Dancers stage second acts in Defence

At first glance, ballet and military service may appear worlds apart.

One conjures mirrored studios and pointe shoes spinning across wooden floors to Tchaikovsky, while the other brings to mind parade grounds and boots striking asphalt to shouted commands.

Yet for a growing number of former dancers, forging a new career in the ADF feels like a natural second act.

Among them is AB Jessica Brown, who performed with several ballet companies, including the Queensland Ballet, the Houston Ballet and the Cape Town City Ballet, before joining Navy.

She found the transition to Defence smooth.

She quickly drew on the soft skills developed through dance – discipline, determination and adaptability – and excelled at physical training, including drill.

The rhythm, timing and precision of movement felt almost instinctive, and she was soon selected for the Australian Federation Guard’s precision drill team.

LTCOL Richard Maher, who runs the Dance for Veterans program in partnership with the Queensland Ballet, said this parallel between ballet and military drill is not coincidental. He notes both practices share historical roots.

“Ballet was a new style of dance introduced by Louis XIV, who created it by studying the Royal Horse Cavalry and the Musketeers for a period of time,” he said.

“So many ballet basics are derived from this, for instance in ballet ‘first position’ is the ‘attention position’, and ‘second position’ is ‘at ease’.”

For many dancers, ending their performing careers can bring grief and a sense of identity loss. But some discover a sense of teamwork and collective purpose that echoes their former profession through Defence.

“I love being part of a team,” AB Brown said.

“Being a small part of a bigger picture.”

LTCOL Nicholas Alexander, who trained at the Australian Ballet School before studying physiotherapy, said Defence provided him with an enhanced sense of camaraderie.

Although teamwork is essential in both professions, he found it easier to form close friendships in Defence.

While some former dancers step away from the stage entirely, others find ways to stay connected to their roots.

Some have integrated dance more directly into their military careers.

In 2024, LS Isabella Fitzpatrick was the first creative artist recognised under Defence’s elite athlete program, allowing her to take several months of leave on full pay to perform in the children’s show Emma Memma across Australia with Emma Watkins, the former Yellow Wiggle.

Meanwhile, LTCOL Maher completed a Defence-sponsored PhD in dance, exploring how ballet training can support veterans to build physical and mental resilience after their transition out of service.

LTCOL Maher and LTCOL Alexander have been involved with the ADF Creative Arts Association (ADFCAA), which brings together dancers from across Defence to develop and perform routines at an annual festival.

LTCOL Maher believes dance training is one of the best ways to prepare individuals for a career in Defence, and is an option more dancers should consider.

“At some point your dance career has to end, and I think Defence is a really logical post-dance career,” he said.

“The life of a dancer is highly disciplined and physical. Dancers are used to working closely with others in teams, even to the point where in pas de deux their physical safety is dependent on their partners.

“So all the attributes we are looking for in our soldiers, sailors and airmen have already been embodied – consistently and at a very high level – by those who have danced professionally.”