the 56th Annual National Conference 2025

PROGRESSION IN DANCE

Venue: St Mary's College
253 Franklin St, Adelaide, South Australia

Dates: 11 & 12 July 2025

Friday 11th July 2025
Conference start 8.30 am Annual General Meeting 3.30 - 4.45 pm

Anita Bruce. Posture, the feet and pointe work – a dancer’s basic requirements.
Presentation of the Grade 2 syllabus
Cathy Smith. - Creating Child Safe Dance Studios
Fiona Bartlett. Improvisation
Panel discussion of Category B exam with the Advisory Panel
Cecchetti Annual General Meeting, including teacher training status presentation of certificates

Saturday 12th July 2025
8.30 am - 5.00 pm

Presentation of the Grade 3 syllabus
Maria Ruberto. Dancers Through Adolescence Part 1
Fiona Bartlett. Musicality
Anita Bruce. The importance of lumbopelvic control and hip strength for pointe work – and what you can help with.
Maria Ruberto. Dancers Through Adolescence Part 2
Demonstrations of the Examination exercises from the Intermediate Pointe Syllabus

TICKET PRICES GST not applicable

Conference (2 days)
Regular price for Members $410
Life members - $80
Students $205
Non-members $480
*Lunch and teas included in the price

Cecchetti Dinner
Date: Friday 11th July
Starts: 7:00 pm
Venue: PRESS Food & Wine - 40 Waymouth Street, Adelaide 5000
Cost $125

Lucie Saronova Memorial Awards
Date: Thursday, 10th July 2025
Time: 6:00 - 9:00 pm
Venue: AC Arts, 39 Light Square, Adelaide SA 5000
Tickets: Adult $40 Children under 16 years $25
Post-event: Light supper and drinks. AC Arts, 39 Light Square, Adelaide SA 5000

Post Conference: Analysis of the Pointe Program with Maggie Lorraine
Date: Sunday, 13th July 2025
Time: 9.30 am - 2.00 pm
Venue: Cecchetti Centre, 28 Tarcowie St, Kilkenny SA 5009
Cost $75 for 1st-time attendees. For those who have attended previous workshops, the entry fee is free.

Registrations are necessary for everyone attending.

ACCOMMODATION SUGGESTIONS

PURCHASE TICKETS HERE

Sofitel Hotel and Resorts

Book your stay today and indulge in 5 Star Luxury in the heart of Adelaide!

Book your hotel room at a special rate, exclusive to this event. A discounted rate of $775 for the two-night stay. Subject to availability.
Book before 03 Jul 2025.

Min. Stay Required: 2 Nights

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Presenters

Prepare to be inspired and equipped with knowledge as these extraordinary speakers take the stage. Their collective voices promise to make this conference an unmissable event for all.

Anita Bruce

Training for pointe work #1: Strengthening the foot and ankle

Most young dancers look forward to the day that they can pop on a pair of pointe shoes and dance on their toes (preferably in a tutu!!). The recent modifications to the Cecchetti pointe syllabus have created an excellent pathway for the development of appropriate technique and strength – especially when the full range of exercises are incorporated into classes rather than just the assessment pieces. To prepare their students for this exciting endeavour, many dance schools provide pre-pointe classes. However, what is essential to include in these sessions? What determines when a dancer is ready to start pointe work?
Which exercises do you use for the intermediate or advanced student?
In this session, we will:
- Review the anatomy, technique and strength required in the foot and ankle for pointe work so teachers can better understand why and what they need to teach students.
- Identify appropriate assessment criteria for clearing students to commence training en pointe as determined by research undertaken in the “dance medicine” world.
- Investigate a variety of exercises that are useful in helping beginner and more advanced dance students to develop their technical skills en pointe.

Training for pointe work #2: Other important considerations

The small muscles of the foot and ankle will only be able to work correctly when dancing en pointe if there is appropriate alignment, strength and control around the hips, pelvis and spine. Thus, hip strengthening and lumbopelvic control (“core”) exercises are essential elements of any conditioning program for prepointe and more advanced students.
In this lecture we:
- Review correct alignment of the pelvis and its implications with regards dance technique, hip strengthening and hip pain.
- Investigate correct technique for a variety of essential strengthening exercises commonly included in dance school conditioning programs.
- Investigate other strengthening exercises that should be considered when addressing dancers’ needs
in establishing a strong stance alignment, especially as required for pointe work.

BIO

Anita is a sports physiotherapist who specialises in the diagnosis and treatment of injuries suffered by dancers. She is trained in tap, jazz, modern, classical and ballroom dancing, and spent a number of years competing in rhythmic gymnastics at State, National and International levels. With over 20 years’ experience working with dancers and their injuries and training in Pilates, Anita has a strong understanding of dance technique, alignment and dance specific injuries.

Anita has worked as a physiotherapist with ADT, The Australian Ballet School/Company, the Shanghai Ballet Company, Leigh Warren and Dancers, Meryl Tankard Australian Dance Theatre, West Australian Ballet and performers from many musicals/shows, including Riverdance, Wicked, Dirty Dancing, Matilda, Frozen and Chicago. She lectures to physiotherapists both in Adelaide and interstate on the treatment and screening of dancers, and is the author and principle editor of the Physiotherapist Examination as used by the Tertiary Dance Council for dancers entering their training schools. She also works with students from the Adelaide College of the Arts - both in a lecturing and treatment capacity.

Other areas of experience include work for Tennis Australia and the International Tennis Federation at the Australian Open and other tournaments throughout Australia and Asia; at state, national and international gymnastic competitions; and at Richmond Football Club (a few years ago now!!).

In addition to these commitments, Anita has helped in the education of dance teachers in the study of anatomy and kinesiology for over 20 years and assisted Cecchetti Ballet Australia in the development of the Anatomy and Physiology of a Classical Dancer module for the Licentiate Diploma.

Cathy Smith

Creating Child Safe Dance Studios

Child Safety is more than just compliance. It is about creating a culture of care where children feel valued and safe.

This session will investigate what practices dance teachers and dance studio owners can put in place to support children’s well-being. From creating policies that are ‘alive’ and reflect actual studio practices, to strategies for classroom management and pedagogy, this presentation will address how Child Safety can be contextualised in your own dance teaching and studio setting.

BIO

Cathy Smith (LCICB – CICB) trained in Cecchetti Ballet with Rosslyn Charlesworth OAM.

She holds a Bachelor of Education and Masters degree in Education with major studies in performing arts, and educational administration and leadership.

Over the past 35 years, Cathy has held various full time, part time and sessional roles in secondary schools including Head of Drama at Beaconhills College and Director Performing Arts at Yarra Valley Grammar School.

She has also owned and operated a large dance studio in Melbourne’s south-east suburbs since 1990.

During the pandemic, Cathy was actively involved in supporting the dance industry, contributing to Ausdance’s covid support documentation, running a support group for performing arts teachers, and representing dance studio owners in meetings with the government.

In 2021 she worked at Ausdance Vic managing their RTO and became interested in vocational education. She completed her Certificate IV in Training and Assessment and has been delivering the 3 year VCE VET Dance program since 2022. In 2023 two of her students achieved perfect scores in this subject.

Cathy is a writer for Dance Training Organisation, developing course materials for (CUA30320) Certificate III in Assistant Dance Teaching and (CUA40320) Certificate IV in Dance Teaching and Management, including units on Safe Dance, Child Safety, dance teaching practice, student wellbeing, compliance and regulation.

She has recently become involved in the review of vocational Dance teaching qualifications with Service and Creative Skills Australia (SaCSA).

Cathy assisted Cecchetti Ballet review their teaching qualifications, aligning the Associate Diploma course with the new Certificate IV in Dance Teaching and Management. In 2025 she took on the role of Co-ordinator of Certificate IV in Dance Teaching and Management for Cecchetti Ballet Australia.

Cathy is passionate about elevating standards in the dance teaching industry through improved teacher education and is excited to have the opportunity to contribute to Cecchetti Ballet Australia’s teacher training program.

Fiona Bartlett

Sound and Sensibility: Teaching Musicality in Ballet Class

Beyond the counts and steps lies a quiet conversation between music and movement. This session explores how tone, phrasing, and rhythm breathe life into ballet class —from the lingering lines of adage to the crisp sparkle of allegro. With a pianist's ear and a dancer's heart, we'll explore how musical detail shapes not just the class, but the dancer.

The Listening Body: Musical Play in Early Ballet Training

In the earliest stages of ballet education, listening is more than hearing —it's moving, feeling, and responding. This session delves into how musical play can awaken the "listening body" in dancers aged 3-8, helping them connect sound to sensation, rhythm to response, and music to meaning.
With a blend of theory and joyful practice, we'll explore how musical cues, tempo shifts, and playful soundscapes can support embodied learning and expressive movement. Designed for ballet teachers, this session offers tools to foster deeper musicality and presence in even the tiniest dancers.

BIO

Classically trained concert pianist, teacher, accompanist and composer, Fiona Bartlett began her love affair with the piano at age 3. Her love of dance was also evident from a young age, commencing lessons in tap, jazz and ballet from the age of 4. Fiona has been specialising in ballet accompanying since 2008, instantly drawn to the relationship between sound and human movement. Regularly providing live accompaniment for classes, exams and performances; She enjoys collaborating with dancers of all ages and levels. Fiona is a passionate and committed advocate of live ballet accompaniment and the crucial role it plays in supporting, developing and enhancing the musicality of a dancer. She loves to conduct practical musicianship workshops for dance teachers, bridging the language barrier between music and choreography, and teaching the skills required to work successfully with a live musician. Winner of the Adelaide Piano Concerto Competition, Fiona holds an Honours degree in Classical Piano Performance from the Elder Conservatorium of Music, Adelaide University.

Maria Ruberto

Anxiety in Dancers Through Adolescence

Anxiety in Dancers Through Adolescence explores the complex emotional landscape young dancers navigate during their formative years. Balancing the pressures of performance, body image, competition, and identity development, adolescent dancers often face heightened levels of anxiety that can impact both their mental health and artistic growth. This piece delves into the unique stressors within the dance world, offering insight into how anxiety manifests, how it can be managed, and why understanding these experiences is crucial for supporting the next generation of performers.

BIO

Maria is the founder and director of Salutegenics Psychology, a strengths-based practise that moves people in personal and professional coaching toward mental ﬁtness and life-health. Maria’s work is dynamic, interactive and spirited. Her application of psychology is anchored by research in neuroscience and brain function - and framed by the science of optimism. A psychologist with 30 years of clinical and industry experience, Maria facilitates practical workshops and professional education to forward thinking organisations. Positive health activates wellbeing and success follows authenticity.

Maria is focused on increasing the capacity and performance of individuals and teams who rely on highly tuned relationships and emotional intelligence to achieve professional, organisational and client success. Research demonstrates that developing personal skills and internal resources in Affective Functioning and Preventative Practices signiﬁcantly increases human wellness, a critical advantage for organisations pursuing team engagement and workplace culture. Maria teaches Leaders, CEO’s, Senior Executives, HR, Sales and Marketing professionals to open their lives, apply optimistic tools and activate positive affectivity within a meaningful and fulﬁlling context.

Maggie Lorraine

Preparing for Success: Cecchetti Pointe Exam Techniques and Long-Term Strategies for Teachers and Students

BIO

Maggie Lorraine is a protégé of Dame Marie Rambert, a pupil of Cecchetti and one of the founders of Ballet in Britain. Maggie and has had a long and varied career in ballet and many aspects of theatre. After training in London at the Ballet Rambert School, she joined The Ballet Rambert in 1961, aged only 16, and was the youngest member of the company. She embarked on soloist roles very quickly and achieved the rank of Principal Dancer withing two years. In 1966 she joined The Royal Ballet Company, where she danced for five years, working with the Covent Garden Company, the Touring Company and Ballet For All. After leaving the Royal Ballet, she danced with a variety of ballet companies all over the world, including London Festival Ballet, P.A.C.T. Ballet (South Africa), New Zealand Ballet and West Australian Ballet Company, forging solid links internationally with people and companies all over the world.

Teaching has, for many years, been an essential part of Maggie's life. Following a short period as Ballet Mistress with the West Australian Ballet Company (WAB), she retired from dancing to concentrate on teaching and immediately following her last performance in WA, she joined the fulltime staff of Ecole Classique in Sydney. In 1989 Maggie became a Lecturer in Classical Ballet at the Victorian College of the Arts( VCA) and was later appointed Acting Head of School, a position she held for two years. She was consequently, involved in the course review and accreditation of numerous tertiary dance institutions, nationally and internationally.

Whilst working in her role at the VCA, Maggie maintained connections in the dance industry. In 1993 she was invited to produce and stage Lambros Lambrous' ballet Motif for Queensland Ballet Company, a ballet which had been created for her in West Australian Ballet, and in 1997 and in 1999, she was employed as Rehearsal Director for Meryl Tankard's Australian Dance Theatre whilst her Company performed on European tours.

In 2005 Maggie assumed the position of Assistant Head of V.C.A.S.S. Dance, and in 2011, became a Certified Teacher of GYROTONIC and GYROKINESIS. Also, in 2011 Maggie was nominated and selected to be a member of the Education Committee of the International Association of Dance Medicine and Science, and in 2012 was nominated for Chair of the Dance Education Network of I.A.D.M.S. Maggie enjoys the challenge of keeping up-to-date with dance wellness and research in dance science and incorporating it in her teaching.