New: Live & Digital Ballet Masterclasses with Miss Alex
Professionally trained in France, Alex has trained with ballet masters from the Paris Opera Ballet, Bejart Ballet, New York City Ballet, Sydney Dance Company, and many more. She brings encouraging yet challenging and fun classes to students aged 8 to 18 years old that include classical repertoire work and advanced pointe techniques.
Australia, New Zealand and Asia’s classical dancing is heavily funded on the (beautiful) British School of dance technique with most students following the Royal Academy of Dance syllabus. Some follow a more Russian influence which comes directly from the Vaganova Method of St Petersburg. But rare are the teachers in these parts of the world with direct experience with the prestigious French School of Dance.
Miss Alex is delighted to bring you her expertise as a traditionally trained & professionally experience French ballerina. Her last Australia/New Zealand masterclass tour was in 2012 when her first book “How To Be A Ballet Dancer” was published. This tour was a huge success and took her across both countries into dozens of schools including pre-professional ones such as the Conlan College, Amanda Bollinger Dance Academy, the Tanya Pearson Academy, and many more.
As a former professional ballerina, I share my deep knowledge of the ballet world in my growing collection of educational ballet books.
My work helps young dancers navigate the difficult path to professional artist and athlete.
With my books, I hope to bring game-changing information to an inspiring, dedicated, and passionate audience of young ballet dancers.
Your book is AMAZING! It has literally changed my life!
Eilis, 14, Lisa Clark Dance Centre
Review of How to be a Ballet Dancer, 2012 Edition
100 Healthy Snacks
How To Be
A Ballet Dancer
The Ultimate Dancer's Guide To Foot Health, Strength & Skill
Always More New & Exciting Ballet Books In The Making!
Alex's Journey as a Ballerina
My love story with dance began when I enrolled in a jazz class at 9 year old in a local school, after watching my neighbour dance at her end-of-year dance concert.
Forced to take most of the year off due to a genetic knee illness which put me in a full-leg cast. At the time, no body-conditioning, nor physiotherapy was offered to recover… A terrible mistake which will speed up the end of my career.
Started classical dance (ballet) at age 11, realising that this is where I belonged all along. It took a lot of grit to keep showing up to class as I was placed with the 6-8 year-old students to catch up on basics. Within a few months of very hard work and focus, I finally joined the class of my peers.
Taking more classes each year until the hours added-up to solid part-time training after school, I travelled to competitions across France and Europe and gained national recognition alongside invaluable stage experience.
Trained full-time as a professional at the Conservatoire National of Lyon (France) while finishing high school via distance education. Incredibly lucky to have learned from teachers and masters from the Paris Opera Ballet, Bejart Ballet Lausanne, NY City ballet, and many – many- others.
Broke the 2nd metatarsal bones on both feet due to overwork, malnutrition, and major roles I was cast for and didn’t want to miss out on. This lead to months of painful recovery and my first bout of severe depression.
Professional dancer in guest and professional performances in France, Monaco, Germany, Luxembourg, Georgia, Austria, and Australia. Danced with the Youth Ballet of Lyon and the Tanz Atelier Wien. Under the promise of a contract with Sydney Dance Company (once I obtained a suitable working visa in Australia), I trained with the company while also working on creative contemporary dance projects with Dirty Feet in Sydney.
Struggling to gain a work visa, I suffered a career ending knee injury while working on a contemporary project with Martin Del Amo. Lost and heartbroken, I found some relief by learning and teaching ballroom & latin dance classes at the Sydney Arthur Murray Dance Studio. (with such a solid professional ballet background it took weeks to learn and master in ballroom what most learn in years!)
After many years away from dance, in which I formed a family with the man I fell in love with, I learned about online marketing, business, and publishing and was inspired to share my knowledge and learnings in writing. That’s how my first book How To Be A Ballet Dancer was born.
Toured Australia and New Zealand to promote the book while teaching ballet masterclasses. and working as an adjudicator for ballet competitions such as Coast Quest, the Sydney Eisteddfod, and more, focussing on scholarship events, I loved the connection with young dancers. This is also the year I founded the International Ballet Workshops to bring international scholarship and learning opportunity to the ballet dancers of Australia & New-Zealand.
Settled for a while in Tamworth, NSW, as I took over a struggling ballet school in need of a fresh new creative outlook. With my team, we worked on growing the studio, bringing as many learning opportunities as we could to the young dancers under our care. The studio tripled in size within a year, and I then handed it over to my talented studio manager and newly appointed artistic director.
Life played another trick on me as I finished my first year as a ballet school owner in hospital, becoming fully deaf in my left ear and causing severe vestibular nerve damage. This virus-induced accident left me walking for weeks with a walker and with permanent and heart-breaking disability. Unable to withstand loud noise and movement, I had to reluctantly let go of the dance school & ballet workshops.
I took years to heal what could be healed, while learning to live with a serious handicap. While taking time to heal, reflect, and learn, I worked as a very successful dance business coach for many years, but never ceased to write. Writing and reading have always been passions as big as what dance had become so in May 2020, I finally decided to call myself a writer and commit to this new creative path. Because I learned that without creativity, my heart was dying a slow and agonising death. A heart – my heart – must create to feel alive and joyful. And just for that I am glad I have my hands, mind, and experiences to put that work out into the world.