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 2025. Each exercise or solo must be filmed in a continuous take without edit. All components must be formatted and submitted as a single video link.

1. Technique Component
Please prepare the following ballet technical exercises with musical accompaniment (no more than 5 minutes in length):

Barre work : To be performed in soft shoes

The barre work should consist of plies, tendus, adagio including developpes, grands battements

Centre work : To be performed in soft shoes for male identifying entrants or pointe shoes for female identifying entrants

> 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

2. Solo 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 4.00 PM on Monday, 28 April 2025.

Semi-Finals

The Semi-Finals will take place over two rounds.

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: A seperate upload is required for classical and contemporary routines.

Semi-Finals - Round 1: Saturday, 12 July 2025 | The Concourse, Concert Hall

Entrants who are successful in progressing into the Semi-Finals will be required to perform their classical variation (in costume). Announcements will follow as to those who will progress to the second round of the Semi-Final.

Semi-Finals - Round 2: Sunday, 13 July 2025 | The Concourse, Theatre

Entrants will perform their free variation. Announcements will follow as to those who will progress to the Masterclass.

Masterclass: Monday, 14 July 2025 | The Concourse, Studio

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, 20 July) - performance and rehearsal details.

Final: Sunday, 20 July 2024 at the Sydney Opera House | Concert Hall

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

After the free variation, all finalists are asked to change back into their classical costumes for the presentation and photographs on stage.

Changes to repertoire or original music uploads cannot be accommodated.

Adjudicators

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.

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 4.00 PM on Monday, 28 April 2025. The video submission must be a YouTube or Vimeo link. Please clearly indicate the entrant’s first and last in the title and/or description box, and ensure the privacy settings of your upload allow third party viewing so our panellists can view.

The following documentation will be also required:

* A 70-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.)

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 will be cited upon progression to the

Semi-Final. This can include a Birth Certificate, 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 from the Masterclass for the Senior Scholaarship.

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; Houston Ballet and Houston Ballet Academy USA.

Houston Ballet Academy

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; Queensland Ballet.

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 2025.

Queensland Ballet

Selected by their Artistic Director, 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 2025.

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.