Chan Hon Goh

The new RAD Vice-President and Bedells Bursary judge says dancers shouldn’t be afraid of being vulnerable – and even imperfect.

The best advice I ever received 

One of the greatest challenges in my career as a dancer was learning to step outside my own nature. I was naturally quite introspective and, in many ways, a little shy.

My favourite advice I ever received was not to be afraid to be vulnerable, imperfect, even ugly if that is what the role demanded. To be truthful. To surrender to the character rather than protect my own image. It taught me that great artistry is not about looking beautiful all the time. It is about being authentic, honest, courageous, and allowing yourself to be seen without inhibition.

That advice became one of the most important lessons of my career. It helped me push through barriers I had unknowingly created for myself and gave me permission to explore emotions and qualities that did not come naturally. Some of my most meaningful performances came from those moments when I stopped trying to control everything and simply trusted the work.

It is still something I practice today, not only as an artist but as a person. Being fearless is never effortless. It is a discipline that requires constant intention. Life, much like ballet, is an ongoing exercise of learning, growing, and having the courage to begin again.

Photo: Emily Cooper

The advice I would pass on 

I often share that same advice with young dancers because I know how transformative it can be. Do not be afraid of vulnerability. Do not fear imperfection. Those are often the very places where authenticity and artistry are found.

I would also encourage them never to give themselves excuses. Growth does not come from waiting until you feel ready or confident. It comes from showing up, doing the work, and having the courage to try. The simple act of trying already makes you better than you were yesterday.

We often underestimate how much progress is made through persistence rather than perfection. Every class, every rehearsal, every setback, and every success shapes who we become. If you remain curious, disciplined, and willing to embrace the uncomfortable moments, you will continue to grow, not only as a dancer but as a human being.

For me, that has always been one of ballet’s greatest gifts. It teaches us that excellence is not a destination. It is a daily practice of courage, humility, and the willingness to keep learning.

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REST OF Issue 17 – Oct 2026

Inside RAD post Inside RAD

The journey begins

The choreographer Kate Flatt addressed successful teaching graduates at the RAD’s annual Faculty of Education graduation ceremony at Cadogan Hall in London. This is an edited version of her speech.

Dance Gazette

RAD Q&A post RAD Q&A

Galatia Savva

The winner of the RAD award for Innovation and Creativity in Dance Education, Galatia Savva makes works with her students in Cyprus exploring grief, violence and body confidence.

Dance Gazette

Big Picture post Big Picture

Friends reunited

RAD members from across the world gathered at the RAD, 50 years after graduating from the Royal Academy of Dance College.

Dance Gazette

Playlist post Playlist

Joby Talbot

Joby Talbot’s ballet scores have travelled the world – and Alice’s Adventures in Wonderland is now a musical illustrated book. But what music is on Joby’s playlist?

Dance Gazette

Photo: Andrew Eccles
Why Dance Matters post Why Dance Matters

Alicia Graf Mack

Alicia Graf Mack is only the fourth Artistic Director of the Alvin Ailey American Dance Theater. How will she hold the company’s legacy? And why was she made to move?

Dance Gazette

Director’s cut post Director’s cut

Judgement calls

How does the RAD respect the past while meeting current expectations? It’s a delicate balancing act, explains Alexander Campbell.

Alexander Campbell

features

Fail better

Flunking auditions, losing roles, falling short in exams or competitions: failure is inevitable in a dancer’s life. But what can we learn from failure? Lyndsey Winship investigates.

Lyndsey Winship

Frederick Ashton’s ballets resonate when dancers discover the spirit behind the steps: Anna Rose O’Sullivan and William Bracewell in La Fille mal gardée (Royal Ballet). Photo: Andrej Uspenski
features

21st century Ashton

Solos by Frederick Ashton will feature in The Fonteyn for the first time this year. How challenging is Ashton’s style for young dancers, and how are devotees keeping the flame alive? Jonathan Gray investigates.

Jonathan Gray

interviews

Wheel of fortune

At 18, Christopher Wheeldon won a life-changing flight to New York. Now the choreographer receives the RAD’s lifetime achievement award – David Jays hears about his career’s twists and turns.

David Jays

reports

Dancing for democracy

When authoritarian regimes gain ground around the world, dance projects can act as a form of resistance. Sally Howard reports on dance as protest – from the 1930s to today.

Sally Howard

interviews

Starting strong

They’re welcoming, committed to inclusion and full of bright ideas. Emily May meets the winner and nominees for the RAD’s new Early Career–Emerging Teacher Award.

Emily May

features

Circle of life

What goes around, comes around. From folk dance to ballet, from hip hop to movies – Sanjoy Roy explores why the circle is so central to dance and dancing.

Sanjoy Roy