Celebrating 15 Years of Leadership with Principal Jessica Ward

There’s something remarkable about the journey of Jessica Ward, who in 2010 left the classrooms of some of London’s toughest comprehensives to take the helm at Elmhurst Ballet School as Principal. The past fifteen years have been anything but quiet for her away from the capital. The former dancer-turned-teacher-turned-Principal has transformed Elmhurst, enhancing student health and wellbeing, fostering an inclusive culture, and supporting graduates in launching successful careers- just a few of the many ways she has made a lasting impact. 

In an interview in December, as she prepared to close the winter term amid the school’s festive celebrations, Jessica reflected on the past 15 years and shared her vision for the future. 

How did you develop a love of dance and ballet? 

Jessica Ward: It all started when my mum and dad enrolled me in a ballet class at around two years old. Initially, it was for social and disciplinary reasons- I was quite a live wire! At that age, it was mostly toddling around, skipping, and learning “good toes, naughty toes,” but I just loved it. From there, I kept dancing throughout my childhood. Ballet was always challenging, but I adored it. 

In the 1990s, I went through a disco phase with my sister- we competed in disco and rock & roll competitions, even going to Len Goodman’s events in Essex and other national competitions. It was so much fun! My mum made all our costumes by hand- bright, retro, and full of tassels. 

When I was about ten, we moved to Suffolk. I had a wonderful PE teacher who recognised my passion for dance, but my small rural school didn’t offer it. She suggested I audition for a youth company in Ipswich and even took me to my first session. It was a 45-minute drive, but I auditioned for Splinters Dance Company, part of Dance East, and was accepted. I was one of the youngest members, surrounded by older students heading to schools like Northern School of Contemporary Dance, The Place, and Laban. That’s where I discovered contemporary dance and absolutely fell in love with it. 

I continued my ballet training too, attending the June Glennie School of Dance in Beccles. Dance East became a real champion of young people like me- the staff were professional and supportive, performances were in impressive venues, and they brought in incredible choreographers. I had the chance to work with people like Mark Morris, performing at Snape Maltings Concert Hall and Queen Elizabeth Hall. 

It was also there that I met Wayne McGregor when he created a piece for Splinters Dance Company. I had a featured role and was drawn to his style. That experience eventually led me to move to London to study at Laban (now Trinity Laban) and Wayne has always played a crucial role in my development as a friend and mentor. 

You began performing with Trinity Laban’s resident company, Transitions, after training, and also worked as a freelance dance artist. What are your highlights from this time in your career?   

JW: The team at Laban really looked after you as an individual. With Transitions, I had the chance to work with incredible choreographers like Fin Walker and Stuart Hopps. We explored a wide variety of genres, which was fantastic. At the time, I was more drawn to neo-classical work- I still love it- but the experience really broadened my perspective. 

I loved the people I danced with; the company became like a close-knit family. Touring was a real highlight, especially because we taught in every community we visited- it was inspiring to connect with people everywhere we went. Touring in Philadelphia and New York was amazing too. 

The schedule was intense. Unlike larger professional companies, we did everything ourselves: setting up the theatre, performing, then striking the set at the end of the show. There were only about twelve of us in the company, so we all had to pitch in, which created a strong bond. I’m still in touch with some of them today, which is really special. 

How did you find your way to Elmhurst? 

JW: I danced professionally for a while, but after a serious clavicle and shoulder injury, I decided to move into teaching. I spent ten years teaching in some really challenging schools in London. In 2009, I completed my National Headteachers’ Qualification and began applying for headships. 

At first, I wasn’t really considering Elmhurst- I assumed I’d aim for a large, challenging academy in London. But then I was invited to visit the School, and I completely fell in love with it. I really wanted the job but didn’t think I had a chance. I was 32 at the time and remember calling my mum, convinced I was too young and had too much of a state school background for what they were looking for. Luckily, the Board took a leap of faith! 

And 15 years later, what inspires you in your role? 

JW: I’m not sure if you’ve heard of the Colour Works Insights Discovery Profiles, but we use them with our Senior and Middle Leadership Teams to understand how people prefer to work and interact. There are four colour profiles, and my preferred zone is yellow- very much about inclusivity and involving people. I just love working with people. I love the students, the staff, and the energy that comes from bringing everyone together to achieve something meaningful. 

The best part of my role is that the work we do has a real impact on young people. We’re not working in a factory producing widgets; we’re supporting students to do something incredible. That’s quite special and rare, I think. And for me, because I love dance so much, being able to combine education and dance makes it even more rewarding. 

What was your vision for the school when you joined, and 15 years later, what is your vision for the school now? 

JW: On my first day, I introduced a charter for the School- a professional code of conduct and a clear ethos- to set out how we were going to become the very best dance school in the world. I’m not sure I was particularly popular to begin with; I was very young, probably quite naïve and straight-talking. I told the staff, “You’re cruising on your name, and if you had a thousand pupils from my last school, you’d be in special measures.” The staff were brilliant- this wasn’t about individuals-but organisationally I felt the School needed to modernise. It was as though an old-fashioned school from Camberley had been dropped into a brand-new building without the cultural shift needed to elevate everything. 

Coming from the state sector and a contemporary dance background, I saw elements of the ballet training that didn’t align with my values or the kind of school I wanted to lead. I wanted students to feel included in their education- not have training “done to” them but be part of the process. Over time, we’ve built a culture where students ask questions, reflect on their work, and take ownership of their improvement. Respect for teachers is still vital- they have incredible backgrounds- but the dynamic is now more balanced, more inclusive. 

Another key part of my vision was to change the School’s demographic. When I arrived, it was the least diverse environment I’d ever worked in: only 1% of students were Black or Asian. Now that number is around 19–20%. That shift reflects my background working in diverse London communities, but also my own upbringing- I went to school in Belgium for a while and loved being in an environment with children from all sorts of backgrounds. I love community, challenge, and difference, and that’s still central to my leadership fifteen years later. 

This is the longest I’ve ever stayed in one organisation. That’s partly good and partly challenging, but it has also meant I’ve been able to grow alongside the staff team and see the impact of our collective work. Real change takes time. You meet leaders who say they’ll implement a “three-year change programme”, and maybe I believed that when I first arrived. But deep, meaningful cultural change takes far longer- you need staff turnover to settle, you need buy-in, you need patience. 

So, in many ways, the vision today isn’t radically different from the one I had when I arrived. It’s still a marathon, not a sprint. Our vision- Exceptional Dancers, Exceptional People-remains about nurturing not just outstanding performers but well-rounded human beings. And it’s still about pushing boundaries, challenging norms, and championing the idea that talent is classless. I feel incredibly strongly that this level of training shouldn’t be reserved for the privileged. If a young person has the talent and the drive, they should be able to come here and train with us- wherever they’re from. 

Elmhurst Ballet Company was created in 2018– how did this come about?  

JW: I think it grew partly from reflecting on my own experience with Transitions at Laban, perhaps even subconsciously. I felt we needed to raise the bar for students in their final year of training and give them a much more professional experience- one that would properly prepare them for the realities of the industry. 

Creating Elmhurst Ballet Company allowed us to do exactly that: to offer a true company-style experience through commissioned work, professional staging, and high-level presentation. Since its launch in 2018, it has evolved enormously. What began as something already strong is now almost unrecognisable in terms of its professionalism. Students are challenged by external artists and guest practitioners, which is exactly what they need at that stage of their development. 

Another key motivation was addressing the gap between education and professional expectations. There’s often a tension between what young graduates can offer and what company directors are looking for- more maturity, more experience. But as a graduate, you can only be where you are. The Company was our way of bridging that gap as much as possible, helping students develop that professional readiness before they step into the industry. 

What type of approach do you take when leading the school? 

JW: I’m certainly not a traditional, dictatorial leader. That’s simply my personal style, and every leader brings something different and valuable. My approach is very inclusive and collaborative. I want people to feel they’re on the journey with me, that we’re sharing it together. I’m also comfortable showing vulnerability with the team- I’ve worked with them for a long time now, and I don’t see the value in putting on a façade. That’s exhausting, and it doesn’t build trust. 

That said, there are moments when I think I could be more direct. What I do have, though, is real clarity about our direction of travel. I see my role as setting the strategy, looking ahead, and keeping people motivated. A big part of that is reminding everyone of their ‘why’- why we’re doing this at all. Ultimately, it always comes back to the students. We wouldn’t be here without them, so every decision has to be rooted in what’s best for them. 

In terms of my leadership style, I’d describe it as open, supportive, and collegiate. 

Elmhurst has a holistic approach to the health and wellbeing of each individual student. How did this evolve? 

JW: It really began in 2015, when we established a new fitness suite alongside a research programme focused on injury prevention. The aim was to reduce injury and enable students to spend more time training safely. We invested in a gym and appointed a Strength and Conditioning coach to undertake a PhD, and through that work we developed the 11+ Dance Injury Prevention Protocol- the first of its kind. It has since been adopted by dance organisations around the world. That work grew significantly, and Elmhurst is now recognised as a global leader in wellbeing and injury prevention research, working with professional dance companies and specialist schools internationally. 

Building on this momentum, in 2016 we opened a dedicated Health and Wellbeing Centre, having successfully raised matched funding for the building work. This brought all physical and mental health services together in one space, allowing staff to work collaboratively and communicate effectively to provide joined-up support for students. 

In 2018, we took another major step by becoming the first school in the UK to establish a Health Trust specifically for trainee young dancers. This allowed us to create bespoke health and wellbeing services tailored to both the physical and mental demands of dance training during secondary education. Prior to this, students could face NHS waiting times of up to 18 months for CAMHS (Child and Adolescent Mental Health Services) support. Now, students can access mental health services within one or two days. The Health Trust also enables us to develop policies that truly reflect the needs of our student population, with services ranging from physiotherapy to comprehensive mental health support. 

At the heart of all this work is the ‘why’. Much of it stems from my own experience of managing injuries as a dancer. When I first arrived at Elmhurst, I felt strongly that we weren’t doing enough- we needed to do far more to support students’ physical and mental health. The impact of this work has been transformational. 

None of this happens because of one person alone. It’s a genuine team effort. We have an open, collaborative culture where people feel able to bring ideas forward, explore them, and make them happen- and that’s down to the brilliant staff we have at Elmhurst. 

What’s your favourite aspect of your job? 

JW: It has to be the people. Working with young people is endlessly inspiring- most of the time, they already have the answers. We even involve students in staff appointments, which some people question: why involve children? But they always know. More often than not- and I honestly can’t think of a time when it hasn’t been the case- the students’ instincts align with ours. That’s pretty special. 

I also love the practical side of the role. You can have an idea or a plan and then actually see it take shape in real life, which is incredibly rewarding. Nothing ever really feels “finished” in this job, and that can be frustrating at times, but watching strategy unfold and seeing the tangible improvements in what we offer students makes it all worthwhile. 

People sometimes wonder what a role like mine actually involves, but there’s an enormous amount going on in the background to make everything work. 

What does success mean to you? 

JW: Success, for me, is sitting in an audience and seeing former students on stage, living their dream. It’s also hearing feedback from directors like Matthew Bourne, Carlos Acosta, or Wayne McGregor, telling me how much they love working with Elmhurst dancers- not just because they’re technically excellent, but because they’re hardworking, kind, and professional. That means so much. 

More recently, it’s been incredibly rewarding to see how many former students are flourishing at Birmingham Royal Ballet. There are significantly more Elmhurst graduates there now than in the past, and it feels as though they’re being genuinely valued and recognised. 

Success is also when a graduate reaches out at a crossroads and feels able to come back for a conversation. Or when former students contact us because they’ve found themselves in unhealthy professional environments and want support to rebuild. One of the privileges of my role is having the autonomy to say, “we will help you”. Even if they’re no longer at the School, we’ll do whatever we can. Being able to offer that support is incredibly meaningful. 

I also see success in the development of our staff- watching people grow, step into new roles, and really commit to their work. And on an organisational level, success means securing Elmhurst’s long-term stability and sustainability. Achieving a stronger funding settlement from government would be a major milestone, allowing us to build further through our own fundraising efforts. We continue to be proactive and strategic in securing that stability. 

There are many layers to success for me: student success, staff success, and organisational success. All of them matter. 

What do you value most in dance? 

JW: I value dance at every scale. From a small gathering in a local church hall- perhaps with people who have disabilities or who simply need social connection- right through to watching a professional company on stage. Dance transcends everything. It’s a universal language. You can walk into a primary or secondary school where you may not share a spoken language with many of the students and still create something powerful together. Dance is transformational. 

I’ve seen that transformation first-hand. When I was teaching in Islington, I ran a boys’ dance group and brought in a wide range of artists- Rambert, Random, all sorts of companies. Two breakdancers came in regularly, and one of the boys in the dance group, David, really took to it. He had recently arrived in the UK from Colombia and was just the loveliest kid. Today, he’s a globally recognised breakdancer with his own crew, travelling the world judging international competitions. We still message each other on Instagram, and he often tells me that if it hadn’t been for what we did at Islington Green School, he wouldn’t be where he is now. That’s incredibly moving. 

Of course, it’s not down to me- it’s down to him. He had the courage to take the opportunities, build connections, and keep going beyond school. But it shows the power of dance to change lives. I’d love to bring him into Elmhurst to lead a workshop one day. 

One of the breakdancers who taught at Islington Green School for me is ‘Magical Bones’, a breakdancer and magician who appeared on Britain’s Got Talent. He’s a good friend, and we recently talked about him coming into the School. He now does quite a lot of cruise ship work, and I think it would be fantastic for students to see him perform and then take part in a Q&A. That mix of inspiration, experience, and accessibility is exactly what dance can offer- and that’s what I value most about it. 

Of course, seeing our students join us and refine their craft and then graduate into a global dance company is another great example of transformation. 

Elmhurst does so much to make dance more accessible. Is that important to you? 

JW: Accessibility in dance is a huge driver for me. I’m incredibly fortunate to work alongside Sabina Storrod, because between us we really push our Ballet and Beyond outreach programme - we share the same values and beliefs in terms of widening participation. At the moment, we work with around 600 children across the city through local primary schools, and honestly, I wish we could do twice as much. If we had the capacity and the funding, we absolutely would. 

Coming back to the power of dance, when you take it into communities where it hasn’t existed before, it can ignite something. That spark might lead to someone becoming an audience member, a participant, or even a professional dancer. Dance delivers so many positive outcomes- mentally, physically, and professionally- and there are countless pathways it can open up. Accessibility matters at every level. 

For me, that starts at the grassroots- going into primary schools- but it also means ensuring Elmhurst itself remains accessible. A strong bursary programme is essential so that young people from all backgrounds can train here. I wouldn’t want to lead a school that is purely fee-paying; that simply doesn’t align with my beliefs about talent. Given my background in dance and my commitment to community, Elmhurst should always be a place where ability- not privilege- determines access. 

It would be devastating if a lack of government investment meant this level of training became available only to the privileged few. The social mobility enabled by the Music and Dance Scheme is vital to the sector. At Elmhurst, at least 85% of our students receive some form of financial support, and 93% would otherwise be in their local state schools. Around 30% are eligible for Pupil Premium. Those figures speak for themselves. 

I find the whole issue incredibly frustrating- but it also strengthens my determination to keep pushing for access, equity, and opportunity in dance.

And finally, any advice for young dancers out there? 

JW: “Believe in yourself” sounds incredibly cheesy- and it is- but it really matters. Take feedback on board, absolutely, but don’t let one teacher’s opinion or a single piece of criticism define you. Young dancers can get very hung up on that, and it’s important to keep perspective. Never give up, and never give in.

Probably the best advice I was ever given came from my mum, and it’s still my favourite saying: “Jump, and the net will appear.” It’s about having the courage to take risks and leap when opportunities present themselves. What’s the worst that can happen? You might not succeed- but you’ll learn. And learning comes from everything, whether you label it a success or not.

Another piece of advice I always share is to “be a magpie.” Keep collecting ideas, inspiration, and lessons from lots of different people. Don’t put all your eggs in one basket. Stay curious, stay open, and keep growing.