In January 2026, Perth will play host to an extraordinary opportunity for young Australian dancers. For the first time, the prestigious Russian Masters Ballet (RMB) Intensive, a program grounded in the historic Vaganova tradition, will take place on Australian soil. With a faculty drawn from some of Russia’s most renowned ballet institutions and a training model that balances rigour with reflection, the RMB Intensive promises to bring a new level of access to classical training.
Spearheading the program’s launch in Australia is Slava Tutukin: a coach, director and arts manager whose international performance career spanned many of the world’s major ballet companies. While Tutukin is not the program’s director, he has played a central role in helping facilitate its arrival.
“Bringing the RMB Intensive to Australia is for me not just about technique or tradition,” he says. “It is about creating access, opening dialogue and offering dancers and teachers a chance to learn from one another. What matters most to me is that everyone who takes part feels seen, supported and inspired, whether they are just beginning their journey or have been teaching for decades.”
The Vaganova method, developed by Agrippina Vaganova in early 20th-century Russia, remains one of the most comprehensive and influential classical ballet training systems in the world. Its structure, discipline and artistic clarity have shaped generations of dancers. For Tutukin, the method’s lasting power lies in its adaptability and depth.
“What makes the Vaganova method so relevant today is its unique balance of tradition and evolution,” he explains. “In her work, Vaganova continuously searched for more refined ways of training dancers, analysing the hidden impulses behind movement and trying to fully understand its principles.”
“It offers much more than just a way of teaching steps. It is a system that sharpens the dancer’s mind just as much as the body. There is a strong focus on clarity, control, and awareness of how movement works from the inside out. Every position, every transition has purpose.”
Tutukin is confident that Australian students will find the method not only technically enriching, but intellectually and artistically invigorating. “The Vaganova method provides a strong and intelligent base,” he says. “It encourages dancers not just to follow, but to understand... shaping artists who are not only technically prepared but also deeply connected to their work.”
The decision to launch the RMB Intensive in Perth was shaped by more than logistical considerations. For Tutukin, the setting is part of the experience. “Perth, with its natural beauty, outdoor lifestyle and thriving dance culture, felt like a wonderful setting for the program,” he says.
He paints a vivid picture of the environment students can expect: “Imagine combining daily ballet training with evening walks along the river, group visits to Kings Park or a Sunday trip to Rottnest Island. The atmosphere creates an interesting space where one can work, but also breathe, reflect and connect with others.”
While the intensive is designed to be immersive and physically demanding — up to six hours of training per day over two weeks — it also offers space for creative and personal development. It’s this holistic approach that Tutukin finds most compelling.
“I always enjoy creating new projects and bringing ideas to life,” he reflects. “Especially when they foster meaningful connections between artists, educators, institutions and audiences.”
He believes the RMB Intensive fills what he perceives to be a gap in the Australian training landscape. “There is real value in giving students access to something as focused and rooted as the Vaganova method, particularly in a format that is both intensive and supportive,” he says. “With teachers who carry the tradition directly, the course offers an environment where young dancers can absorb not only the technique but also the mindset and structure that define this approach.”
And while students are at the heart of the program, teachers and professionals are also invited to engage through observation and discussion. “At the same time, it offers something meaningful for teachers and professionals,” he adds. “We include opportunities to watch classes, take part in discussions and be actively involved in the process.”
The curriculum is comprehensive, encompassing ballet technique, pointe and male work, character dance, acting, contemporary, repertoire, and gymnastics. But Tutukin is quick to emphasise the importance of what lies beyond the technical.
“Classical training builds the foundation, just like children who learn to walk, speak and think clearly as part of early development. But as children grow, they need more than just a foundation,” he explains. “They need knowledge, emotional understanding, creativity, the ability to communicate and the confidence to express who they are.”
“Acting helps to explore emotion and intention, giving depth to the stage presence. Contemporary work encourages creativity, adaptability and freedom in movement. Ballet nutrition shapes how dancers relate to their bodies and how they care for themselves,” he says. “These are just a few of the important elements that help dancers grow into not only technically strong performers but also well-rounded, self-aware and versatile artists.”
In a program that brings together top-tier teachers, motivated students, and a setting designed to inspire, Tutukin hopes the experience leaves a lasting impression. “It is not about turning students into something else,” he says. “But about offering them another perspective, another way of seeing their own potential. Encounters like this stay with a dancer for years.”
Find out more about the upcoming Summer School here.