Entry Information

Repertoire Requirements

Heats:
A video recording of the following technical excercises and classical or contemporary solo with musical accompaniment. Please note, musical accompaniment for both technical and solo work may be acoustic (piano accompaniment) or recorded.

This must be a recorded performance made in 2024. Can be filmed in two takes (i.e. technical and solo work), without edit, but must be formatted and submitted as a single file.

1. Technique Component

Barre Work (time limit of up to 5 minutes)
The barre work should consist of plies, tendus, adagio including developpes, grands battements, to be danced in soft shoes.

Centre Work (time limit of up to 5 minutes)
> Pirouette combination with pirouettes en-dehors and en-dedans
> Adagio
> Allegro combinations:
- Small jumps and beats
- Medium size allegro, including assembles, jetes, sissonnes
- Tours en l'air right and left (male identifying entrants only)
> Warm up echappes retires, double pirouettes en-dehors and en-dedans
> Grand Allegro

The above exercises are to be danced in soft shoes by male-identifing entrants and are recommended to be in pointe shoes for female-identifying entrants (centre work only).

2. Artistic Component (time limit up to 4 minutes)
Entrants prepare a classical ballet or contemporary solo to musical accompaniment which best demonstrates their artistry and current technical capability. The solo may be original choreography or from standard repertory and should not exceed a total performance duration of three minutes.

The video recording and supporting documentation must be uploaded to the Sydney Eisteddfod Entrant Portal by Monday, April 29 2024 - by 23:59

Semi - Finals:
Sunday, 14 July 2024 at Bangarra | Studios

Entrants who are successful in progressing into the Semi - Finals will be required to perform their classical variation (in costume) and their free contrasting variation (identical to that of the heats submission). Entrants will need to be prepared to be onsite at Bangarra Studios for the entire day, bringing with them both costumes for each dance.

The Semi - Finals will take place over two rounds:

Semi - Final 1 | 09:00 - 11:00
50 entrants will perform their classical solos - announcements will follow as to those who will progress to Semi - Final 2.

Semi - Final 2 | 11:00 - 13:00
30 entrants will perform their free variation - announcements will follow as to those who will progress to the Masterclass.

All music is to be uploaded to the Sydney Eisteddfod Entrant Portal no later than two weeks prior to the event. Files should be in MP3 format.

Please use the following format when naming your file:
Event Number_Entrant Number_ Entrant First & Last Name_Style

e.g., Event 400 _entrant 8_Emily Jones_Classical

Please note: two uploads required for classical and contemporary routines.

Masterclass:
Monday, 15 July 2024 at Bangarra | Studios

18 entrants attend a masterclass which is closed to the public. The masterclass will take place over approximately 90 minutes. Dancers selected to progress to the Final will be announced at the end of the masterclass. Each finalist will be required immediately:
* for interviews with the adjudicators
* for instructions about the day of the Finals (Sunday, 21 July) - performance and rehearsal details.

Final:
Sunday, 21 July 2024 at the Sydney Opera House | Concert Hall

8 entrants will be selected to perform their two routines from the Semi-Finals:
i. Classical Variation
ii. Contrasting Solo

Adjudicators

Lynette Wills

Area of Specialty:
Classical Ballet

Alumni:
1987

Lynette Wills began her ballet training in Canberra and graduated from The Australian Ballet School in 1990. She joined The Australian Ballet in 1991 and steadily rose through the ranks. Lynette was promoted to Principal Artist after her fiery and moving portrayal of Baroness von Rothbart in the Sydney premiere of Graeme Murphy’s Swan Lake in 2002. She toured extensively with the company to Italy, London, China, Japan and the United States. Throughout her 17-year career, Lynette danced principal roles in many classics, with highlights including Onegin, Don Quixote, Swan Lake, Merry Widow, La Bayadere, In the Middle Somewhat Elevated, Stepping Stones, Forgotten Land, Gemini, Voluntaries and Serenade. Lynette retired in 2009 and was invited to teach, coach, and adjudicate nationally and internationally for leading competitions, schools and companies. In 2010, Marilyn Rowe invited Lynette to join the faculty of The Australian Ballet School after completing a Vocational Graduate Certificate in Elite Classical Dance. In 2023, Lynette was appointed Head of Teaching and Learning and enjoys the privilege of passing on her passion and insight to the next generation of dancers.

Christian Tatchev

Area of Specialty:
Classical Ballet

Christian trained at the National School of Choreography in Sofia, commencing his professional career at age 16, and achieving the rank of Principal Artist at 21. He joined Queensland Ballet in 2008 after participating in the Company’s International Ballet Gala that year. His prior engagements include positions with the Bulgarian contemporary dance company Ballet Arabesque, Sofia National Opera and Ballet, the Performing Arts Council of Transvaal (PACT Ballet), and the South African Ballet Theatre, where he also held a role as a Coach and Repetiteur. Christian has represented the above-mentioned companies in various prestigious galas and dance events. His repertoire includes principal roles in the major classical repertoire as well as in numerous works by celebrated choreographers of modern times. He retired from the stage in 2011 and was appointed the Company’s Ballet Master. He took up the position of Director of Training in 2013 and was instrumental in the development of Queensland Ballets’ new training programs alongside Artistic Director Li Cunxin AO. In 2016, Christian was named Director of Queensland Ballet Academy.

Slava Tutukin

Area of Specialty:
Classical ballet, Contemporary, Dance

Slava Tutukin, a former principal ballet dancer, is currently a producer, manager, and director. Trained at the renowned Vaganova Ballet Academy in St. Petersburg, he worked as a principal dancer at the Mikhailovsky Theatre and Aalto Ballet Essen. After retiring from the stage, Slava has held significant roles in the arts sector, including managing the Linz State Theater's dance company in Austria, serving as Managing Director at the Tanya Pearson Academy in Sydney, and working as Manager and Deputy Artistic Director of the Dortmund Ballet Theatre and NRW Junior Ballet in Germany. He has produced and curated various projects, including international ballet galas, capacity-building workshops, and corporate events for luxury brands. Recent projects include the Sydney International Ballet Gala, Heaven on Earth Ballet Week in the Maldives and Cartier’s new high jewellery presentation in Vienna. As a mentor and dance educator, he has led master classes and training sessions for Ballet Dortmund, NRW Junior Ballet, Youth Ballet WA, Vaganova Summer Intensives Academy, and Tanya Pearson Academy. Slava holds a BA (Hons) in Business Management and a professional certificate in accounting from England and currently pursuing a Master of Arts in Theatre and Performance in Australia.

Stanton Welch AM

In July 2003, Australian Stanton Welch AM assumed leadership of Houston Ballet, America's fifth-largest classical ballet company. Since he took the helm of the company, Mr. Welch has revitalized Houston Ballet, bringing in new dancers, commissioning new works, and attracting a top-flight artistic staff. Mr. Welch has created works for such prestigious international companies as Houston Ballet, San Francisco Ballet, America Ballet Theatre, The Australian Ballet, Birmingham Royal Ballet, and the Royal Danish Ballet. Mr. Welch was born in Melbourne to Marilyn Jones OBE and Garth Welch AM, two of Australia's most gifted dancers of the 1960s and 1970s. In 1989, he was engaged as a dancer with The Australian Ballet, where he rose to the rank of leading soloist, performing various principal roles. He has also worked with internationally acclaimed choreographers such as Jiří Kylián, Nacho Duato, and Maurice Bejart. In 1995, Mr. Welch was named resident choreographer of The Australian Ballet. For his contributions to the world of dance, he was awarded the Order of Australia (AM) in June 2015. For Houston Ballet, he has choreographed more than 20 works, including a new full-length narrative ballet Marie (2009), inspired by the life of the legendary Marie Antoinette, and spectacular stagings of Swan Lake (2006), La Bayadère (2010), Romeo and Juliet (2015), Giselle (2016), The Nutcracker (2016), and Sylvia (2019). To learn more about Stanton Welch, AM, click here.

Leanne Benjamin OBE AM

Leanne Benjamin OBE AM is a highly acclaimed and award- winning dancer, who was a principal ballerina with Sadler’s Wells Royal Ballet, English National Ballet, Deutsche Oper Berlin and ultimately a principal for 20 years with the Royal Ballet. Born in Queensland, Australia, she started her professional ballet career at the age of 18 and retired from the stage at the age of 49, after a world-class career. Leanne has received the Critic’s Circle Dance Awards for Best Female Dancer (2004, 2009) and the De Valois Award for Outstanding achievement in Dance (2013). In 2005 Leanne received an OBE (Order of the British Empire) in recognition of her services to dance. In 2015 she was appointed an AM (Member of the Order of Australia) and in 2014, she received an Honorary Doctorate of Performing Arts by Central Queensland University. In 2019, Leanne was the recipient of the inaugural Agent-General Queensland Day Award, and in 2023 received the Australian of the Year Award in the UK. Leanne has devoted herself to coaching for major ballet productions around the world for companies including the Royal Ballet, American Ballet Theatre, Houston Ballet, the Australian Ballet and Queensland Ballet. She was Vice Chair of the Board of Governors for the Royal Ballet Companies, the Ballet Chair and is Patron of the Tait Memorial Trust. In 2023 Leanne artistically directed the UK Young Dancer competition, and is much in demand as an international judge and motivational guest speaker. Leanne is in high demand as an international judge and motivational guest speaker. In October 2021, Leanne released her autobiography, Built for Ballet, published by Melbourne Books. Leanne is now the Artistic Director of Queensland Ballet.

Important Notes

All entrants are to submit a video recording for the heats via the Sydney Eisteddfod Entrant Portal. Please ensure you have all required supporting documentation ready for upload at the time of submitting your application.

The video submission must be uploaded to the Sydney Eisteddfod Entrant Portal by Monday, April 29 2024 - by 23:59

Please use the following format when naming your file:
Event #_Entrant First & Last Name_Scholarship Heat

e.g., Event 400_ Emily Jones_ Scholarship Heat

Acceptable file types include:
.avi, .flv, .m1v, .m2v, .m4v, .mkv, .mov, .mpeg, .mpg, .mp4, .webm, .wmv

Upon progressing to the semi-finals, the following documentation will be required:

* Proof of age and Australian/New Zealand residency status (e.g. birth certificate or current passport - a driver's license or student ID is not acceptable).
* A 200-word biography
* A short statement outlining your current and proposed training, and how the Sydney Eisteddfod Ballet Scholarship might help you.
* A publicity picture in colour as a JPEG file - in high resolution (minimum 2M.B.)
* Proposed repertoire for the Semi - Final and Final (required: title of the solo and ballet, the choreographer, and the composer of the music).

Changes to repertoire cannot be made any later than the fortnight leading up to the Semi - Final.

Email: [email protected] if you have any questions relating to this submission method

Clothing Requirements for Heats & Masterclass:

Option 1 - Dark tights and a fitted plain t-shirt (any colour)
Option 2 - white or pink tights and a sleeveless plain leotard (any colour)

Conditions

1. Previous winners not eligible.
2. Event is open to any dancer who is a citizen or permanent resident of Australia or New Zealand.
~ Residency and proof of age documents are required when submitting your application. This can include a Birth Certificate or an Australian or New Zealand passport or a permanent resident stamp. A driver's licence is not acceptable.
3. Adjudicator reports will be written for the preliminary heats only. No marks will be given on these reports.
4. Eight finalists and two reserve finalists will be selected to perform at the Sydney Opera House - Concert Hall.
5. The awarding of the scholarship(s) is at the discretion of the adjudicators and is given on the understanding that the recipient(s) will undertake study for the furthering of their dance career both domestically and or internationally.
6. In awarding the scholarship the adjudicators will take into consideration presentation, current level of achievement and potential.
7. The scholarship must be utilised within two years of winning and completed within two years thereafter. The payment of instalments is upon application to Sydney Eisteddfod with satisfactory reports of progress from the recipient's teacher or teaching institution.
8. The Winner, Runner - up and Finalists must be reasonably available for media interviews and performance engagements. Sydney Eisteddfod will endeavour to continue to provide performance opportunities to alumni as a way of staying connected and nurturing the creative practices of all.
9. Please also refer to the Dance Rules & Conditions of Entry.

Prizes

Winner: Total Prize - $18,000 ($3,000 cash plus a $15,000 Scholarship). Supported by The Estate of the Late Mr. Leslie Andrews.

2nd: Total Prize - $10,000 ($2,000 cash plus an $8,000 Scholarship). Supported by the Sydney Eisteddfod Jubilee Fund

Finalists: $1,000 each (excluding place-getters). Supported by The Scott Family Trust

Bloch for Dancers Gift Cards
Winner: $500
2nd: $300
Finalists (excluding place-getters): $200 each

Winner & 2nd Place receive a photographic portfolio courtesy of BWP Studios.

Both place-getters will have the opportunity to attend classes and observe rehearsals, at the discretion of the Artistic Directors, with: The Australian Ballet; The Queensland Ballet; Houston Ballet and Houston Ballet Academy USA.

Houston Ballet Academy
At the discretion of the Artistic Director, Stanton Welch AM and courtesy of Houston Ballet, the scholarship winners will be offered the opportunity to attend a 4-week intensive with the Houston Ballet Academy based at the Houston Ballet Centre for Dance, a state-of-the-art facility in the heart of Houston’s vibrant theatre district. The 4-week period will be arranged for a mutually convenient time with the recipient of the award and Houston Ballet Academy.
The Academy is the official school of Houston Ballet, America’s fourth largest ballet company. Under Stanton Welch as Artistic Director, Houston Ballet is recognised as one of the nation’s leading ballet companies.

At the discretion of the Artistic Directors, finalists will have the opportunity to attend classes and observe rehearsals with: The Australian Ballet, The Queensland Ballet and the Houston Ballet and Houston Ballet Academy.

Australian Ballet & Australian Ballet School
Selected by the AB Artistic Director David Hallberg, or an AB or ABS representative, two finalists will be awarded the opportunity to attend classes and observe rehearsals with the Company and/or School for one week in 2024.

Queensland Ballet
Selected by their Artistic Director, Leanne Benjamin OBE AM, or a QB representative, two finalists will be awarded the opportunity to attend classes and observe rehearsals with the Company and/or Academy for one week in 2024.

Christine Walsh’s Ballet Conservatoire Training Program Award
With over four hundred teacher members in twelve countries, the emphasis in Christine Walsh’s training program is on classical refinement in order to prepare students for the current requirements of a professional dancer. Prize money of $1,500 and a Ballet Conservatoire recognition medal will be awarded to an outstanding finalist with significant potential for a professional career in dance.