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‘What Are Our Potentials For 2022?’ with Dr Linda Sastradipradja and Kalman Warhaft

Posted by Team APATA | Jan 6, 2022

Across the nation performing arts teachers have adapted to achieve amazing outcomes since the beginning of the COVID outbreak, consolidating training and practice to support their students via online platforms, holding class whenever possible in the studio and working as a hybrid between the two.

As we round the corner into 2022, the new normal and road ahead may still present numerous challenges as we move to work between hybrid training and coaching platforms.

After a wonderful catch-up with Dr Linda Sastradipradja we at APATA quickly realised that kicking off the new year with a special online session to discuss ‘What Are Our Potentials For 2022?’ would be an excellent opportunity to explore the road we’ve travelled over the past two-years as well as honing our skills for whatever may come our way in 2022.

APATA is very honoured to have Dr Linda Sastradipradja and Kalman Warhaft join us for this special workshop online to discuss the elements of dance in the studio and when working via online instruction. This 1.5-hour workshop will also capture coaching videos by Kalman Warhaft plus an in-depth Q&A opportunity.


Looking to improve your online coaching techniques when students need to train and practice from home?

Seeking to provide a smooth transition for students when working in a hybrid situation to instil confidence and consistency with development and training?

Key discussion points and instructional videos will provide guidance and support capturing the following key elements – essential tools for dance teachers working across hybrid models keen to support their students!


Graduating with a Bachelor of Arts (Distinction) from the Victorian College of the Arts School of Dance, majoring in both dance performance & movement education, she danced with City Contemporary Dance Company in Hong Kong before moving to New York in 1990. There she performed internationally with US artists and companies including Mikhail Baryshnikov’s White Oak Dance Project (working directly with choreographers Twyla Tharp, Merce Cunningham, Mark Morris and Tere O’Connor among others), Sara Rudner, Dennis O’Connor, Dana Reitz, and Molissa Fenley.

Since returning to Melbourne Linda has continued working in association with some of Australia’s foremost practicing dance artists, educational institutes and companies.  These include the Victorian College of the Arts School of Dance, Chunky Move, Opera Australia, NAISDA Dance College, Deakin University’s School of Contemporary Arts, Lucy Guerin Inc, Bangarra Dance Theatre, Australian Dance Theatre and BalletLab. Linda is currently Artistic Associate and dancer with Russell Dumas’ Dance Exchange, performing an extended duet with Trisha Brown Company dancer Stuart Shugg (for which she received an Australian Critics award for Most Outstanding Female Performer). In 2014 Linda was invited by the Trisha Brown Company to perform the iconic work Spanish Dance with them during the company’s Melbourne Festival season. Linda is featured in the work of renowned dance photographer Lois Greenfield.

Since 2003 Linda has worked at the VCA School of Dance as a Lecturer in Dance. Over the past 10 years Linda has developed regular studio practice sessions for emerging independent dance artists to explore their developing artistic practices and has continued mentorship of many of these artists throughout the duration of their artistic careers. Her creative work has been presented in the US and Australia over the past 15 years.

Linda has performed and taught for theatre companies in the US, and has choreographed for theatre, film projects and music videos.  Her current choreographic projects collaborate with Australian and Indonesian dancers to develop movement vocabularies and aesthetics that are unique to each dancer’s personal lineage and experiences. Directed by Lee Gingold and Rick Mereki, she choreographed and performed the music video PACE for Australian band The Restless, which was nominated for a 2009 SHOCKWAVES NME award (UK). In 1997 Linda worked in Houston, Texas, on the Alley Theatre’s acclaimed production of The Greeks as a performer and assistant movement director.  She was Assistant Choreographer and Rehearsal Director to John Carrafa for Director Fred Ho’s music/dance/martial arts theatre production, Monkey – Journey Beyond the West, which premiered at Brooklyn Academy of Music’s Next Wave Festival in November 1997.

Linda has contributed to a number of Australia Council resource projects as a consulting artist and writer and has contributed key articles for RealTime magazine’s dance education issues in 2010 and 2011. She has acted as a panel member for the Australia Council and Creative Arts Victoria’s granting programs. As BalletLab’s first Artistic Associate and Producer from 2003-07, Linda facilitated the company’s initial international touring and artist exchange programs.

Articles – RealTime Magazine’s Arts Education

Dance Education – Why Invoke The Nation (2021)

Dance Education – The Uneasy Path To Dance Practice (2020)

Born in Melbourne, Kalman Warhaft’s passion for dance unfolded when he was six years old. Kalman had the privilege of being taught for many years by internationally acclaimed Russian teacher Madam Janina Ciunovas (Named as one of “Ten Twentieth Century Master Teachers” in Gretchen Ward Warren’s “The Art of Teaching Ballet”). Before continuing his studies at The Australian Ballet School. During this time, Kalman appeared in The Australian Ballet’s Coppélia, toured regionally with The Dancers Company (performing in a variety of roles including Mouse King in The Nutcracker) and the English National Ballet’s Arena production of Swan Lake.

After graduating with an Advanced Diploma of Dance, Kalman joined Sydney Dance Company (SDC) under the directorship of Graeme Murphy AM and Janet Vernon. The company toured extensively across Australia and internationally. Kalman performed in a variety of works whilst at SDC including Graeme Murphy’s Grand, Berlin, The Director’s Cut, (and many others); Stephen Petronio’s Underland; Meryl Tankard’s INUK2; Rafael Bonachela’s 360° and we unfold; Aszure Barton’s Sid’s Waltzing Masquerade and Kenneth Kvarnström’s Mercury.

After leaving SDC, Kalman was invited to be part of the new dance-mad climate, as a founding member of Mod Dance Company. Again joining distinguished choreographer Graeme Murphy and some of Australia’s brightest dancing stars, the world premiere of Suite Synergy “left the audience in awe”. Kalman furthered his understanding of the Australian performing arts scene when he worked with Opera Australia, Opera Queensland, and Victorian Opera. He later worked with The Australian Ballet in Graeme Murphy’s Romeo and Juliet. Kalman’s final performance was as principal dancer with Opera Australia in Graeme Murphy’s “sumptuous production” of Aida.

Since retiring from stage, Kalman has enjoyed being a creative assistant to Alice Topp, one of The Australian Ballet’s rising choreographers. Kalman’s love of dance has now fuelled his passion for dance education. One of the first in his field to complete a Graduate Diploma in Elite Dance Instruction at The Australian Ballet School, he opened Melbourne Institute of Dance in 2017.

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