment their workout regimes to achieve top fitness, stamina and sculpted physiques.

What type of fitness activities do you do in addition to your technique classes and why?

Nehemiah Kish – The Royal Ballet, UK
In addition to our daily ballet class, we are very fortunate at The Royal Ballet to have two sports scientists on staff as well as Pilates and Gyrotonics instructors. This season I have been working with our sports scientists. They test our strengths and weaknesses and give exercises accordingly. When I want to improve a certain area of my dancing or build a specific group of muscles they tailor the exercises to my needs. How much I do is based on my performance schedule, because some of the exercises leave me sore or fatigued. I like to take advantage of the days when I have fewer rehearsals and use those days to work on strengthening the areas I want to improve.

Dancenorth Company Dancer Alice Hinde. Photo by Bottlebrush Studios.

Alice Hinde – Dancenorth, Australia
In addition to ballet and contemporary technique classes, I cycle, do yoga and skip. I have these activities on rotation so that my body is subject to different kinds of movement patterns. I enjoy doing all of these activities because they are also a rest for the mind. I aim to reduce the noise of a busy mind and just enjoy focusing on my breath in yoga or even the scenery while riding. Cross-training is great for the body, it helps improve stamina and strength and overall shape and performance.

Glenn Allen Sims – Alvin Ailey American Dance Theater, USA
I am always working out, especially at the gym, when I am not in my technique classes. While at the gym my main concern is free weights, basically sculpting my upper body and breaking down muscles groups into days of the week (ie. Monday- abs and shoulders, Tuesday- back, Wednesday- abs and cardio, Thursday- chest, and Friday- abs and arms). This schedule can be altered depending on what I am dancing that evening, if there is a performance or the free time I may have during a rehearsal period. I also take Pilates classes that are generally on a private basis with a Master Trainer. I feel that a man should look like a man from the stage, not to say that someone that is slighter than I doesn’t look like a man, but it is my prerogative. As an Ailey man, it is part of the history and legacy that the men always looked great, sexy and fit. I am just trying to live up to this standard as best as possible with all the knowledge that I know about fitness. Working out really plays a huge role on how good you feel about yourself, and when you are feeling great in your skin it really shows!

What is your strategy for staying fit and conditioned during your off-contract time?

Glenn Allen Sims
I try to make sure that I am at the gym on a daily basis. When I am on off-contract time I make sure to really focus on as much cardio as possible – it’s the only way I can come back to work with the same amount of stamina that I left with. I love taking a spin class or just simply running on the treadmill. The best cardio workout that I am head over heels for is aqua aerobics! You tone and work all the muscle groups without the impact on your joints, which is a huge plus for me as a dancer. In terms of my eating habits, I eat the same for the most part. I food combine what I’m going to eat, meaning that I don’t mix proteins and carbohydrates in a meal. This really aids the digestive system in processing the food I am taking in. I’m big on eating whole foods and loads of greens (especially green juices), and making sure that what I am eating is of quality – no junk foods. I try to stay away from desserts.

Alice Hinde
During the summer holiday, I try to allow ten days to two weeks for rest. In that time I might do some gentle stretching. Swimming and biking are two of my favorite ways to keeping my body moving while I’m on holiday.

The Royal Ballet’s Nehemiah Kish and Zenaida Yanowsky in Raymonda Act III, photo by Tristram Kenton, courtesy ROH

Nehemiah Kish
Maintaining the same level of fitness and conditioning I have on contract is very difficult when I’m off contract. It basically comes down to time allocation – how can you give at least 5 hours a day to training as you would if you were working? So, I generally lead an active lifestyle which helps maintain some level of fitness, including regularly hiking, swimming and diving. As I am constantly on the move between cities and even countries, attending regular classes becomes difficult. To remedy this I always pack a skipping rope. It is lightweight and it’s easy enough to find a space large enough to skip in. Skipping also gets your heart rate up rapidly. I set my iPod to my favourite up-beat tracks and I can skip happily for 15-20 minutes.

How do you augment your exercise regimen while touring?

Alice Hinde
Touring doesn’t affect my routine that much. I don’t use a lot of machines or props when working out. Most of my exercises are based on using my own body weight.

Alvin Ailey American Dance Theater’s Glenn Allen Sims and Linda Celeste Sims in Jirí Kylián’s Petite Mort. Photo by Paul Kolnik.

Glenn Allen Sims
I carry a range of travel equipment with me. I have Spree resistance straps that help tone the body, the Perfect Push-Up and a Multi-toner, which is like the Pilates magic circle, but this was designed by DLFit and is a complete body workout. Of course, there’s only so much you can do in the hotel gym so most of my workout augmentation happens either in the hotel room or at the theater, unless there is a gym nearby.

Nehemiah Kish
I aim to tailor any fitness activities to things that can be done in a hotel room such as skipping and yoga. I find stretching extremely beneficial when on tour because of the increased workload when performing a show. Cardio and strength are usually taken care of by actually performing! A spa or bath also works wonders in decreasing lactic acid levels and keeping the body supple.

Top photo: Alvin Ailey American Dance Theater’s Glenn Allen Sims and Antonio Douthit in Alvin Ailey’s Opus McShann. Photo by Paul Kolnik.

By Linda Badger.

Adam Scown, a homegrown Aussie talent, made the trek to London about five years ago to give it a crack as a performer…and he hasn’t looked back! Dance Informa’s Linda Badger got the chance to catch up with Adam whilst he was back home for Christmas.

Why did you decide to move to London?
It was the one place I had the desire to work in. As much as I love New York City and Broadway, I just had no desire to move over or perform there. I visited a friend in London and I was walking around the West End thinking, ‘I’ve got to go here at some point.’ So after working in Australia for a while, I thought I’d make the executive decision to stop, rethink, plan my life and fulfill my desire to be on the West End.

How hard is it to make the move the London?
It was daunting to begin with. There is so much going on there, and you are moving your whole life. I gave myself two to three months to settle, set up my bank account and look for a good area to live (with help from my UK friends). I emailed my CV and etc. to agents, both in commercial and musical theatre, so I could gain work upon arrival. The shift was a slow process. It’s a life-adjusting period.

Adam Scown. Photo by Mug Photography.

What are three essential things you would suggest to do before making the shift to London? 
1. Pack…
2. Most Australians like to arrange their bank account before leaving. HSBC is good because it is both here and in London.
3. Contact agents so you can get work. I would recommend getting with someone who’s been there for a while already, who knows the good and the bad. There is a book called the ‘Contacts’ book which lists agents, but from that you can’t gauge who’s good, who’s bad, who’s going to work for you and who’s not. You need professional opinions from people who already work there.

Apart from physical items, I think the most essential thing would be to go over quite strong willed. It’s a different ball game and I think that’s probably one of the most helpful hints I could give. Know what you want to do. Know why you are going and what you want to achieve.

Does your Australian training give you an advantage in London?
I think that my overall training across the board in style, whether it be jazz, contemporary, ballet or tap [has given me an advantage]. We had to do everything in Australia. It’s the only way to survive in the industry here. I think having to learn everything, and attempt to be really good at everything, has enabled me to work successfully in London, across both musical theatre and commercial work.  You have to be able to do everything as there’s such varied work.

Adam Scown. Photo by Glenn Nutley.

You are now on casting panels and working as a choreographer. What have you gained from being on the other side of the table?
I’m gaining so much. I now understand what a panel at an audition thinks, says, and does before an auditionee walks in, and when they walk out. I now know how to prepare a lot more for my own auditions, and to not be so upset or annoyed if I don’t get the job. I don’t beat myself up about it because at the end of the day, if I went in and did the best I possibly could with no regrets, then I can’t do anything else. I am just not right for the job.

As a part of the panel, I’m all about giving people a fair go, no matter how experienced or not they are. It’s nice to sit back on that side of things for a change, and enable and encourage others to get the job. At the end of the day, I think a panel should really want an auditionee to get the job. They shouldn’t be ‘diva-ish’ or have an attitude about why they are sitting on that side of the table. You never know if one of those people who are auditioning for you will end up on a panel the next time you go into an audition. It is good fun, I won’t lie. I do prefer it, in a weird way. It’s a nice feeling, and I find it really interesting.

What’s coming out of London at the moment?
There are always people going really hard and getting new ideas and creative things out there. For example, the hip-hop group Blaze, who are here in Australia at the moment. It’s a new dance concept show. We generally have a few of those in London. They aren’t main stream West End, they are off West End. The dance industry itself goes to see these shows.  There are a lot of contemporary dance companies that always have shows going on, and it’s really refreshing because as much as everyone wants to go see a main stream musical, there is only so much you can gain from that. Being a dancer I get inspired by watching other dancers in all different styles.

What styles/trends are you seeing in London?
A style that is kind of ‘in’ at the moment is funk jazz, drawn back to the 80s and 90s, with modern elements. In musical theatre they’re tending to go old school, bringing back the top hats and that classic era of dance. Tap is getting out there more and more, which is really good. But I’m finding in both musical theatre and commercial, that acrobatics is really dominant. You need to flip!

So are you going to go and learn to back-flip?
I had a bad experience with a back-flip once, and now I can’t even look backwards, because it really freaks me out [laughing]. But one of my things to do this year is to go to acrobatic classes, because it’s one thing I don’t do.  I can do a couple of things, but nothing backwards. I am going to try and get over that….watch this space!

Top photo: Performer Adam Scown by John Oakley.

By Rebecca Martin.

After all the blood, sweat, tears, hairspray, blisters, bruises, melt downs, costume changes and fun, it’s time to graduate from full-time dance training.

Now what?

You may have dreams of Broadway or West End, Paris Opera Ballet or The Australian Ballet, the world stage or opening your own dance school, but it’s unlikely that you’ll be able to achieve these dreams straight out of training.

Here are some tips to help you reach your dreams.

Get experience – Loads of it

Fill your CV with as many different things as possible, and say yes to every opportunity that comes your way. Saying yes to job offers can strengthen connections with key industry players who can get you a step closer to your ultimate dream.

For all the thousands and thousands of dancers in Australia that want a job in their industry, very few of them will be fortunate enough to earn a living from dancing. There are limited companies with limited places, and directors want a performer that has treaded the boards a few times and can be relied upon to carry a show and handle the strenuous life of performing.

Get an agent

Many auditions are by invite only and must be done through an agent. Find yourself a good agent who knows your strengths and weaknesses who will source work for you.

Think outside your comfort zone

If you’ve trained in ballet, consider musicals.  Phantom of the Opera has roles for ballet dancers. If you’ve trained in jazz, take some acrobatic classes and audition for a cruise ship. Consider working behind the scenes in choreography and production. Audition for TV commercials and TV shows. Teach other dancers, perform at theatre restaurants, try character roles at Movie World and other theme parks around the world, put on your own show, travel, experiment, don’t stop learning and don’t turn down any opportunity.  You don’t know where it may lead.

Dance Informa spoke to some dancers who have had varied and fulfilling careers since graduating from full-time dance schools:

Hayley Uberti
Graduate of The Space Dance and Arts Centre

What are some of the things you have done since graduating?
Since graduating I have been very fortunate to be able to work with some great choreographers and experience different performance avenues. I have worked for Grayboy Agency (William Forsythe’s choreography) on a Princess Line Cruise Ship that sailed the world, I have been a part of three pieces performed by Vertical Shadows that were directed and choreographed by Stephen Agisilaou, [and] performed in various corporate shows, events and video clips. I have had small acting roles with Opera Australia, short films and TV commercials and worked around Australia and Singapore with suit work contracts. I have been teaching for over 10 years and have recently ventured into professional choreography, including corporate events and fashion shows.

What advice do you have for new graduates who are embarking on a dance career?
Be patient, attend as many auditions as possible to gain experience and expose yourself to various choreographers who may not cast you today but will always remember faces. No doubt you will come across them again.

Don’t let your full-time training go to waste, keep up classes and commit yourself to continually building your craft and keeping in shape. Keep those ballet classes up!

Robert Kelly

Robert Kelly
Graduate of Western Australia Academy of Performing Arts

What are some of the things you have done since graduating?
While training at WAAPA I was fortunate enough to take an original piece I created to rural areas in Western Australia. Then later I danced in the corps de ballet with West Australia Ballet.

After Perth I went on to dance as a guest for the National Theatre Ballet School in Don Quixote and Le Corsaire, both of which went on tour all around Victoria. I ended up dancing in three other touring companies in Australia all of which were a great artistic experience and also a paid experience…which is not so easy to find these days.

I have taught company classes and student workshops for people from all over the world. I’ve also created major works locally and overseas to audiences of more than 2000 and was employed by the Catholic Church to create a surprise work for a congregation.

Aside from being a dancer I’ve been a choreographer, teacher, costume designer and director of my own company.

What advice do you have for new graduates who are embarking on a dance career?
If you start with an open mind but a solid discipline you can kick a few goals. Most importantly be fair to those who were even 50 percent as fair to you.

If new graduates are planning to use their Bachelor of Arts, Diploma of Dance or Diploma of Education for a career in Australia they are on solid ground for entry into arts psychology, physiotherapy or other positions that are not directly movement related.

Always be polite in the audition process to everyone. Use this opportunity to make friends, contacts and evaluate situations. The dancer has to be out for themselves first and foremost as it is a ‘cut-throat’ industry but that does not mean that you can’t make a good friend or two.

Katie Hurst-Saxon

Katie Hurst-Saxon
Graduate of International Ballet Academy NZ

What are some of the things you have done since graduating?
After graduating at 16 I was offered a contract with the Royal New Zealand Ballet straight away. By the age of 19 I had my first Principal role. I spent nine years with RNZB, dancing many lead roles and also different styles of dance. Along with the pure classical ballets we performed, we also did a great amount of contemporary and neoclassical works. After nine years I decided I needed a break, so I headed back home to Christchurch and did a bit of teaching. I choreographed a few dances for students doing competitions too. After about a year I realised that I did still want to dance and I have been freelancing for the past year. I did Angelina Ballerina with RNZB (as Angelina), Giselle with Melbourne Dance Theatre (as Giselle) and am now rehearsing for the Australian Conservatoire of Ballet’s Sleeping Beauty (as Carabosse and Aurora.)

What advice do you have for new graduates who are embarking on a dance career?
Don’t give up! It’s likely that you’ll have rejection and criticism thrown your way, if you let that get you down you’ll have trouble surviving in this world. Use the bad to make you even stronger. Be strong, be confident, know what you want and don’t stop till you’ve done everything you can to get it.

Jayden Hicks

Jayden Hicks
Graduate of The Space and Ministry of Dance

What are some of the things you have done since graduating?
In the past two years since graduating I have performed with Vertical Shadows (Release The Stars and On The Rocks), in Stage Art’s production of Matalor, completed a secondment with Chunky Move for Keep Everything, toured with Melbourne Ballet Company in On Air and Infinite Space, was a featured dancer in Quirky Productions’ La Cage Aux Folles, performed in the burlesque piece Holy Ship at Red Bennies, appeared in a music video for singer Sam Burke and performed in Industry Nights’ Immersed and Underground, as well as Short and Sweet: Dance. 

I teach for The Space, Jason Coleman’s Ministry of Dance, Elevator Studios, Gippsland Academy of Dance, Vicki’s Dancing Academy, Backstage Dance Studio, Pole Divas and Volar Dance Centre. I also do dance and aerial consulting including silk, hoop, pole and dance collaboration.

What advice do you have for new graduates who are embarking on a dance career?
Don’t try to follow in someone else’s footsteps. The beautiful thing about the dance industry is that there is no right or wrong way to succeed. There is no set direction that you must take once you graduate. Keep expanding your knowledge of dance and the dance community and find your own way to success. Also don’t pigeon hole yourself into a stereotype. The more versatile you are the easier it will be to find work.

Gina Brescianini

Gina Brescianini
Graduate of McDonald College and The Australian Ballet School

What are some of the things you have done since graduating?
I have opened my own yoga centre called Radiant Awakening in Sydney where I teach Kundalini Yoga and Pilates. I also teach ballet to adults at Sydney Dance Company studio. I teach ballet, yoga and Pilates to the senior students at McDonald College and ballet and Pilates at Dorothy Cowie School of Dance.

What advice do you have for new graduates who are embarking on a dance career?
Give it all you’ve got everyday. Learn as much as you can from all teachers, choreographers and dancers. Have fun and enjoy it, stay focused and know that we all have good days and bad days and it is all worth it!

Samantha Dodemaide

Samantha Dodemaide
Graduate of Patrick Studios Australia

What are some of the things you have done since graduating?
You name it, I’ve most probably given it a red hot go. My ultimate dream was always to be a musical theatre performer, but I knew this was also the dream of many others and that it would take a lot of hard work (even after I had finished three years of full-time dance training). So after graduating I made sure I didn’t stop training, made sure I was attending dance class and singing everyday, taking acting lessons and working hard at the gym.

I was lucky enough to land a job performing at Witches In Britches theatre restaurant, as part of their five-person comedy show (which allowed me to sing, dance and act.) I also landed a few small-scale jobs both here and overseas, fashion parades, club free styling, kids’ shows such as A Looney Tunes Christmas in Singapore and touring pantomime shows of Cinderella and Sleeping Beauty.  I travelled to Dubai multiple times as part of a cheerleading team for the Dubai Rugby 7’s Tournament. I was working for a children’s musical theatre school teaching dance and drama most nights of the week.

Throughout all of this I was attending multiple musical auditions but couldn’t seem to break my way in. Then after what seemed like an eternity it finally happened. Since landing my first show which was Wicked at Universal Studios Australia I have also now performed in Anything Goes, The Producers and A Chorus Line. Most recently I have been performing alongside Geoffrey Rush in A Funny Thing Happened on the Way to the Forum.

What advice do you have for new graduates who are embarking on a dance career?
Follow your dreams and they will come true! I truly believe you can make anything happen if you put your mind to it. As long as you are patient, work hard, and are 110 percent committed to your craft you cannot fail. You can never stop improving, and the more time and energy you spend improving yourself, the more success you will have.

Top photo: Dancer Katie Hurst-Saxon

By Emily Yewell Volin.

Dancers lead curious lives – and no time of year allows for full dance immersion quite like summer time.  It’s the time of year when young dancers typically have time to participate in summer intensives and workshops, where it’s customary to spend 8-12 hours a day studying what they love – dance.  So, what about the weeks between workshops or during family vacation time?  How can a dancer stay fit, broaden his/her artistry, and stay prepared for auditions?  Here are a few ideas to inspire summer growth in body, mind, and career preparedness.

Cross Train
Summer breaks provide terrific opportunity for a dancer to hone his/her overall fitness.  Dance training is largely non-aerobic and a dancer needs to build his/her cardiovascular fitness and master technique.  Summer is a great time to add some aerobic activity into your training regime.  Swimming, fitness walking, jumping rope, biking, climbing stairs, and in-line or roller skating are just a few of the fun activities that can help increase cardiovascular strength.

Seek New Experiences and Notice Everyday Ones
Dancers are artists as well as technicians and choreographers rely upon your ability to evoke emotions and/or characters in every piece you perform. One of the best ways to train your body and mind to call upon these qualities is to begin noticing the world around you through a dancer’s eyes.  Everything you do and experience elicits a postural reaction in the body.  Notice these reactions and draw upon them during future class and rehearsals.

Volunteer
Dancing is hard work and it is easy to lose sight of the qualities that first drew you into it.  Arrange to teach a class or perform for a group of people who would not otherwise have exposure to dance this summer.  You may be surprised by how excited the opportunity to dance makes people.  It is likely their enthusiasm will be infectious.

Headshot
Summer is a great time to update your headshot.  Just be sure you have not spent too much time in the sun before the shoot and that you do not have visible tan lines during the session.

Bio/Résumé/Demo Reel
Dancers are artists, technicians and business people.  Make some time to update your résumé, biography, and demo reel this summer.  Chances are you have new accomplishments since your last did an update and there’s never time to do your best revisions when rushed by a sudden need for the materials.

Journal
Reflection and goal setting are vital to your progress as a dancer.  Begin journaling about your short and long-term goals and, if you already have a class-corrections or rehearsal journal, review your past goals and corrections.  Reflect upon how much you have improved and seek to address areas still in need of improvement.

Read about dance
Reading about those who came before us in the world of dance and learning from their career paths informs our own choices and goals.  Dance Informa has a wealth of inspiring interviews and advice columns. Just type a topic or artist’s name into the top search bar (on the right) and see what you can find.

Watch dance
Live performances, online sources, movies – it doesn’t matter where you find dance; watch it.  You will learn from the styles you do enjoy and you’ll learn from those you do not.  Work toward establishing your own aesthetic and be open-minded.

Open Studio
Or, open living room!  Invite some dancing friends to join you and give each other a barre or class.  Some studio directors have designated ‘open-studio’ days when students are allowed to work in a studio by themselves, while the owner is on the premises.  If your studio is not available during the summer months, clear the living room furniture, use some chair or sofa backs as a barre and dance.

Choreograph
All these dance-related activities may leave you with something choreographic to say.  Play with your ideas.  Be direct about what is inspiring you and try to plan and/or create a work to communicate your ideas.  You may develop a short phrase or an entire piece.

Write a thank you note
Recall a person who has supported or inspired you as a dancer.  This person may be a teacher, family member, friend, or someone you have never met.  Write a note, either email or hand-written, and deliver it.  Recognising the people who have supported your dancing will inspire them and you.

Top photo: © Sanches1980 | Dreamstime.com

By Emily Yewell Volin.

Dance study trains more than the body, it influences every part of a person. These benefits apply to any student who studies dance, whether on a professional or recreational track.  Consider these examples of how dance training helps develop crucial life skills.

Discipline & Etiquette

Practice leads to an artist’s personal best and steady progress is only possible when a student commits to completing a series of lessons under the guidance of a qualified instructor.  Dance classes follow long-established protocols and syllabi for the proper training of the body.  These protocols include matters such as dress code, tardiness, and expectations for how to address classmates and instructors alongside technical instruction goals.  In turn the dancer develops the sense of respect for the process of hard work, earned goals, and a trained and professional instructor.

Organisational Skills

Dance training requires a person to be organised.  Having the necessary shoes, hair, class uniform, and costumes for performances plus completing homework and other life events around a schedule of dance classes can be a struggle. A successful dancer must plan his/her short and long-term schedules and leave nothing to chance.  Dancers are frequently the students who submit school assignments early because they can not risk having extra work during a performance week.  The ability to prioritise and set short and long-term goals is a skill dancers keep for life.  Dancers frequently see the ‘big picture’ and strategise ways to accomplish everything required. Any project can be viewed as a ‘production’ and dancers frequently see that process as linear and result-driven.

Responsiveness to Constructive Criticism

Dancers learn that growth requires constructive criticism from mentors and professionals in the field. Good instructors teach students that corrections are a teacher’s compliment and something to be desired.  This ability to be coached is another asset to trained dancers. An instructor’s job is to be the technical coach with a trained artistic eye to help a student work toward accomplishing goals.  This is a partnership and, in varying degrees, the instructor and student maintain a dialogue on how to best accomplish the next level of training.  The coaching one receives during dance study and the dialogue it requires provides a positive model for teamwork and positive management.

Health

Dancers quickly learn the ramifications of either eating too much or too little, or simply the wrong thing for his/her body while dancing.  Many associate their physical moods with the foods they use to fuel their bodies before they understand the nutritional science behind these fluctuations.  Dancers learn what foods will properly fuel them while helping maintain a healthy level of fitness and learn their own requirements for sleep and rest. This introduction to basic nutrition, sleep requirements and physical fitness provide the starting point for a life-long interest in good health.

Presence

Dancers carry themselves in a unique way.  They can always be spotted navigating a crowd or standing in a way that showcases their awareness of physicality.  This is both postural and psychological.  The dancer trains to become comfortable in his/her own stature and familiar with how articulations of the body speak volumes.  When a dancer applies these skills to a non-dance environment he/she is often seen as statuesque, regal, and confident – all seen as positive traits in the work force.

Personal Style

Dancers frequently develop a personal style and typically rely less on popular culture’s influence about that style.  It’s possible that all the time dancers spend training their artistic aesthetic makes them more adept at dressing-to-impress.  It’s also possible that, as in costuming a performance, dancers enjoy costuming their days.  Clothing, hair styles, and accessories become fun props and dancers are generally comfortable dabbling in a variety of looks based upon their current personae.  These skills help a person stand out from a crowd and be a true original – this can be an entry point for becoming a leader.

Grooming and Basic Self Care

Dancers must be clean and well-groomed.  They learn that while there is a time for experimentation in dress and appearance, there are also times when a uniform appearance is necessary.  Hair buns and pink tights come to mind as possible conformity requirements that are in place for instructional purposes.  Dancers learn to listen to their bodies’ aches and injuries and to responsibly handle them.  The ability to discriminate between the time to be experimental and the time to rely on established decorum is essential to many professional situations.

Inventiveness

Dancers use creative thinking skills in every class and rehearsal.  There is technical information going into their minds and being processed through their bodies. Simultaneously there is the need to artistically interpret the movement and to navigate through the space without accidental outcomes.  These simultaneous processes require a dancer to sequence and plan.  The rehearsal process demonstrates the editing process – something integral to the creative growth of any project or performance. That inventiveness is a key 21^st century skill currently fueling educational and business practices.

World View

Dancers have many opportunities to become acquainted with other dancers from around the country and around the globe.  Dance allows people of different cultures and customs to come together through training and performance opportunities.  This also means there could be students taking class together who share the language of dance but no means of communicating in a shared spoken language.  The ability to see others as a reflection of ourselves and to recognize our similarities instead of our differences goes a long way toward creating peaceful interactions outside the studio and theater.

Reflection

Dancers frequently thrive upon growth – technical, artistic, and personal.  And, the dancers’ ability to reflect upon past strategies and outcomes allows them to continue progressing at a suitable pace. This ability to self motivate and regulate creates people with a tremendous capacity for vision and the skills to implement new ways of approaching old issues.

Photo: © Dml5050 | Dreamstime.com

It’s Summer again!
Time for holidays, beach parties and….SUMMER SCHOOLS!

Check out Dance Informa’s Summer Dance Guide, outlining the best dance summer schools across Australia.

Find out where you can learn something new, meet new friends, make industry connections and develop your technique. Just click on the cover below:

Glen Street Theatre, Sydney
November 30 2012

By Linda Badger.

Sydney City Youth Ballet brought us a delightful production of the Christmas classic, Tchaikovsky’s The Nutcracker. With all its festive charm, it was the perfect way to start the last few weeks leading up to the biggest celebration of the year.

A beautifully adorned stage with great details evident in the set, props and costumes was revealed in an opening scene created to take guests on a journey of fantastical proportions, into the imagination of a little girl named Clara.

Choreographically adapted for a young cast who were playing most of the lead roles, this was a very good show for a student-based production. Under expert direction, and with a scattering of professional and ex-professional dancers, this show was overall an entirely entertaining and delightful experience.

The opportunity to be involved in a full-length production for young dancers, whether they are hoping to one day make dancing their chosen career or not, is priceless experience and training. With mostly seamless set changes and many overlapping roles within the casting of the ensemble, the company and its crew should be applauded for a job well done.

There was opportunity for much talent to be showcased, with a rotating cast for the lead roles, so that more than one group of dancers could have their moment to shine. The guest artists included past Tanya Pearson Classical Coaching Academy student Halaina Hills, who is now a dancer with The Australian Ballet. She danced beautifully with her pas de deux partner Christopher Rodgers-Wilson, also with The Australian Ballet.

The strengths of the production were definitely the visual design aspects, with much detail and a sense of authenticity about the costuming, sets and props. Complimented by the commitment to the acting of the roles played by the students, there was not a dead moment, and not a cast member not fully engaged. This drew us in as an audience and kept us wanting to see what came next, even for those who have seen this particular ballet multiple times.

Weakness came unfortunately in the technical side of the dancing, across all ages of the student body involved. There were many beautiful lines with students trained to create exquisitely lengthened arabesques and développés, but transitionally, much was left much to be desired. In saying this, however, one must remember that these were mostly students and hopefully with continued guidance their understanding of the movement will be developed more fully in the years to come.

There were some extremely strong technical dancers scattered amongst the lead and ensemble roles, notably the dancer playing the doll in the opening scene and the young dancer portraying Clara in this particular cast. They were exciting to watch.

Musicality was strong most of the time, but there were moments where it could have been better utilised. This is most likely a skill set still in the development stage.

Overall, this was a sweet and entertaining ballet. It was very family friendly for those of all ages. The young cast was talented and performed with a strong sense of conviction. I really look forward to seeing all that the future holds for the young dancers in the SYCB Company.