The Yurali Ensemble Ballet Program returned to Gadigal Land this July with its second edition of culturally grounded classical training for Aboriginal and Torres Strait Islander dancers.
Presented by The ELLA Foundation, the three-day program was held at Danceworks Sydney from 14 to 16 July and offered a powerful blend of ballet technique, cultural expression, and creative exploration in a supportive, culturally safe space.
Formerly known as the First Nations Ballet Ensemble, the program adopted a new name following consultation with participants. Yurali — meaning eucalyptus blossom in Wiradjuri — was selected for its visual echo of a tutu and to honour founder Ella Havelka’s Wiradjuri heritage.
Building on the success of its inaugural pilot in 2023, this year’s expanded program supported young First Nations dancers to refine their classical technique while remaining strongly connected to culture. A highlight was the creative reimagining of The Nutcracker’s Land of the Sweets, with dancers crafting original narratives inspired by Australian bush treats and native ingredients. The result was a unique fusion of classical storytelling and First Nations perspective.
The program was led by a team of First Nations artists and educators, including Erica Dixon and Olivia Scot, both former trainees of The Australian Ballet’s Education and Outreach team. Guest teacher Jacob Harrap joined the program to teach pas de deux, working closely with the three male participants.
On the final day, friends, families, and community members gathered for an informal performance showcasing the dancers’ progress. The costumes were a standout feature: donated leotards from The Australian Ballet School, each hand-painted by Havelka. "We wanted every detail of the program to honour the dancers’ identity and the beauty of the ballet art form," she said. "Seeing them perform in something made just for them, something meaningful, was incredibly powerful."
The showcase opened with an Acknowledgement of Country from Wulbunja–Bidjigal–Sri Lankan artist Tristan Field, delivered through an original guitar solo. It closed with a contemporary group work set to Field’s original music, featuring poetry co-written by Field and Havelka, and a solo by NAISDA Dance College student Blake Escot.
The Yurali Ensemble Ballet Program offers something rarely found in traditional ballet institutions: space for First Nations dancers to develop in classical ballet while remaining rooted in their cultural identity.
Participant Cleo Doyle shared, "I loved participating in the program! I would really recommend it for young Indigenous performers who want to have fun and learn the art of ballet in a welcoming and culturally safe environment."
Buoyed by enthusiastic feedback and growing demand, The ELLA Foundation has plans to expand the program in 2026 with regular school holiday intensives, public performances, and additional workshops currently in development.