SYDNEY DANCE COMPANY AND CARRIAGEWORKS PRESENT
PPY20 Revealed 7 - 8 Dec
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2021 Annual Program On Sale Now Under 30s subscription available Subscribe Now sydneydancecompany.com
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Photo by Rafael Bonachela. Dancer Emily Seymour.
Rafael Bonachela Artistic Director
I am absolutely delighted that after such a challenging year, our 2020 cohort of Pre-Professional Year dancers can take to the stage for this graduation performance. Now more than ever, the future of the cultural sector in Australia is so very important and this exceptional group of talented young dancers is leading the charge. As the impact of the pandemic became apparent in March, the Pre-Professional Year dancers pivoted to online learning for their second term, and I’m so proud of all that they’ve achieved. The dedication and passion that I see in each of the dancers in our 2020 cohort – each time they step into the studio to take class, to do a workshop, attend a rehearsal and even this year when I saw them on Zoom – is such a joy.
Thanks must go to our artistic staff for their inexhaustible expertise, dedication and care: Head of Training Linda Gamblin, Course Coordinator Omer Backley-Astrachan, Company Rehearsal Director Chris Aubrey and Rehearsal Associate Charmene Yap. Without them, this course would not be possible. I also acknowledge and express gratitude to our donors for their ongoing support which enables us to nurture this next generation of young artists.
It has been a delight to be involved in the creative growth of these amazing dancers over the past year and I am overjoyed to see them performing an excerpt from my own work, 6 Breaths, as well as brand new works from former Company dancer Holly Doyle, Pre-Professional Year alumna Jessica Goodfellow and Pre-Professional Year Course Coordinator Omer Backley-Astrachan. I wish the graduates of 2020 the very best for what I’m sure will be an exceptionally promising future!
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Anne Dunn Executive Director
This has been a year of challenge for us all, but from adversity comes growth and it has been wonderful to witness the resilience and development of Sydney Dance Company’s PreProfessional Year dancers. Over the last seven years, the Pre-Professional Year program has gone from strength to strength and I am proud to see the incredible potential and talent of so many young dancers unlocked and nurtured. This year’s cohort has demonstrated particular tenacity and it is a privilege to see them reach the end of their year of disrupted study with such grace and skill. The Pre-Professional Year is the foundation of our mission to nurture the next generation of dance artists. As a beacon for professional development and transition into the industry, it is unique in the Australian dance training ecology, and the success of the course can be seen both in the achievements of the young dancers who will perform this evening and the career trajectories of our graduates.
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We thank and acknowledge all those who support our Advanced Training programs: our Government, private and corporate partners whose investment in Sydney Dance Company allows us to forge pathways for the future; Hermès Australia as the PPY20 Revealed Production Partner; and our Pre-Professional Year scholarship donors Tim Fairfax AC, the Doug Hall Foundation, the Wales Family and Mary Zuber. We are proud to continue the work of the Hephzibah Tintner Foundation through the Hephzibah Artist Development Program, supporting the next generation of Australian artists. I would also like to thank Blair French and the team at Carriageworks for their support in copresenting this graduation season. The dancers of 2020 are all incredibly talented and I wish them every success for their future personal and professional endeavours.
Linda Gamblin Head of Training
The Pre-Professional Year dancers of 2020 introduce three collaborative works created through the process of independent thought and introspective discovery of the artists within. The works this evening include Holly Doyle’s Processional, Omer Backley-Astrachan’s Fugue, Jessica Goodfellow’s Human Drama and excerpts of Rafael Bonachela’s 6 Breaths. Former Sydney Dance Company dancer Holly Doyle made her choreographic debut in the Company’s 2018 season of New Breed. She presents Processional, a collaboration with composer May Lyon from the Sydney Conservatorium of Music Composing Women program. Together they have created an innovative choreographic and musical experience. The second work of the evening is by Pre-Professional Year alumna Jessica Goodfellow, an emerging choreographer and movement artist. Human Drama is the result of her vivacious personality and diverse movement language. This work offers delightful insight into the continuing careers of our former Pre-Professional Year dancers. Established Israeli choreographer Omer Backley-Astrachan presents Fugue. It is the product of his collaboration with composer Jane Sheldon of the Sydney Conservatorium of Music Composing Women program. Omer joined Sydney Dance Company in 2018 as Pre-Professional Year Course Coordinator and it is thrilling to work alongside Omer in another capacity, witnessing his meticulous process and commitment to intention while engaging all members of his cast.
The final work we present this evening is excerpts of the award-winning 6 Breaths by Rafael Bonachela. Staged by Rehearsal Associate Charmene Yap, the dancers have researched and embodied the intricately technical movement of Rafael’s choreography under her guidance. 2020 has been the year of unprecedented challenges. The arts industry faces an indeterminable future, however this year it has been the artists who have remained persistent and devoted to their forms, despite all adversities. This year we present a cohort of Pre-Professional dancers who have looked within themselves to discover an audience. Internally and through isolation they have found a universe full of personal realisations and a deeper relationship with the form. I want to thank all of the incredible choreographers whose work you will enjoy this evening, along with the many guest teachers and Sydney Dance Company’s artistic staff. Together, their knowledge and support has contributed immensely to the development of this year’s artists and tonight’s spectacular evening. Finally, I want to thank the Pre-Professional Year dancers for the humbling experience that this year has been. By embracing fear you have all found strength in vulnerability. Tonight is not only the launch of your careers as dancers but also as artists who bring critical thinking, hope and endless possibilities to the future of dance.
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Program PPY20 Revealed
Processional Holly Doyle Human Drama Jessica Goodfellow
16 mins
Fugue Omer Backley-Astrachan
20 mins
6 Breaths Rafael Bonachela
16 mins
6 mins
We thank and acknowledge Hermès Australia for its generous support as the PPY20 Revealed Production Partner. This year Sydney Dance Company welcomes a collaboration with the Sydney Conservatorium of Music's Composing Women Program, and the support of the Sydney Symphony Orchestra through the Sydney Symphony Orchestra Fellowship.
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Processional Holly Doyle
It takes two to seesaw I am here because of you We belong in a bundle of existence I am perpetuated by your benevolence My life begins to make meaning As I to yours lend meaning One tree don’t make a forest One tot don’t make a crèche If I pick you up when you fall We can both stand tall
I’ll watch your back as you stand For mine, another doth mind An unending cycle of kindness An unbroken cord of humaneness Our lives are seesaw You are here because of me
Choreography
Holly Doyle
Music
May Lyon
MofOluwawo O MojolaOluwa
Sydney Symphony Orchestra Fellowship Roger Benedict, conductor Brian Hong, violin Miles Mullin-Chivers, cello Richard Shaw, clarinet Jordy Meulenbroeks, bassoon with Joshua Batty, Principal Flute, Sydney Symphony Orchestra Sound Engineer
David Kim-Boyle
Mixing and Mastering
Evan McHugh
Lighting Design
Alexander Berlage
Costume Design
Holly Doyle and Annie Robinson
Cast
Full Company
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Human Drama Jessica Goodfellow
This piece is an ode to Sharon Eyal, Michael Jackson, Jordan Peterson, Eckhart Tolle, the observer, the source and the pure love pervading everything, even when we don’t know it. But mostly, it is an ode to Carl Jung’s Philosophy of the Shadow. “The infantile dream-state of the mass man is so unrealistic that he never thinks to ask who is paying for this paradise… Separation from his instinctual nature inevitably plunges him into a split that becomes pathological the moment his consciousness is no longer able to neglect or suppress it. This confrontation is the first test of courage on the inner way, a test sufficient to frighten off most people, for the meeting with ourselves belongs to the more unpleasant things that can be avoided, so long as we can project everything negative into the environment...
We expect them to see and understand where they are wrong… instead of making a serious effort ourselves to recognise our own shadow and its nefarious doings. If we could only see our shadow, we should be immune to any moral and mental infection and insinuation. But as long as this is not so, we lay ourselves open to every infection, because we are doing practically the same things as they are, only with the additional disadvantage that we neither see nor want to understand what we are doing under the cloak of good manners.” C.G. Jung
Choreography
Jessica Goodfellow
Music
Human Drama
Artist
Planningtorock
Lighting Design
Alexander Berlage
Costume Design
Annie Robinson
Opening Night Cast Sabine Crompton-Ward, Taiga Kita-Leong, Hugo Poulet, Remy Rochester, Maycie Spry, Niki Verrall, Coco Wood Closing Night Cast Sophie Carathanassis, Mia Corfield, Patricia Hayes Cavanagh, Sophie Jones, Taiga Kita-Leong, Hugo Poulet, Sebastian Vidot 9
Fugue Omer Backley-Astrachan
Already, something within you is responding to this opportunity. To this occasion. You came here, you entered the room, a little empty, to the place in you which is silent. Over the next 20 minutes or so, I will not engage you with any activity by which you need to concentrate. Now, we have closed the doors. The sound of the outside has subsided. You are experiencing a natural response to the call of your ‘inwardness’. Your memories, your fears - don’t fight them. The edge of chaos is where you want to be. Lost and free.
Choreography
Omer Backley-Astrachan
Music
Jane Sheldon, with text by David Rattray
Musicians
Jane Sheldon, vocals Kirsty McCahon, double bass
Sound Engineer
David Kim-Boyle
Mixing and Mastering
Stuart Melvey
Lighting Design
Alexander Berlage
Costume Design
Annie Robinson
Opening Night Cast Lily Boston, Sophie Carathanassis, Sabine Crompton-Ward, Emily Eather, Patricia Hayes Cavanagh, Juliet Hoeberigs, Sophie Jones, Archie McLean, Emily McMahon, Jada Narkle, Hugo Poulet, Isobel Turner Closing Night Cast Jackson Biala, Mia Corfield, Claudia Debenham, Saskia Ellis, Patricia Hayes Cavanagh, Taiga Kita-Leong, Remy Rochester, Lauren Rutherford, Maycie Spry, Niki Verrall, Sebastian Vidot, Coco Wood 10
6 Breaths Rafael Bonachela
I’m delighted our Pre-Professional Year dancers are performing three of the six sections of this work, which premiered in 2010 during my first year with Sydney Dance Company. 6 Breaths was my second collaboration with my dear friend and Italian composer, the late Ezio Bosso; we both fed from each other’s inspirations and arrived at a shared vision. The work is divided into six sections each starting with a solo piano infused with the sound of live breath and at times, set against the lush music of six cellos. If you can imagine, the six cellos are the work of lungs expanding and contracting, their swelling and subsiding music representing a cycle of life from the first breath to the last.
I would like to recognise the outstanding vitality, ability and enthusiasm the 2020 cohort of young dancers have demonstrated in breathing new life into this work. Thanks also goes to Rehearsal Director Chris Aubrey and Rehearsal Associate Charmene Yap in taking great care working with the Pre-Professional Year dancers to facilitate the rehearsal process and remount 6 Breaths.
Choreography
Rafael Bonachela
Remount
Charmene Yap
Music
Ezio Bosso
Lighting Design
Alexander Berlage
Costume Design
Josh Goot
Cast
Full Company
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Photo by Pedro Greig Class of 2020 photo taken 12 in February 2020.
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Pre-Professional Year Teaching Faculty
Thank you to our inspirational teachers, facilitators, guest choreographers and mentors. Sydney Dance Company Artistic Director Rafael Bonachela Head of Training Linda Gamblin Pre-Professional Year Course Coordinator Omer Backley–Astrachan Company Rehearsal Director Chris Aubrey Company Rehearsal Associate Charmene Yap Company Dancers and Teachers Juliette Barton Ariella Casu Davide Di Giovanni Jacopo Grabar Luke Hayward Chloe Leong Jesse Scales Emily Seymour Mia Thompson Chloe Young Victor Zarallo Yoga Jolie Brook Pilates Ingrid Shaw
Pre-Professional Year Guest Teachers and Choreographers Kay Armstrong Craig Bary Sarah Black Shane Carroll Jana Castillo Kristina Chan Richard Cilli Matt Cornell Cloé Fournier Sue Healey Victoria Hunt Annie Jeffries Billy Keohavong Jason Lam Zachary Lopez Cadi McCarthy Cass Mortimer Eipper Alexandra Rolfe James Taylor Dean Walsh Patricia Wood International Guest Teachers Diego Alvarez Cyril Baldy Company Doctor Dr. Michael Berger Physiotherapists Ashlea Mary Cohen April-Rose Ferris Psychologist Dr. Sallie Grey Sports Doctor Dr. James Lawrence Wellness Coach and Nutrition Kate Weir
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Pre-Professional Year
Jackson Biala The relationship and collaboration of our mind, body, environment and everyone in the space power authentic connection and movement synchronous to our essential form. Coherent stimulation and sensation of being surrounded by creativity and intelligence, in a non-judgmental experience, allow for an understanding and exploration of ourselves when we are in this space, and more noticeably when we aren’t. The Pre-Professional Year has exposed me to being authentically honest and having belief in myself—stripping back to what is necessary and truthful, and then questioning and redefining.
Lily Boston The Pre-Professional Year has helped me understand the importance of finding my own unique style by letting go of internal and external expectations of what is a successful dancer. During the course I have been encouraged to reject the notion that you ‘have to be perfect’. Perfection is unattainable. There is art in imperfection. The Pre-Professional Year nurtures and enhances previous training and helps you grow not only as a dancer but also a human being.
Sophie Carathanassis I have experienced so much growth, not only as a dancer but as an individual. This year has enabled me to discover a deeper awareness of my identity, informing the person I want to become and providing courage to believe in the person that I am. Throughout the year I was inspired by my peers; witnessing their journey everyday allowed me to realise my own vision and a sense of self-regard. I am so excited to continue my journey, exploring and experimenting through life and dance.
Mia Corfield Looking back on this year, I have learnt so much about myself. While this was my second year in the course, I kept investigating and searching, using the tools I had learnt last year, to invest in distinct movement ideas. I’m extremely grateful for the ability to learn about mindfulness throughout this year. This became integral to my practice in every way. It was exciting for me to join morning classes and understudy with the Company this year. Being in and around that environment was so eye opening.
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Ensemble of 2020
Sabine Crompton-Ward During my time in the Pre-Professional Year program, I have come to understand and find comfort in the fact that everything I think I know for sure is temporary. Sometimes I feel like I know nothing at all—as though I’ve only just begun. Sometimes this is scary, but this course has taught me how to learn. So perhaps this means I already have everything I’ll ever need. I am grateful to have been able to share the space with such beautiful people. They have inspired me and reminded me to place value on the things I don’t know yet.
Claudia Debenham Alongside my development as an artist, the personal growth I have experienced throughout this year has been immense. I have gained knowledge surrounding both my physical and psychological processes which has furthered my dance practice and broadened my perspective on how thoughts feed knowledge into the body. Delving into this investigation has allowed me to approach movement with awareness and refine my physicality, prompting questions to continually arise. The environment in the Pre-Professional Year stimulates these questions and guides further thought into the intention behind each artistic choice.
Emily Eather The Pre-Professional Year has helped me to find comfort in the unknown and uncontrollable. This year has taught me the importance of questions. We have been encouraged to question our preconceived ideas of dance, ourselves and the body through working with various artists. The program has supported me to develop my own artistic practice and find honesty and authenticity within my movement.
Saskia Ellis My experience with the Pre-Professional Year has provided the opportunity to dismantle habitual behaviours and thought processes and replace them with contextualised information. I’ve learnt this is necessary to encourage positive thinking patterns and movement processes to occur naturally and organically. I’ve been confronted with numerous challenges, conflicting information, and an overwhelming influx of answerless inquisitions, and I have learnt to allow each question to form with a satisfaction for the unanswered query.
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Pre-Professional Year
Patricia Hayes Cavanagh This year has been unpredictable. The Pre-Professional Year has allowed me to continually nurture and grow my passion for dance. I now have tools to enter the dance sector confident in my sense of self and my abilities. With the stress of mind and body that comes in not only dance but life itself, this unexpected year has slowed me down for the better, allowing me to self-nurture and further grow my passion for dance. I am incredibly lucky to be part of the Pre-Professional Year and all that it has offered me.
Juliet Hoeberigs I wasn’t expecting to feel my body in movement the way I do now. Before the course, I was focused on the aesthetics of my movement and only recognising the feeling of placement. I can’t pinpoint the moment I began to give more attention to sensation, but it is now a skill I use in all forms of dance and something I credit to my experience this year.
Sophie Jones The Pre-Professional Year has allowed me to train with a new concept of contemporary dance, enabling fresh ideas and concepts to develop through my improvisation techniques. I learned to embrace my classical background as an advantage and explore my sensations in contemporary dance. From working with different choreographers and the Company dancers, I have been pushed into a new version of myself that I am constantly challenging and outgrowing.
Taiga Kita-Leong Sydney Dance Company’s Pre-Professional Year has been very inspiring and compelling. Throughout my time in the course I have acquired many tools and have gained numerous understandings about movement and dance. With the vast variety of highly experienced choreographers I have been able to discover unique artistry within myself. I believe I have grown not only as a dancer and a mover but as a more sophisticated and highly developed artist.
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Ensemble of 2020
Archie McLean Approaching every day with a beginner’s mindset is a philosophy that has changed the way in which I learn and acquire knowledge. The exposure to various techniques, and the broad range of knowledge that I was able to experience, have greatly impacted my perception of the way dance can comment on the world and how physical expression can carry such complex information. I’m so grateful that the Pre-Professional Year provided training through the midst of the pandemic. This additionally helped me learn that I’ll always have the ability to dance no matter what circumstances may arise.
Emily McMahon The supportive environment and professionalism has allowed me to grow as a creative individual. Rather than focusing on aesthetics, the program delves deep into the functionality of movement by tapping into the ‘internal’ body which allows for greater sophistication in dance. Through the course I have learnt more about my body and how to address challenges in a safe and functional way. I have deepened my understanding of movement and physicality and widened my scope of knowledge about contemporary dance.
Jada Narkle The Pre-Professional Year has been a journey of discovering how to question and be analytical, not just in dance, but within myself and everyday life. So much of what we think we know is nuanced and shaped by our experiences, but what I am beginning to understand is that to be my most authentic self is to acknowledge my thoughts, analysing them and understanding those which may differ from mine. It is about learning to be comfortable with being uncomfortable and unknowing. This has changed how I think and has made me a more efficient mover and coherent dancer.
Maddison Paluch I am grateful to the Pre-Professional Year for creating such a safe place for artists to find themselves and their voices. It encouraged me to find my voice as a strong Aboriginal woman, to be confident in who I am in this world, guided by a supportive environment for me to do so. Every artist in the room has different opinions and views but are so eager to listen and learn from every individual’s experience. This allowed me to push the boundaries on sharing what my people are going through and find my way of telling stories through my movement.
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Pre-Professional Year
Hugo Poulet During my time in the Pre-Professional Year I have gained new perspectives on dance as an art form. I’m grateful for the sharing of knowledge and ideas that are continuously being explored within the studio. I notice my coordination and awareness has improved, allowing me to enjoy movement more as well as aiding in adjusting to other styles of dance. While working with the vast range of teachers and choreographers, we are offered new and different ways to approach dance with the opportunity to apply what works for us individually.
Remy Rochester The kindness and wisdom that has been shared with us has been invaluable. I feel grounded by the tools and knowledge that has been passed onto me through this course, tools that I know I will use going forward into every area of my life. The emotional and intellectual transformation I experienced in the Pre-Professional Year has had the opportunity to manifest itself externally throughout the course of the year. I am now dancing with much more freedom, authenticity and passion.
Lauren Rutherford The transformation I have felt this year has been incredible. The Pre-Professional Year has given me a chance to find my authentic self as an artist and a person. Sharing space with such talented people each day was such a blessing. Throughout the program I’ve been provided the opportunity to discover, question and understand different aspects of life on a daily basis. I have seen a positive shift in my approach toward challenges though greater internal and mental awareness.
Maycie Spry Together we were able to raise questions, bring ideas and thoughts up for discussion, which in turn opened a huge space for discovery and rediscovery within myself. I’ve come to realise that there is so much more to dance than just movement. Questions like why I move and how I feel when I move became pivotal for very exciting revelations.
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Ensemble of 2020
Isobel Turner Unlearning and relearning what I knew about technique had a big impact. It helped me realise how significantly less complicated technique is when I shift my perspective. Introducing so many new and interesting modalities of movement to my practice broadened the way I think of and create movement. It has expanded everything I understand about movement and sensation in the body and I feel so much more able to diversify my material. I loved working alongside such talented individuals and being in a creatively diverse and flourishing environment.
Niki Verrall I am very thankful for Linda and Omer, who accepted me halfway through the Pre-Professional Year course, allowing me to continue dancing and learning amid the COVID period. During my time here, my peers have taught and inspired me a great deal, and I am grateful to have been surrounded by them each day to see them dance and enjoy themselves. The course has given me the tools to grow beyond what I thought possible, focusing on the smaller details and re-evaluating my outlook, allowing me to love dance more than I ever have.
Sebastian Vidot In looking back onto my first day in the Pre-Professional Year, I could never have imagined the amount of growth I have experienced both as a dancer and as a person. This program has given me the opportunity to build resilience and then practise it in every aspect of the course. I am so grateful to have had the opportunity to build on the skills I developed in my first year in the course and to expand further into new and exciting areas of dance in my second year.
Coco Wood The Pre-Professional Year has provided a collaborative environment to explore ideas, beliefs and values through regular discussions, allowing me to recognise my own individual growth. I was able to draw on my classical and contemporary training to explore new ideas of efficiency and arrive at a sense of ease and stability. I feel fortunate to have worked with the main Company this year as an understudy. Working and collaborating with Company dancers has allowed me a fresh perspective which I could bring into the Pre-Professional Year as we perform 6 Breaths by Rafael Bonachela. 21
With Special Thanks
PPY20 Revealed is presented on the land of the Gadigal of the Eora Nation. Carriageworks and Sydney Dance Company acknowledge the Gadigal people and pay respect to Elders past and present. Sydney Dance Company partners with Carriageworks to present PPY20 Revealed through the ongoing support of the NSW Government through Create NSW and the Australian Government through the Australia Council for the Arts. Sydney Dance Company thanks Carriageworks for its support of PPY20 Revealed. Carriageworks Carriageworks is the largest multi-arts centre in Australia commissioning Australian and International artists to make monumental new work that intersects with contemporary ideas. Reflecting the diverse communities of urban Sydney, Carriageworks’ artist-led program is ambitious, radical and always inclusive. We thank and acknowledge Hermès Australia for its generous support as the PPY20 Revealed Production Partner. Sydney Dance Company would also like to thank the following donors for their generosity in providing scholarships for Pre-Professional Year 2020 dancers: Tim Fairfax AC Doug Hall Foundation Wales Family Foundation Mary Zuber
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From 2004 to 2017, the Hephzibah Tintner Foundation successfully supported the work of young Australian artists. Since 2018, Sydney Dance Company is honoured to continue the work of the Foundation with the Hephzibah Artist Development Program. This program supports the next generation of Australian artists, with a particular focus on professional pathways for choreographers, dancers, composers and costume designers. Make a gift today You can help to nurture and inspire future generations of dancers and audiences by making a tax-deductible donation to Sydney Dance Company. As our Partner, you will know that your gift of any size is hugely appreciated and will make a truly transformational impact. For more information, please call: 02 9258 4882 or email: philanthropy@sydneydancecompany.com
With thanks to: Professor Liza Lim, Composing Women Program, Sydney Conservatorium of Music, The University of Sydney Emma Dunch, Sydney Symphony Orchestra Kirsten Rule Joshua Batty and members of the Sydney Symphony Orchestra Fellowship appear courtesy of the Sydney Symphony Orchestra Sydney Conservatorium of Music’s Composing Women The University of Sydney’s award-winning biennial Composing Women Program enables four postgraduate students to work closely with industry partners such as Sydney Dance Company, Sydney Philharmonia Choirs and Sydney and Tasmanian Symphony Orchestras to develop their compositional work and professional skills as part of their degree. The students have the amazing opportunity to have their music workshopped and performed, working intensively as a group and with each artist or organisation over two years. Participants are mentored by Professor Liza Lim as well as members of the Conservatorium’s composition unit. This program was established by Professor Matthew Hindson to mark the Conservatorium’s centenary in 2015 and demonstrates their deep commitment to creating new pathways for a more inclusive world in music where the incredible diversity of women composing can be celebrated. Sydney Symphony Fellowship Since its formation almost 90 years ago, the Sydney Symphony Orchestra has been a gathering place for some of Australia’s leading musicians. We have also been dedicated to nurturing successive generations of artists. For the last two decades we have provided support to young artists through the Sydney Symphony Orchestra Fellowship.
The Fellowship provides training and mentoring programs for young musicians at the early stages of their professional careers. Selected through a national audition process for the intensive, year-long program, our Fellows work alongside musicians of the Orchestra, performing in mainstage concerts as well as participating in chamber ensemble performances across NSW as part of the Sydney Symphony’s wider community engagement activities. Since the program’s inception in 2001, Fellowship alumni have won positions in some of the finest orchestras in Europe, Asia and Australia, including twelve past Fellows who now hold permanent positions with the Sydney Symphony Orchestra. In 2020, the Sydney Symphony Orchestra Fellowship features 10 outstanding young artists on strings, winds and brass. The Sydney Symphony Orchestra Fellowship program is funded through our Australia Council for the Arts and Create NSW partnerships and with the additional support from members of the Sydney Symphony Orchestra Patron program.
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Pre-Professional Year Alumni
Sydney Dance Company celebrates our Pre-Professional Year graduates entering the industry in a broad spectrum of employment. Our aim is to empower young dancers as they embark on their own unique journey, be it within the realm of contemporary dance or outside of it. Sydney Dance Company’s Pre-Professional Year alumni have gained employment with the following contemporary dance companies, productions and independent directors in the last seven years: Australian Dance Theatre (Adelaide) Australasian Dance Collective (Brisbane) Atamira Dance Company (New Zealand) Ballet Junior De Geneve (Geneva, Switzerland) Baltic Art Form (London, UK) Bangarra Dance Theatre (Sydney) Catapult Dance (Newcastle) Chunky Move (Melbourne) Cirque du Soleil (Montreal, Canada) Colette Sadler (Berlin, Germany) Configuration Co (Sydney) Crystal Pite/Kidd Pivot performances with STRUT Dance (Perth) Dance North (Townsville) Dresden Frankfurt Dance Company (Frankfurt, Germany) Dunera Synchronicity (Sydney) DV8 Lloyd Newson (London, UK) Eileen Kramer (Sydney) Force Majeure (Sydney) Fresco Dance Company (Tel Aviv, Israel) Inala Live (London, UK) ITDansa (Barcelona, Spain) Ivan Perez (Heidelberg, Germany) Kristina Chan (Sydney) Martin del Amo (Sydney) Metamorphosis Dance Company (Madrid, Spain) Moulin Rouge (Paris, France) Narelle Benjamin (Sydney) Ochre Dance Company (Perth) Ohad Naharin/Deca Dance performances with STRUT Dance (Perth) Omer Backley-Astrachan (Sydney) 24
Opera Australia (Sydney) Poetic Disaster Club (The Hague, Netherlands) Punchdrunk Maxine Doyle (International) Sara Black (Sydney) Scottish Dance Theatre (Dundee, UK) Shaun Parker & Company (Sydney) Stephanie Lake Company (Melbourne) Sydney Dance Company (Sydney) Sydney Experimental Arts Ensemble (Sydney) The Farm (Gold Coast) Theo Clinkard & Company (Brighton, UK) Twisted Element (Sydney) Wayne McGregor Dance Company (London, UK) West Side Story (New York City, USA) William Forsythe/One Flat Thing Reproduced performances with STRUT Dance (Perth)
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