Issuu

STRIVE ISSUE #7

SEP 2021

WELCOME

Contributors Editor Cassandra Houghton Words Cassandra Houghton, Ellen Gilroy, Chelsea Clark, Courtney Adams Art Direction & Design David Byrne, Niqui Toldi / Bigfish Queensland Ballet Artistic Director Li Cunxin AO Executive Director Dilshani Weerasinghe Deputy Executive Director Felicity Mandile

Welcome to the seventh edition of Pas. magazine.

Contact Queensland Ballet (07) 3013 6666 mail@queenslandballet.com.au Beesley St Studios 34 Beesley St, West End, QLD 4101 From 2022 —Thomas Dixon Centre, 406 Montague Rd, West End, QLD 4101

QUEENSLAND BALLET

Queensland Ballet Academy 101 L’Estrange Terrace, Kelvin Grove, QLD 4059

Every effort has been made to ensure that all information was correct at the time of printing, however, details are subject to change where necessary and without notice. Please check queenslandballet.com.au for updates.

Cover Principal Artist Yanela Piñera by David Byrne

/pa/ A step or series of steps in ballet.

IN THIS ISSUE 4

INTERVIEW

EXPLORE

Joel Woellner Road to Success —

Acting in Ballet with Mia Heathcote and Georgia Swan —

GALLERY

ENGAGE

Throwback 60 Dancers: 60 Stories —

Thomas Dixon Centre Exploring Wellness —

IN-DEPTH

ACADEMY

Dracula Origins of a Gothic Romance —

Queensland Ballet Academy Q&A with Louise Deleur —

EXPLORE

GALLERY

Kite Wishes Make a wish at the Thomas Dixon Centre —

Rehearsals A Sneak Peek in the Studios —

— Red dirt, open roads, and big smiles: the photos coming out of our regional tour all have this magical Australian theme, and it is such a delight to see. We’ve always said we want to spread the magic of ballet to as many people as possible, and we’re breaking our own records this year as our regional community engagement tour heads to the Northern Territory this September for the first time (pandemic restrictions permitting!). In the last few months, our QB teaching artists have toured across regional Queensland to teach classes and workshops in schools and halls in small towns like Charleville, Chinchilla, Dalby, Gladstone, Thargomindah, and Quilpie; thankfully they were well and truly out west when southeast Queensland’s lockdown began. Tutus on Tour, featuring excerpts from our 60th Anniversary Gala, has also graced the stages of some wonderful regional spots. As always, the team immensely enjoyed performing for regional audiences. Back in Brisbane, preparation and rehearsals continue for the rest of our 2021 shows. Excitement is building for the gothic romance Dracula – it’s palpable from the studios to the offices; while our contemporary season Bespoke; and everyone’s favourite holiday tradition, The Nutcracker, are also underway. Everything is selling fast, so if you haven’t yet secured your seats, be quick. In the meantime, enjoy this edition’s interviews, behind-the-scenes stories, and sublime photography, and we’ll have news about our upcoming 2022 Season very soon!

Li Cunxin AO Artistic Director

Acknowledgement of Country Queensland Ballet acknowledges the traditional custodians of the land on which we work and perform. Long before we performed on this land, it played host to the dance expression of our First Peoples. We pay our respects to their Elders — past, present and emerging — and acknowledge the valuable contribution they have made and continue to make to the cultural landscape of this country.

Photo Senior Soloist Mia Heathcote by Ali Cameron

Sept—Nov SEASON 2021

Dracula 26 November – 4 December, Lyric Theatre, QPAC It’s love at first bite. Dracula, the unearthly, seductive story inspired by Bram Stoker’s dark love story is presented by Queensland Ballet. Be taken on a journey across centuries into a dark world where true love never dies. — ACADEMY

Brisbane Festival 3-25 September, Various locations Queensland Ballet Academy’s PreProfessional Program dancers are performing as part of Street Serenades, while Queensland Ballet Teaching Artists will be delivering Ballet for Seniors classes in Wynnum during August–September — ACADEMY

Elite Training Series 27 September (Cairns); 28 September (Townsville) Queensland Ballet Academy are heading to north Queensland! We can’t wait to bring our popular Elite Training Series to Cairns and Townsville. Dancers can expect a one-day intensive program of professional training and mentorship from our esteemed Faculty. — ACADEMY

QB Academy Junior Holiday Program 27–29 September Queensland Ballet Academy, Kelvin Grove State College Queensland Ballet Academy invites dancers aged 7.5 – 9 years to our first Junior Holiday Program. Enjoy three days of ballet and dance activities with our esteemed faculty and step up in a professional and supportive environment. — ACADEMY

Foundation Program Selection Experience 24 November Queensland Ballet Academy, Kelvin Grove State College Dancers aged 8–11 in 2022 are invited to partake in Queensland Ballet Academy’s Foundation Program Selection Experience, for entry in Semester 1, 2022. —

— For bookings or information visit queenslandballet.com.au *All information correct at the time of printing, and subject to change.

ISSUE #7 SEPTEMBER 2021

ISSUE #7

WHAT’S ON

INTERVIEW Road to Success Joel Woellner Principal Artist

QUEENSLAND BALLET

Full circle moments and persistent passion are part and parcel of Joel Woellner’s dance journey.

Words Cassandra Houghton Photos Principal Artist Joel Woellner with former Principal Artist Laura Hidalgo in Liam Scarlett’s The Firebird by David Kelly

— It all began with The Wizard of Oz. It’s a fitting start to the story of a boy who grew up to dance as princes and dukes and fairytale characters, but Joel Woellner’s road to Principal Artist was paved not with yellow bricks, but hard work, and a determination to give each day as a dancer everything he’s got. “Just don’t ever have a day when you wish you’d worked harder at that,” Joel says, when I ask him if he has any advice for the youngest dancers. “My advice to young dancers is always to work so hard. But love it first, if that makes sense.” But back to The Wizard of Oz. We meet outside in the midday sun post Tutus on Tour rehearsals, Joel’s feet clad in warm-up boots, and he tells the story of the Grade 2 production of Oz that launched his career. “My class was doing the tornedo scene – my mum had actually made a big house out of a laundry basket as she’s quite crafty, and afterwards my teacher said to her ‘Oh, Joel’s got great physicality, good movement. He should do dance classes’. And I was like – nope, I’m not doing ballet,” Joel laughs. “But I was a ball of energy as a child, so I ended up doing dance classes and I loved it. My teacher told me if I wanted to get better I should do a ballet class so I did it, then tap, drama, singing, modern – the whole works, and I loved it and wanted to do more and more and more. So that’s how it started – all from The Wizard of Oz.” Born in Sydney, Joel trained under Joanne Ansell at Ettingshausens Dynamic Arts as a child, then completed the McDonald’s College classical dance scholarship at 16 years-old. Marilyn Jones was the adjudicator and at the time, her son was the director of Houston Ballet. She told Joel he should audition for the company. “Shortly after, I travelled to the Youth America Grand Prix in New York – a ballet competition where the directors of schools and companies go to watch young dancers and give out scholarships, and Claudio Munoz - the director of the Houston Ballet 2 and Men’s Teacher at Houston Ballet - saw me and liked me. He called the Director, who was actually out at dinner with his mum (Marilyn Jones) at the time,” Joel says. “And she said, ‘I’ve been telling you about him for ages’, so they offered me a full scholarship to the Houston Ballet Ben Stevenson Academy.” Joel then flew to New Zealand to compete in the Alana Haines Australasian Awards, where Queensland Ballet Artistic Director Li Cunxin and his wife Mary Li were the adjudicators. If you know the story of Li and Mary, you’ll recall they both danced at Houston Ballet. It was the Company Li defected to, from China. “I told them I had just accepted a position in Houston Ballet Academy, and they introduced me to lots of people,

and it was like the stars aligned…there were all these signs pointing in that direction. I did two years of training there, and two years with the company, and then the stars aligned again when Li offered me a position at Queensland Ballet.” Joel had kept in contact with Li over the years, and in 2015 he joined QB as a Company Dancer. Joel describes the period as baptism by fire – in a good way. “Within four weeks of accepting the job, I’d sold everything I owned in the US, moved to Brisbane, and started at QB – it was full on,” he laughs. “They were rehearsing Dance Dialogues and there was an injury two days out from dress rehearsal. So I literally joined the Company, learned the piece, then had dress and show within three days – it was boom, boom, boom. And then the next production – the first mainstage production – was actually The Sleeping Beauty, so it’s been another full circle moment to come back to it this year and be promoted during the season.” Joel’s promotion to Principal Dancer came after a stellar performance as Prince Désiré earlier this year during The Sleeping Beauty season. But he has been cautious in not allowing it to dominate what motivates him each day. “I fell in love with the stage when I was 13,” he says. “It was the nerves beforehand, the getting ready, the going onstage and performing, the adrenalin and fulfilment – I fell in love with ballet then and knew it was what I wanted to do. So for me, nurturing that love comes first. Because you’ll have great days, you’ll have hard days when you wonder why am I doing this...but you’re doing it because you love it.” His favourite part of the day is working with another person on a production. “When I was younger, I don’t think I was the best partner, but now I think it’s probably one of my biggest strengths,” he says thoughtfully. “And not only being able to technically do everything and make it smooth and have seamless transitions and soft landings, it’s working with someone else to create something really special. “I think finding that connection with every girl you dance with is often tricky but working with someone to find that is really important to me – and if you can find it in the studios, you’ll easily find it onstage with the sets and the costumes and the lights and the orchestra. “But…working hard is something I’ve really learned over time, how to keep pushing and finding more, and I think that maybe it also comes with experience and wisdom and allowing yourself to just be wrapped up in what it is to be a professional dancer.”

— See Joel in the upcoming Dracula, The Nutcracker, and our 2022 Season. To book tickets, visit queenslandballet.com.au

ISSUE #7 SEPTEMBER 2021

I FELL IN LOVE WITH THE STAGE

GALLERY Throwback 60 dancers: 60 stories — Following our much-lauded digital series created during the 2020 isolation period, Queensland Ballet toured 60 dancers: 60 stories to select locales across south-east Queensland. This live performance of works was designed to bring people together around the theme of love. During conception of the digital pieces, most dancers had never choreographed or filmed dance before. Using only their own recording devices, editing software and whatever “costumes” they could find; the 60 dancers created 60 works – made in true indie film spirit!

QUEENSLAND BALLET

Photos Left to Right: Principal Artist Neneka Yoshida; Principal Artists Yanela Piñera and Camilo Ramos; Queensland Ballet Dancers Photos by David Kelly

ISSUE #7 SEPTEMBER 2021

Photos Company Artist Edward Pope; Senior Soloist Mia Heathcote and Principal Artist Victor Estevez; Principal Artists Yanela Piñera and Camilo Ramos Photos by David Kelly

IN-DEPTH

QUEENSLAND BALLET

Love with Bite Where did the infamous story of Dracula come from? In anticipation of our east coast premiere of the ballet this November, we delved into the history to find out.

Words Cassandra Houghton Photos Principal Artists Yanela Piñera and Victor Estévez by David Kelly

— When London-born Bram Stoker wrote Dracula in the late 1800s, it’s doubtful a ballet adaptation was front of mind. The evolution of the gothic tale dates back to the summer of 1890 when a young Bram began research for his novel, with a gem of an idea in his psyche. He took his young family by train to Whitby, England, on the Yorkshire coast, where they explored the region and watched the Water Fete. Solo, more ominous ventures included a walk around the graveyard where he transcribed more than 90 graves, and a visit to the Whitby Subscription Library, signing the visitor’s register and consulting several books and maps. One rare book mentioned a 15th-century prince called Vlad Tepes who was said to have impaled his enemies on wooden stakes. He was known as Dracula – the ‘son of the dragon’. From the museum, he visited Whitby Harbour and the site of a famous shipwreck of a Russian vessel called the Dmitry, from Narva, which had carried a cargo of silver sand. For his novel, he rearranged the name to Demeter from Varna that carries Dracula to Whitby with a cargo of silver sand and boxes of earth. It took Bram Stoker six years to complete the infamous Dracula, finally publishing it in 1897. He converted it into a play called Dracula, or the Un-Dead the same year, and from the 19th to the 21st centuries it has been adapted countless times into theatre productions, films, musicals, books, opera, TV shows, games, and ballets. In contrast to many adaptations in popular culture, Queensland Ballet and West Australian Ballet’s co-production of Dracula focuses on the intense love and passion aspect of the mediaevalinspired masterpiece. It was pitched to Polish choreographer Krzysztof Pastor in 2017 by West Australian Ballet (WAB) Artistic Director Aurélien Scannella, and he found further inspiration in the music by Polish composer Woljciech Kilar, a highly respected symphonic

composer who had also delved into film with his score for Francis Ford Coppola’s Dracula. But ultimately, he was drawn into the idea of a macabre love story. “I wanted to make a piece about love basically. It’s about a passion which is so incredible, it hurts,” Krzysztof says. “When I began working with my friend Pawel Chynowski who wrote the libretto, he wanted to go ahead with a sort of grotesque version and I said ‘absolutely not’… I wanted serious, beautiful duets, because it’s about love, it’s about passion, it’s about being lost in a psychotic drama.” He spent eight weeks choreographing with WAB to get the production stage-ready, and it premiered in 2018. Bewitching’, ‘deliciously gothic’, ‘sensual’, and a ‘visual feast’ were just a few of the descriptions thrown around by enraptured audiences. Krzysztof says in the end, the story of Dracula is surprisingly deep, despite the commercialism. “In the end, it’s quite a deep story because, you know, it’s about this eternal love,” he says. “The passion…it guides this Dracula to be a cruel murderer. But on the other hand, a few hundred years later, he’s still in love with Elizabeth and he’s so much in love that he doesn’t want her to become like him. “So it’s the strength of love that is important.”

— Dracula is on at the QPAC Lyric Theatre from 26 November – 4 December. Book tickets at queenslandballet.com.au/dracula

ISSUE #7 SEPTEMBER 2021

IT’S ABOUT A PASSION WHICH IS SO INCREDIBLE, IT HURTS 9

MAKE A WISH, WATCH IT SOAR

ENGAGE

QUEENSLAND BALLET

— When Kite Wishes takes flight in 2022, you can be a part of it. Inspired by elements of Artistic Director Li Cunxin’s childhood, it’ll be history in the making.

— Queensland Ballet’s Artistic Director Li Cunxin AO has always been a dreamer. Growing up in a poverty-stricken commune in Quingdao, China, he would wonder if his life could be…more. As a child, Li would spend the sacred time he had with his father flying kites. He would write down his hopes and dreams onto little pieces of paper and tie them to the kite’s tail, watching them soar high above the clouds. Kites became a metaphor for Li, and throughout his career he has carried the mantra that life is filled with possibilities. During his tenure as Artistic Director, Li has led Queensland Ballet to great heights: growing the Company to 60 dancers, establishing the world-class Queensland Ballet Academy, and presenting a sold-out season after a devastating global pandemic, among many other highlights. Despite the achievements however, he feels it is still only the beginning for Queensland Ballet. Li has plenty of ambition left, including the Kite Wishes project, CUNXIN AO (P.51) which will pair his childhood love of kites with the big dreams he has for the Company. Queensland Ballet’s Head of Foundation Rachael Walsh says the project was designed to pay tribute to their beloved Artistic Director. “With our sights now firmly set on ensuring a strong and secure future, Kite Wishes is an inspirational project with a focus on legacy and sustaining the Company, so future generations can continue to experience and enjoy the transformative power and beauty of ballet,” Rachael says. The premise is simple: Queensland Ballet supporters will be invited to leave a donation and make a wish, in the same way that a young Li Cunxin watched his hopes soar on the tail of kite. Every donation and wish will be acknowledged in the Thomas Dixon Centre’s uplifting spaces, both in the building and online.

“.. OUR MAIN OUTDOOR ACTIVITY DURING THESE DAYS WAS KITE FLYING. FOR THE OTHER BOYS IT WAS JUST A GAME, BUT FOR ME, THIS TIME WAS SPECIAL. MY KITE WASN’T ORDINARY, IT WAS MY MESSENGER TO THE GODS, MY SECRET COMMUNICATION CHANNEL,” MAO’S LAST DANCER, BY LI

Words by Chelsea Clark Photo Ali Cameron

“Kite Wishes will directly contribute towards Queensland Ballet’s Endowment Fund to ensure a strong legacy, whilst inspiring community connectivity by sharing their own dreams and wishes,” Rachael explains. Queensland Ballet’s Endowment Fund is a vital part of the Company’s future operations. Behind every ballet company, there is a devoted group of donors who generously contribute to their ambitions. “A strong endowment is essential to ensure the long-term sustainability of Queensland Ballet,” she says. “We are humbled by the generosity of donors who have personally invested in our vision and our future, inspiring our growth and confidence as we celebrate our rich 60-year history.” Kite Wishes will help secure Queensland Ballet’s future and assist the Company in its big dreams and ambitions, including greater self-sufficiency, further possibilities to nurture new and emerging talent, and the chance to enhance regional touring opportunities to connect more closely with remote communities. To put it simply, Kite Wishes will give QB more opportunities to share the magic of ballet with as many people as possible. “Philanthropy is a powerful gift for our beautiful art form and for Queensland Ballet, enabling us to be visionary, to enrich lives and to create the greatest impact in our community,” Rachael continues. It is hoped this project will encourage one and all to open their hearts and support the future of Queensland Ballet. A strong endowment will ensure that QB will be able to deliver magic and enrich lives for our children and grandchildren in the next 50 to 100 years.

— Kite Wishes will be launched in early 2022, marking Queensland Ballet’s return to the newly renovated Thomas Dixon Centre. To find out more about how to contribute to the project, visit queenslandballet.com.au/support , or email foundation@queenslandballet.com.au

Photos Queensland Ballet dancers backstage during the 60th Anniversary Gala by David Kelly

ISSUE #7 SEPTEMBER 2021

Words by Chelsea Clark

QUEENSLAND BALLET

EXPLORE

TO BE TO BE

Words by Cassandra Houghton Photos By David Kelly

Acting in ballet: how — important is it? We chat to Senior Soloist Mia Heathcote and Soloist Georgia Swan about what it takes to truly become another character. 12

OR NOT

— Did you know The Sleeping Beauty had five casts? This required QB dancers to perform multiple roles across the season, mastering a variety of different characters – from different-coloured fairies to comedic cats to the main role of Princess Aurora.

Favourite character role you’ve played? It is really hard to choose just one but I’d have to say my favourite role I’ve played thus far has been Juliet in Kenneth MacMillan’s Romeo and Juliet. There is so much growth in her character from beginning to end and it is an incredible feeling to go on that journey. Another of my favourites would have to be both Madame de Tourvel and Cecile Volanges in Liam Scarlett’s Dangerous Liaisons both are completely different but there is so much depth and complexity to them.

Senior Soloist, Mia Heathcote You often dance multiple roles over the course of one season of a production. How do you prepare to become each character?

Music and costumes: how big a part do they play in transforming into a character? The music and costumes play a huge part in transforming into character. I know as soon as my hair and makeup are done and my costume is on, I am ready to start embodying who I am meant to be for the show. Sometimes it even makes me want to walk around in character before curtain up. It actually really helps me to just plainly walk around, but to walk as if I were that person already, whatever their personal gait may be. Personally I believe it’s the music and its varying themes that allows you to express and emulate what your character is feeling or going through. It is like the music, movement and character should all integrate to become one.

Have you ever taken an acting class, or is this something they teach you at ballet school? Or do you think it’s something you develop as you grow? In my early ballet training years, my teacher put a big emphasis on emotional storytelling and Pantomime. We were encouraged not to be afraid to act or go too far, as that is how you learn authenticity, as well as experimenting and having fun with it. At high school and when I started full time ballet training, we took drama classes and were also taught the art of ballet mime. Although I have never taken a real acting class, in my early days at Queensland Ballet I spent some time with some actors in training who, through seeing them perform and learning aspects of their character-building techniques, I was able to understand a little more of what it requires to embody a character; this was really influential and inspiring for me to then translate that into my roles for ballets, because essentially it is a very similar thing, just without the spoken word.

Have you ever taken an acting class, or is this something they teach you at ballet school? Or do you think it’s something you develop as you grow? In my pre-Professional year with Queensland Ballet Academy we did have drama classes, but looking back on it now I was quite intimidated by acting in front of others so would shy away from the class. I have definitely become more confident in expressing characters throughout my years with the company. Like with anything, the more experience and practice you have at something the better you will be!

Do you feel the emotions your character does? Do you need to, to give an authentic performance? With a very dramatic or emotional role, it can be very easy to let the on-stage story and emotion of the character takeover how I’m feeling. If I’m not feeling the character emotion and the ballet mime doesn’t make sense to me, I know it isn’t going to read well to the audience. However, with more comedic roles I find the acting can be quite thought-out but still reads just as well. So it absolutely varies role to role.

How important do you think expressive acting is for the audience to connect with what’s happening onstage? Expressive acting is crucial for an audience member to follow a story and understand how you are feeling in that moment. It can be a fine line to try and project out to audience members far away and not to over act at the same time. Something that you learn with experience and practice as well.

You often dance multiple roles over the course of one season of a production. How do you prepare to become each character? It can be rather difficult learning many roles, especially when they are in the same scenes as one another. It can be tricky in the initial learning period, but then once all the choreography is taught, I really try to hone in on each individual character and process what emotions they would be feeling and how I would like to portray each one. I definitely wouldn’t say it’s easy, but I love the challenge of learning multiple roles.

Favourite character role you have played? I have a few, but Edith/Gamzatti’ in Greg Horsman’s La Bayadere is one of my favourite roles. It was quite a dramatic yet complex character to portray, however her horrible streak and demanding ways were such fun to perform.

— See Mia and Georgia in the east coast premiere of Dracula. To book tickets, visit queenslandballet.com.au/dracula

ISSUE #7 SEPTEMBER 2021

Learning and performing multiple roles within one production is great because it often gives you more of an insight and understanding into the narrative as a whole because you can come to know more about each individual character and their different perspectives. Personally, there is something I always like to do to try and embody my character, and that is to write. Firstly I will often do some research into the character, read about them or watch videos etc and then I will write down key points or aspects of their personality in my little writing book. With each role sometimes I take a different approach, for example most recently for The Sleeping Beauty, in order to help me maintain who I was as a character on stage, I actually wrote a diary as if I was Princess Aurora, this really helped me to know exactly who she was and also assisted me with the technical side of things because I believe that when something is quite physically challenging, the more you focus on the character you are emulating, whether abstract or not, the more natural and easy the movement becomes. Another way I have prepared for roles in the past is by making a mind map on each character and their association with other characters, I did this for Dangerous Liaisons as each character has quite complex and intertwining relationships with one another and they are all linked in some way.

Soloist, Georgia Swan

HEALTH

DESIGNING FOR WELLNESS

With a wellness centre, lush garden surrounds, seven lightfilled studios and captivating artwork around every corner, the TDC’s environment is designed to induce comfort and embrace creative thinking. More than 30,000 projects across 98 countries are applying for a WELL rating and QB is determined to join its elite ranks, aiming high for the Platinum rating which would make it the first arts centre in the world with this high score. “It’s ambitious, but QB doesn’t shy away from a challenge,” says Dilshani. “Committing to the WELL standard ensures our dancers are rehearsing in an environment that benefits them. It ensures our business, creative, and behind-the-scenes teams are working in an environment that promotes vitality, and it ensures our patrons and community members are welcomed into a space that has sustainability at its core.”

— The Thomas Dixon Centre: from 19th century shoe factory to world-class wellness centre.

The WELL Building Standard™ consists of features across seven concepts that comprehensively address not only the design and operations of buildings, but also how they impact and influence human behaviours related to health and well-being.

QUEENSLAND BALLET

AIR

Words by Ellen Gilroy

— With lighting in sync with the body’s natural circadian rhythm, optimal thermal comfort and the subtle fusion of biophilic elements, the Thomas Dixon Centre (TDC) redevelopment has been designed with Queensland Ballet’s (QB) most valuable asset in mind – its people. With research into healthy buildings rapidly growing, the relationship between indoor environments and our health is becoming more valued and understood. For QB, that revelation dawned when the company realised its world-class vision juxtaposed against its cramped green room, confined gymnasium, and narrow flights of stairs, which rehabilitating dancers would hobble up and down each day. The appointment of Li Cunxin AO as Artistic Director in 2012 saw QB rapidly evolve, and by 2016, TDC had become a rabbit warren stretched far beyond its limits. Rather than relocate to a new home, QB saw the potential for the heritage-listed TDC to be transformed into something extraordinary; a cultural destination. The redevelopment presented an opportunity for the architects, engineers, designers and creative dreamers to place people at the heart of the design, with health and wellbeing as essential as TDC’s structure and bearings. The bold concept became a reality when QB discovered The International WELL™ Building Institute (IWBI) - an international rating system forging the way for the future of design where people, productivity and wellness are aligned in perfect harmony. Grounded in evidence-based research, WELL is a performance-based system for measuring, certifying and monitoring features of the built environment that affects the health and wellbeing of occupants. Its seven core concepts across light, air, mind, water, fitness, nourishment and comfort all aim to holistically improve productivity, sleep patterns, mood, fitness and nutrition. For QB Executive Director Dilshani Weerasinghe, achieving the WELL standard means investing in the health, productivity and happiness of QB’s occupants. “As we were going through the initial design process with our architects Conrad Gargett and consultant Xburo, it was clear we wanted to go even further in our design to consider the wellbeing of everybody in the building. “QB is in the business of elite athletes, but we wanted to also support the wellbeing of everyone behind the scenes; our arts workers, our technicians, visitors and patrons. We want people to leave TDC feeling a little bit better than when they arrived. We want it to be a small haven of calm amongst the hustle and bustle of life.”

LIGHT

Promoting clean air and reducing or minimising the sources of indoor air pollution.

Minimizing disruption to the body’s circadian system, enhancing productivity, supporting good sleep quality and providing appropriate visual acuity.

MIND

Optimising cognitive and emotional health through design, technology and treatment strategies.

WATER

Providing safe, clean, optimal quality water for various uses through the implementation of proper filtration techniques and regular testing.

FITNESS NOURISHMENT COMFORT

Integrating physical activity into everyday life by providing opportunities and support for an active lifestyle and discouraging sedentary behaviours.

Making fresh, wholesome foods available, limiting access to unhealthy ingredients and encouraging better eating habits and food culture.

Creating distraction-free, productive and comfortable indoor environments.

HEALTH

Ballet on the Brain Reigniting the brain, one ballet class at a time. QB and Belinda collaborated with Griffith University and The Hopkins Centre to ensure the outcome of the program could be strengthened by evidence. Funded by a small grant from the Queensland Conservatorium Research Centre, Griffith Griffith University researchers Joel Spence, Professor Elizabeth Kendall and Associate Professor Naomi Sunderland developed the concept and background research through an in-depth literature review entitled Is there evidence of Ballet as a Dance Movement Therapy having benefits for Traumatic Brain Injury Survivors and their carers? A Scoping Review. The review supported the development of QB’s 10-week Ballet for Brain Injury pilot program that launched in late April 2021. Through ballet, participant’s gait, balance, blood pressure, autonomic function and coordination are improved as they don’t focus on their limitations, but rather the possibilities, igniting both hemispheres of the brain as they move in sync with the rhythm of the live piano, follow cues from the Teaching Artist and remember choreographic sequences. “The ballet-based movement, music and artistry enable participants to experience the enjoyment, creative expression and wellbeing benefits dance can bring,” says Martha. “It was a really fulfilling program to be part of, especially collaborating with Belinda, other Teaching Artists and health professionals to devise a program that is engaging and safe for any participant with a brain injury. “We wanted to ensure that everyone who walks into the studio feels like a dancer and knows they belong.” The pilot program saw 10 participants and their carers take part in the weekly ballet classes. The popularity of the pilot, combined with the research by Griffith University and The Hopkins Centre informed the development of the program, with the class continuing and now running weekly, at QB. “Anything that is exercising the brain is helping the person rehabilitate,” says Belinda. “To see my idea transform into something tangible and to have my documentary accepted into this year’s Focus On Ability Film Festival is incredible. Capturing the program was so important as it allowed participants to share their experiences and raise awareness of the challenges they deal with silently every day. “Living with a brain injury can be incredibly isolating, but through accessible programs like Ballet for Brain Injury, people can feel a sense of belonging and joy through creative expression and movement.” — Ballet for Brain Injury runs every Saturday at 10am at QB. Register online at queenslandballet.com.au/classes/qb-ballet-forbrains

ISSUE #7 SEPTEMBER 2021

— It’s known as the invisible injury. It’s unpredictable, debilitating and incredibly isolating, and for people living with a brain injury, their life, and the lives of the those around them changed course in a single unexpected moment. For Belinda Adams, that defining moment occurred in March 2012, when her 19-year-old son, Dylan, sustained a life-threatening brain injury in a car accident. “My son wasn’t expected to survive initially,” says Belinda. “He woke up from a two-week-long coma like he was two-years-old again and had to embark on the whole journey of learning to talk, walk and eat again.” Despite having no formal rehabilitation, Dylan defied the odds to make an incredible recovery. Having experienced firsthand the challenges and lack of resources, Belinda knew there was work to be done in the space of brain injury rehabilitation. “Brain injuries are incredibly diverse and present themselves uniquely. For some people, the result of a brain injury can be more physical, whereas for others, it’s more cognitive,” says Belinda. “Patients are often told early on in recovery that rehabilitation has a time frame, but it doesn’t. It’s ongoing and every aspect of your life has an impact. “From my journey with Dylan, I started researching different forms of rehabilitation for the physical aspect of recovering, as well as social programs. I quickly realised our options were limited.” Belinda saw dance as an avenue for people with a brain injury, not only for the physical and cognitive benefits, but as an opportunity to participate in a safe, social environment. Driven to explore the possibilities, Belinda approached Queensland Ballet (QB) in early 2020, with the idea to create a ballet-based arts movement program. It would not only be a safe space for creative exploration, but also underpinned by evidence-based research. As a Hopkins Centre Ambassador and founder of Citrine Sun Entertainment, Belinda wanted to go a step further and combine her passion for rehabilitation with filmmaking to create a documentary that would raise awareness about brain injury. QB Education Manager, Martha Godber, was immediately drawn to the idea, with arts access and commitment to inclusivity a strong focus of the company’s strategic vision. “Dance has the ability to tap into not only the physical, but also cognitive and emotional aspects, creating an environment that allows participants to feel welcomed no matter their ability or past experiences,” says Martha. “We’ve seen from our other Dance Health programs like Dance for Parkinson’s and Ballet for Seniors, that these classes do positively impact participant’s wellbeing.”

Words by Ellen Gilroy Illustration Niqui Toldi

ACADEMY Louise Deleur Contemporary Coordinator & Choreographer in Residence

A Creative Nature

QUEENSLAND BALLET

Works that entertain, engage, and uplift: Louise Deleur’s choreography is all about positivity.

— If you have ever sat in the audience of a Queensland Ballet Academy performance, then it is likely you have seen the original works of Contemporary Program Coordinator and Resident Choreographer, Louise Deleur up-close. “I always wanted to be a dancer and I have no idea where that came from because there weren’t any artists in my family,” Louise muses. “I had never even seen dance before, but there was something physical in me that needed to do it. My first choreography was created at age eight, to Raindrops Keep Falling on My Head – my parents had a very limited musical library at home!” Growing up in the Yarra Valley in Victoria and commencing training under Bernice Morrow in Ringwood as a child, Louise worked her way up through the Australian Ballet School during her teen years. Watching Sydney Dance Company’s tour at age 17 ignited Louise’s interest in contemporary dance, leading her on a four-year journey to get a job with the company after initially being turned away for being too young. Now an established choreographer and dance teacher, Louise’s works are diverse, thought-provoking, and impactful. Having worked in Australia, Europe, the USA, and Taiwan, she is also the founder of the Brisbane International Contemporary Dance Prix, and has worked as a coach in the Prix de Lausanne – an international dance competition held annually in Switzerland. “It was also an absolute honour to be invited to go to the Prix de Lausanne to coach. It was also amazing to be invited to go to the Prix de Lausanne to coach ,” she says. “I went twice, in 2016 and 2018, and it was an incredible experience.”

“I THINK MY ART IS PROBABLY HEAVILY INFLUENCED BY CREATING BEAUTY AND EMOTIONAL CONNECTION AND I TRUST THE AUDIENCE LEAVES HAVING GAINED SOMETHING POSITIVE FROM THE EXPERIENCE.”

Words Courtney Adams Photo Right-top: by David Kelly Right-bottom: by Jason Starr

However, she now focuses on teaching contemporary dance and choreographing for dancers at Queensland Ballet Academy. “I believe that a compelling contemporary piece is one that keeps me interested. Entertaining an audience is my main objective,” she says. “I see and create art by helping people feel enriched and leaving having gained something positive from the experience.” Unlike classical ballet which often tells a story with a clear plot, contemporary dance tends to be regarded in the same way as modern visual art. Louise is often asked about the intentions behind her pieces, navigating this challenge on an emotional level and allowing her audience to individually interpret her works, rather than enforcing a set message throughout. “I don’t mind how the audience interprets my work. If it is an abstract piece, then I try to create an experience. I feel I have done my job if the piece ignites the viewers’ experience in a positive way. I am most thrilled when audience members who have no dance background come to me to express their appreciation of the work,” she says. Having to put many of her ideas on ice due to the COVID-19 pandemic in 2020 and 2021, Louise awaits the day she can show her next new works that she has choreographed on the Academy dancers. “I am lucky to work in a creative job. You always wonder whether you like your work, or how you can push that work to the next level,” she reflects. “It’s nice once I have worked with the students over a few years that they understand my style and really take the information I give them and do something exciting with it!” For any budding choreographers, Louise has some advice: “Every path is different. More and more, we see how people are led to companies through all sorts of ways. Keep connected to your community – it’s a small world and if you have talent and the right work ethic, your peers and elders will support you. Finally, find your spirit as a choreographer and trust how you feel.”

— To learn more about the Academy and its teaching faculty visit queenslandballet.com.au/academy

ISSUE #7 SEPTEMBER 2021

QUEENSLAND BALLET

Photos by Tamara Hanton

ISSUE #7 SEPTEMBER 2021

Photo Queensland Ballet dancers in 2019’s Serenade – The Masters Series By David Kelly

queenslandballet.com.au