Australian Classical Challenge Canberra

Erindale Theatre ACT | 14-16 June 2024

Dani Brown, the editor and specialist dance photographer for dancetrain magazine, travels across the country to capture and review student events, competitions, awards, and scholarships. Many of the images from these galleries are featured in print, preserving the magic of the moment for years to come—a cherished keepsake that dancers value well into adulthood.

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ACC Canberra Ballet Intermediate Group A
ACC Canberra Ballet Intermediate Group B
ACC Canberra Ballet Junior
ACC Canberra Ballet Pre-Intermediate Group A
ACC Canberra Ballet Pre-Intermediate Group B
ACC Canberra Ballet Senior Group A
ACC Canberra Ballet Senior Group B
ACC Canberra Contemporary Intermediate Group A
ACC Canberra Contemporary Intermediate Group B
ACC Canberra Contemporary Junior
ACC Canberra Contemporary Pre-Intermediate Group A
ACC Canberra Contemporary Pre-Intermediate Group B
ACC Canberra Contemporary Senior Group A
ACC Canberra Contemporary Senior Group B

REVIEWS | RESULTS
published in print: September 2024

From June 14th to 16th, over 300 students gathered to compete for prestigious scholarships and cash prizes at the Australian Classical Challenge, a competition renowned for its excellence in ballet and contemporary dance. Traditionally held in Newcastle, this elite event made its exciting debut in Canberra in 2024. Participants had the unique opportunity to learn from and perform before some of the industry’s most esteemed figures, including Ty King-Wall, Lana Jones, Michael Ramsay, and Chimene Steele-Prior.

Ty King-Wall, Artistic Director of the Royal New Zealand Ballet, served as the adjudicator for the inaugural Australian Classical Challenge in Canberra, a sold-out event. Ty judged the Intermediate and Senior Classical divisions, while Lana Jones, former principal with The Australian Ballet, adjudicated the Pre-Intermediate Classical division.

Ty shared his thoughts on the Seniors, emphasising the challenge in selecting variations: “I think it’s always tough because you want to choose something that challenges you. You don’t want it to be comfortable, but at the same time, you want something that suits you. Sometimes, especially when you’re young, it’s hard to know what suits you best. That’s where the guidance of your teachers becomes crucial; taking their advice is important.”

Reflecting on adjudication, Ty noted the transient nature of performances: “As an adjudicator, it’s difficult because you see just a moment in time. On any given day, the reality of the profession in performing means you may not perform at your best. The silver lining is that you have another chance the next day to pick yourself up, get back in the studio, and continue improving.”

Addressing teachers, Ty commended the classwork of the students: “I appreciate the class setting because it allows students to truly showcase who they are. I was particularly impressed with how quickly and attentively the Seniors picked up and retained information. In today’s world, with so much stimulation and immediacy, maintaining focus can be challenging. Seeing their concentration was really encouraging.”

He emphasised the relevance of classwork to stage performance: “In this context, it’s crucial to think about how your classwork translates to stage performance. Consider aspects like eye focus, artistry, and musicality, which become even more pronounced under stage conditions. Classwork serves as preparation for what’s to come on stage.”

When asked about what she looks for in contestants and whether her criteria differ between the two divisions, Lana Jones shared:

“What I’m looking for is a well-rounded dancer—someone who approaches their work with solid technique, artistry, and musicality, but also brings their own personality into the performance. I don’t think this changes, no matter the level. I look for these qualities in every division. Even in the younger dancers, you can see those who have a strong understanding of their bodies at an early stage. I can tell who is conscientious, paying attention to detail, and honing their technique. I love technique; it’s the foundation of ballet. But I also love seeing kids go for it, bringing something unique to their performance, and letting their personality shine through. That consistency in what I value doesn’t change.”

Lana also expressed her appreciation for the competition model, where students participate in both a class and a solo variation:

“You definitely get the opportunity to know the kids a bit better in this format. I like giving them the chance to understand what I’m looking for in the competition. I also aim to instil confidence and faith in themselves, because what they’re doing is really hard. Ballet is incredibly challenging, and they’re special for pursuing it. It’s important for them to appreciate the gift of ballet.”

Speaking about her role as an adjudicator, Lana emphasised her supportive approach:

“I’m not here to judge them harshly or make them feel bad about themselves. My goal is to provide them with a great experience, help them fall even more in love with ballet, and encourage them to make new friends. The competition model works really well here, especially because seeing them in class gives me an initial sense of who stands out or is working exceptionally hard. I always make a note of those dancers. Then, when they come on stage, you often get surprises, which I love. Some dancers just stand out and make you say, ‘Wow.’ Seeing them in a different light on stage and then back in the studio is very rewarding. I also appreciate when dancers apply the feedback they receive on their solos—it shows they’re really thinking about it and actively engaging in their own growth. They’re not just following instructions, which can be difficult given the nature of training at this age, where it’s often about doing what you’re told. I believe that clever, intelligent dancers will succeed, even beyond those with natural talent. They know how to adapt, how to impress, and how to improve from class to class. It’s a beautiful model and a great competition, and I’m thrilled to be a part of it.”
Finally, Lana offered some advice on training:

“We can never ignore the foundations—the classics. When I see strong technique, it never feels old or boring; it is the absolute foundation, and everything else builds from there. While young artists are blossoming and that’s wonderful, they sometimes need refinement. I do think that with the way ballet is evolving, especially with what these kids are exposed to on YouTube, it’s important to remember that ballet is so much more than just flashy tricks. For me, ballet is about telling stories through technique. There’s this expectation that dancers need to have extreme flexibility and high extensions, but for me, quality always trumps quantity. Quality is what truly shines through, and that’s what I’m most drawn to.”

Results
Ballet
Senior Winner: Lila McGrath from Classical Coaching Australia
Runner-Up: Charlie Carberry from Dance North Academy
Intermediate Winner: India-Rose Macé from Dance North Academy
Runner-Up: Elodie Lamont from Pirouette Ballet School Melbourne
Pre-Intermediate Winner: Maci Smith from Sunshine Coast Conservatory of Dance
Runner-Up: Zoe Wijemane from Classical Coaching with Claire Campbell-Mahon
Junior Winner: Lauren Li from Dance North Academy
Runner-Up: Evie Mason from Ablaze Dance Academy
Encouragement Award: Sophia Murray from The Academy
Contemporary
Senior Winner: Vivian Ikeda from National College of Dance
Runner Up: Siearna Collier from Dance North Academy
Intermediate Winner Zavier Martin from Lisa Clark Dance Centre
Runner-Up: Charli O’Brien from TJS Dance Academy
Pre-Intermediate Winner: Lucy Miller from L’Academie
Runner-Up: Savannah Wilson from JWDA
Encouragement Award: Annalyse Macgonigal from Joanne Williams Dance Academy
Junior Winner: Portia Russo from Joanne Williams Dance Academy
Runner-Up: Willow Campbell from Ablaze Dance Academy
Encouragement Award: Sophia Murray from The Academy