Xavier Ferla

Tanya Pearson Arts Centre | April 

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Xavier Ferla Secondment GALLARY

published in print: September 2024

Xavier Ferla, Former Principal Artist & Winner of the Prix de Lausanne, boasts an impressive background in dance. Trained at the Conservatoire De Geneve, Ecole De Serge Golovine, and the Hamburg Ballet School, Xavier has shared his expertise as a freelance teacher for over 28 years. His teaching experience spans across prestigious institutions such as Dance Theatre International, Sylvie Guillem Japan Tour, Alonzo King Lines Ballet, Semperoper Dresden, Royal Swedish Ballet, Tokyo Ballet, San Francisco Dance Center, San Jose Youth Ballet, and many more.

Throughout his illustrious career, Xavier has graced the stage as a Principal Dancer with renowned companies such as Bejart Ballet Lausanne, Deruche Opere Berlin, and as Principal Dancer and Teacher with Alonzo King LINES Ballet and The Royal New Zealand Ballet, among others.

During his visit to Australia in April of this year, Xavier Ferla led dancers through a series of classes, enabling a selection panel to assess and award two secondments with the Royal Danish Ballet. This prestigious opportunity took place at the esteemed Tanya Pearson Arts Centre in Sydney. Xavier’s meticulous audition process aimed to uncover the finest talents, involving multiple days of intensive classes covering ballet and repertoire coaching sessions. Through this immersive experience, aspiring dancers were not only evaluated on their technical proficiency but also enriched with invaluable insights and guidance from a master of the craft. 

Janaé Kerr, a graduate of TPA, and Sophia Hudson, a pre-professional student at TPA, were chosen as the two deserving recipients of a secondment with the Royal Danish Ballet company. They will have the exciting opportunity to visit the company for a duration of 3 weeks.

Why is it crucial for our dancers to comprehend the origins of this genre?

Xavier: The history I discuss mostly reflects my experiences rather than those I haven’t encountered. I tend to emphasise this because I’m not an intellectual; I rely on instinct. Over the years, my approach has been instinctive, but with age, I’ve begun to analyse it. Some people analyse endlessly, but that’s not my style.

My instincts haven’t always been right, but I believe they’re usually accurate if approached honestly. Many discussions in dance, whether classical or modern, focus on the historical style or technique, but we should pay more attention to the essence of the original idea.

Why is it important to differentiate between Class, Rehearsal, Performance, and Competition?

Xavier: Through my experience, I’ve learned that each segment of training—class, rehearsal, performance, and competition—serves a distinct purpose. Mixing them blurs their intended outcomes. In class, the focus is on sharpening technique and understanding the principles of physics, especially gravity. It’s where we delve into the invisible geometry of movement and explore dynamics through the phrasing of musicality. During rehearsal, in addition to learning choreography, we seek an emotional connection to the essence of the original idea that defines the style of a dance; positions alone are not enough. Performance is where you must abandon yourself for everything to come together. It’s essential to educate dancers on the reasons behind these distinctions.

Some dancers blur the lines too much, treating every moment like a performance. I emphasise to them that class is for honing skills, not for emotive expression. We must teach control over emotion rather than fostering emotional displays in class.

In class, we’re like gardeners, nurturing young talent. Sadly, many companies lack this nurturing approach, preferring mediocrity over hard work. We must plant seeds early and patiently cultivate them over time. Otherwise, dancers will struggle when they enter the professional world unprepared.

On Education and Preparation in Dance Schools

Xavier: In our school, which was founded by my wife (Magdalene Parungao-Ferla), we accepted all students willing to put in the work. This inclusive approach taught us to be adaptable as teachers. Rejecting students based solely on perceived talent limits growth. We need to prepare students for the realities of the professional dance world, not just produce competition winners.

Many young dancers enter companies ill-prepared for the demands of professional life. They lack depth and maturity because their training focused solely on technical proficiency. We must instil resilience and adaptability in dancers from the outset.

On Technique and Gender-Specific Training

Xavier: Male dancers today lack strength and muscle mass due to a shift towards a leaner aesthetic. However, true strength is essential for executing demanding choreography effectively. Regardless of gender identity, dancers should focus on building strength and mastering technique relevant to their roles.

On Artistry and Emotional Expression

Xavier: Ballet is about more than technical proficiency; it’s about storytelling and emotional expression. Unfortunately, many performances lack emotional depth, focusing solely on technical prowess. We must prioritise artistry over athleticism and teach dancers to connect emotionally with their roles.

On Education and Individualised Learning

Xavier: Teaching dance isn’t one-size-fits-all; it requires adaptability and individualised instruction. What works for one student may not work for another, so teachers must be flexible in their approach. We should encourage students to explore and learn from their mistakes, fostering resilience and growth.

In summary, the essence of teaching dance lies in nurturing talent, fostering resilience, and prioritising artistry over technical proficiency. By understanding the history and principles of dance, dancers can develop into well-rounded performers capable of connecting emotionally with audiences.