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Akram Khan’s Giselle, image by Nicha Rodboon

Akram Khan’s Giselle, image by Nicha Rodboon

Juliet Burnett part one

March 5, 2020

Juliet Burnett grew up in Sydney, while spending considerable time in Indonesia. Dancing was in Juilet’s blood; her grandmother, was the Sultan’s star dancer at his court in Jogjakarta. At the age of five her parents enrolled her in ballet school to see if she took after her grandmother.  

Juliet Burnett, portrait by Shed Mojahid wearing family heirloom batik!

Juliet Burnett, portrait by Shed Mojahid wearing family heirloom batik!

Later, Juliet studied at The Australian Ballet School, before joining the company in 2003. Juliet has worked in creations by Wayne McGregor, Stanton Welch, Alexei Ratmansky, Krysztof Pastor, Nicolo Fonte, Maina Gielgud, Rudolf Nureyev, Peggy van Praagh, Matjash Mrozewski, Stephen Baynes, Gideon Obarzanek, Graeme Murphy and Stephen Page.

In mid-2015, Juliet left The Australian Ballet after her final show as Giselle. She left to become a freelance dancer performing in Australia and Indonesia, working with a range of people including Melanie Lane, a childhood friend.

In 2016, Juliet made the move to Europe to join Ballet Vlaanderen, Belgium's premier dance company, under the directorship of renowned choreographer Sidi Larbi Cherkaoui. 

Image by Daniel Domenech

Image by Daniel Domenech

Since 2016, Juliet has been a First Soloist with Ballet Vlaanderen, where she has had new creations made for her by Édouard Lock in The Heart of August and The Heart of August ... continued and Sidi Larbi Cherkaoui in his Requiem. Other roles include the title role in Akram Khan’s Giselle, in William Forsythe's Approximate Sonata and Workwithinwork, Pina Bausch's Café Müller, in Benjamin Millepied’s Bach Studies, as Marguerite in Jean-Christophe Maillot's Faust, as Queen Fabiola in Jeroen Verbruggen's Ma Mére L'Oye, Trisha Brown’s Twelve Ton Rose, in Alexander Ekman’s Joy, in Sidi Larbi Cherkaoui's Firebird, Memento Mori, Exhibition and Fall, and the Snow Queen in Demis Volpi's Nutcracker. In 2017 she danced as Guest Artist with Dutch National Ballet, in Remi Wortmeyer's new creation, Passing Shadows.

Juliet is also a writer, having been a regular contributor for Dance Tabs, MDM Dancewear's website and The Australian Ballet's blog Behind Ballet. She has written for other publications including Vogue Australia, Dance International and Gourmet Traveller magazines.  You can find Juliet on Instagram and on her website.

With such an extensive career and so many interesting things to talk about this interview is presented in two parts. This is part one, part two can be found here.

You can find a written transcript of this episode here.

Delving into Dance is supported by the Victorian Government through Creative Victoria and the Australian Government through the Australia Council, its arts funding and advisory body. If you enjoy Delving into Dance please consider leaving a contribution.  Contribute here.


Featured
Dalisa Pigram
Dalisa Pigram

‘We value everyone equally, but you know, of course each person has a role to play in the team that's been created, but no one is, you know, less valuable than another.’

Daniel Riley
Daniel Riley

‘My daughter Billie, she was in rehearsal today. My son Archie grew up the first two or three years of his life, like, on tour with me when I was with Bangarra Dance Theatre and just being in the artistic environment and being surrounded by people is such a beautiful gift, I think, that I can give to them as well.’

Antony Hamilton
Antony Hamilton

‘When I'm making dance and when I think about choreography or art, I often relate my early childhood experiences to the things that I make now as well.’

Alice Topp
Alice Topp

‘I guess for a lot of people, ballet is still very much an evolving, developing language. I think people think it was probably stuck in a time and hasn't progressed. But modern ballet is very challenging and arresting and it's finding new ways of working with an old structure.’

Lloyd Newson
Lloyd Newson

I used to say for a long time that I thought the dance was the Prozac of the art forms. […] there is an aesthetic that dominates our work, often complex or ugly or difficult issues are glossed over because people are pointing their feet and look very lovely.

James Vu Anh Pham
James Vu Anh Pham

“What I love about the dance world is that it has the possibility of bringing together so many different cultures, so many different people, beliefs, ways of thinking, ways of being in a space … we always find a common ground and a way to exist and support one another and to create something really beautiful”

Paul White
Paul White

“I am totally hooked by collaboration, particularly with friends”

Amrita Hepi
Amrita Hepi

“There is something about sharing something with somebody, or about teaching somebody something that allows space for a conversation that you might not normally have.”

Harper Watters
Harper Watters

“I try to make the ballet world a lot more colourful, diverse and a lot more inclusive.”

Mette Ingvartsen
Mette Ingvartsen

“The fact that the sexual undertone, or the desiring undertone that a lot of dance is operating through, for me it was very important to make it explicit. To actually say ‘okay part of what is happening here is a question of desire, it is a question of being stimulated physically. Then there are many different levels or layers of this happening of course. In my work it was about saying, we have to recognise that these underlying structures are there, and if we recognise it and even expose it explicitly then maybe we can actually look at for something else or question ourselves….”

In Dancer, Season Eleven Tags Sidi Larbi Cherkaoui's Eastman, Australian Ballet, Pina Bausch
← Juliet Burnett part twoJames Vu Anh Pham →

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