TÉNACITÉ ISSUE #3
AUGUST 2020
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WELCOME
Contributors Editor Cassandra Houghton Words Cassandra Houghton, Ellen Gilroy, Courtney Adams Photography David Kelly, Ali Cameron, Edward Pope, Jez Smith Art Direction & Design Dave Byrne / Bigfish
Welcome to the third edition of Pas. magazine.
Contact Queensland Ballet (07) 3013 6666 mail@queenslandballet.com.au Beesley St Studios 34 Beesley St, West End, QLD 4101
— It was June 15 when the dancers emerged from isolation and took their first class back in the studios. They had been dancing in apartment kitchens and living rooms, in garages and on balconies for almost four months, and the
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media was almost as excited as they were: that Monday as they streamed excitedly into Beesley St for morning class, they were joined by ABC, Channel Seven, Nine, Ten and
A step or series of
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QUEENSLAND BALLET
For a fortnightly glimpse into the world of Queensland Ballet, including what’s on, behind-the-scenes photos, news and videos, subscribe to At The Barre: queenslandballet.com.au/subscribe
The Courier-Mail for interviews and photo opportunities,
steps in ballet.
and the consequent news stories were filled with smiling, happy dancer images as a sense of normality began to settle in West End.
IN THIS ISSUE
For most of the rest of QB – the teaching artists, the wardrobe creatives, the arts workers and the executives, working from home continued while various teams dreamed up creative content, proving that inspiration can strike from the dining table as well as it can from an office desk – if you have the right team of people.
Cover Company Artist Chiara Gonzalez By Ali Cameron
And we do. The 60 Dancers: 60 Stories campaign
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INTERVIEW
FEATURE
a vibrant new way; the Community Engagement Regional
Passion project with Yanela Piñera —
Behind-the-scenes of 60 Dancers: 60 Stories —
Tour was smoothly rescheduled for the last quarter of this
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OFFSTAGE
EXPLORE
What’s on —
Art Allure Thomas Dixon Centre —
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INTERVIEW
GALLERY
Silver lining with Georgia Swan —
Throwback: Cinderella —
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ACADEMY
HISTORY
Firelighter Veronika Sheremetieva —
exceeded all hopes in June as we overtook our $1 million goal; the #balletbeatdrop TikTok challenge inspired people from all around the world to participate in dance in
year; progress was ongoing with the Thomas Dixon Centre redevelopment; and the Academy staff and students overcame COVID-19 hurdles to continue teaching, learning, and mastering the art of ballet. This month we head back to the stage for Lights on @ Powerhouse in a series of brand-new intimate shows that were born from that isolation period. Hopefully there are a few more 2020 surprises up our sleeves, too. Our heartfelt thanks go to each and every person who supported our #keepthemagicalive campaign so we can indeed continue to keep the magic of ballet alive. We look forward to seeing all of you again soon.
Queensland Ballet celebrates 60 years — Li Cunxin AO Artistic Director
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Photo Company Artist Clayton Forsyth By David Kelly
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ISSUE #3 AUGUST 2020
ISSUE #3
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INTERVIEW
QUEENSLAND BALLET
Yanela Piñera Principal Artist
Words by Cassandra Houghton Photos Principal Artist Yanela Piñera by Eduardo Vieira (left) & Jason Starr
Passion project From Havana to Brisbane and all the theatres in between: how QB Principal Artist Yanela Piñera conquered her dream to dance
— The official theatre of the National Ballet of Cuba, the neobaroque Gran Teatro de la Habana, stands proudly on the main strip of Havana, its ornate 1914 architecture promoting the grandeur of its evening performances. Across the ocean, Brisbane’s QPAC exteriors offer modern, minimalist flair, inviting its audiences into a hidden world of extravagance and beauty. Cuban-born QB Principal Artist Yanela Piñera has graced the stages of both many times in her 15+ year– career and says regardless of location – and experience – that special nervous energy before curtains up still ignites at every performance. To lose it is to have lost interest, she feels. “It’s such a special feeling. Once I go onstage and become the role I’m playing that night I’m more calm and I really enjoy the moment, but of course every time before a show, before the curtain goes up, I will always be nervous,” she laughs. “I think that if you lose that, your career isn’t interesting anymore, you know? It’s something magical.” Producing magic is a skill Yanela has perfected throughout her cross-Pacific career. Born and raised in Havana amidst a culture of creativity, art and music, with a landscape of pastel colonial architecture and vintage cars, and where ballet dancers hold the same status as rock stars or sporting ‘heroes’ in other countries, her ballet journey began at just four years of age and almost by chance. A non-dancing role in a children’s TV show spurred a family friend’s encouragement to join a ballet class – for fun and the discipline rather than a career. But it led to a career anyway, and the ballet world is all the better for it. “Once I started at the school, after the first year, I fell in love,” Yanela says. “In Cuba, once you get into a ballet school you do everything at the school – academia in the morning and ballet in the afternoon, and after class I would always continue at home. I’d put on some music and just dance around by myself. That was pretty much how it started. “I knew it was my passion – I wanted to become a dancer and have the career.” It’s a charming visual reminiscent of those ‘work hard to achieve your dreams’ classic movies: Yanela as a small child practising dance in her bedroom. With the International Ballet Festival of Havana a bi-yearly backdrop, Yanela continued to develop her love of dance as she grew, drawing inspiration from the city’s arts focus. Havana would come alive with the splendour of Festival season, and the stream of visiting global ballet stars provided a constant inspiration. “We would spend 10 days watching different companies from all around the world. All the different superstars – live, every two years,” she recalls. “And I remember going straight from school in my uniform with my friends for the evening performances, and I grew up in that environment. The dancers were my idols.” By the time she joined Alicia Alonso’s National Ballet of Cuba in 2004, skill and passion had truly taken hold. Yanela would perform with the revered company for the next decade, touring the world in roles such as Giselle in Giselle, Juliet in Romeo & Juliet, Cinderella in Cinderella, and, arguably the pinnacle of all ballet roles, Odette and Odile in Swan Lake.
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“I remember my mum and dad taking my younger sister and I to watch the National Ballet of Cuba perform Swan Lake when I was little, and I was fascinated,” she says. “It was the first full-length ballet I ever saw, and when I finally did my debut my sister helped me the interpretation of the role as at the time she was studying drama at the National Drama School in Cuba – she’s an actress. My dad also loved Swan Lake… it’s a special ballet in my family. “And every time I dance it I discover something new, it’s like a work in progress. Technically it’s so, so difficult and challenging and exhausting, but I love it, I really enjoy it every time. And when I’m finished with the season I want to do it again and again.” Yanela premiered her dream role as Odette/Odile at London’s Coliseum Theatre in 2010. But it wasn’t until 2017 at QPAC’s Lyric Theatre that the ballet would take on a more serendipitous meaning. In the summer of 2014, Li Cunxin, three years into his Artistic Directorship at Queensland Ballet, watched Yanela along with her partner in dance and life, Camilo Ramos, rehearse in Cuba. That week he offered them both a contract with QB – Yanela as Principal Dancer, and Camilo as Soloist. “We actually toured to QPAC in Brisbane in 2010 and it was such an amazing experience. Camilo and I had just started our relationship and Brisbane was the first place we went together as a couple so it was a special place for us,” she says. “And during that flight from Cuba to Australia we had watched Mao’s Last Dancer, so we knew about Li. “I remember the email we received from him inviting us to join QB and he described Brisbane as a beautiful place and we were like, ‘yes we know and love Australia, and we’d love to join the company – absolutely.” When Yanela became Odette/Odile again it was 2018, at QPAC with Queensland Ballet. Before the show her thoughts were with her family, who she hadn’t seen since she left Cuba. Afterwards, as the curtain fell and she ran offstage, Camilo hugged her and said they had a surprise. “They flew my mum and sister out, and they were in the audience that night. It was so, so special, and it’s something I will never forget,” Yanela says. Just as Li had once been surprised with a secret family visit while performing with Houston Ballet, he and QB Board member Amanda Talbot had surprised Yanela with hers. “That night – I will treasure it forever. It was such a generous gesture.” QB was scheduled to tour Swan Lake to Melbourne this year, before the season was pulled due to the global pandemic. Yanela hopes the company will perform it again in the future. “With Tchaikovsky’s score, it’s embracing all the beautiful things – it’s very special,” she says. “But every year here is amazing – the repertoire is incredible with new productions and different works as well as the classics. And next year is something to look forward to – it’s going to be really exciting.”
— Yanela will perform in upcoming QB productions, and in our 2021 Season next year. For information and tickets, head to queenslandballet.com.au
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ISSUE #3 AUGUST 2020
I KNEW IT WAS MY PASSION
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QUEENSLAND BALLET
FEATURE
BEHIND THE SCENES OF 60 DANCERS: 60 STORIES Words by Cassandra Houghton Photo Senior Soloist Alexander Idaszak & Principal Artist Lucy Green By David Kelly
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TIMELINE COVID —19
How Queensland Ballet dreamed up one of the most ambitious philanthropy initiatives in its 60-year history
March 13 — PM advises ban on non-essential outdoor gatherings of more than 500 people from March 16. Overseas arrivals required to self-isolate for 14 days. Australians urged not to travel overseas. Queensland Ballet postpones 60th Anniversary Gala and looks at rescheduling the upcoming Swan Lake Melbourne tour and the Jette Parker Young Artists’ June tour to Europe while awaiting further government advice. Community dance classes continue, and staff are still working at Beesley St. QB creates a COVID-19 Pandemic Response Team which devises an Epidemic/ Pandemic Policy.
March 16 Some formed collaborations across borders (Ave Maria, for example) and some explored opportunities to incorporate the spoken word or the natural environment. Those who have been watching them have expressed appreciation that ballet and creativity continues to thrive at QB, that the arts will prevail. They have generously offered donations but their comments on www.keepthemagicalive.com.au have in turn inspired us in their honesty and heartfelt emotion. Now that our dancers are back in studio, we are looking for opportunities to return to the stage and it’s very possible that 60 Dancers: 60 Stories will enjoy ‘real-time’ stage premieres and equally, maybe we have discovered more than a few new talents, potential new choreographers and videographers! These unprecedented times have taught us many things but perhaps we have also learned new ways to engage creativity and reach our patrons/viewers. The arts will prevail and not just in studios
audiences. This is the story of 60 Dancers: 60 Stories.
— “Most companies during this period were doing smaller scale and conservative collaborations, or free viewing of existing repertoire. 60 new works, involving all company members, with multiple collaborations, had not been attempted before to this scale. Including the dancers, more than 100 people collaborated to make this project come alive, including choreographic mentors, editing mentors, musical collaborators, and family and friends. It was a complex operation to coordinate! As most of the dancers had never choreographed before, and indeed never shot a dance film, we had a team of 12 mentors who did an amazing job supporting our dancers to achieve their best. In the early set up for the project, there was a lot of work in their initial proposals and storyboards, and this gave me a chance to strategically look at balancing the program. Also, musically, 17 works were original compositions and the other 43 works were arrangements of past works; our music team was kept very busy. I was blown away by the quality of dance films – it certainly surpassed mine and everyone’s expectations. Even just 10 years ago, this project would have been impossible. But with the advent of iPhones and quality cameras, coupled with accessible editing software such as iMovie, communicating through film is a lot easier now. For QB, this project is a legacy, a rare digital footprint, of who we were in our 60th year. It shows us as a company of not just dancers with excellent technique, but also expectational artistic talent. I’m hoping the spirit of 60:60 will drive QB through this tough period and propel us into the next 60 years of growth.”
The idea Dilshani Weerasinghe, QB Executive Director — “When we had to move our dancers and pianists out of the studio, Li (Cunxin) and I were considering how to ensure their creativity remained ‘in gear’ and engaged, and we came up with the 60 Dancers: 60 Stories idea. It was very important to both Li and I that COVID-19 took nothing away from us (dancers, pianists, enablers) or from our patrons. Given they couldn’t connect through performance, this was a different way to reach out. It was very embryonic when it was given to Matt as a thought and he flew with it! As we digested a different reality, it didn’t take long for QB to be a-flush with stories and ideas coming from all directions: dancers, musicians, wardrobe, marketing…and in thinking about when we could share these 60 stories with our patrons meaningfully, we aligned 60 stories with 30 days in June and decided to release them 2 per day. There are so many inspiring elements to this initiative. Mentors included our artistic team and our Resident and Associate Choreographers, Natalie Weir and Jack Lister. Our dancers, pianists and editors have truly created something very special, that has been derived from deep inside themselves – it’s truly engaging and unique. Not only were they choreographers, but they were also the lighting designers, the music directors, the directors and the film artists!
and on stages. Watch this space!
— QB begins rolling out a working from home policy and also works closely with Arts Queensland and other colleagues in the arts sector to understand how best to move forward. Melbourne Swan Lake tour is cancelled.
March 17 — The Australian Government announces new travel restrictions (coming into effect immediately and indefinitely): all Australians are advised to not travel overseas at this time.
March 19 — Australia announces its borders will close to all but citizens and residents. Ruby Princess docks and 2,700 passengers disembark in Sydney. QB Community dance classes are cancelled and there is temporary stoppage of work for some casual QB staff.
March 28
The process Matthew Lawrence, QB Ballet Master
Story continues page 8
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— 460 new cases confirmed in Australia, the highest in a single day
March 30 — The full workforce of QB begins working remotely. As dance studios fall within the broad description of enclosed gym and sporting locations, dancers are sent home, and the Academy Pre-Professional and Associate Programs are suspended. The Senior Program continues to operate on a modified schedule.
April 1 The #keepthemagicalive website is launched – a campaign site dedicated to sharing QB content via videos, interviews, dance clips and features. Work begins (remotely) on the 60 Dancers: 60 Stories project. Dancers begin collaborating with musicians, family members, choreographers, and housemates.
April 8 — With Australia’s international borders all but closed and all overseas arrivals mandated to 14 days in quarantine, overseas-acquired infections plummet.
June 1 — 60 Dancers: 60 Stories is launched – with 2 new ballets, choreographed by our dancers, premiered per day throughout the month of June.
A huge and heartfelt thank you to all who supported us to reach our $1M target before the end of June. Our Campaign will remain active. Please do continue to donate if you feel so inspired: charidy.com/keepthemagicalive
ISSUE #3 AUGUST 2020
— It was Friday, March 13 and a week before the opening night of Queensland Ballet’s 60th Anniversary Gala when they were officially told the news - that there would not, in fact, be a Gala. The season was postponed and then cancelled, QPAC closed, and the rest of the year’s performances were dubious at best as the COVID-19 pandemic swept across Australia at a spiralling rate, going from less than 200 cases nation-wide on March 13 to more than 2000 in 12 days. After months of rehearsing, choreographing, costume-creating, collaborating, and storytelling, QB dancers and staff were soon sent home in what became, as we now know, a shut-down of global proportions. Dust covers covered grand pianos, tights and pointes and tulle tutus were stored, and Queensland Ballet effectively closed down. Except it didn’t. In April, the company launched a #keepthemagicalive website dedicated to finding new ways to inspire and entertain every day - with digital content, community programs, and the ambitious initiative 60 Dancers: 60 Stories. Featuring a world premiere of new ballets released daily throughout June, the project aimed to inspire philanthropy to keep the company alive, with donations quadrupled by an anonymous donor until they reached the $1 million target. QB knew it needed a wildly ambitious campaign whilst producing something truly valuable for its
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FEATURE: BEHIND THE SCENES OF 60 DANCERS: 60 STORIES
The Art
Mia Heathcote /Victor Estévez: Ave Maria QUEENSLAND BALLET
— “Our process began with the music. We thought it would
movement again and explore what your body enjoys doing, free from mirrors and critique. My Dad was very helpful by filming for me. I was lucky to be able to use a space at a construction site he was close to
be a special touch to collaborate with Victor’s talented sister,
completing and it became a bit of a collaboration between
Anabel Estévez (violin) and his cousin, Adrian Estévez (piano)
myself and Pope Constructions as I drew inspiration from the
who played and recorded Ave Maria so beautifully. This was
polished concrete floors and the skylights in the ceiling. I’ve
what really inspired us initially and then we took pen to paper
got a brilliant Canon Camera so we gave video mode a go and I
to actually write out a story line with themes and emotions.
was pleased with the results. We filmed across the day, taking
After that, the movement and choreography came from
different takes of the same choreography from various angles.
what we felt in the music and the way we wanted the story to
Over time the sun had lowered, adding shadows and contrast to
be portrayed. We worked together to create movements that
the film. We both loved the idea of the camera panning around
symbolised the narrative and the emotions we were aiming to
me as I dance, but in reality is very difficult to keep smooth.
provoke.
Out of the corner of my eye I spotted a vacuum on wheels... this
Technically, our lovely friend and housemate, Harley Campbell helped us film the piece. Firstly, we set up Victor's iPhone to film the piece from start to finish on a chair so we were able to get a full shot. Then Harley filmed some sections from different angles with her own camera which we then merged and edited in with the iPhone footage.”
Victor Estévez
became best camera assistant ever! It was so wonderful to be part of this initiative in response to these extraordinary times.”
Liam Geck Eros “My partner Callyn helped me film my project, just on a standard iPhone 10. I haven’t done much choreography at all in
“What I enjoyed the most was the opportunity of creating
a professional sense, however I do like to play around and think
a piece together. For us it was a completely raw area in this art
up ideas and concepts in my spare time, on the rare occasion
form that we haven’t experienced before. It was a very enjoyable
creativity sparks.
and satisfying process seeing our ideas coming along together with the music.
Once I had the recording of the music arranged by Stephanie it was easier to find inspiration from hearing the
Moreover, having my sister Anabel and cousin Adrian
music. I did some research around the broad theme of love and
playing this incredible, touching piece of music by Franz
narrowed it down to the Ancient Greek gods and their beliefs.
Schubert was a very unique experience that gave me the
I wanted lots of different landscapes to film in to bring in the
opportunity to feel more connected with my family despite the
idea of the gods meddling in people’s lives, so started out with
distance.”
the hands in the sky, which also represented a love that slipped away. The movement came easily, showing the ups and downs post break-up and then I revisited the sky at the end, but this
Edward Pope Real Love
time only one hand reached out to be disappointed by finding itself alone in the world.
“My process began from (QB Pianist) Steph’s beautiful music. I listened to it and jotted down ideas that came to me. Photos Left: Company Artist Edward Pope by Edward Pope
I then rehearsed some movements (in my living room) slowly
Right: Principal Artists Yanela Piñera & Camilo Ramos by Yanela Piñera & Camilo Ramos
past…having said this, I found choreographing on myself and
sewing them together over a few days before filming. I’ve been lucky to have had a few choreographic opportunities in the alone quite challenging. But it forces you to find the pure joy of
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The best part of this process was obviously being in control and having full artistic license to explore movements and shots that complimented my idea. And also, surprisingly, the film editing process was so enjoyable, it was something I had only dabbled in before and having such a wonderful platform to showcase the work was delightful!”
queenslandballet.com.au/60-dancers-60-stories
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WHAT'S ON Queensland Ballet has been busy keeping the magic alive through choreography challenges, story-telling, the 60 Dancers: 60 Stories project, and the planning of our redeveloped home at the Thomas Dixon Centre. Here’s a snapshot of what’s coming up for the rest of 2020.
— Audition to join Queensland Ballet Academy’s 2021 intake*! For the first time, auditions will be held exclusively by video submission.
Closing Dates: 6 September 2020 for PreProfessional Program; 1 November 2020 for Guest Academy Program (Levels 6 – 4). Please note that Academy Program (Levels 6 – 1) auditions have already closed, however, late applications may be considered. Please email academy@queenslandballet.com.au to discuss.
Audition online: queenslandballet.com.au/2021-academy-auditions
Green light for bringing ballet magic to the regions — Queensland Ballet’s Education Teaching Artists will be packing their bags and hitting the open road across August and September, taking school and community workshops to 14 locations across regional Queensland. The tour had been suspended due to Australian Government travel restrictions and was finally approved after a robust plan was developed in alignment with Queensland Government guidelines and the AusDance Dance and Physical Performing Arts COVID Safe Plan. The workshops aim to inspire regional communities and provide the opportunity to experience the physical, social and emotional benefits of dance. Registrations for the workshops are required to ensure all necessary contact details are recorded and the program adheres to the 4m² per person regulation. To find out what is on offer in your town
Community dance classes kick off in studio
#balletbeatdrop challenge Show us your moves!
— Keen to shake off winter and get your body
— Keeping the dance magic alive, our #balletbeatdrop
moving before spring hits next month? QB
challenge is drawing videos from movers and shakers
community dance classes are back on in our
across Queensland as dancers and non-dancers alike
West End studios, as well as online. Led by our
join our first TikTok competition! With more than 93
Teaching Artists, the classes are designed for
million views since its launch, the challenge requires
participants of all abilities aged 16 years and
creativity and self-expression from applicants to
over. Classes include Adult Ballet, Barre and
perform the Ballet Beat Drop Challenge using the
Tone, QB Petit Pointers and more. Or for those
TikTok app or via an online web entry. Set to a remix
who have been enjoying the freedom of dancing
of The Nutcracker’s iconic “Dance of the Sugar Plum
in the living room, our online classes are still
Fairy,” the choreography begins as graceful ballet,
available to enjoy. To view the schedule or book a
but when the beat drops, it switches to high-energy
class, follow the link below.
hip-hop. The challenge was choreographed by First
Book now: queenslandballet.com.au/classes/schedule
Company Artist, Sophie Zoricic, and up for grabs are a great range of prizes including $5,000 cash grants, in-studio workshops with Queensland Ballet Junior Ambassadors, and merchandise packs.
Competion closes: August 17 – hop online to join in the fun!
Lights On Brisbane Powerhouse
Explore: balletbeatdrop.com.au
— The curtain will rise once again at Brisbane Powerhouse with its Lights On season which kicked off on July 24. Queensland Ballet will be presenting 60 Dancers: 60 Stories on August 7 and 8, transforming the muchloved series of digital works into a live performance. Centralising on the theme of LOVE, the works are truly authentic, created by Queensland Ballet’s Company Dancers during isolation. Audiences can enjoy the buzz of live performance with the accompaniment of a cabaret platter for two and bottle of wine,
and to register your spot, head to the link below.
bubbles or champagne.
Explore: queenslandballet.com.au/regional-workshops
Explore: brisbanepowerhouse.org/whats-on/festival/lights-on
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*A Pre-selection Experience in lieu of an audition will be held in November for entry to the Foundation Program. Visit queenslandballet.com.au/foundation-program
ISSUE #3 AUGUST 2020
Queensland Ballet Academy Video Auditions
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EXPLORE
Art Allure World-class art will draw a crowd alongside ballet and theatre aficionados, bar-hoppers and coffee enthusiasts when the Thomas Dixon Centre reopens next year
QUEENSLAND BALLET
— When you step foot into the Thomas Dixon Centre upon its reopening in 2021 expect to be enchanted – not just by the performances, but by the surroundings themselves. The $70 million redevelopment of the heritage-listed West End site – our home – is set to become the next cultural hub of Brisbane featuring a theatre with live performance seasons, a café, bar, rooftop terrace, and QB’s studios, while world-class local and international art will transform the building into a public gallery. Working closely with QB, independent curators Danielle Renshaw and Alison Kubler looked to offer a total art experience for visitors and are developing an art program for TDC that includes specially commissioned built-in, as well as changing ephemeral artworks. Pas Magazine caught up with two of the artists, local indigenous artist Judy Watson and Sydneybased sculptural artist Jamie North, to chat about their pieces in the lead up to the TDC’s completion.
Judy Watson the carpets
Words Cassandra Houghton
— Brisbane artist Judy Watson is the talent behind the inspiring carpets adorning the foyers, boardrooms and theatre and she hopes people will be mesmerised and energised by the designs as they move across the space. “I really wanted to convey a feeling of beauty – of hearts beating, movement and air, light, water, and the environment charging up through the soles of their feet as they move across the space so they feel energised,” Judy says. “As their gaze is resting on the work, while they’re waiting for the performance to begin, I hope there’ll be a sense of elation, and a sense of curiosity and wonder.” It’s a grand vision for a carpet design, but this style, with its layered storytelling, is Judy’s lifeblood. Working predominantly in painting, printmaking, drawing, sculpture and video pieces inspired by Aboriginal history and culture, her renowned artworks have recently featured at galleries and spaces across Australia and internationally including Tate Britain and the British Museum. The Carpets she has designed for TDC the carpets she has designed will boast iconic Queensland elements from nature, each chosen not only for its beauty, but for its importance to Aboriginal culture and to this place. Images of baler and pipi shells, casuarina branches and bunya leaves fuse with ‘listening springs’ and seed and local bird’s feathers, interwoven with tulle and a fabricated feather from the QB costume department. The result, with its ochre and indigo tones, is sublime. “The baler shell is an important object carried along Aboriginal trade routes; it’s often used as a drinking vessel and I have seen them at remote inland wells. You can put a shell to your ear and listen to the sound of the sea. I like that idea of its hollowed space as a carrier of messages,” Judy says. “The bunya leaf is very iconic to Queensland; there are stories of Aboriginal people travelling by following the stars to southeast Queensland for the Bunya (Bonyi Bonyi) ceremonial gatherings. I tried to encompass ideas of places and memories.” There’s an educational aspect, too. “There are objects in there depicting shells, springs, water, and movement,” she says.
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“All these images have their own stories and that might be something that comes out of this – things for children to find, so the next time they go to the beach they’ll identify a shell and know exactly what it was used for…I hope that it becomes a conversation.”
Jamie North the forecourt sculptures — Drift your gaze down from the stark red brickwork of the TDC facade and it’ll settle on a trilogy of tall, rustic columns in the forecourt. From those segmented columns, lush, native Queensland plant-life cascading out of the concrete will give the installation a living dynamism – says Sydney artist Jamie North, who designed the art pieces with the human body in mind. “I wanted Ensemble to relate to the human body, and to have some kind of dynamism as you’d experience during a performance,” Jamie says. “I had early ideas around making it dynamic and weightdefying, and the stacked form of the sculptures together with the plant life will help to achieve that.” Species of rock-felt fern, yellow cane orchid, and vines producing dainty, bell-shaped flowers will grow out from the sculptures, which are fashioned from slag – a by-product of making iron which has the appearance of natural rock and coral. It’s one of Jamie’s primary sculptural mediums, however the pieces at QB’s home will have a distinct difference to his prior creations. “I’d like to include impressions of the dancers’ fingers and hands within the texture of the concrete surface from some of the ballet ensemble. I think this will further connect the sculptures to the body and specifically to that of the dancers,” he says. “We like seeing ourselves reflected back and are able to identify with things that have some form of human animation, and the impression of fingerprints will imbue the columns with a human resonance.” While this is a novel technique for Jamie, his processes are not. With each piece, the selected plants—in time—become entangled with the inorganic concrete, creating a continuously evolving and living sculptural form. Past commissions have featured at National Gallery of Victoria, Transport for NSW, the 20th Biennale of Sydney, Mt Coot-tha Botanic Gardens, and far away destinations such as London and Istanbul. It’s a world away from his childhood in Newcastle, where the dichotomy between the ‘industrial guts’ of the area, and the bushy, beachside landscape near his home resonated at an early age. “Growing up in the beach suburbs of Newcastle it was still very bushy, while my extended family worked in steel works or industries connected to it, so this kind of duality always existed for me,” he recalls. “And my dad was a bricklayer and I would often labour with him, so I was involved in building sites that had been recently cleared, and the roll out of the vegetation… so that I saw the contrast between the landscapes. “From a young age I always resonated with plants, and I guess for me, I see my sculptural works as a system for sustaining plant life and creating niches for plants to thrive. “The plants are definitely actors within the installation, and at the TDC I’m looking forward to seeing their performance.”
JUDY WATSON
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JAMIE NORTH
ISSUE #3 AUGUST 2020
Artwork Section of the carpets by Judy Watson
Artwork 'Ensemble' by Jamie North
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INTERVIEW Silver lining Soloist Georgia Swan found inspiration in the simpler things during isolation but is overjoyed to be back
Georgia Swan Soloist
— The last time Georgia Swan took a three-month break
apartment she shares with her partner and fellow
from ballet, she had yet to tie up her very first pair of
Company Artist Ari Thompson was a challenge she rose
pointe shoes. But when COVID-19 hit Australian shores,
to meet during the 12 weeks. Despite battling for space,
a swift lockdown sent Swan and the Queensland Ballet
going through the isolation period together is something
Company dancers home indefinitely. Rehearsals inside
Georgia is grateful for.
QUEENSLAND BALLET
spacious studios with choreographers and colleagues
“Having someone who knows what you are going
were swapped for cramped living rooms and a computer
through because they are experiencing it themselves
screen.
made such a difference to how I handled working
While many businesses and workplaces moved online and the majority of Australians continued to work from
remotely,” she says. “When I was feeling low, Ari was there to pep me up,
their dining tables, the ballet profession is one that does
and vice versa. We were sources of inspiration for one
not thrive in the confines of homes and backyards.
another and helped each other through the challenges
“As dancers, we cannot do our job without the proper facilities or more importantly, without each other,” Georgia says.
and uncertainty. “There were days I had zero motivation, but I had to remember we were all in this together. I always managed
“This is not a job we can do from home. The studio cannot be replaced,” she adds.
to find inspiration to reignite my passion, whether it was a simple Facetime with the other dancers or watching a
Although no one knew when Queensland Ballet would reopen its doors, the uncertainty kept Georgia on her
video on YouTube.” With theatres remaining closed throughout Australia
toes, training to maintain her strength and technique for
and the world and the live entertainment industry at
the day they could return.
a standstill, it has become startingly clear just how
That day finally arrived on June 15th after a sudden announcement that Queensland Ballet could slowly restart its Company rehearsals under strict COVID regulations.
impactful the arts are on society, both as a source of inspiration and escapism. “During this weird and uncertain time, people have really relied on the arts as a form of support and
After three months of tuning into daily zoom classes
comfort. When there was nothing, people turned to
led by Artistic Director Li Cunxin and Queensland
music, art, literature, movies and movement to feel a
Ballet’s artistic staff, Georgia and Queensland Ballet’s
sense of connection,” Georgia says.
59 other Company dancers were finally able to reunite
“I think people will have a greater appreciation for the
and although socially distanced, could once again dance
simple things, like a meal at your favourite restaurant or
together.
a night out at the ballet.”
“The feeling of walking into the studio was pure elation,” Georgia says.
With Queensland Ballet’s exciting 2020 season postponed to 2021, Georgia says she is just grateful to
“It was incredibly surreal to be back in the studio, to hear the live music coming from the piano. To be able to see one another in person and not through a screen was
be back in the studio, dancing and preparing for the eventual return to the stage. “The moment the curtain rises and we hear the
a really happy moment for all of us. We didn’t realise how
sound of the orchestra warming up will be a moment the
lucky we were to rehearse in such an amazing space with
dancers and I will never take for granted again.”
incredible people.” Despite the excitement felt throughout the walls of Queensland Ballet’s home in West End, rehearsals Words Ellen Gillroy Photo Soloist Georgia Swan by David Kelly
weren’t back up to speed immediately, with the risk of injury a real threat to the dancers who had been away from the studio for such an extended period of time. Maintaining her technique and stamina from the
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— Georgia will perform in upcoming QB productions, and in our 2021 Season next year. For information and tickets, head to queenslandballet.com.au
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ISSUE #3 AUGUST 2020
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Photos Principal Artist Laura Hidalgo as Cinderella, 2018 By Ali Cameron
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QUEENSLAND BALLET
THROWBACK: CINDERELLA
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ISSUE #3 AUGUST 2020
Behind-the-scenes magical moments during the 2018 Cinderella photo shoot. To donate to QB’s #keepthemagicalive initiative during this challenging period, please head to charidy.com/keepthemagicalive
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ENGAGE Firelighter
QUEENSLAND BALLET
Veronika Sheremetieva Head of Associate Program QB Academy
Veronika Sheremetieva, on her devotion to igniting artistic passion from the very start
— Growing up in an artistically-enriching environment
was quickly promoted to backstage Captain of a group
often plants the seed for lifelong appreciation for the
of ballerinas. This sparked the beginning of her teaching
arts. For Veronika Sheremetieva (affectionately known
career, spanning almost 20 years.
around Queensland Ballet as Miss Nika), this was ignited
Nika now credits overcoming the physical, mental and
by her grandmother, who exposed her to ballet, opera,
emotional obstacles from her past for galvanising her
literature and art from a young age.
love for developing professional skills in young dancers.
“She had a long love for ballet and was physically
“I started teaching adult classes in England. When I
gifted herself, but her parents were against it. She fought
moved to Brisbane in 2005 I joined a dance studio to stay
in WWII and was 21 when the war ended, so she lived her
in shape, and they eventually invited me to give classes,”
passion through me,” she says.
she says.
At just six years old, Nika was enrolled into her
“I started teaching younger children over time,
first ballet school in a tiny town north of Siberia, in the
and realised there were many things missing in their
former Soviet Union. Despite lacking facility, her teacher
foundation because they progress too quickly. Ballet
recommended she audition to a professional school
form is like iron – it takes time to forge, so I focused on
by age 10. Nika and her grandmother moved to their
inspiring and injecting passion for both ballet and hard
hometown of Baku, Azerbaijan to pursue this. However,
work in my students.”
success didn’t come easily.
In 2017, Nika joined Queensland Ballet Academy,
“Everyone who saw me audition would see all the
where she combines her skills in professional
physical challenges I’d have to overcome, so I was often
foundations with academics in young children. In just
turned down,” she reflects.
four years she has taught in the Associate and Senior
“Then, one of the panel in my Baku Choreography
Programs, become Head of Associate Program, founded
School audition allowed me to show improvisation in
the Academy’s Ballet History studies and established the
my dance. Everyone saw the maturity in my artistry and
new Foundation Program, launching next year.
decided to give me a chance. That’s how I started fulltime training.”
“I would love Queensland Ballet Academy to become an ambassador for raising a generation of people deeply
Two years later, a civil war broke out, forcing Nika and her grandmother to move to Moscow. Having to audition
submerged in art, in all its glory,” she declares. “Ballet comes from the inspiration of amazing artists,
for placement in a professional school again, her artistic
sculptors, myths, legends, music and literature – if we
potential opened doors, ultimately triumphing over her
can raise a generation who can’t imagine life without it,
struggles in facility.
even if they’re not ballet dancers, I think we’ll achieve a
“I enrolled into Moscow Dance Academy, where ballet
major shift in the treatment of art in Australia.”
was given equal priority to all other dance genres. When I was 14, Natalia Zolotova from the Bolshoi visited us to scout for talent. She hand-picked me out of 20 other girls, and I ended up in her hands,” she recalls. Words by Courtney Adams Illustration Veronika Sheremetieva by Niqui Toldi
Graduating four years later, Nika danced professionally around the world before settling in South Yorkshire, UK. She picked up a contract in Leeds, and
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— Queensland Ballet Academy’s 2021 programs have been announced. Visit queenslandballet.com.au/academy for more information.
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ISSUE #3 AUGUST 2020
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HISTORY 1966—1991
Photos Left to Right: Queensland Ballet official Program from the 1966 regional tour; Circus!, 1972; Le Beau Danube, 1978; Founder and first Artistic Director Charles Lisner; Alice – Memories of Childhood, 1989
— With no funds to commission works from guest choreographers, Lisner continued creating most of the works himself. As the Company’s financial footing became more secure, he was able to provide opportunities for other
1966
Australian artists, including Garth Welch, Leslie White, Ray Powell and Cathryn Short. In 1972, the Company tours to Canberra, Hobart, Launceston and Sydney for the first time, but poor box office income precipitates a financial crisis which nearly sees the organisation collapse. Strict economies and unflagging audience support saw lost financial ground re-gained.
— Dwindling finances in the mid-60s sees
1975 1974
QUEENSLAND BALLET
The evolution years
— On 4 June, Lisner announces his
resignation, leaving the company he
had founded and nurtured in a healthy
financial position and with a respected artistic reputation.
Lisner suspend operations and focus on — Harry Haythorne is appointed Artistic
loyal dancers continue to attend classes
Director and Chief Executive Officer of
and the Lisner Academy continues to
Queensland Ballet. Born in South Australia,
operate. In 1967 his efforts are rewarded
Haythorne had danced and worked overseas
with a grant of $7500, which allows
since 1949.
the Company to once again plan for its
Haythorne expanded the Company’s
future, and in 1968 The Queensland
repertoire, programming works by
Ballet Company reopens on March 6,
international choreographers. New works
1968 with a season at Her Majesty’s
by Australian choreographers were also
Theatre. Government funding is
commissioned, which saw Don Asker, Garth
increased to $30,000 later that year.
Welch and Graeme Murphy all working with
1972
lobbying for government funding. His
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the Company. At this time, the Company begins operating from a heritage-listed building in Margaret Street, Brisbane. Haythorne also contributed much to building Queensland Ballet’s relationship with ballet schools around Queensland, by casting local children in touring productions such as Coppélia.
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Queensland Ballet celebrates 60 years in 2020
1991
— A partnership between Queensland
— Queensland Ballet moves into
Ballet and the Queensland Department of
the Thomas Dixon Centre in West
Education is formalised, under which the
End. Having been purchased by the
Company contributes to the Artistic and
Queensland Government in 1975, the
Advisory Committee of the Queensland
former shoe factory was refurbished
Dance School of Excellence.
to provide offices and studios for Queensland Ballet, the Queensland Dance School of Excellence, and the
— Haythorne relinquishes the directorship of the Company, and Harold Collins is appointed Artistic Director. A founding member of The Queensland Ballet Company under Lisner, Collins left Australia in 1964, spending the next 10 years dancing overseas, and re-joined in 1974. Collins was to be at the artistic helm of
1989 1994
Queensland Philharmonic Orchestra.
the Company for almost two decades. In
— Charles Lisner dies from cancer.
1985, the opening of new theatres in QPAC
“I had the rare opportunity of founding
provided a welcome boost to the public’s
an institution which will make a lasting
interest in ballet. Riding financial highs and
— The Company undertakes its first
— The Charles Lisner Studio in the
contribution to art and give pleasure to
lows over the years, including the economic
international tour, travelling across the
Thomas Dixon Centre is opened for
countless millions long after I have gone.”
downturn of the early 1990s, the Company
Tasman to New Zealand.
public performances, offering a unique
Charles Lisner, My Journey Through
presented some memorable and dramatically-
experience in an intimate and relaxed
Dance (1979)
studio space.
Carroll’s Scheherazade and Collins’s Salome. Following Lisner’s vision, Collins continued to commission new Australian works in contemporary and classical styles, and forged
1988
charged productions, among them Jacqui
the enduring relationship between Queensland Ballet and the Queensland Dance School of Excellence.
Follow along with the timeline from 1995 – 2020 in the next edition of Pas Magazine, out in December.
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ISSUE #3 AUGUST 2020
1978
1987
From a change in artistic directorship to Australian tours, creative collaborations, and a partnership with the Queensland Department of Education, Queensland Ballet’s evolution years were challenging, progressive, and ultimately lucrative. As the Company celebrates its 60th anniversary, we reflect on the next two decades of key events which have led us to where we are today.
Photo Company Artists John Paul Lowe & Charlie Slater by David Kelly
Queensland queenslandballet.com.au