Jane Kesby | Head of Classical Ballet | The McDonald College |

Featured print issue: July 2024

Jane Kesby began her ballet training at a young age at The McDonald College and continued her studies at the Australian Ballet School. She then embarked on a professional career with the West Australian Ballet, followed by a soloist position with the Deutsche Oper Berlin and the Zurich Ballet, spanning ten years.

Before returning to Australia, Jane completed her Royal Academy of Dance Professional Dancer’s Teaching Diploma in London with distinction. In 2024, she celebrates her 20th anniversary as a dedicated educator at The McDonald College, teaching both in the day school and the After Hours program. She regularly accompanies the college’s senior classical ballet students to international competitions and has trained and nurtured many successful alumni. Additionally, she has served as Assistant to the Artistic Director of the Premier State Ballet Youth Company for over five years. In 2015, Jane was promoted to Head of Ballet at The McDonald College.

Jane Kesby is a remarkable individual who exemplifies the evolving role of the dance educator. She embodies the qualities needed for students to truly flourish, being acutely aware of the diverse needs of her students and recognising that each individual requires a different approach—whether they are sensitive, need a firmer hand, or are simply having a bad day. Jane’s greatest gift as an educator is helping students develop physical awareness of their bodies and minds.

Her combination of professional experience and academic training has allowed Jane to shape thoughtful, well-educated, and grateful individuals. Her influence as an artist and educator is undeniable, as evidenced by the many beautiful dancers who have trained under her guidance.

Jane also emphasises the importance of creativity and academic studies. Over the years, she has observed many students change their minds about their paths, perhaps because they were in a nurturing environment that allowed them to explore different possibilities. She believes in the exceptional dance training available in Australia and the supportive environment of institutions like The McDonald College, which prepares students for various career paths while providing a solid academic foundation.

Aware of the pressures on young dancers and their families, including financial sacrifices and long separations, Jane advocates for a balanced approach, ensuring students are not burdened by such responsibilities at a young age. Her commitment to furthering qualifications and precise education before stepping off the stage has been instrumental in raising the standards of ballet education.

Jane Kesby is a blend of magic and discipline, embodying the qualities of a “Mary Poppins” educator. With her exceptional sense of self and serious dedication to her craft, she commands respect and admiration from her students and peers alike.

Q: Have there been any significant changes in the talent of your artists?

Jane: I don’t think talent itself has changed. What has shifted is our societal awareness, particularly regarding mental health. Twenty years ago, issues like these existed, but they weren’t discussed. In recent years, the acknowledgment of mental health has become significant. I believe mental health, well-being, and mindset are crucial to a dancer’s training. If these aspects are neglected, it affects morale, self-belief, eating habits, and even how injuries are perceived. During the COVID lockdown, we had to address these challenges directly. It became acceptable to admit struggling and seek help. I truly believe that mental health is foundational; even the most talented dancer needs self-worth and belief, supported by those around them.

Q: Did you always intend to teach? Was that your planned pathway?

Jane: Yes and no. I’ve always loved figuring out why certain things work or don’t work. Initially, I was interested in Pilates and intended to focus on that after retiring from the stage, aiming to work with dancers. I completed my Professional Dancer’s Teaching Diploma with the Royal Academy of Dance in London. Upon returning to Australia, I balanced Pilates and teaching in the studio. Gradually, I found myself increasingly drawn to teaching, realising it was where I wanted to be. 

Q: How do you help dancers of all body shapes work their bodies effectively?

Jane: The first step is fostering bodily awareness in dancers. For example, I constantly remind my dancers to understand their own range of turnout since it varies for everyone. I encourage them to visit dance physios for conditioning assessments to identify strengths and weaknesses. Many young dancers mimic what they see online without understanding their body’s needs. During the COVID era, this issue became more pronounced. I emphasise the importance of reducing turnout if needed to prevent injuries. Empowerment comes from understanding one’s body and working within its limits, which requires support from dance instructors, physios, and sometimes massage therapists.

Q: What changes do you observe in teenagers, and how should teachers adapt to them?

Jane: Teachers need to be aware that each teenager will manifest changes differently. Body changes can be challenging for them, impacting their balance and self-perception. I encourage students to be kind to themselves, focusing on balance rather than perfection. The goal is to make their journey better and to ensure they leave our studio feeling empowered and valued. No two students follow the same path, and it’s important for them to understand and accept that their journey is unique.

Q: How significant is the role of competitions in a dancer’s training?

Jane: I’m not a big fan of competitions and didn’t do many of them as a dancer. However, group competitions can be beneficial for building confidence, teamwork, and stage experience. For solos, it’s crucial to strike a balance between gaining stage exposure and avoiding the mindset that winning is everything. Competitions should be about the experience, not validation. I prefer focusing on full-length ballets, which teach students to work within a company, understand different roles, and adapt quickly.

Q: When did you introduce full-length ballets to the schedule?

Jane: We reintroduced full-length ballets after returning from COVID. When I was a student, we did full-length performances, and we decided to reintegrate them as part of the students’ learning. Rehearsals are integrated into their performing arts time, with additional rehearsals after school and during holidays. This structure allows students to experience working as a company, preparing them for professional environments.

Q: What do you most enjoy about teaching?

Jane: I love empowering and validating students, helping them realise their potential. It’s about making each individual feel capable and confident. Everyone has different bodies and abilities, but with the right mindset and support, they can achieve great things.

Q: How do you cope emotionally when students leave, especially prematurely?

Jane: It’s always case by case. Students leave for various reasons, and it’s important to respect their journey. I continue to support them even after they leave, staying connected and celebrating their successes. Every child has their own path, and it’s crucial that they leave feeling ready for their next step.

Q: What do you hope students take away from their time with you?

Jane: I hope students leave with an open mind, ready to try new things and embrace different approaches. They should understand that mindset affects their experience in class. It’s important to remember the compliments and progress, not just the criticisms. Learning self-awareness and understanding that art is fluid, not rigid like academic subjects, is crucial. It’s about growth, adaptability, and recognising their achievements, no matter how small.