From bump to beyond

Across its 64-year history, The Australian Ballet has watched generations of dancers grow, first as artists and later as parents. 

For much of that time, stepping into parenthood often meant stepping away from the stage. In recent years, however, thanks to directional leadership and the expertise of our sector-leading Artistic Health team, that once-assumed pathway is no longer the norm.
We sat down with our newly appointed Director of Artistic Health, Laura Hillenius – who began her physiotherapy career in 2002 under the visionary direction of Dr Sue Mayes AM – to explore how the company’s deep cultural commitment, paired with world class health
expertise, is reshaping what parental support looks like for dancers through pregnancy, postpartum and beyond.
 

How has The Australian Ballet’s culture of supporting parenthood evolved in recent years?

It really has been quite a journey. I was lucky enough to be here at the beginning of it when I first worked under Sue Mayes (former Director of Artistic Health), who was a real pioneer in this space. I remember working closely with (then-Principal Artist) Kirsty Martin on what a supported pregnancy and safe return to work would look like. It began with thorough medical support through the entire
pregnancy into the period when dancers can no longer perform on stage.
We know it’s incredibly important for women’s mental health and sense of identity to continue working during pregnancy. When it’s no longer safe or realistic for them to be performing on stage – often around the 12–14 week mark – we help them transition into ‘safe’ duties in another area of the organisation that interests them.

How does each phase of care look?

Simply speaking, the first trimester covers the first 12 weeks, when dancers are generally still performing. During this stage, my team works closely with our onsite GP to ensure they’re medically and physically supported. 

During the second trimester, dancers may continue taking class and stay physically active for up to two to three hours a day. Outside the studio, we work with them on functional strength, cardiovascular fitness, cross-training and addressing any pre-existing injuries that could affect their eventual return. At this stage, many dancers also transition into ‘safe’ duties, supporting other areas of the company. Principal Artist Sharni Spencer, for example, worked with our Company Management team to help them prepare for touring while expecting her baby. 

Our focus shifts in the third trimester to preparing the dancers for postpartum. We help them gradually step back from dancer-level physicality, teach them how to assess abdominal separation, provide safe postpartum exercise guidance and help them to recognise emotional risk factors.

Postpartum, while we’re always available, we hope not to see the dancers too much in the first 14 weeks after birth, aside from linking them with a specialist women’s physiotherapist for pelvic floor assessment. This period is about bonding with their baby and developing an identity outside ballet. The more connected they are at home and the more mentally detached from the pressure of dance, the healthier they are in the long-term.

The second postnatal trimester is our “fit for ballet, but no ballet” phase. During this time, we focus on cross-training, cardiovascular conditioning, musculoskeletal strength, strength and conditioning and Pilates-based work to rebuild deep stabilising muscles that are associated with ballet.

Finally, in the third postnatal trimester, we support the dancers as they return to ballet. This phase involves returning to class, getting their pointe shoes back on, moving into the rehearsal period and setting up their life as a performer again. Everything from establishing support networks and milk supplies, programming and planning for the reality of being a performer who is also a parent.