It has been a sensational year for young Australian dancers competing at international ballet competitions. The talent (read dedication, hard work and perseverance) of Australian dancers really does run deep. In Dance Australia we have published article after article celebrating their achievements. Whatever you attribute this success to -- something in the water; the work ethic of Australian dancers; the outstanding training they receive or our national competitive nature -- there’s no doubt that some young dancers have benefited hugely from the exposure and opportunities provided by international competitions.
Yet behind every success story is the real story of a family weighing the dreams of their talented and aspiring son or daughter against the expenses and sacrifices required. There is a price to pay -- literally as well as in terms of the time and energy required to support and often accompany the child overseas. So how do families weigh up the benefits versus the cost and what are the other options or avenues if the equation does not balance? The good news is that participation in international ballet competitions is just one of the pathways for young dancers to realise their dreams.
Young dancers have many options to compete internationally. The calendar is dotted with prestigious competitions. These include the Prix de Lausanne (Switzerland); Youth America Grand Prix (New York); Alana Haynes Australasian Awards (New Zealand) open to dancers in Australasia; The Genee International Ballet Competition (different country each year), as well as a range of international syllabus competitions. Every year young Australian dancers submit DVD applications in the hopes of selection as a finalist at these competitions.
So what are the benefits?
Growth
Contestants are seen by company directors and dance teachers from around the world. In turn, the contestants' see other students and training, which broadens their horizons.
Calvin Richardson is a pupil at the Royal Ballet School in London and was previously with Victorian College of Arts Secondary School (VCASS). He says that competing in the Prix de Lausanne in 2012 was life changing. “I learnt so much by being around dancers and teachers from so many different places around the world -- it really opened up my eyes. As happy as I was in Melbourne, I was living in a bubble of what I thought the dance world was.”
Performance Experience
Undoubtedly one of the highlights for students is performing well-rehearsed and polished routines on an international stage. Lucy Christodoulou (from the Annette Roselli Dance Academy – ARDA) in Brisbane, was a Top 12 finalist in the Junior Women’s Section of the Youth America Grand Prix (YAGP) in 2015. “Dancing on the stage of the Lincoln Theatre in New York is the high point of my dancing career to date,” she says. Head of Ballet at VCASS, Maggie Lorraine, acknowledges that although performance is built into the curriculum, “there are very few opportunities for our students to perform classical repertoire solos in public.” She says that the opportunity for students to learn these solos is an important element of their education.
Opportunity
Apart from the prize money on offer, the chance to be seen by directors of international ballet schools is one of the main advantages of competing. For dancers in Australia, this can be a rare opportunity. According to Karen Durbin (mother of Caleb Durbin, a contestant at the Prix de Lausanne 2014 and previously a student at the Marie Walton Mahon Dance Academy in Newcastle), “the opportunities for Australian dancers in Australia are very limited and you need to put yourself out there so the world can see what you’ve got.” As a result of his involvement, Caleb was offered eight positions at schools and training facilities in the USA and Europe and eventually accepted a position at Houston Ballet II at the Houston Ballet Academy (CHECK???), where he is now an apprentice.
Maggie Lorraine advises that on the final day of competition, the Prix de Lausanne hosts a networking forum which gives candidates not accepted for the finals an opportunity to be seen by schools and company directors from around the world. Finalists who do not receive a prize also have interviews arranged for them after the award ceremony. “The opportunities offered to young dancers by this extraordinary competition are boundless,” she says.
Self Esteem
For many dancers, success at an international competition opens their eyes to the possibility of a career in dance. For Ashleigh McKimmie (Estonian National Ballet Company, formerly Royal Ballet Company, VCASS and Carmel Amelia School of Dance (WHERE???), participating in the Prix de Lausanne gave her the confidence to audition overseas and “kick-started my dance career”.
Additionally, Maggie Lorraine advises that, at VCASS, students entering a competition receive private coaching on their solos. She says: “The opportunity for students to come to grips with difficult repertoire contributes to their self-esteem and confidence.”
Enhanced Direction
For Lana Tramonte, a student with Tanya Pearson Classical Coaching Academy (TPCCA) in Sydney, competing in the Youth America Grand Prix and Alana Haynes Australasian Awards this year improved her motivation. “You come home determined to become a better dancer and you can feel yourself improve quickly since you have a clearer vision of what you want to achieve.” The experience was also very affirming for Olivia Betteridge (TPCCA), who competed in the Prix de Lausanne this year. “Receiving feedback from the jury was also a big part of what I took away from the competition. It helped me to understand my strengths and weaknesses and helped to make a clear path for 2015.”
Studio Recognition
For the studio or school of a successful dancer, there is much to celebrate. Without doubt there is great kudos in a student being successful,” says VCASS's Maggie Lorraine. She advises that the whole school community is lifted “by one of their own participating in an international event”.
While it is clear that the benefits of competing are significant, there is a range of considerations which students, families and teachers need to take into account. Some of these are:
Commitment
For many parents, the level of commitment of the student is one of the deciding factors. This was certainly the case for Natalie McGrath, mother of Rebecca Blenkinsop (a competitor in the Prix de Lausanne earlier this year and a student at VCASS). “She had shown me, her teachers and her peers a serious dedication and commitment to dance, with a very clear end goal in mind”. Without her daughter's evident commitment she would have been reluctant to go along with her plans, “as the financial cost to the family is significant and not something we could have supported if it was just a recreational hobby”.
Readiness
According to Nicole Sharp, general manager at TPCCA, although students are encouraged to take part in competitions, a direct and honest approach is always important. “We are always honest in our assessment of a student’s suitability.” At times, “we have recommended that these costs may be better spent elsewhere to benefit the student’s progress and technique”.
Cost
Let’s not beat around the bush -- the costs for families of competing can be prohibitive. Into the mix are airfares for the student, a parent (who usually accompanies their child) and the teacher (whose fare is often paid by the parents of the participating student). Add in application fees; DVD production costs; accommodation; costume costs and class fees. John Richardson, father of Calvin, says it can “be a very expensive exercise” and committing does depend on “the level of cost burden a parent is willing to bear”. As he says, while he was in a position to be able to financially support Calvin to both compete and to then live in London while at the Royal Ballet School, not everyone can afford to do so.
Sally-Anne Freeman, mother of Audrey Freeman (TPCCA) who competed in the YAGP and Alana Haines Australasian Awards this year, estimates the cost of competing at both competitions was $25,000. “We don’t holiday! Between gymnastics and ballet this is our travel,” she says. With daughter, Audrey (11 years) claiming “I loved YAGP -- I want to go back every year if I get in,” it seems the Freemans will be getting to know New York very well.
Of course, the competition is really just the beginning. If a student is offered a place at an international school as a result of competing then there are can be a range of other expenses including visa costs, accommodation costs for a student boarding at a dance school as well as ongoing travel expenses. Of the decision to have Calvin’s teacher, Maggie Lorraine, accompany them, John says it was a no-brainer. “Maggie was the reason Calvin was given this opportunity in the first place. The benefit of having a teacher present, who understands dance, can talk the language and knows the people who might be interested in your son or daughter and can provide moral support is invaluable.”
Time
The time commitment for parent and child is considerable -- travelling time; time away from family and other children; time away from work; as well as the extra time for classes in the lead-up to the competition. For teachers, with busy studios to run, taking time out to accompanying students to international competitions is also difficult.
Distance
Apart from the Alana Haines Australasian Awards, held in Wellington, NZ, every second year, competing in international competitions involves significant travel. Accessibility to competitions is definitely one of the drawbacks for Australian dancers. Natalie McGrath (mother of Rebecca Blenkinsop) advises that extra time needs to be factored in to deal with the time differences and acclimatisation for dancers going into their pre-competition classes.
Winning vs well-rounded dancers
There is a danger for students focused on winning competitions to sacrifice a well-rounded technique for the perfection of one or two solos. Patrick Armand, one of the male solo coaches at the Prix de Lausanne, has commented in the past about an imbalance he observes between perfected solo performances and deficient class work. Sinead Vidler, of Academy Ballet in Sydney, advises that she, along with the parents of one of her “particularly talented dancers”, made the decision this year not to compete so they could dedicate the year “becoming a well-rounded dancer”. While she believes that this dancer could have been successful, they decided it was more important to develop the sound technique needed by a professional dancer than to win one competition.
Pressure – for Sharon Christodoulou, mother of Lucy Christodoulou, one of the considerations for participating in the YAGP in 2015 was “the extra pressure it might have placed on Lucy, or rather, the extra pressure she would have placed on herself”. Having a teacher present who can assist with the mental and physical pressure of the competition can be crucial for dancers who might become overwhelmed or intimidated by the experience. Sinead Vidler advises that studios need to prioritise the individual journey of the student rather than pushing dancers, sometimes beyond their capabilities.
There is much to consider when deciding to compete overseas. The good news is that competitions are just one of the pathways for young dancers to realize their dreams. If students want to dance overseas, they can still audition by the usual method.
For students of the Royal Academy of Dance, the exciting news is that the Genee International Ballet Competition will be held in Australia at the Sydney Opera House in 2016. Expect a strong Australian contingent!
Photo: The adjudicator's panel at the 2015 Youth America Grand Prix.