Training and development Beginning her training at the age of four, Dunn initiated her pre-career development in various styles of dance. Although she was trained in jazz, contemporary, tap, hip hop and singing – her emphasis on ballet did not occur until she moved her training to the Tanya Pearson Classical Coaching Academy at the age of 13. Under the guise of Tanya Pearson OAM, Dunn grew her repertoire and was accepted to compete in the prestigious 1989
Prix De Lausanne in
Switzerland. After winning the Prix Espoir, Dunn, age 15 at the time, received a scholarship to study at the Royal Ballet School in London, England as a result of one of the Royal Ballet Company’s talent scouts recognising her talent throughout the week-long competition. After accepting her scholarship in 1989, Dunn moved to London to train with the Royal Ballet School for two years. During these two years she gained experience on stage, performing as a guest with the junior
corps de ballet in companies such as the
Birmingham Royal Ballet. Succeeding her training at the Royal Ballet School between 1989 and 1991, she was offered two contracts on graduating. These were with the
Birmingham Royal Ballet and with The Australian Ballet. She accepted the latter and began as a member of the Australian Ballet Company in 1991.
The Australian Ballet Company After accepting the Australian Ballet Company’s offer to train with them, Dunn began her career as a member of the Corps De Ballet, however rapidly accelerated up the ranks. After one year with the most junior rank of a ballet company, Dunn was promoted to Coryphée in 1992, then in 1993 to soloist. In her 4th year with the company Dunn was titled a Senior Artist in 1995, followed by her acceleration to Principal Artist with the Australian Ballet Company in 2002. She remained a principal artist for 13 years. Dunn’s first performance as a Soloist was as Aurora, Sleeping Beauty, a role given to her after only 18 months with the company. From there she has performed the majority of all classical roles, including Odette in Swan Lake, Sugar Plum Fairy in The Nutcracker, Giselle in Giselle and Kitri in Don Quixote. In total Dunn has performed over 60 roles from over 93 different ballets. Dunn describes one of her highlights being performing Odette in Swan lake when she was age 39. In 2012
Stephen Baynes of the Australian Ballet created a classical interpretation of Swan Lake, casting Dunn to play Odette. Her final role with the Australian Ballet was as Manon in L’histoire de Manon. This role was chosen by her to be her final role as she described; “I wanted to end my career on a wonderful ballet that suits my physicality.” Dunn describes her teaching focus as being ““pure, clean
classical ballet technique. Explaining correct muscle use and [a] way of working that each student understands and can implement to their own body.” Dunn received the offer to take over as artistic director while she was still dancing with the Australian Ballet Company. Currently Dunn teaches a variety of classes, as well specialized coaching for students at the academy training for large competitions, such as the
Youth America Grand Prix and the
Prix De Lausanne. Dunn’s role at the Tanya Pearson Academy also involves a variety of mentoring aspects. Dunn describes Tanya Pearson Classical Coaching Academy as “having such a high reputation, and my goal is to uphold this expectation and to excel even further.” She has stated that one of her proudest teaching achievements was guiding students from the Tanya Pearson Classical Coaching Academy directly into professional careers with Australian ballet companies. Additionally, Dunn has taken various masterclasses in small local studios around
New South Wales. Danae Cantwell School of Dance hosted various workshops with Dunn coaching in Kempsey. Dunn has worked as an artistic director – she directed The Sydney City Youth Ballet's production of Triple Bill in recent seasons. The production travelled across
New South Wales – including Sydney, Port Macquarie and Bowral. Dunn often works in conjunction with her husband Radojevic – who is currently the associate artistic director of the Australian Ballet Company. She is currently the Principal Ballet Teacher of Dance North Academy in the Northern Beaches,
New South Wales and an Ambassador for The Ballet Society. ==Personal life==