Innholdsfortegnelse for July-August-September 2025 i Dance Australia

FULL-TIME training has been the launchpad for many dancers, though certainly not all, and the paths that follow are rarely straightforward. For some, it leads directly to the stage. For others, it carves out careers in choreography, teaching, production or even entirely new disciplines. In this issue, we present our annual Full-Time Studies Guide alongside stories that reflect just how varied, demanding and rewarding a life in dance can be. You’ll read about Zai Calliste, whose studies at English National Ballet School have led to his first professional contract with the company, and Amelia Townsend, who has just made history at The Royal Ballet. In contrast, Sarah Bakker’s story reminds us that careers can circle the globe, move across genres, and still bring us back to where it all began.…

A ABLAZE DANCE ACADEMY ADAMSTOWN HEIGHTS 0437590054 ada.classicalcoaching@outlook.com ADA offers elite training in classical ballet and contemporary, providing talented dance students with the necessary coaching to pursue a career in Classical Ballet or Contemporary Dance. Students are trained in the Royal Academy Of Dance as well as. Vaganova method of classical ballet. ADA offers a range of specialised training programs from Tiny Tots Program and after school programs, part time programs all the way to our comprehensive Full-Time Program. ADA specialises in nurturing the individual talent and needs of each of the students in a caring and supportive environment. COURSES Full-time students may choose to gain a Certificate III in Dance, and/or C Certificate IV in Dance or in Dance Teaching and Management through ATOD RTO31624. Main subjects: Classical ballet…

EIGHTEEN-YEAR-OLD Australian dancer Ernesto Young, originally trained in Sydney at Alegria Dance Studios with Hilary Kaplan & Archibald McKenzie, has been awarded a 2025 Marten Bequest Travelling Scholarship, recognising his talent and commitment to a career in ballet. Now based in Berlin, Ernesto is continuing his full-time training at the Staatliche Ballettschule Berlin. The $50,000 scholarship, distributed over two years, will support his tuition, living expenses and future artistic pursuits abroad. Ernesto describes his time in Berlin as transformative. “Berlin is seriously the epicentre in Europe for art and culture and expressing yourself,” he says. “I feel like I’m really finding myself as an artist, especially through contemporary.” He also reflects on the mental maturity needed to live and train overseas. “There’s kind of a stigma about leaving home young,…

WHEN most musical theatre artists dream of performing on Broadway or in London’s West End, debuting in a starring role on the legendary 42nd Street then spending a decade working in both destination theatre districts puts Brisbanebred Sarah Bakker in a special league. At just 23, after performing two starring roles in Australian productions – alternating 135 times as Mary in Mary Poppins and understudying Christine Daaé in The Phantom of the Opera, Sarah landed her big break covering the flying nanny in New York’s New Amsterdam Theatre. Getting to go on as the show’s star was “the most incredible feeling ever”, one she revelled in 16 times before Poppins closed. The soprano’s Broadway dream continued when she reprised understudying Christine in Phantom. The role had always been a natural…

THE recent performances of Manon were particularly impactful, notably featuring Paris Opera Ballet Étoile Hugo Marchand as guest artist. It was a vivid reminder of the profound effect that these artists can have on our stages, for audiences and dancers alike. Seeing Marchand as Des Grieux was a rare star turn. An Étoile of the Paris Opera Ballet since 2017, his debut with The Australian Ballet marked a significant cultural exchange. Artistic Director David Hallberg clearly recognises the value of inviting international artists as vital infusions of global artistry. Artists like Marchand bring not only technical mastery, but the nuance of their training and artistic lineage. For dancers, the experience is electrifying – watching how they move in the studio, how they inhabit a role, and sharing fleeting moments on…

WHEN Salomon Bausch asked Meryl Tankard if she’d like to perform in a remount of his mother’s seminal work, Kontakthof, along with other members of the original cast, she immediately knew the idea was a non-starter. Having been intrinsic to the work’s creative process and having danced it countless times in her years as a leading soloist with Bausch’s Tanztheater Wuppertal, Tankard was familiar with the rigours of performing this more than three-hours-long work, for the most part danced in stilettos. It was the first work of Bausch’s to receive widespread acclaim—previously audiences had often booed and walked out—establishing her as a major choreographic force. Bausch had apparently mused that she would love to see the original cast perform it in thirty years’ time, and in succeeding years she restaged…

IN sharp contrast to some of the more adult-themed ballets presented by The Australian Ballet in recent times, the national company is about to revive David McAllister’s The Sleeping Beauty in Adelaide, Brisbane and Sydney. This ballet is a treat for all ages, full of high impact visual appeal and a joy to watch. McAllister’s version was first performed in 2015 and is ripe for restaging. As former Artistic Director of The Australian Ballet, McAllister’s work will be handed back to dancers who initiated their roles in his take on the classic, as well as inviting dancers who are newer to the company to embody the famous roles. Jarryd Madden has danced Prince Desire and shares with our readers what he likes most about dancing in this particular production: “There…

Stepping into Full-Time Dance What does it mean to commit to full-time dance? For some, it is a step toward the corps of a classical company. For others, it is the dream of eight shows a week on a musical theatre stage, or the creative freedom of an independent performance career. Increasingly, it is also a springboard into commercial contracts, international cruise lines, touring productions, choreography, film, education or teaching. It may lead to new creative roles that are only just emerging. Whatever the destination, this is the deep breath before the leap. At its best, this chapter is transformative. It demands discipline, stamina and self-awareness. You will be asked to push your physical limits, confront frustration, sit with uncertainty and find new reserves of resilience. And there will be…

AUSTRALIAN CAPTIAL TERRITORY DANCE DEVELOPMENT CENTRE .................................. 51 THE ACADEMY INTERNATIONAL ..................................46 ENGLISH NATIONAL BALLET SCHOOOL, THE.............56 ABLAZE DANCE ACADEMY ............................................44 ACADEMY OF DANCE AUSTRALIA, THE........................46 ACADEMY OF MUSIC AND PERFORMING ARTS (AMPA) ............................................................................46 ALEGRIA DANCE.............................................................46 AUSTRALIAN COLLEGE OF PHYSICAL EDUCATION (ACPE) ............................................................................. 50 BRENT STREET .............................................................. 51 DANCE NORTH ACADEMY .............................................52 DANCEWORKS SYDNEY.................................................52 DARGIE ENTERTAINMENT.............................................54 ED5INTERNATIONAL .....................................................54 ETTINGSHAUSENS PRO ................................................56 EV & BOW FULL TIME DANCE TRAINING CENTRE............................................ 56 HUBPAC - THE HUB PERFORMING ARTS CENTRE ....60 JOANNE GRACE SCHOOL OF DANCE ...........................60 LEE ACADEMY FULLTIME...............................................60 MCDONALD COLLEGE, THE ..........................................60 NAISDA DANCE COLLEGE.............................................. 61 NATIONAL COLLEGE OF DANCE ................................... 62 NATIONAL INSTITUTE OF DRAMATIC ART (NIDA)..............................................................................64 NEWCASTLE BALLET THEATRE....................................65 NEWCASTLE DANCE ACADEMY ....................................66 NOVA CITY BALLET ........................................................68 NSW INTERNATIONAL BALLET ACADEMY ...................68 SYDNEY COLLEGE OF DANCE ....................................... 76 SYDNEY…