Fiona Tonkin is one of Australia's most loved Ballerinas. As a ballerina she is known for her artistic genius and creating unforgettable connections onstage with her partners. Starting her career at the Royal New Zealand Ballet, Fiona went on to join The Australian Ballet Company under Marilyn Jones (Artistic Director at the time), and lead the company as a Principal Artist. She later returned to New Zealand and became Ballet Mistress at the Royal New Zealand Ballet with Matz Skoog as Artistic Director. Fiona was invited by Matz to work with him at English National Ballet when he was appointed Artistic Director and she spent a number of years as a Principal Coach there. Fiona returned to The Australian Ballet in the early 2000's and has been pivotal in the nurturing, mentoring and developing of dancers to success throughout their careers. Fiona is currently Principal Coach and Artistic Associate at The Australian Ballet. What a privilege to share some of her words of inspiration.

There are many moments that you look back on as you get older and wish you had known what you know now. This is very much front of mind when I sit out the front watching company class with a guest repetiteur or watch a class of graduating students. First and foremost, those dancing in front of me should not worry if they are having a bad day at the “office”. If a retire balance doesn’t work or you hop in a pirouette, guess what, it is not the end of the world! I say this in that those who are sitting out the front can hopefully tell the difference between bad technique and having a bad day. For me, it is very much about the complete person and this includes aesthetics, technique, and artistry. What partners these fundamentals is essence.

Essence is about communication. It is, what does that dancer want me to see in them or what does s/he want to tell me in executing that step or enchainment; how does the music speak to them; do they have a natural phrasing to their movement? This is about does s/he have an inner presence, a self-awareness. How do they want me to feel about them? Additionally, how does that essence present in their stance, port de bras, holding of the head, where do they look (e.g., are they always looking in the mirror), the fluidity of movement, their energy and understanding of what they are executing. Even how a dancer stands at the side whilst their colleagues complete an exercise says much about that person. Do they watch, do they talk with a colleague or even look at their phone!! So little can say so much.

This is a little bit about first impressions but through the course of a class a person can reveal much about her/himself without even knowing it. It is as much about the person as it is the dancer. This is especially so when auditioning for a professional company, where the regime of a constant workload and the rigors of performing are very much the reality. At the end of a class, I hope to know if that dancer has an open mind, courage, an inner strength and authenticity.

Fiona Tonkin OAM

Artistic Associate & Principal Coach

The Australian Ballet

2022