©Johan Persson

Duncan Lyle, fresh out of the Royal Ballet School has been offered a contract with Boston Ballet. In 2009 the young Australian was awarded a prize for Choreographic Development by the NJL Foundation and has performed Liam Scarlett’s Toccata at the Assemblée Internationale in Toronto, and in the RBS Matinee, an annual Covent Garden presentation that marks the shift of graduating student to performing artist. Before his training in London, he was a young ballet student in Victoria, Australia’s Camberwell District Ballet School (now the Russian Choreographic Academy).

Graciously sharing helpful tips for auditioning and jumps with Dance Advantage readers, Duncan took a moment to talk with me about his transition from student to professional.

Dance Advantage: You were young when you began begging your mom for ballet classes and eight years old when she finally relented. Do you recall what you liked most about training in ballet?

Duncan Lyle: I honestly can’t remember. I think it’s always just felt right. The ballet studio is always a place I have felt comfortable and felt like I belonged.

Duncan in Coppelia; ©Margaret Kokrhelj

DA: You began with respected instructors in a pretty rigorous program, dancing after school for a couple of hours, four days a week. Was there ever a time you contemplated quitting or pursuing a less demanding track?

DL: Yes. I once took six months off from ballet when I was 14. My school commitments were growing and it was becoming seriously difficult to juggle everything. It reaffirmed for me, however, that ballet was my one love and out of everything what I should have been doing.

DA: Allegro dancing comes naturally to you but I am sure you have had instruction that has helped you develop that talent. Any advice you could pass along to a student hoping to improve their agility in beats or jumps?

DL: I think the best advice I could give is two things: develop the height of your jump by doing very slow static allegro and; always work every movement, no matter how quick, to the fullest. Always fully stretch your legs and feet in the air and think about the movements you are making in the air. Be very precise with your movements in the air and gradually they will become clean and crisp.

DA: At age 17, when most teens here in the U.S. are contemplating the move to college, you traveled continents away from your home in Australia to London to study at the Royal Ballet School. What was most difficult about the transition?

DL: I think the hardest thing about moving away was just the unknown. I had no idea what my new life was going to be like and I think that was the scariest thing. Once I was actually in London, of course I missed my family, friends and Melbourne but it wasn’t as hard as I thought it was going to be. I made great friends with almost everybody in my year who provided a wonderful support network.

DA: I know it might be hard to imagine, but what what kind of career do you think you’d be interested in if you did not dance?

DL: I would definitely pursue a career in music. I have been composing and arranging music since I was fourteen and it’s something I really love. I would apply for a university course in music and see where it would take me.

DA: Tell us a bit about the audition process that leads graduates of the RBS to employment.

DL: Firstly, we submitted a list to our director of the companies that we wanted to join and audition for. Our director then helped us by suggesting other companies that might suit us and removing companies that wouldn’t. From then on it was up to us to arrange our auditions, whether they be open or private, book our flights and make our way to our auditions. Every audition I participated in was just a ballet class watched by the director with a panel of ballet staff. Candidates get eliminated at certain points throughout the class so that the panel can see the people they are interested in better. I was lucky enough to make it through all of my classes without being cut. You then mostly find out the result of the audition on the day but of course this varies from company to company. If they’re definitely not interested in you then you’ll know that on the day, but if they might be interested in you then you may have to wait to find out.

In Liam Scarlett's Toccata with Nicole Cato

DA: Do you find auditioning stressful? What is most challenging for you?

DL: I think the only aspect of auditioning I find really stressful is the travelling to the destination! It’s very hard trying to book a flight that will get you to your destination in enough time to get to the studio and warm-up! Plus I hate airports! I’m pretty good under stressful circumstances like auditions or appraisals.

DA: What advice or tips for auditioning you could you give to students or young professionals like yourself?

DL: I think most importantly, stay calm and confident. If you’re overly nervous, you won’t be able to show the people that matter what you’re capable of. Presentation!! Remember that what most directors are looking for are dancers and not just technicians so perform everything in the class! And I believe that a lot of directors are looking for a clean canvas that they can work with and adapt to suit their company so make sure your technique doesn’t get affected.

DA: You’ve been to the U.S. before, and I’m sure you’ve been doing some reading up on Boston. What excites you most about dancing in America?

DL: I think what I’m most looking forward to in the U.S. is the positive atmosphere and the fact that there’s so many exciting things. Everything is happening there and I’m very excited to be a part of that.

We are excited to follow your career, Duncan, and welcome you to a new continent! May you have many thrilling adventures in Boston and beyond.

For more on Duncan, his background and training visit Ballet News and Oberon’s Grove and Blast Magazine.

What do you enjoy about training in ballet?

Do you like to travel? How far would you go to study dance?

© Nichelle Strzepek for Dance Advantage, 2010. | Permalink | 2 comments | Category: Ballet/Pointe, Blog, College and Career, Dance Companies, Dance Styles, For Career Dancers, For Everyone Else, For Inspiration, For Juniors, For Students, In the Spotlight, The Dance World, Toolbox

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Many children have a desire to dance. Some proclaim that when they grow up they want to become professional dancers. While many youth share this dream, only a few make it.

While it may be difficult to have a career in dance, it is definitely possible. Here are some helpful ways to make your dance dream into a reality:

1. Become more knowledgeable about your craft
2. Take a variety of dance classes
3. Become a choreographer
4. Consider a degree in Dance
5. Build connections through networking

Become more knowledgeable about your craft:

Like in any profession, the more you know the better off you will be. The same rule applies for dance. It is a common misconception that dancers rely solely on their muscles. In reality, dancers rely much more on the brain. Learning choreography at a fast pace, reversing combinations, and timing movement to new music takes some serious brain power!

Aside from the physical aspects of dance, become knowledgeable about the entire field. If you are interested in ballet, perhaps research the history of ballet and see how your favorite arabesque came into existence. For Hip-Hop lovers, why not research the early Poppers or see where Krump dancing originated? Remember that a well informed dancer is a promising professional dancer who can contribute to the field in new and exciting ways.

Take a variety of dance classes:

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It can be scary to break out of the comfortable confines of your local studio. But branching out has many benefits for an aspiring dance professional. By taking a wide variety of dance classes from different sources, you become a more versatile dancer. In today’s dance industry, versatility is extremely important. Sure you can specialize in a specific dance genre, but it is also important to be well-versed in a variety of styles. Most private studios offer the standard ballet, jazz and modern combination of courses. However, some offer tap, ethnic forms (like African and Latin styles), hip-hop (house, breaking, popping, locking), lyrical, contemporary and modern!

Take as many different dance classes as you can from different sources. If you belong to a studio, why not supplement your training with additional workshops and master classes? What doesn’t kill you makes you stronger, so if you can survive a grueling dance schedule than you are taking a step in the right direction.

Explore choreography:

Many leading industry professionals are required to contribute to the choreographic process. Even if your goal is to dance for a company, you should still be able to choreograph or create new movement on your own. Some choreographers ask dancers to improvise movement during a rehearsal or develop a phrase to go along with set choreography. Being able to create new movement is not rocket science—it takes creativity. Explore the way your body moves by improvising on your own. Try new things and do not be afraid to break outside of the barriers when creating new movement. After all, the objective is to create something new and exciting—so take a chance. You might surprise yourself and gain a new appreciation for choreographers. You may even become one!

Consider a degree in dance:

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Dancers and artists fight an economic battle. To defeat debt, underfunded programs, and unemployment, it is important to come equipped for battle. One of your most reliable shields can be a degree in dance. There are now a host of higher education dance departments across the country. Some offer Bachelors of Arts (most liberal arts colleges and universities) while others offer a Bachelor in Fine Arts Degree (most conservatories). Some programs are large and require dance 24/7. Conservatories are dance training programs that prepare dancers to go out into the performance world ready for battle. Liberal Arts programs offer life skills such as writing, public speaking, problem solving and developing the inner artist. These programs also prepare graduates to become professional dancers and advocates for the arts. Conservatories and Liberal Arts programs have different approaches to dance training, but each has had countless success stories and many graduates currently working as professional dancers. A degree in dance sets you apart from the competition and exposes you to newer dance forms such as partnering, postmodern, and contact improvisation.

While some schools focus more on dance training, some specialize in dance scholarship and the academic component of the field. So explore your options and see if there is a dance program that suits your needs. Chances are you will find at least one program that can challenge your dancing and intellectual pursuits all at the same time.

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Build connections through networking:

Some dancer landed that dream job because he had a cousin whose best friend’s fiancé knew the artistic director of a company. While this scenario is extreme, it is often how things play out. Somebody you know knows people in high places who can give your resumé some extra attention or land you the audition you always wanted. Do not be afraid to put yourself out there and network. Design a blog, web site or social networking page dedicated to your work in dance. A resumé, headshot (professional photos) and reel of performances and choreography are never a bad idea. With new technologies, promoting yourself as the dance professional you want to be is becoming easier and easier. Do not hesitate to talk to friends, family and co-workers about your goals, because you may be surprised at who can help you become a professional dancer.

Final Thoughts:

Hard work and dedication always win out in the end. If you believe in yourself, never give up, and work until you see your dream become a reality. Go out into the world and make your own creative opportunities. You have the power to create your own career.

© Roger Lee for Dance Advantage, 2010. | Permalink | 6 comments | Category: Blog, College and Career, Featured, For Career Dancers, For Students, Toolbox

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