WELCOME TO THE JOFFREY BALLET SCHOOL’S

TRAINEE PROGRAM STUDENT MANUAL & COURSE CATALOG FOR 2024-2025!

At the Joffrey Ballet School, we focus on preparing students for a professional career as a dancer. We offer two programs: a Ballet Trainee Program, and a Jazz and Contemporary Trainee Program.  The Joffrey Ballet School is an accredited institutional member of the National Association of Schools of Dance (NASD).

In this Catalog, you will find a range of material about our two programs, including details about auditions, course descriptions and performance opportunities, career planning and mentoring, as well as information on housing arrangements, fees and financial assistance. If you have any further questions after reading the Catalog, please contact one the program’s Directors or Coordinators, listed in the Contacts section. Questions related to the process of enrollment should be directed to one of our Enrollment Agents listed in the Contacts section.

The student should be aware that some information in the catalog may change. It is recommended that students consider checking with the school director to determine if there is any change from the information provided in the catalog. In addition, a catalog will contain information on the school’s teaching personnel and courses/curricula offered. It is possible that courses/curricula listed in the school’s catalog may not be approved at the time that a student enrolls in the school or the teaching personnel listed in the catalog may have changed. It is again recommended that the student check with the school director to determine if there are any changes in the courses/curricula offered or the teaching personnel listed in the catalog.

Enrollment

DISCLAIMER: The Joffrey Ballet School does not guarantee future employment as a professional dancer or any dance related career. The dance profession is extremely competitive and requires intense commitment from the student. The Joffrey Ballet School provides the training and support an aspiring dancer needs to prepare properly for a career in dance and the auditions required to be hired, however it is up to the dancer to work hard and persevere through the audition process until an opportunity presents itself.

TABLE OF CONTENTS

WELCOME TO THE JOFFREY BALLET SCHOOL’S        2

TRAINEE PROGRAM STUDENT MANUAL & COURSE CATALOG FOR 2024-2025!        2

TABLE OF CONTENTS        3

CONTACT INFORMATION        6

OVERVIEW        8

History        8

Location & Facilities        8

Ballet        9

Jazz & Contemporary        9

PROGRAM ORIENTATION        10

CLASS SCHEDULE        10

Ballet        10

Jazz & Contemporary        11

PERFORMANCE OPPORTUNITIES        12

Ballet Trainees: The Nutcracker and Spring Performance        12

Jazz & Contemporary: Winter & Spring Performances        13

EVALUATION & ADVANCED-STANDING        13

Evaluation & Grading        13

Student Evaluations        13

Impact of Injury on Grading        14

Impact of Leave of Absences / Medical Withdrawal and Makeup Classwork        14

Program Evaluations        14

Advanced Standing        15

CAREER PLANNING & MENTORING        15

HIGHSCHOOL ACADEMICS        16

HEALTH & WELLNESS        16

COVID-19        17

REFUND POLICY AND LEAVES OF ABSENCE        17

Tuition Refund Policy        17

Weekly Tuition Liability Chart        17

Leaves of Absence        18

Medical Withdrawal        18

FINANCIAL ASSISTANCE INFORMATION        18

Merit Based Scholarships and Financial Aid        18

CONDUCT & ATTENDANCE POLICIES        19

Student Conduct Policies and Guidelines        19

Dismissal due to violations of the Code of Conduct:        20

Absence Policies        20

Grievance and Appeal Process        24

COMMUNICATION WITH STUDENTS        25

Band        25

CLASSROOM ETIQUETTE & DRESS CODE        25

Classroom Etiquette        25

Dress Code for Ballet Trainees        25

Dress Code for Jazz & Contemporary Trainees        26

Ballet (female identifying) - Any style black leotard with pink or skin color tights (worn underneath the leotard), hair in a bun        26

Ballet (male identifying) - Black tights, white or black form-fitting tank or tee        26

FACULTY        27

CURRICULA        42

Ballet Curricula        42

Jazz & Contemporary Curricula        43

COURSE DESCRIPTIONS        43

Ballet Trainee Program Course Descriptions        43

Jazz and Contemporary Trainee Program Course Descriptions        81

CONTACT INFORMATION

OVERVIEW

History

The Joffrey Ballet School, located in New York City’s Greenwich Village, was founded in 1953 by Robert Joffrey and Gerald Arpino to develop and train professional dancers. The School continues to strive for the founders’ vision of dance based on intensive training that is imbued with a sense of movement, clarity, and exuberant energy.

Joffrey was the first to sanction rock music in a ballet company, beginning with his trailblazing "Astarte" in 1967 and then with "Billboards" set to "Prince’s" music. The Joffrey Ballet continued its rock ballets by Gerald Arpino, the company’s resident choreographer, as well as Twyla Tharp. Peter Pucci and Margo Sappington, both principal choreographers for the ballet, have taught and choreographed for the Joffrey Ballet School in the past 3 years.

Joffrey’s talent as a teacher was apparent early in his career; soon after moving to New York City from Seattle, he began teaching at American Ballet Theater School and the High School for the Performing Arts. In 1956, Joffrey and Arpino founded their first company, which would share a home with the Joffrey Ballet School at 434 Avenue of the Americas, in the same landmark building where the School continues its mission today.

In the 1960’s, talented students as well as world-renowned professionals from both the ballet, modern and postmodern dance worlds flocked to the School to study with Joffrey and other faculty members, including Rudolf Nureyev, Erik Bruhn, Carmen De Lavallade, and Yvonne Rainer. In the citation of the prestigious Capezio Award, conferred on Robert Joffrey in 1974, he is commended as “an ardent spokesman for and a stern but loving guide to youth, be they gifted children, teenage students with dreams, or dedicated young professionals, whom he has served as dancer, teacher, director. The School is a testimony to his merit.”

For more than 60 years, the Joffrey Ballet School has remained on the forefront of American dance education. Graduates of the School have gone on to dance for major classical ballet companies, as well as for numerous modern and contemporary companies, both in the United States and abroad. Students and graduates have won countless grants and scholarships, including the pre-eminent Princess Grace Foundation Award. Dancers and choreographers from all over the world regard the Joffrey Ballet School as one of the premiere institutions of dance instruction.

The Joffrey Ballet School is an accredited institutional member of the National Association of Schools of Dance (NASD), meets the U.S.A. Department of Education standards for a school of vocational training.

Location & Facilities

The Joffrey Ballet School operates two facilities for our students Joffrey Ballet School (JBS) in Manhattan and Joffrey Ballet School - LIC (LIC) in Long Island City

Joffrey Ballet School Campus

The Main School is located in picturesque Greenwich Village at 434 Avenue of the Americas (6th Avenue) between West 9th and West 10th Streets. Our building is a historic landmark within the Village. The school occupies 15,000 square feet on the third, fourth and fifth floor, with six air-conditioned studios, equipped with sprung marley dance floors. The studios are beautiful spaces, filled with natural light, offering views of the Village and the historic Jefferson Market building across the street. Each studio is equipped with a piano and stereo.

Our female identifying dressing room and restroom is located on the third floor and our male identifying dressing room and restroom is located on the fourth floor. Both are fully equipped with bathroom facilities, showers, dressing areas, and student lockers.

The reception is located on the third floor. The Health and Wellness Office is on the 4th floor. The remaining administrative offices, including the office of the Director, are found on the fifth floor. The main entrance to the building is found on Avenue of the Americas. The School is not handicap accessible as the passenger elevator in the main entrance cannot accommodate wheelchairs, however wheelchair access is possible through the freight elevator located off 10th street next to the U.S. Postal Service Office.

Joffrey Ballet School - Long Island City

Located in Long Island City at 47-10 Austell Place, between Skillman Avenue and 27th Street. Our building is a former historic zipper factory. The school occupies 15,000 square feet on the fourth floor, with six air-conditioned studios, equipped with sprung marley dance floors. The modern studios are beautiful spaces, filled with natural light, offering views of the skyline. Each studio is equipped with a piano and sound system.

Our dressing rooms and restrooms are located on the fourth floor adjacent to the lobby and registration desk. They are fully equipped with bathroom facilities, showers, dressing areas, and student lockers.

The reception is located in the lobby of the fourth floor. The remaining administrative offices, including the office of the Director, are found at the end of the central hallway, past the locker rooms.  The main entrance to the building is found on Austell Place. The School is handicap accessible via the passenger elevator in the main entrance.

Ballet

The Joffrey Ballet School transforms passionate dance students into versatile, individualistic artists able to collaborate and evolve fluidly in a fast-changing society.

The Ballet Trainee Program of the Joffrey Ballet School is a four-year program that is both competitive and intensive. From September through May, this program trains dancers in the classical ballet technique and artistry required for an active career in a professional company. The program demands a deep commitment on the part of the students and is recommended only to those students who are dedicated to working diligently and exclusively towards a professional career in dance.

At the Joffrey Ballet School, you will be exposed to all facets of the dance world, from choreography and music, to staging and costuming. You will see firsthand how all these aspects come together at the school, through the faculty who demand work of a professional grade, as well as the guest teachers and visiting artists with respected dance companies.

The Ballet Program is designed to develop pre-professional students with a classical ballet and contemporary background, balancing consistency and versatility in both classical and contemporary ballet and dance.  Courses include: Pointe, Men’s Technique, Variations, Men’s Variations, Contemporary, Contemporary Ballet, Jazz, Partnering, Character, Improvisation, Composition, Choreography, Health & Nutrition, History of Dance I and II, Dance Anatomy, Music Concepts, Critical Analysis, Senior Capstone and Performance Studies. Be prepared to dedicate yourself to ballet in our year-round ballet program. Our world-class faculty will push you past your perceived limits.

Students will be given performing opportunities through the fall and spring in-studio performances, the Nutcracker, the Spring Performance, and more. Students may also be involved in lecture demonstrations in and around our community. Trainees will be cast in performances at the discretion of the Director. The students of the Joffrey Ballet School have been coached in and performed the works of George Balanchine, and the Petipa repertoire, among many others.

A description of the curricula, course descriptions and Faculty can be found below in the Catalog.

Jazz & Contemporary

This new and exciting division at the Joffrey Ballet School is geared toward those dancers who want to focus their training on Jazz and Contemporary styles of movement, while incorporating a wider knowledge of Classical Ballet training and Modern dance. Students are exposed to a diverse range of styles from both past and present. The student’s attention will be focused on body awareness and creativity to prepare them for careers in performance and choreography in Jazz and Contemporary styles of dance. Students will be encouraged to embrace and explore a broad range of material that will help each of them develop his or her individual voice as an artist in this evolving art form. The curriculum will consist of both technical and academic/creative classes designed to fully prepare students for careers in dance and choreography. Classes will be offered in various styles of Ballet Technique, Contemporary, Modern, Contemporary Partnering, Jazz, Theater Dance, Hip Hop, Street Jazz, Latin Jazz, Improvisation, Composition, Health and Nutrition, History of Dance I and II, Dance Anatomy, Music Theory, Critical Analysis, Performance Studies, and Senior Capstone. Practical application of the curriculum will be exhibited in performance opportunities, which include a Spring and Winter performance, and in choreographic workshops. This is a unique program that provides the most diverse training in Jazz and Contemporary dance available in the country.

The program prepares artists for the competitive working world of dance in the fields of Concert dance, Broadway shows, Commercial industrials, and National and International tours. The trainee programs are advanced, pre-professional level programs. They prepare the students for a professional career by undergoing rigorous technical training, rehearsals and performances, choreographic study, mentoring, and the individual evaluation of each student. Each program meets the needs of students ranging from 14 to 22 years of age.

A description of the curricula, course descriptions and Faculty can be found below in the Catalog.

PROGRAM ORIENTATION

Program orientations will be conducted on IN PERSON and are mandatory for all Trainee students.

CLASS SCHEDULE

Ballet

The schedule for the Ballet Trainee Program consists of approximately 22 hours in the studio per week of technique, other related dance classes (such as Jazz) and dance related lecture courses (such as History of Dance and Health & Nutrition).  Working Monday through Saturday, Students will have at multiple classes per day starting with a technique class every morning, generally followed by a pointe or variations class. Throughout the afternoon, students will participate in contemporary dance classes, dance-related academics, and rehearsal. On the weekends, the student might have rehearsal or take extra classes. Please see the Curriculum section for more specific information on course clock hours and required time commitments.

Courses in the program include: Pointe, Men’s Technique, Variations, Men’s Variations, Contemporary, Contemporary Ballet, Jazz, Partnering, Character, Improvisation, Composition, Choreography, Health & Nutrition, History of Dance I and II, Dance Anatomy, Music Concepts, Critical Analysis, Senior Capstone and Performance Studies. (Not all courses are given in every year.)

Attendance for all classes is compulsory.  Students who have already attained an equivalent credit at another institution may apply for advanced standing, determined at the discretion of the Director.

Ballet classes have live music performed on baby grand pianos by a trained musician.

Below you will find an example schedule for a dancer in each year of the program. The schedules are not all inclusive of the classes offered; they are a sample “Day in the Life” of a Ballet Trainee at Joffrey Ballet School.

Year 1

8:30am – 10:00am:                 Ballet Technique

10:15am – 11:15am:                 Pointe

11:15am – 12:45pm:                 Lunch

12:45pm – 1:45pm:                 Health & Nutrition

2:00pm – 3:30pm:                 Jazz

3:45pm – 5:15pm:                 Performance Studies

Year 2

8:30am – 10:00am:                 Ballet Technique

10:15am – 11:45am:                 Partnering

11:45am – 12:45pm:                 Lunch

12:45pm – 2:15pm:                 Contemporary Dance

2:30pm – 3:30pm:                 Music Concepts

3:45pm – 5:15pm:                 Performance Studies

Year 3

8:30am – 10:00am:                 Ballet Technique

10:15am – 11:45am:                 Variations

11:45am – 12:30pm:                 Lunch

12:30pm – 2:00pm:                 Character

2:15pm – 3:45pm:                 Critical Analysis

Year 4

8:45am – 10:15 am:                 Ballet Technique

10:30am – 11:30am:                 Pointe

11:45am – 12:45pm:                 Lunch

12:45pm – 2:15pm:                 Contemporary Ballet

2:30pm – 4:00pm:                 Performance Studies

Jazz & Contemporary

The Jazz & Contemporary Program consists of approximately 22 studio hours as well as supplemental classroom coursework. The four-year program consists of Ballet Technique, Contemporary, Modern, Contemporary Partnering, Jazz, Theater Dance, Hip Hop, Street Jazz, Latin Jazz, Improvisation, Composition, Health and Nutrition, History of Dance I and II, Dance Anatomy, Music Theory, Critical Analysis, Performance Studies, and Senior Capstone.  Students have at least four classes per day, starting with Ballet Technique every morning, followed by Modern or Contemporary.  Throughout the afternoon, students participate in allied dance classes, dance-related academics and rehearsal.  Weekends are usually spent taking extra class or preparing for upcoming performances. Please see the Curriculum section for more specific information on course clock hours and required time commitments.

Approximately four weeks before a major production the program will switch to a rehearsals schedule in which the majority of afternoon classes will be rehearsals. During this time period there will be an emphasis on core technique and ballet related classes, while repertory, academic classes and allied dance classes (such as hip hop) will be reduced in order to make time for the rehearsals.

Attendance for all classes - both studio and classroom - is compulsory. Students who have already attained equivalent credit may apply for advanced standing, determined at the discretion of the Director.

Trained musicians provide live accompaniment for all Ballet and Modern classes.

The following is a sample schedule for a Jazz & Contemporary Trainee.  Although not a comprehensive list, it does portray a typical day for a dancer within the Joffrey Ballet School Trainee Program.

Year 1

9:00am – 10:30am                 Ballet Technique

10:30am – 12:00pm                Modern

1:00pm – 2:00pm                Nutrition

2:30pm – 4:00pm                Jazz

Year 2

9:00am – 10:30am                 Ballet Technique

10:30am – 12:00pm                Contemporary

1:00pm – 2:00pm                Anatomy

2:30pm – 4:00pm                Theater Dance

Year 3

9:00am – 10:30am                 Ballet Technique

10:30am – 12:00pm                Contemporary Partnering

1:00pm – 2:30pm                Hip Hop

2:30pm – 4:00pm                Performance Studies

Year 4

9:00am – 10:30am                 Ballet Technique

10:30am – 12:00pm                Contemporary

1:00pm - 2:30pm                Latin Jazz

2:30pm – 4:00pm                Performance Studies

PERFORMANCE OPPORTUNITIES

Jazz & Contemporary: Winter & Spring Performances

The Joffrey Ballet School prides itself on providing the students with several opportunities to perform throughout the year.  The performance experience for the Jazz and Contemporary Trainee is an extension of their artistic and technical studies, culminating in full-scale productions in New York City venues that are attended by industry professionals and the press.  Performances provide the student with the exposure necessary to succeed in the dance field.  All Trainees are given the opportunity to perform.

These concerts provide the Trainee with the opportunity to work closely with New York City’s most well established choreographers and artists.  The Trainee is exposed to a diverse range of choreographers and their unique processes.  Rehearsals are intensive in nature, challenging the dancer to explore their artistic and technical range.  Previous choreographers have included Angelica Stiskin, Akira Uchida, Dee Caspary, Norbert De La Cruz III, MADBOOTS, Manuel Vignoulle, and Michael Waldrop.

EVALUATION & ADVANCED-STANDING

Evaluation & Grading

Student Evaluations

Students are evaluated according to the following methodology and receive a grade for each course at the conclusion of each Term.

Teachers evaluate the students both throughout the year (the Progressive Assessment), and at the end of each Term (the Final Assessment), using a system consisting of a graded letter A to F.  

The Progressive Assessment throughout the year is based on a range of criteria including attendance and participation, group discussions and involvement, work ethic, and general standard and progress.

The Final Assessment is based on a written essay, a written or oral test, and a classroom presentation, and the students have to achieve various course objectives.  Dance classes require the student to be assessed in front of a panel of teachers.  These course objectives can be found in the Course Description section below.  

The Progressive Assessment and the Final Assessment marks are mixed in the ratio of 60% to the Progressive Mark, and 40% to the Final Assessment Mark.

The grades are assessed as follows:

*If a dancer misses more than 20% of their classes in any one course, a score of 80% must be achieved on the Formal Assessment to pass this course.

Students at risk of failing are identified and counseled. Students are encouraged to seek a progress report from their teacher at any time through the term. Each student receives a list of the expected competencies which they need to gain at the end of the course, and a clear expectation of results is articulated. Students on scholarship must maintain a B average for the entire program each Term. Students who score a D in any one class in a Term are put on academic probation. Any student put on academic probation must score C’s or higher in all classes within two subsequent Terms of earning a D or face expulsion at the discretion of the Director.  A student who scores an F must repeat the class.

Impact of Injury on Grading

If a student is injured, provides a doctor's note, and are present to observes classes they will continue to receive credit for their attendance as if they were fully participating in class. Should they be unable to actively participate in more than 20% of a particularly subject's classes, they will then need to score 80% on their formal assessment for the Term to progress. If the student is still injured during the formal assessment then it will be necessary for the student to re-take the class or makeup class (see section below on makeup classwork). If a student has missed less than 20% of their classes but missed the formal assessment for an excused reason then they can request a special exception to be formally assessed individually at the discretion of the Director. In this latter situation, if the assessment is passed then credit is earned for the subject.

Impact of Leave of Absences / Medical Withdrawal and Makeup Classwork

Should a student take an approved leave of absence of three or less weeks, return to class and be present for the formal assessment then they will be evaluated with no prejudice in the attendance portion of the grade, otherwise the requirement above for missing 20% of classes will be enforced. Any student on an approved leave of absence for more than 8 weeks in a Term or a medical withdrawal will receive a note of LoA (leave of absence) or MW (medical withdrawal) on their transcript and will either begin the course again in the next Term or may take summer classes to make up the clock hours which, once completed, will qualify the student to take a specially administered formal assessment at which point their LoA will be replaced with the grade earned.  

Students may makeup course work / clock hours in a Joffrey sponsored summer program or in a program administered by another School and pre-approved by the Director. If a student makes up coursework / class hours at another institution they should inform the Director in advance by writing a letter indicating their desire to do so and providing the same documentation required for advanced standing (see advanced standing section below). The approval of external course work will be evaluated in the same manner as advanced standing.

Only students who have received an approved leave of absence exceeding 8 weeks or medical withdrawal are eligible to makeup classes in the summer or at another institution. Students with excused absences exceeding 20% of classes who miss less than 8 weeks will be evaluated as described above and receive a grade. Students who voluntarily withdraw from the program must start all classes again in the next Term in which they enroll.

Program Evaluations

The Joffrey Ballet School has methods in place to evaluate the Programs. A class average is set at 75% and when the average dips below this, the course is re-assessed to find the possible causes for this low average. These may include ineffectual scheduling, poor pedagogical skills by the teacher, and inappropriate skill levels expectations, so that work is too difficult for the students.

In addition, the Joffrey Ballet School obtains student feedback. Students are encouraged to complete an anonymous questionnaire which asks relevant questions regarding the content, delivery, expectations and assessment procedures. These questionnaires are conducted at the end of each term. Less formal feedback is conducted each week by way of Mentor Meetings, in which they give feedback and ask questions regarding all aspects of the program.

Advanced Standing

Students normally enter the course at Year 1, and with the successful completion of each year, move onto to the next. However, students who already have experience of similar training elsewhere may apply to transfer the credit which they have previously gained.  If this application is successful, the student will not have to take that particular course.  At the Joffrey Ballet School, we call this process “Advanced Standing”.  

In order to make an application for Advanced Standing, students have to provide evidence of their transcripts, grades, course descriptions, and contacts, from their originating organization.  The Director at the Joffrey Ballet School will then collect this information and evaluate the extent to which the student is applicable for Advanced Standing. For example, if a student in the Jazz & Contemporary program has taken a class in Dance History for 1 year at another institution, which is found to be acceptable, they will receive 32 clock hours towards the Jazz & Contemporary certificate.  

When evaluating course work for advanced standing the Director will consider the following criteria: 1. if the originating program is accredited by the National Association of Schools of Dance (or similar accrediting body), 2. The number of clock hours or credit hours are equivalent to the course in question, 3. Examine the course contents to determine their similarity to the course description 4. Determine if the grading standard is equivalent to the school.

Transfer of Credit/Clock Hours to Other Post – Secondary Schools

While historically credit has been granted at other institutions for study at the Joffrey Ballet School, clock hour transfers for credit are at the sole discretion of the school to which the clock hours are to be transferred.  Students who wish to apply classes taken at the Joffrey Ballet School towards a program of study at another post-secondary institution must make prior arrangements with that institution.

College Credit: Licensed private career schools offer curricula measured in clock hours, not credit hours. Certificates of completion, i.e., school diplomas, are issued to students who meet clock hour requirements.  The granting of any college credit to students who participated in and/or completed a program at a licensed private career school is solely at the discretion of the institution of higher education that the student may opt to subsequently attend.

CAREER PLANNING & MENTORING

The Joffrey Ballet School faculty meets regularly to discuss students’ needs and progress, and each student will receive career counseling. In addition, students are provided with evaluations and one-on-one meetings with the Director at the conclusion of each term. Evaluations will include assessments of technical progress, focus, comprehension of concepts, application, and retention of corrections, work ethic, performance quality, and attendance. We recognize the need to be mentored and guided beyond corrections and conversations with faculty. When training at the Joffrey Ballet School, your class is assigned a mentor to assist you in your numerous career decisions, as well as to guide you through your day-to-day life.

As the Trainee Program is designed to meet the individual professional needs of each dancer, Joffrey faculty, guest choreographers and staff are available on a weekly basis to mentor the Trainees.  A myriad of concerns are addressed related to personal and professional goals, including performativity and audition information, higher education advice, crafting resumes, etc.

The trainees receive evaluations at the beginning of each term assessment in order to provide students with the specific goals that need to be addressed in each class as they progress throughout the term.  These evaluations include an arc of technical progress, comprehension of concepts, application and retention of corrections, work ethic, etc.

Trainees are urged to explore both current and future opportunities that complement their specific career goals.  The faculty offer their expertise both within the studio, as well as provide students with audition information, paid work and other performance opportunities, as they themselves are working professionals in the industry.

HIGHSCHOOL ACADEMICS

Students must be enrolled in a High School degree granting program authorized by their state of residence while attending the Joffrey Ballet School.  For those students whose home school districts do not provide a distance learning option, Joffrey Ballet School has partnered with K-12 Keystone to provide an online learning option. The K-12 / Keystone programming is not run by the Joffrey Ballet School and as such students must apply and enroll in Keystone separately from their enrollment in the Joffrey Ballet School. It is important that student check with their state of residence to determine how they can enroll in Keystone and meet their state’s requirement standards for High School enrollment. This may include applying to their state for permission to be homeschooled using the Keystone curriculum.

HEALTH & WELLNESS

The School has a Health & Wellness office run by the Health & Wellness Director (HWO).  The HWD assists with all nutrition needs, illness, counseling referrals, and deals with injuries on campus.  The HWD is available to discuss any health issues which students may need information or advice on. We also have an ongoing relationship with The Harkness Center for Dance Injuries at the NYU Langone Medical Center.

The HWD is available to discuss any health or wellness-related issue with students in individual or group meetings. The HWD is required to inform the relevant authorities if a student reveals in a confidential meeting that they plan to imminently engage in behavior which represents a real and immediate life threatening risk to themselves.

Students are required to inform the HWD of any pre-existing medical conditions, injuries, newly diagnosed medical conditions, or any injuries sustained on campus or off that may have an impact on the student’s ability to participate in their course of study. The HWD may require the student to obtain a doctor’s note indicating that it is safe for the student to continue attending class, limiting the student's participation in class or indicating when it is safe for the student to return to class if the doctor determines that the student is too injured to be in class. The HWO will report limitations, modifications, etc to relevant faculty.

General information and tips:

• If you are having any unusual pains or you are concerned about an injury, please speak to your teacher. If your teacher feels that you need to see a doctor or physical therapist, please come to the Health and Wellness office on the fourth floor for a list of doctor suggestions. You may also call the Harkness Center to set up an appointment on your own at 212-598-6022 or you may reach out directly to your health insurance company for a list of covered providers. We advise dancers to seek medical treatment from doctors who specialize in treating dancers.

• Please try to wear sneakers or supportive shoes when walking around the city, especially if you are not used to walking on NYC pavement (it is very hard). If you do wear sandals or open toed shoes, make sure any blisters or open cuts are covered to prevent infections.

• Stay Hydrated!  Please drink water during class at appropriate times, on your breaks and after classes.  Snack healthfully throughout the day to keep your energy up and get plenty of sleep.

• Do not forget to put extra time aside for warming up and stretching each day. Remember, your muscles should be activated and warm prior to stretching. You should be warm and stretched before classes begin for the day to prevent injury and maximize performance.

• Please always cover your feet or dance shoes when walking in the hallways or dressing rooms. Please use the handrail and do not run on the stairs.

COVID-19

Joffrey Ballet School follows CDC guidelines. If a dancer tests positive for Covid-19 they will be given excused absences for the duration of the isolation period.

If a dancer tests positive for covid they should immediately contact Health@joffreyballetschool.com. If this is after hours they should assume they are not allowed on site the next day and should wait for instructions from the health & wellness team as to how to return to classes.

If multiple cases occur in a specific group or program masks will not be required, but they will be highly encouraged to stop the spread. Dancers are also encouraged to test themselves if they are a close contact for a positive case.

Dancers who do not report a positive test to the school and who attend classes while positive will be suspended.

REFUND POLICY AND LEAVES OF ABSENCE

Tuition Refund Policy

This section relates to the refund of tuition.  Housing is run by third parties, and these may not be refunded once paid based on policies of the housing providers. Please refer to the Housing section. A student who cancels within 7 days of signing the enrollment agreement but before instruction begins receives all monies returned with the exception of the non-refundable registration fee.

Thereafter, a student will be liable for:

1. The non-refundable registration fee; plus
2. The cost of any textbooks or supplies accepted; plus
3. Tuition liability as of the student's last date of physical attendance.

Weekly Tuition Liability Chart

Tuition liability is divided by the number of terms in the program. Total tuition liability is limited to the term during which the student withdrew or was terminated and any previous terms completed. All dollar figures below are based on a single Term.

a. First Term

If termination occurs            % of tuition School keeps              Student Refund %

Prior to/during the first week                 0%                                100%

During the second week                 20%                                  80%
During the third week                         35%                                 65%
During the fourth week                         50%                                  50%
During the fifth week                        70%                                  30%
After the fifth week                         100%                                  0%

b. Subsequent Terms

During the first week                 20%                                80%
During the second week         35%                                65%
During the third week                 50%                                50%
During the fourth week                 70%                                30%
After the fourth week                 100%                                  0%

c. The student refund may be more than that stated above if the accrediting agency refund policy results in a greater refund.

d. The failure of a student to immediately notify the school director in writing of the student’s intent to withdraw may delay a refund of tuition to the student pursuant to Section 5002(3) of the Education Law (New York State). The student should submit a letter in writing to both the Director and the Registrar indicating their intent to withdraw and requesting a refund in accordance with these policies.

Leaves of Absence

The Joffrey Ballet School will only grant a leave of absence in extenuating circumstances, such as an accident, prolonged illness, maternity leave, or the death of a relative.

All requests for a leave of absence must be made in writing, and if approved, such approval will also be in writing. If the student fails to return on the agreed upon date, the student may be dismissed and a refund calculation will be performed.  A retention evaluation upon return will be performed when the leave extends beyond 30 days.  The minimum duration of a Leave of Absence is two weeks.

Medical Withdrawal

In the case where it is clear that a student will not be able to continue taking class for the remainder of the Term due to medical reasons then the student may apply for a medical withdrawal. The student submits a formal letter requesting the medical withdrawal to the Director and must supply supporting documentation from their doctor which describes the diagnosis, the steps necessary for recovery, and the anticipated recovery time / return date.

Once the medical withdrawal is approved by the Director and the school's Health and Wellness Officer, the Registrar will review the tuition funds paid to determine the prorated amount of tuition paid for the portion of time the student has attended the School up until the date of the medical withdrawal letter. The prorated amount is determined by dividing Tuition owed for the Term by the number of school days in the Term and then multiplying the resulting daily tuition rate by the number of school days attended to date. The excess tuition paid above the prorated amount determined for the Term will then be applied to the students account as a credit towards tuition when they are cleared to return for classes in the next Term. Should the return date fall after the beginning of the next Term then the student may also apply for a Leave of Absence for a portion of the Term due to the medical issue as described above.

 
If the medical withdrawal request is submitted prior to the end of the fifth week of the students first Term, or the fourth week of each subsequent Term, the student will have an alternative choice to withdraw completely and request a tuition refund in accordance with the tuition refund policy of the School described above.

FINANCIAL ASSISTANCE INFORMATION

Merit Based Scholarships and Financial Aid

The Joffrey Ballet School provides over $500,000 in merit-based scholarship & financial aid grants to its students every year.

Merit-based scholarships are awarded solely at the discretion of the artistic staff. All students are eligible to be evaluated for a merit-based scholarship. New students are evaluated through their audition material. Returning students are always being considered for merit-based scholarships by the artistic staff. Teachers in class or at the audition will submit merit-based scholarship recommendations to the Director of the program in question. The amount and number of merit-based scholarships is determined based on the number of recommendations and the size of the scholarship fund set aside in the School’s general operating budget. Merit-based scholarships are re-evaluated every year of attendance and there is no guarantee they will carry over if the student hasn’t maintained a high standard during the year. The merit application must be submitted every year in order to qualify.

Joffrey financial aid grants are determined solely by the student’s financial situation. All students are eligible and are encouraged to apply if they are suffering financial difficulties making it difficult to attend. Applications must be fully completed and submitted for evaluation prior to the beginning of the school year. Joffrey financial aid grants can only cover tuition costs.

You can write the Financial Aid Coordinator, Nancy Cole to receive a financial aid application, for more information, and to check on the status of an application. Her email address is: ncole@joffreyballetschool.com .

CONDUCT & ATTENDANCE POLICIES

Student Conduct Policies and Guidelines

In order to ensure the proper environment for successful instruction, all students who have been invited to participate in the Joffrey Ballet School Trainee Program must agree and adhere to the guidelines below in order to participate.  

The Joffrey Ballet School reserves the right to dismiss any student who does not demonstrate an ability to concentrate; exhibits disruptive, or criminal behavior; fails to show proper respect to their fellow students, faculty, and school staff; or fails to adhere to the School’s guidelines. Dismissed students will receive a refund according to the tuition refund policy. If the student is on a payment plan they are still liable for the portion of the remaining payments due that would not have been refunded according to the refund policy for the balance of the term they have currently committed to. In any circumstance where this policy conflicts with the regulations of the Department of Education’s Title IV funding rules regarding the return of tuition funded by Title IV funds, the Department of Education’s rules shall supersede the School’s.

Guidelines

• Keep your belongings with you at all times. Do not leave anything in the dressing rooms unattended that is not in a locked locker. The Joffrey Ballet School is not responsible for lost or stolen items. There are lost and found bins in both the locker rooms. Should something be reported stolen, Joffrey Ballet School reserves the right to search the bags of anyone present at the time of the incident.
• The faculty dressing room is not to be entered or disturbed. If you would like an appointment with a faculty member or the artistic director please schedule during their office hours. We are happy to hear from you and will do our utmost to make your stay with us productive and memorable.
• Please try to keep the hallways as clear as possible. We are limited in space, especially in the hallways. Be aware of traffic and always make room for those that are traveling through the halls. Please do not hang out in the stairwells.
• No JBS Trainee may use the elevator at JBS unless they are injured.  
• All trainees must follow classroom etiquette and dress code guidelines (see below)
• Please be careful when walking up and down the staircases. They can be slippery.
• Please arrive on time and prepared for class.
• No smoking. The city has a very strict no smoking code in business establishments.
• Avoid walking outside in dance clothing. Wear “civilian” clothing every time you leave the building, even if it is for a moment. This is for your safety.
• Lockers are first come first serve and may not be used overnight. Locks left on lockers overnight will be clipped.
• All announcements and changes to the schedule will be posted on each trainee program’s respective social media page through the Band Application. Please refer to Band for updates in scheduling, casting, etc. throughout the day.
• Absences: All classes are compulsory. You must inform the program coordinator/manager/manager as soon as possible when you know that you will be absent via email to the appropriate absence email for your program (see absence policies below). Excused absences will be granted with a doctor’s note or when arranged and approved by the program director in advance. Please do not come to class if you are sick, as you may expose other staff and dancers to your condition. Please go to the doctor. See below for a comprehensive description of the absence policies of the School.
• The decision of the faculty on placement, casting in any performance or approval of any student choreography is final and will be accepted by the dancer.
• Use of tobacco, drugs, or alcohol will not be permitted in or around the school or housing facilities.

Dismissal due to violations of the Code of Conduct:

The following policy will be followed for those who violate the code of conduct. Should you be sited for misconduct you will receive notice in writing as follows:

        2 instances of misconduct per term – Notice of probation

        4 instances of misconduct per term – Removal from upcoming performance

        5 instances of misconduct per term – Expulsion at the discretion of the Director

All notices are written to the student via e-mail. If the student is under 18, the parents are copied on email notices. 

Please know, students, as educators that we have a duty of care to you.  Exemplary attendance and conduct are essential to your education at Joffrey.  Please do what you need to do to stay healthy and focused on your bright dance career ahead.

Please be reminded that your attitude, appearance, attentiveness, timeliness, preparedness and respect to your Teachers, Directors, Administrators and peers is of the utmost importance.  Being polite, friendly, focused and full of gratitude will take you far in this industry.  Please speak with a program coordinator/manager anytime you have a question about this.  program coordinator/managers will come to you when they see or hear that conduct issues need to be addressed.

Absence Policy

• 5 Unexcused Absences in one class results in failure of the attendance portion of grade for that class
• Missing 20% or more of a class for any reason, including excused absences & personal days

results in failure of the attendance portion of that grade for that class

• 5 Personal Days are allowed for

• Mental Health
• Physical Health (sickness or injury)
• Academic
• Professional Development (non-auditions)

• Excused absences are allowed with documentation for the following reasons

• Auditions
• Illness
• Injury
• Family Emergency

• Absence form is required regardless of the reason for the absence
• Notifying your Artistic Director of your absence is required regardless of the reason for the absence
• Tardiness - Being more then 10 minutes late / 15 minutes late (60 or 90 minute class respectively) results in being marked as an unexcused absence
• Missing performance study classes may result in the removal from performances.

Reporting Absences

Fill out the online form listed below:

Absence Submission Form

1. You will be asked to include your email address, your parent’s email address, the classes you will be missing and a brief description of the reason for being absent.
2. Depending on the reason for your absence you may also be asked to upload documentation related to the reason of your absence.
3. Paperwork for an excused absence must be submitted within 10 days of the absence occurring.
4. Band Message your Artistic Director & Program Administrators that you will be absent

Personal Days

Students are allotted a total of 5 personal days to use during the term. You do need to submit an absence form when you are taking a personal day, but do not need to submit any proof from a doctor, etc in order to be excused. Personal days can be used for the following

• Mental Health
• Physical Health (sickness or injury)
• Academic
• Professional Development (outside of auditions)

Personal days count for an entire day regardless of whether a student is in class the full day or not. If a student attends the 1st half of the day and then uses their personal day for the 2nd half of the day - that uses the full day - they do not have a ½ a personal day to apply at another time.

Excused Absences

Absences for Auditions

Year 1 & 2 – First & Second Year Trainees must request permission to attend an audition if they will miss classes. Permission can be received from the Artistic Director, or their Mentor/Advisor. Students must BAND message their AD for permission.

Year 3 & 4 – Third & Fourth Year Trainees will be excused from classes during the dance day to attend auditions as long as proper protocol has been followed. Students must inform their Artistic Director through Band prior to the audition. On the day of the audition they must submit an absence form including proof of attending the audition (photo at the audition site)

Absences for Illness

Joffrey Ballet School has a Zero-Tolerance Illness policy. Absences for illness can be excused if they meet the following criteria.

• A parent or guardian can excuse a student for illness IF the student currently lives with the parent. When submitting the absence form a signed note must be provided from the parent with parent signature.
• For students residing inside the dormitory a Resident Advisor can excuse them. Students would need to contact the RA on duty. Absence form will be filled out in the presence of staff before a student can be excused for illness.
• If a student arrives at the school and becomes ill during the day they can be dismissed. They must check in at the Health & Wellness office if at Joffrey Ballet School and must check in with the Administrative Assistant if they are Long Island City. Absence form will be filled out in the presence of staff before a student can be dismissed for illness.
•  Letter from Health Care Practitioner – can be emailed or physical paper. Appointment confirmation not accepted. Required information is included below

• Student’s Full Name:
  The note must clearly state the full name of the student.
• Date of Appointment/Consultation:
  The date the student was evaluated or treated by the healthcare provider should be included.
• Diagnosis or Reason for Absence:
  The note must specify the diagnosis and reason for absence.
• Dates Excused:
  The note must clearly state the specific dates the student is excused from attending class or participating in physical activity.
• Activity Restrictions:
  The note must specify whether the student should:

• Sit and observe without physical participation.
• Participate with modifications, listing what activities are permitted.
• Rest at home, indicating the student should not attend classes.

• Expected Return Date:
  The note should provide an estimated date for full return to participation or suggest a follow-up evaluation if the return date is uncertain.
• Provider’s Contact Information:
  The note must include the doctor’s office location, contact information, email address, and/or phone number.
• Submission Guidelines for Digital Notes:

• All digital notes must include the provider’s official letterhead and a verifiable electronic or digital signature.
• The school reserves the right to contact the healthcare provider to verify the note’s authenticity.

Absences related to Injury

Injury Occurring Onsite: If a student is injured onsite they must report to the Health & Wellness office. The Health & Wellness office will determine the following:

• Determine if the student can return to class
• Determine if the student must see a medical professional before being allowed back to class
• May excuse the student from class for the remainder of day

If required to see a medical professional to return to class, students must obtain a letter from a health care provider according to the requirements below.

Injury Occurring Offsite: Student follows the protocol for reporting that they will be absent and then must obtain a Doctor’s note meeting requirements below.

Return to class : For all injuries, whether occurring off-site or on-site, Health and Wellness must approve the return to class along with any modifications which will be shared with instructors to ensure recovery.

Dr. Notes / Return to Class requirements SPECIFIC TO INJURIES:

For all injuries that occur either onsite or offsite and require a doctor's visit in order to return to class the following information must be submitted from the attending physician in order to return to class.

1. Student’s Full Name:
   The note must clearly state the full name of the student.
2. Date of Appointment/Consultation:
   The date the student was evaluated or treated by the healthcare provider should be included.
3. Diagnosis or Reason for Absence:
   The note must specify the reason for the injury and how it impacts the student's ability to participate in dance classes.
4. Dates Excused:
   The note must clearly state the specific dates the student is excused from attending class or participating in physical activity.
5. Activity Restrictions:
   The note must specify whether the student should:

• Sit and observe without physical participation.
• Participate with modifications, listing what activities are permitted.
• Rest at home, indicating the student should not attend classes.

6. Expected Return Date:
   The note should provide an estimated date for full return to participation or suggest a follow-up evaluation if the return date is uncertain.
7. Provider’s Contact Information:
   The note must include the doctor’s office location, contact information, email address, and/or phone number.
8. Submission Guidelines for Digital Notes:

• All digital notes must include the provider’s official letterhead and a verifiable electronic or digital signature.
• The school reserves the right to contact the healthcare provider to verify the note’s authenticity.

Observing Classes While Injured

Students should observe if their medical condition prohibits them from physically participating in the class unless their Doctor’s note specifies, they should not come to class at all or if it specifies that physically observing the class is dependent on their condition. Dancers must be sitting up, in a chair, unless the teacher requests differently. If a student’s observed classes exceed 20% of the classes the course meets each term, the student will still fail the participation portion of the grade.

Students are required to submit observation notes when they observe a class.

Absences due to Family Emergency

A note from a parent/guardian is required to excuse a family emergency. Emergencies do not include family vacations, weddings, birthdays, graduations or any other non-emergencies during regularly-scheduled classes in the academic calendar. 

Impact of Absences on a Student’s Grade

Unexcused Absences

5 Unexcused Absences in one class results in failure of attendance portion of grade for that class. Attendance makes up 50% of a student’s progressive grade. Failure of the attendance portion requires a dancer to perform at high level across all other grading rubrics in order to successfully pass the class.

Total Absences Excused & Unexcused

All absences whether they are excused or unexcused count towards a student’s attendance record. If a student misses 20% or more classes they will fail the attendance portion of their grade. Attendance makes up 50% of a student’s progressive grade. Failure of the attendance portion requires a dancer to perform at high level across all other grading rubrics in order to successfully pass the class. It is important to keep in mind that for classes that meet once a week, missing just 4 classes regardless of excused or unexcused, would result in failure of the attendance portion of the grade.

Class Failure

Class will need to be repeated prior to graduation.  A failed class can be made up in the summer term by paying for the class. Price is determined by the number of clock hours.             

The dancer is required to continue attending class, even if having failed the class, as well as meet all responsibilities regarding class work, or be subject to expulsion.

An excess of 10 unexcused absences in a semester in any one class is grounds for expulsion without refund. Please keep in mind that if you are expelled, your tuition and housing payments are still due in full per the contract you entered into when you registered for school.

Expulsion Due to Absenteeism Policy

You can be expelled from Joffrey Ballet School if you do not provide proper documentation and notice for 5 full days of absences (all classes in one day):

• 2 full day unexcused absences – Written Warning
• 4 full day unexcused absences – 3-day in-office work suspension & notice of intent to expel at next violation
• 5 full day unexcused absences – Notice of Expulsion.  Expulsion may be appealed for extenuating circumstances 1 time only by meeting with the Artistic Director. If successful on appeal, a 6th full day of absences will result in expulsion without appeal.

You can be expelled from Joffrey Ballet School if you have failed 3 or more subject areas in a single year.

Any student who is found to have submitted fake documentation will automatically have their absence marked as unexcused and will lose all personal days allotted to them for the term.

Conduct

Please be reminded that your attitude, appearance, attentiveness, timeliness, preparedness, safety, health hygiene and respect to your Teachers, Directors, Administrators and peers is of the utmost importance.  Being polite, friendly, focused and full of gratitude will take you far in this industry.  Please speak with the program coordinator/manager anytime you have a question about this.  We will come to you when we see or hear that this needs to be addressed.  For instance, being on your phone for any reason during class is a poor representation of attitude, attentiveness and respect. Cell phones must be turned off during class and remain put away.

In order to ensure the proper environment for successful instruction, all students who have been invited to participate in the Joffrey Ballet School Trainee Program must agree and adhere to the guidelines below in order to participate, as well as the Health & Safety Standards and Community Pledge:

The Joffrey Ballet School reserves the right to dismiss any student who does not demonstrate an ability to concentrate; exhibits disruptive, antisocial, or criminal behavior; fails to show proper respect to their fellow students, faculty, and school staff; or fails to adhere to the School’s guidelines. Dismissed students forfeit all tuition paid and are still liable to pay any remaining balance of the term to which they have currently committed. In any circumstance where this policy conflicts with the regulations of the Department of Education’s Title IV funding rules and New York state education law and regulations regarding the return of tuition funded by Title IV funds, the Department of Education’s rules shall supersede the School’s.

Should you be cited for misconduct, please refer to the following:

                2 instances of misconduct per term – Notice of probation

                4 instances of misconduct per term – Removal from upcoming performance

                5 instances of misconduct per term – Expulsion

*Please note, any single violation in regards to health and safety may result in immediate expulsion.

Student Attendance Notifications

All notices are written to the student via email. If the student is under 18, the parents are copied on email notices. If the student is over 18, the student must complete the Student Information Release Form which authorizes Joffrey Ballet School to share information on grades, academic performance issues, attendance issues and other student record information with parents. Students ages 18 and older may complete the Student Information Release Form via the online link: Student Information Release Form

Students: Please know that as educators and administrators, we have a duty of care to you.  Exemplary attendance and conduct are essential to your education at Joffrey.  Please do what you need to do to stay healthy and focused on your bright dance career ahead.

Grievance and Appeal Process

In the event that a student or faculty member has a grievance there are three pathways for them to follow:

1. Request mediation. The Director, Health & Wellness Director, Director of Operations, Associate Executive Director &  Executive Director are trained in conflict management and mediation. Nothing formal shall be entered into any record. This is the preferred initial step.

2. Submit a formal complaint letter to the Director. The Director will review the situation with all relevant parties. An attempt will be made to mediate the issue. If the issue cannot be mediated the Director will issue a binding decision. In the event the issue involves the Director then the same procedure will be followed except that the grievance will be brought to the Associate Executive Director.. This is a formal complaint and an entry will be made into appropriate student and employee files.

The submission of the formal Grievance and Appeal process is as follows:

1. The appeal letter is to be made to the Director.
2. If the student is not a minor, the appeal letter must be submitted by and be signed by the student. It cannot be submitted or signed by their parents unless the student is a minor.
3. The appeal letter should first identify exactly what is being appealed.
4. The Appeal letter must either identify the specific process or policy, if any, of the School that was not followed properly when the School made its determination OR that the determination was based on erroneous information. It is possible that both a process was not followed properly and the determination was based on erroneous information or that there were multiple policies that were not followed. List them all individually in the order in which they seem important
5. The student should attach all documentation / proof relevant to the appeal to the appeal letter.
6. Should a student or staff member wish to appeal a decision made by the Director regarding a grievance or any disciplinary action they may appeal to the Executive Director. The Executive Director will follow the formal complaint process and issue a decision on the appeal.

COMMUNICATION WITH STUDENTS

Band

Each student will receive an invitation in their Welcome email to join the Band Group. Band is a communication application that Joffrey Ballet School will use to post information, schedules, updates and events. Students and staff members can also use the messaging feature to communicate with each other.

To receive the Band group invitation, please email the Administrative Assistants.

CLASSROOM ETIQUETTE & DRESS CODE

Classroom Etiquette

Students should adhere to the following rules:

• Turn off or silence your cell phones during class.
• You may not chew gum at any time during class. All gum must be disposed of properly.
• No food or drinks are allowed in the studios at any time. Only water is permitted. You may eat your lunch in the 3rd Floor lounge at JBS or the Lobby at LIC. Please clean up when you are done.
• If a student is late to a dance or movement class they will not be able to participate if they have missed the warm up portion of the class or they are more than 20 minutes late. Look to your teacher for permission.
• Dress code must be maintained. You will not be able to participate in class if not properly equipped for class.
• Please carry a notebook with you at all times for taking notes in lectures or if you must sit out of class for any reason.
• Please do not wear street shoes on the studio floors.
• If you do not follow classroom etiquette guidelines you are in violation of the code of conduct

Joffrey Ballet School is committed to providing an inclusive environment for all students. Gender nonconforming students, students with religious and cultural considerations and any student needing additional support is welcome to contact us to discuss the dress code. Please speak with your Artistic Director with any questions or concerns about dress code.

Dress Code for Ballet Trainees

Dancers may bring leg warmers, T-shirts, shorts & sweat pants for warm-up & between classes, but may not wear those items in class.  

Female Identifying Dancers

Technique class, Pointe & Variations, Performance Studies

Black leotard, pink or skin color tights (under the leotard and covering legs and feet completely), pink or skin color ballet slippers and pointe shoes. No halter leotards. No tights over the leotard or rolled up. You may wear skirts only to Pointe class and Performance Studies. Warm up clothes must be removed before class starts. Hair in a bun. No jewelry. No long nails.

Partnering

Black leotard (fully covering the back), pink or skin color tights (under the leotard and covering legs and feet completely), pink or skin color pointe shoes, white practice tutu. Hair in a bun. No jewelry. No long nails.

Contemporary, Contemporary Ballet, Jazz, Improvisation, Composition, Choreography

Dance shorts or pants, and fitted shirt with either ballet slippers, socks, lyrical half-sole or jazz slip on shoes. Hair in a bun. No jewelry. No long nails.

Character

Black leotard, pink or skin color tights (under the leotard and covering legs and feet completely), black Character skirt, black character shoes. Hair in a bun. No jewelry. No long nails.

Male Identifying  dancers

Technique class, Men’s Variations, Partnering, Performance Studies

White T-Shirt, black tights, white ballet slippers with black socks or black ballet slippers with black socks. No shorts or knee length tights. Warm up clothes must be removed before class starts. No facial hair. No jewelry.

Contemporary, Contemporary Ballet, Jazz, Improvisation, Composition, Choreography

Dance shorts or pants, and fitted shirt with either ballet slippers, socks, lyrical half-sole or jazz slip on shoes. No facial hair. No jewelry.

Character

White T-Shirt, black tights, black character shoes.

Dress Code for Jazz & Contemporary Trainees

Ballet (female identifying) - Any style black leotard with pink or skin color tights (worn underneath the leotard), hair in a bun

Ballet (male identifying) - Black tights, white or black form-fitting tank or tee

Contemporary & Jazz (all dancers) - Neutral-colored form-flattering apparel that showcases the body in a professional way. NO loud colors or prints, or extra baggy clothing. If you feel it may be questioned, do not wear it. Hair pulled neatly off face.

Street Jazz & Hip Hop (all dancers) - Clothes that bring your personality to life. Commercial/Industry classes are an opportunity to highlight your own identity.

Theatre Dance (female identifying) - Solid color top, leotard, crop top or tank with either tights, skirt or leggings. Nothing baggy. Character heels preferred. Theatre Dance (male identifying) - Solid color and form-fitting apparel. Hair pulled neatly off face.

All Other Courses (all dancers) - Apparel that represents the best version of you. Hair pulled neatly off face unless otherwise noted.

CALENDAR DATES 2024 - 2025

TERM 1

August 30th                Term 1 begins

Nov 27 – Dec 1                Thanksgiving Break

Dec 15                        Last day of Term 1

Dec 16 – Jan 12                Winter Break

TERM 2

Jan 13                        Term 2 begins

Jan 20                        MLK No Classes

Mar 24 – Mar 28                Spring Break

May 10                        Last day of Term 2

FACULTY

ERA JOURAVLEV

Artistic Director of Ballet Trainee Program

Teacher of Ballet, Pointe, Variations, and Performance Studies

Mrs. Era Jouravlev studied at the famed Perm State Choreography Academy in Russia. While dancing with the Perm State Opera and Ballet Theatre, she toured internationally with the Stars of the Kirov and Bolshoi Ballet: L. Semeniaka, A. Fadeechev, O. Chenchikova, L. Kunakova, M. Daukaev. She has toured with American Ballet Theatre Principal Nina Ananiashvili in Japan and South Korea. Also she has toured with Bolshoi Theatre Principals E. Maksimova and V.Vasiliev in Tokyo and with N. Pavlova and V. Gordeev in Moscow. During a summer tour in China, she danced with the “Stars of American Ballet”. In 1995 Mrs. Jouravlev joined the New Jersey Ballet as a Principal Dancer, where she performed the works of George Balanchine, Agnes de Mille, Paul Taylor, Antony Tudor, Johan Renvall, Margo Sappington, Robert Weise, and Robert North, among others. Mrs. Jouravlev has performed many Principal roles in both classical and contemporary repertoires and was given the unique opportunity to learn the classical pas de deux “Papillon” directly from International Kirov Star Irina Kolpakova and worked with American Legend Mr. Edward Villella on George Balanchine’s famous “Tchaikovsky Pas de Deux”. Mrs. Jouravlev taught for the New Jersey Ballet for fourteen years, and started teaching at the Joffrey Ballet School in 1997. She worked as the Head of Classical Ballet Studies at JBS under the direction of Mr. Robert Ray for many years, assisting him in implementing a codified ballet technique syllabus for the entire Ballet Trainee Program. With an incredible career, over thirty years of teaching experience, and a fierce passion for shaping dancers into artists, Era Jouravlev is delighted to share her expertise as the Ballet Trainee Program Director.

BRADLEY SHELVER
Acting Artistic Director Jazz & Contemporary Trainee Program
Artistic Director Joffrey Concert Group

Teacher of Ballet Technique and Modern

Bradley Shelver (South Africa) trained at the National School of the Arts in Johannesburg and at The Ailey School in New York. He has danced with the Ailey II, Elisa Monte Dance, Complexions Contemporary Ballet, Ballet Hispanico, The Francesca Harper Project, Limón Dance Company, Phoenix Dance Theater (UK) and in projects with Bill T. Jones/Arnie Zane Dance Co., Lar Lubovich Dance, The Universal Ballet, Radio City Music Hall, and in productions with the Mark Morris Dance Group. He is in his 11th season as a principal dancer with the Metropolitan Opera Ballet. Mr. Shelver is an international touring solo artist and has choreographed works for companies in the USA, Israel, Sweden, Denmark, South Africa and Italy, including; Graham 2, St Louis Dance Theater, ContmporaryWest Dance Theater, Richmond Ballet, Ailey II, Ballet Austin, Lustig Dance Theater, Compania Rio Danca, New Jersey Dance Theater Ensemble, Cape Dance Company, Cedar Lake 2, Sobers & Godley Dance, as well as creating works for The Royal Danish and Royal Swedish Ballet Schools, Joffrey Ballet School, Central Ballet School (London) The Ailey School, Boston Conservatory, and Long Island University and Purchase College.

He is the founder of Bradley Shelver Contemporary Dance Theater.

He was co-producer and curator for the annual REVERBdance Festival from 2010-2016. From 2013-2016, he was the Artistic Director of the STEPS Repertory Ensemble and the Production Director for Steps on Broadway. Mr Shelver is on the faculty of schools and universities worldwide including ABT/JKO, Limòn Institute, Royal Danish and Royal Swedish Ballet Schools, Ateballeto, Company teacher for Mathew Bourne’s “Adventures in Motion Pictures”, The Ailey School, La Guardia High School for the Performing Arts, Joffrey Ballet School, Bikuratim (Israel), Pan American Modern Dance School (Brazil) , Hinton Battle Academy (Tokyo), DAR Jazz Academy (Russia) among others. He is a certified ballet teacher with the ABT National Training Curriculum. He was a contributing writer for Dance Spirit Magazine and his book, “Performance Through the Dance Technique of Lester Horton” is available worldwide.

ANGELICA STISKIN

Artistic Director at Large
Principal Faculty

Teacher of Contemporary, Contemporary Partnering, Critical Analysis, and Senior Capstone

Angelica Stiskin is internationally recognized for her versatility as a choreographer, director, performer, and dance educator. She proudly earned her BFA in Dance at Marymount Manhattan College under the direction of Katie Langan, performing works by Robert Battle, Shen Wei and Lar Lubovitch to name a few.

Angelica is honored to have assisted the Emmy Award winning Mia Michaels across the U.S.A. and Canada. She has performed with Justin Bieber and The Disney Channel’s Shake It Up Girls, as well as a guest artist in ASH Contemporary Dance Company and American Dance Artists, Adrienne Canterna's former company, with performance artists such as Rasta Thomas and Travis Wall. Other privileges include working for Benoit-Swan Pouffer (Cedar Lake Contemporary Ballet Gala), Marlena Wolfe (Rehearsal Director), Ballroom Marfa, Eisenhower Dance Ensemble (Rite of Spring/Detroit Opera House). Angelica has worked as a répétiteur for Robert Battle, representing “The Hunt” in the Netherlands for world-renowned company, Introdans.

Angelica directed and choreographed a piece for NY Fashion Week in collaboration with Louis Vuitton and Parsons School of Design. She has also recently been commissioned by Christian Dior Couture to choreograph in honor of the new Spring/Summer 2019 collection inspired by dance. She has traveled with VIP Dance as a National Director, and also served as Brand Design Director/Choreographer for luxury comforts brand, Move Society.

Miss Stiskin is part of the adjunct faculty at Marymount Manhattan College, and was positioned as Artistic Director of Joffrey Ballet School’s Jazz and Contemporary Trainee Program in September 2017. She was one of the first faculty members of the program over 10 years ago and is now humbly in charge of the program’s trajectory. Angelica is honored to have this responsibility of guiding the future generations of dance while continuing to design high-level concepts for fashion, editorial, and entertainment.

STACY CADDELL

Associate Artistic Director of Ballet Trainee Program

Teacher of Ballet Technique, Pointe, Variations & Performance Studies

Stacy Caddell’s distinguished career began at the School of American Ballet and flourished as she became a member of the New York City Ballet under the direction of George Balanchine. Caddell’s talent and dedication earned her principal roles in many of Balanchine’s most iconic works. She later expanded her horizons, working with renowned companies including Twyla Tharp Dance and American Ballet Theatre, where she contributed both as a performer and a repetiteur. She has been a vital part of the Joffrey Ballet School faculty for several years, where her passion for teaching and dedication to the art form have left an indelible mark on her students.

ADRIENNE HURD

Teacher of Modern

Adrienne Hurd is a native New Yorker.   She studied at the Joffrey Ballet School, the School of American Ballet and The Ailey School on Scholarship.   She danced with Neubert Ballet, Ailey II, and The Jamison Project.  She was Ms. Jamison's assistant for the early works.  Adrienne has worked with Alvin Ailey, Judith Jamison, Michael Peters, Paula Abdul, Twyla Tharp, Garth Fagan, Donald McKayle, Graciela Daniele, Jeff Calhoun, Hans von Manon, Vince Patterson, Earl Mosley, and Dance Brazil.   She has appeared in numerous Broadway shows and commercials.   Adrienne and her husband Lutin Tanner are choreographers for The Middle Collegiate Arts Ministry.  She has taught at the University of Minnesota, St. Petersburg Dance festival, Dance New Amsterdam, and The Ailey School.

AMÉLIE BÉRNARD

Teacher of Modern Dance

Amélie Bénard was born in France. She studied at Centre international de danse jazz Rick Odums in Paris before coming to NYC. Amélie came to the Martha Graham School in 2006 with a scholarship and joined Graham II in 2007. After graduating from the Professional Training Program, she enrolled in the Teaching Training Program and obtained her certificate of recognition as a Teacher of Martha Graham Technique Level I in June 2009. During her time at the school she assisted Virginie Mécène in staging excerpts of "Appalachian Spring" on the Harvard Dance Company. Currently, she is a member of Edgar Cortes Dance Theater and Caliince Dance. She has also danced for Nu Dance Theater and performed works from choreographers such as Pearl Lang, Robert Battle, Virginie Mécène, Peggy Lyman, and Carrie Ellmore-Tallitsch.

ANDREI JOURAVLEV

Teacher of Ballet, Partnering, Men’s Technique and Performance Studies

Mr. Jouravlev studied at the famed Perm State Choreography Academy in Russia and went on to become a Principal Dancer in the Perm State Opera and Ballet Theatre. He won a Diploma and the Silver Medal in an international ballet competition in Russia. Mr. Jouravlev toured internationally with the “Stars of the Kirov and Bolshoi Ballet”. He has performed in England, Italy, Japan, China, Czechoslovakia, Poland, South Korea and Germany.

Mr. Jouravlev has toured with American Ballet Theatre Principal Nina Ananiashvili in Japan and South Korea, where he danced Espada of “Don Quixote”. This Performance is available on video around the world. Also he toured with Bolshoi Theatre Principals E. Maksimova and V. Vasiliev in Tokyo and Osaka. After the Jackson Ballet Competition he joined the New Jersey Ballet as a Principal Dancer. He danced with the “Stars of American Ballet” during a 1997 summer tour in China. Mr. Jouravlev has performed the ballets of George Balanchine, Agnes de Mille , Antony Tudor, Paul Taylor and worked with contemporary choreographers Robert North, Margo Sappington, Donlin Foreman and many more.He has performed in over thirty Principals roles in classical and contemporary repertoires including “Giselle”, “Swan Lake”, Sleeping Beauty”, “Don Quixote”,The Nutcracker”, “La Bayadere”, “Spartacus”, “Raymonda”, “Romeo and Juliet”, “Coppelia”, “Cinderella”, “ La Sylphide”, “Serenade” “Theme and Variations”, “Carmen”, “Who Cares”, “ Death and the Maiden”, “Antre Dos Aguas”, “Belong”, “Allegro Brillante”, and others. He is currently the Artistic Director of the Greenwich Ballet Academy.

ANGELO SORIANO

Teacher of Voice

Angelo Soriano, a proud native of the Philippines, pursued his artistic passions at an early age. He began his dance training under the direction of David Rosales and J.P. Christensen (From Broadway’s Cats and Thoroughly Modern Millie) in Central California.  Angelo considers being an alumni student and performer at El Diamanté High School and TCOE Theatre Company a privilege that has lead him to his successful career thus far. He landed his first professional job dancing on a stage in Disneyland in Anaheim, CA. He built quite a reputation there, performing in Disney Channel Rocks, Disney Junior Live Onstage, and Red Car News Boys to name a few. After building much needed experience as a performer, Mr. Soriano moved cross country to the mecca of Musical Theater, New York City. He soon after left to join the company of the National Tour of Flashdance: The Musical. His Broadway debut happened on The New Amsterdam Stage in Aladdin: The Musical where he currently performs eight shows a week as a Swing/Understudy.

ANNA FOLCKOMER

Teacher of Anatomy

Dr. Anna Folckomer is a licensed Acupuncturist, board certified Herbalist, and clinical Anatomist, who began her professional career as a classically trained dancer. She choreographed and performed in works seen throughout the United States and United Kingdom. While working through injuries as a dancer, she turned to acupuncture and movement therapies for rehabilitation and physical support as a reliable outlet for maintaining adequate physical and mental health.

Dr. Folckomer's specialities include pain management, musculoskeletal disorders, sports and performance-based injuries and rehabilitation, mental and emotional health, and autoimmune disorders. She is the owner of ID Lab New York, a rehabilitation facility in the heart of the theatre district in Times Square in New York City. She attended Pacific College of Oriental Medicine in New York City, where she earned her Master’s of Science and her Doctorate of Acupuncture and Oriental Medicine. She has completed clinical internships at the Integrative Oncology Center of Beth Israel/Mount Sinai Hospital, Columbia Student Health Urgent Care, Housing Works, and Pacific College's onsite acupuncture clinic. Dr. Folckomer has treated a wide variety of populations including athletes, pediatrics, auto-immune, oncology, HIV, and fertility patients. She is a Diplomate of Oriental Medicine and is licensed and board certified to practice by the National Commission on Certification of Acupuncture and Oriental Medicine.

Dr. Folckomer is one of the Co-Founders and Instructors of the internationally known seminar series, Immaculate Dissection. When she is not seeing patients, Dr. Folckomer travels with Immaculate Dissection to teach and demonstrate anatomy and corrective exercises to fellow clinicians. She is also an adjunct faculty member at Pacific College of Oriental Medicine, where she teaches Anatomy and Physiology, and a Gross Anatomy Lab Instructor at Seton Hall University.

ANNA GREENBERG

Teacher of Ballet

Anna Greenberg was born and raised in New York City. She began her training at the School of American Ballet, continued it at the Joffrey Ballet School under the mentorship of Era Jouravlev and graduated from the JKO School at ABT. Her first professional experience began at seventeen years old at the Bayerisches Junior Ballet in Munich, Germany and as an apprentice with the Bayerisches Staatsballett under the leadership of Ivan Lîska. During her time there she danced works by George Balanchine, Jiří Kylián, Hans van Manen, Richard Siegal, Jörg Mannes, and more. Now she’s dancing in Innsbruck at the Tiroler Landestheater Tanzcompany under the direction of Enrique Gasa Valga dancing ballets of his as well as works by Nacho Duato, Jiří Kylián, and Alexander Eckman.

ANNA LICEICA

Teacher of Ballet

Born in Bucharest, Romania, Anna Liceica studied at the National Ballet School during which time she received first place in Romania's National Ballet Competition. She went on to study at the School of American Ballet in New York where she won the Mae L. Wien Award for Outstanding Promise. She was invited to join the New York City Ballet where she performed in most of the company's Balanchine repertory from 1992 until 1996, including NYCB's 'The Nutcracker' movie.

She joined the American Ballet Theatre in 1996 and has performed with the company in all the great classics throughout the world during which time she was also awarded the Diaghilev Award and the Silver Medal at the third Rudolf Nureyev International Ballet Competition as well as The Viewers' Choice Award at the Maya Plisetskaya International Ballet Competition in St. Petersburg, Russia. Anna was promoted to soloist with the American Ballet Theater in 2000. Since then, she has given numerous performances throughout the United States, Germany, Austria, Romania, Hungary, Japan, China, Korea, Spain, Brazil, Russia, France, Mexico, with the American Ballet Theater, and as a Guest Artist with other companies abroad. Her repertoire includes all great classics such as Swan Lake, Sleeping Beauty, Giselle, Don Quixote, Bayadere, Raymonda, Coppelia, Cinderella, as well as many contemporary master works.

She is a judge and master teacher for Youth America Grand Prix and also a principal guest artist with Deutsche Oper in Berlin where she has performed in La Gioconda and Onegin, among others.

Throughout the years she has produced, directed and staged a series of performances called 'Classical Moves - Evening of Dance with members of ABT and friends' that include legendary classical works as well as new choreography by American Ballet Theatre members.

ANTONIO JEFFERSON

Teacher of Street Jazz and Hip Hop

Washington, DC native Antonio “Tony” Jefferson is an arts and fitness enthusiast and connoisseur with over 15 years of experience. Antonio’s training started with hip-hop and jazz and quickly expanded to many other styles. He is trained in disciplines ranging from modern and theater to gymnastics, kickboxing and everything in between. Tony has trained, performed, choreographed and taught throughout the US and abroad, including the honor of performances at the White House, the B.E.T. Awards, Library of Congress, and for Cirque du Soleill, NIKE, GQ, Good Morning America, Jay Z's Rocawear and the National Tour of Flashdance the Musical, to name a few. Antonio’s passion for human movement extends beyond dance. As a nationally certified personal trainer and group fitness instructor, Tony has had the opportunity to help individuals from all walks of life reach and exceed personal health and fitness goals in the US and abroad. His undergraduate studies in dance, kinesiology, sports medicine and nutrition have given him a clear understanding and unique approach to both fitness and dance. After a 4 year dance hiatus, Antonio decided to relocate to New York in June of 2011 to further pursue his career in the arts. He has since had the opportunity to study, train and perform with renowned choreographers and instructors and educate many on dance and fitness. He currently teaches throughout NYC and is a member of Jamie J & Co. and Rhapsody James’ Motivating Excellence.

ANTONIA FRANCESCHI

Teacher of Ballet

Antonia Franceschi is a Time Out Award Winner for Outstanding Achievement in Dance. As a young dancer she attended The High School Of Performing Arts for Drama when during her Junior year was selected for the film Grease and shortly thereafter for character Hilary van Dorine in the film ‘Fame’. She was then selected by George Balanchine and was fortunate to dance with Makarova and Company as a soloist, and be partnered by Sir Anthony Dowell in Bach Sonata by Bejart before joining The New York City Ballet. She's had works created for her by George Balanchine, Jerome Robbins, Peter Martins, Lar Lubovitch, Mark Baldwin, Wayne McGregor, Michael Clarke, Karol Armitage, Arlene Phillips, among others. In London, she produced Four Programs of The New York Ballet Stars which performed at The Queen Elizabeth and Royal Festival Halls and and toured to The Harrogate and Sintra Festivals.Antonia has choreographed for both British and American companies, and has recently formed her own Neo-classical company 'AFD Just Dance.' She was a judge on the BBC's Young Dancer competition. Recently she was invited by Boris Charmatz to dance in Musee De La Dance at The Tate Modern and Sophia in Spain. She adores teaching The Royal Ballet Rambert Richard Alston Random DV8 New York Theatre Ballet and Alvin Ailey and Juilliard among many other companies. Antonia created and performed the lead role in the dance play “Up From The Waste” at London’s Soho Theatre to critical acclaim. She is featured in several dance films for British TV including ‘Pointe Blank’,’Frankenstein’, and ‘Ecco’, and The Merchant Ivory Film, ‘The Golden Bowl’. She received a Grant for POP8 for The Lion and Unicorn Theatre where she collaborated with Mark Baldwin Zoe Martlew and Ballet Black, and collaborated with Tal Rosner on the film “There”. She was interviewed for the book Balanchine Then and Now and has been a guest on Woman's Hour Radio 4. Her next ballet Say May Name premiers this April 2017 for Barnard College at The Miller Theater. In October 2016 Antonia received a grant to create a Ballet inspired by the legacy of St Marks Church and chose to collaborate with renowned composer, director, writer, Claire Van Kampen for The New York Theater Ballet, she premiered “She Holds Out Her Hand”. It was performed with New York theater Ballet at Live Arts in March 2017.

ARINA CLAVEL

Teacher of Character, Ballet

Arina Clavel was born in Moscow, Russia. From 2006 to 2014 she studied at the Moscow State Academy of Choreography (MSAC) (Bolshoi Ballet Academy) for the specialty of a Ballet Dancer. In 2014 Ms. Clavel graduated from Moscow State Academy of Choreography (MSAC) (class of Irina Syrova) and was invited to the ballet company of the Bolshoi Theater (Moscow, Russia), where she rehearsed under the guidance of Marina Kondratyeva. From 2014 to 2019 Ms. Clavel studied at Moscow State Academy of Choreography (Bolshoi Ballet Academy) for the specialty of a Teacher of Classical Ballet Dance. In 2019 she graduated from MSAC with a diploma for Bachelor’s Degree of a Teacher of Classical Dance (mentorship by Vera Kulikova). Ms. Clavel danced at Bolshoi Theater (Moscow, Russia), Theater of Miniatures (St. Petersburg, Russia), Ballet Memphis (Memphis, TN, USA) and teaches classical ballet and character dance at the Russian Ballet Academy/RAY Theater (New York, USA).

ASPEN WADDELL

Teacher of Jazz

Aspen Waddell is an award-winning choreographer, professional dancer and highly versatile performer based in New York City. Originally from Gilbert, Arizona, Aspen danced competitively for 12 years training under high-profile instructors such as Mandy Moore, Ray Leeper, John Crutchman, Tally Nikolaus and Chelsea Foster.

Her most recent television appearances include co-starring as “Isabelle” in The Marvelous Mrs. Maisel; Good Morning America; Cadillac and Neiman Marcus commercials; and appearing on the TV series, Bridge and Tunnel. Aspen performed with Gwen Stefani in the 2018 Macy’s Thanksgiving Day Parade. She has also been featured in Mike Esperanza’s work at the Peridance Capezio Center Gala and pre-production work with Brooke Wendle and Karla Puno Garcia.

Recent advertising campaigns featuring Aspen include L’Oréal Paris, LG Electronics, Davines Italia, Vuse Vape and Visible Mobile.  

Previously, she toured with NRG Dance Project Dance Convention assisting and guest teaching in select cities across the U.S. for three years. She currently is under contract with MSA Talent Agency, enjoys teaching at Broadway Dance Center, as well as guest teaching and choreographing nationally recognized, award-winning numbers for dance studios across the nation, including her home studio, Dance Connection Scottsdale.

BETH CRANDALL

Teacher of Theater Dance

Beth Crandall is a choreographer, performer and educator living in NYC. Recently she was the Associate Choreographer for Gettin’ the Band Back Together on Broadway, Drowsy Chaperone at Goodspeed Opera House, and Jerome Robbins’ Broadway at the MUNY. Other associate choreography includes Mary Poppins at Paper Mill Playhouse, The New Yorkers and 1776 at NY City Center, My Fair Lady and Newsies. Beth served as Show Supervisor for RWS/Holland America Line setting five shows for the MS Rotterdam. As a performer, she made her Broadway debut in West Side Story. She served as Dance Captain for the show’s Broadway First National Tour as well as the Broadway First National Tour of Wonderful Town. Other performing credits include: The Radio City Christmas Spectacular, Carousel at Goodspeed Opera House, How to Succeed… at Theatre Under The Stars, and Music Man, All Shook Up and Newsies at the MUNY, and as Anybodys in West Side Story in six European countries, Japan, and Israel. Beth danced with Jimmy Fallon in the opening of SNL, and in the short films Le Pain and How You Look at It. She earned her BFA from NYU Tisch School of the Arts. She is a proud member of SDC and AEA.

BILL WALDINGER

Teacher of Jazz, History of Dance I, History of Dance II

Bill has taught both Ballet and the Luigi Jazz Technique at the Joffrey Ballet School in the Ballet Trainee Program, the Adult Program and the Jazz and Contemporary Program. He is currently on faculty at New York Film Academy, The CAP 21 Musical Theater Program at Molloy College and Hamilton Dance.  He has served as the director of Jazz at the Manhattan Ballet School and the director of Ballet at the Contemporary company Cora Dance. Certified by Luigi to teach the Luigi Jazz Technique, Bill has taught Luigi Jazz workshops for the New Rising Sun Dance Project at DANY Studios/Joyce SoHo and has created workshops combining the Jazz Techniques of Luigi and Matt Mattox with the choreographic works of Bob Fosse and Jerome Robbins. He has also served as a Master Teacher at Hunter College, again teaching the work of the jazz master Luigi. Bill frequently travels as a guest teacher at studios, schools and conservatories across the country, passing on the Luigi Jazz Technique as well as technique classes in Classical Ballet. In addition, he has developed absolute beginner “Dance Classes For Singers" at The Singers’ Forum.

As a performer, Bill has appeared in musical theater, concert dance, commercials, music videos, television and industrials. Highlights include regional and Off-Broadway productions of A Chorus Line (Paul in the first regional production), Carousel (Carnival Boy), Kismet, Drood, Oklahoma! (Dream Curly), A Funny Thing…, Guys and Dolls and Godspell. He was a company member of The David Storey Dance Works and the Labyrinth Dance Theater.  He has danced in commercials for Time-Life, music videos for the group Fela-Antoine, was a featured dancer on the television show Soul Alive and appeared in videos for the Theater Dance Workshop.

Bill began his dance training with the legendary jazz master Luigi. He also received a comprehensive jazz education through his studies with Frank Hatchet, Christopher Chadman, Bill Hastings, Richard Pierlon, David Storey and Natasha Barron. Equally comfortable in ballet, Bill was a student of Gabriella Darvash, David Howard, Lisa Lockwood, Dorothy Lister and Douglas Wassell. 

BLAKE KRAPELS

Teacher of Contemporary Partnering

Blake Krapels, a 2011 United States Presidential Scholar in the Arts, trained in New Jersey under the tutelage of Billy Larson and Jamie Salmon. In 2015 Blake graduated with a BFA from The Juilliard School, where he performed repertoire by William Forsythe, Merce Cunningham, Elliot Feld, Jose Limon, and Peter Chu. In addition to his core training, Blake participated in Summer Intensives at Nederlands Dans Theatre and Springboard Danse Montreal. After graduation, Blake spent 4 years with Philadelphia’s BalletX where he performed at The Vail Dance Festival, Joyce Theater, Cleveland Danceworks and The Belgrade Dance Festival.  He has peformed with The Metropolitan Opera, Keigwin & Company, GroundWorks Dance Theatre, Emery LeCrone Dance, Konverjdans, South Dakota Ballet and most recently DanceAspen. While dancing with DanceAspen he worked with Matthew Neenan, Penny Saunders, Cayetano Soto and Yue Yin.

Blake’s choreography has been presented at The Kennedy Center, Cleveland DanceWorks 2017, The Peter Jay Sharp Theater, First State Ballet Theater, APAP, DanceAspen, South Dakota Ballet and the Joffrey Jazz and Contemporary Trainee Program. He is currently the co-founder of The Sonder Space, a collaborative dance company based in Philadelphia alongside Andie Yorita and Zachary Kapeluck.

BRUCE LAZARUS

Music Director

Teacher of Music Concepts

Bruce Lazarus, music director, has 35 years of experience in the world of dance as composer, pianist, teacher, and music director. He has held long-term positions as Composer-in-Residence for Dance at Northwestern University and New World School of the Arts, Company Pianist for Dance Theater of Harlem, and Music Coordinator for Mark Morris Dance Group. He has also accompanied ballet and contemporary classes at most major dance studios in Chicago, New Jersey, and New York City. As composer, Lazarus’ published music at Swirly Music, E.C.Schirmer, and Theodore Presser includes works for piano, chorus, chamber music, organ, and arrangements of classical standards for flute solo and flute quartet. His major solo piano work, Explorations of the Messier Catalogue of Star Clusters and Nebulae, is widely available for CD/download via global distribution by Naxos of America, and his entertaining cabaret, Carrolling: The Lewis Carroll Project, is a regular offering at NYC’s Dixon Place Lounge and Cornelia Street Cafe. Honors for his work include Richard Rodgers Scholarship, Meet the Composer, AGO Composition Competition, American Guild of Composers Composition Award, NJ Arts Fellowship Grant, and residencies at Yaddo, Storm King Music Festival, and Arts Adhimsa. Lazarus studied at Juilliard where he earned his B.M. and M.M. in music composition and theory.

CANDICE FRANKLIN

Teacher of Jazz

Originally from St. Louis, MO, born and bred into Jazz dance and influenced greatly by the Jazz music scene, Candice Michelle Franklin is a New York-based professional dancer, choreographer, and producer who has been seen in numerous film, TV shows, music videos, industrials, and, of course, on the live stage performing in plays and dance companies.  She has a B.A. in Fine Arts majoring in Dance on four-year scholarship, studied on scholarship at Steps on Broadway, trained in St. Louis at Missouri Concert Ballet, and, upon invitation to New York, received her conservatory training at the Alvin Ailey American Dance Center.  She owns The Pro DANZ Group, Inc. in which she oversees the dance and creative direction of several performance groups, recording artists, industrials, and stage shows.

Her work has been performed in a host of New York venues including Jacob Javitz Convention Center, The Syracuse OnCenter, Capitale, Odeum Expo Center, Broad Street Ballroom, Ailey Citigroup Theater, The Kumble Theater, Symphony Space, Brooklyn Academy of Music’s BAM Cafe, Webster Hall, The SPACE at Westbury/Westbury Theater, Stage 48, the Oheka Castle, The Theater of Riverside Church, Marcus Garvey Park Amphitheater, The Sage Theater, American Theater of Actors, Tribeca Performing Arts Center, and Joyce SoHo, as well as numerous casinos on the east coast such as Turning Stone, the Foxwoods, Mohegan Sun, Tropicana, Borgata, and Caesar’s.  In addition, she has served as choreographer for over 15 years with CEG Productions LLC. as well as for a number of recording artists including internationally celebrated Bollywood Hip hop artist, SHAKTI, and Grammy award-winning recording artist, Macy Gray. Most recently, her choreography work has been commissioned by Pro Arte Dance with performances at the Kay Meek Center in Vancouver, Canada and Tiny Starr Productions at Symphony Space and has performed with the legendary master jazz pianist Onaje Allan Gumbs II’s New Vintage.

A forever student, she is continuing her education in Latin Ballroom Dance technique under the DVIDA Syllabus at the Ballroom Dance Teacher’s College in New Mexico and has just received her FULL Associate Certificate in the Rhythm Syllabus with a concentration on Mambo, Cha Cha, Rumba, Bolero, and East Coast Swing.  Currently, Miss Franklin serves as choreographer for recording artist, ART AURÉ, tours as a Master Teacher/ Adjudicator Instructor for Joffrey Ballet School, and works as the producer and choreographer for Jazz Ain’t Dead®, a live band, and dance production group.  Miss Franklin is a 4-year Certification Candidate for the Katherine Dunham Technique, the Founder of iDANZ, Inc. (a 501(c)(3) Non-profit organization in Dance Advocacy), and a proud member of SAG-AFTRA.

CARL PONCE CUBERO

Teacher of Modern

Carl Ponce Cubero (Por­terville, CA) (he/they) is a first generation Filipinx American movement artist/creative, originally from California’s Central Valley and currently based out of New York City. He received his BFA in dance performance with a minor in anthropology from the University of California, Irvine in 2017. While there, he had the honor and privilege of dancing under the late Donald McKayle. Cubero performed domestically and internationally with Ailey II from 2018–20. He has had the opportunity to dance works by Donald McKayle, Alvin Ailey, Lar Lubovitch, Andrea Miller, Robert Battle, Jae Man Joo, and David Parsons.

CAT COGLIANDRO

Teacher of Contemporary

Cat Cogliandro (they/them) holds a BFA from SUNY Purchase and an MFA from Univerity of Arizona. They have worked with creators such as Cherice Barton, Phillip Chbeeb, Tyce Diorio, Ian Eastwood, Mike Esperanza, Hayden J Frederick, Janelle Ginestra, Jason Gorman,  Juliette Irons, Lukas McFarlane, Jaci Royal, Sophia Stoller, Megan Lawson, Sonya Tayeh, Andrew Winghart, and more. Cat has been featured in The New York Times, Dance Spirit Magazine, Dance Teacher Magazine, Dance Magazine, Dance Informa, and have been a guest on DanceSpeak Podcast, WeirdAdults, Barretender Podcast, Stance Elements, Real Talks, Dance Your Life by Maxt Out, and Move True. Cat was a featured dancer in the movie “Supporting Characters,” directed by Daniel Schechter, danced in The Neighbourhood music video, “R.I.P 2 My Youth”, directed by Hype Williams and supervising choreographer, Ian Eastwood, and danced and acted in Phillip Chbeeb’s short film “Sync.” They were the assistant choreographer to Ian in Trevor Wesley’s Official 360 Music Video “Chivalry is Dead,” a choreographer for an episode of “Alone Together” on Freeform, Eva Gutoski’s (@mylifeaseva) music video “Dance As A Distraction,” and was one of ten choreographers chosen to compete in Nigel Lythgoe’s first season of a competitive choreographer show on Go90, Every Single Step, where they made it to the final four. In 2019, Cat danced the role of the Queen in Lukas McFarlane’s “Astoria” which premiered at the Montalbán Theatre in Los Angeles.

Cat is educator and choreographer who works nationally and internationally to “help people find a better understanding of themselves through dance.” In the states, you can find them guest teaching classes at Broadway Dance Center, Peridance, Genesis, and on the road with HEAT Convention & Competition. Cat has taught at Hussian College (formerly Relativity School), The Joffrey West Summer Intensive, Joffrey Spectrum Summer Intensive, and The Los Angeles Dance Festival, as well as international dance camps in Brazil, Poland, Israel, Ukraine, India, and more. They have also teamed up with clinical psychologist, Dr. Christina Donaldson, to create a dance + self-esteem dance workshop called Soul Meets Body, and are also the co-creator, in collaboration with Gabriel Braga and Mariana Feitosa, of SoulSync, a self-love dance workshop that takes place in Brazil. Cat is the director of The Dance Safe, an organization that advocates for survivors of abuse in dance, with heavy focus on education and consultation for those seeking the creation of safer dance spaces.

Mx. Cogliandro is driven by a deep passion for art, expression, freedom, and love. They believe in living life authentically and inspiring others to do the same, particularly the youth, encouraging them to embrace their true selves fearlessly. As a passionate educator, dancer, choreographer, and advocate, Cat is dedicated to creating safer and more inclusive spaces within the dance community, promoting a culture of acceptance and empowerment. Their dance company, cat.astrophe!, also aims to promote the power and necessity of advocacy through art. With a unique choreographic style that combines quirky and powerful movements, Cat uses their work to address relevant social issues and challenge societal norms. Through their performances, they hope to spark conversations, provoke thoughts, and inspire positive change.

CATERINA RAGO

Teacher of Modern Dance

Originally from Italy, Caterina Rago obtained her B.F.A. from l’Accademia Nazionale di Danza in Rome. In New York, Rago has performed work from Robert Battle, Pearl Lang, Virginie Mecene, Lone Kjaer Larsen, Tina Thompson. She was Principal Dancer of the Off-Broadway Show Spider Dance directed by Jeff Whiting, and toured Italy in the original cast of Cercando Picasso, Baccanti and Prometeo with the Martha Graham Dance Company, directed by Antonio Calenda e Giorgio Albertazzi.

Caterina received an official invitation to the 33rd World Congress of the International Theatre Institute ITA in Xiamen, China, was Guest Artist in Kiev, Budapest, Brussels, and Montalto Uffugo for the Ruggiero Leoncavallo Gala Opera Competition. She was movement consultant to photographer Sebastian Faena for fashion spreads in V Magazine and Vogue. She was a guest artist for IX Festival Nostos Viaggio di Ritorno at the Accademia Nazionale di Danza in Rome, Italy.

Caterina officially founded the Caterina Rago Dance Company (CRDC) in 2007. She presented her original work in the Graham II 2008 season, and in many festival and showcases throughout New York City and Italy. In 2010 two sold-out performances at the MMAC marked CRDC’s debut season. CRDC presented in 2013 the premiere of their evening-length work, Fall in Autumn, at MMAC. Caterina has received Company Commissions from Steffi Nossen Dance Foundation, the Accademia Nazionale di Danza in Rome, Italy and Peridance Capezio Dance Center. Selected as the 2016 Emerging Choreographer for the Houston Metropolitan Dance Company, Texas. CRDC recently premiered “Labir Into” at the New York Live Arts in collaboration with the renown set designer, Pier Paolo Bisleri.

Caterina also teaches Graham Technique at Dance Theatre of Harlem. She continues to be a guest teacher of numerous dance centers in Italy and New York City. Rago has created “Tecniche di Danza Moderna” an initiative to bring American modern dance teachers to Italy. Each month, three teachers will travel to the Istituto Pio IX in Rome, where they will introduce Italian students to Graham, Limón and Horton techniques through weekend intensives. The faculty will rotate over the course of the one-year program.

CATIE LEASCA

Teacher of Improvisation

Catie Leasca is a dance artist currently based in Brooklyn, NY.

With roots in Massachusetts, she has traveled and danced abroad in Israel, France, Belgium, and Germany. Catie has worked professionally with Netta Yerushalmy, Helen Simoneau Danse, Jessie Young, Ambika Raina, MG+Artists, She Me Zoo and Bryn Cohn + Artists. Catie has been awarded choreographic residencies at Gibney Dance through Work Up 5.0, New Dance Alliance through LiftOff and was a 2019 Space Grant Recipient, as well as an Upstart artist at Brooklyn Arts Exchange. She has shown her work at Movement Research through Judson Church, FAILSPACE at The Woods, Center for Performance Research, Dixon Place, Triskelion Arts, WIP IV at STUDIO4, CreateART/Dance in Bushwick, and Salt Dance Fest, among others. She has performed at theaters such as Suzanne Dellal Centre in Tel Aviv, The Joyce Theater in NYC, The Montalban in Los Angeles and has participated as a dancer in residencies at The Yard (Martha’s Vineyard), MANCC (Florida State University), LMCC (Governor’s Island and Maiden Lane), New York City Center, NYU Center for Ballet, and Gallim Dance. Catie has taught in NYC at Gibney Dance, Bridge for Dance, Joffrey Ballet School, Joffrey SPECTRUM, Dance Device Lab, Boston Contemporary Dance Project, FAILSPACE, PMT House of Dance, Z Artist Group, Koin+Co, as well as MG+Artists.

She has assisted and co-taught for choreographer Netta Yerushalmy at Princeton University. Most recently, Catie received the Masterworks Foundation Choreography Award and was a dancer in Janessa Clark’s newest work, COMMUNION, a 2021 Bessie nominated work, which has been shown at American Dance Festival, Bates Dance Festival, Here Arts Center, as well as in Stockholm and Berlin. Catie’s writing can be found in Dancegeist Magazine.

Catie graduated with her B.F.A. in Dance from The University of the Arts, under the direction of Donna Faye Burchfield. She received the Dean’s Award for Excellence and the School of Dance Sustainability award upon graduation. Catie studied intensely under Katie Swords and Jesse Zaritt, among many other incredible mentors.

Catie currently teaches a weekly open class in NYC at PMT House Of Dance, is on guest faculty at Sarah Lawrence College and teaches for Lambarri Dance Arts.

CLIFFORD WILLIAMS

Teacher of Contemporary Ballet, Contemporary, Ballet, Jazz, Men’s Variations

Clifford Williams began his dance training at F.H. LaGuardia High School of Music & Art and the Performing Arts. He attended the Ailey School and the School of American Ballet, both on scholarship. In 1998, he was a first-level recipient of a National Foundation for Advancement in the Arts award and attended The Juilliard School, where he danced works by many choreographers including Lar Lubovitch, Igal Perry, Hans Van Manen, José Limón, and Mauricio Wainrot. In 2001, he was invited to join the Dance Theatre of Harlem, where he danced until 2003.

In 2004, Mr. Williams joined Complexions Contemporary Ballet (New York, NY), where he has danced works by Dwight Rhoden, William Forsythe, Nicolo Fonte, and Jae Man Joo. He has also assisted Director/Choreographer Dwight Rhoden on numerous projects including ballets for North Carolina Dance Theater, Pittsburgh Ballet, Aspen Santa Fe Ballet, The Diana Vishneva Project, Ballet San Jose, Israel Ballet, Teatro Dell’Opera Di Roma as well as for the television show So You Think You Can Dance. He has also set Dwight Rhoden’s works on The Ailey School/Fordham University, Boston Conservatory, Harvard University, Marymount University and NYU Tisch School for the Arts. In addition to setting works for Dwight Rhoden, Williams is certified in teaching “Nique,” the official Contemporary Ballet technique of Complexions Contemporary Ballet and continues to be a part of educational outreach for Complexions. In 2008, Mr. Williams left Complexions to dance as a Principal Dancer with Compañia Nacional De Danza under the direction of Nacho Duato, dancing many principal parts and featured in creations by Mr. Duato. Mr. Williams rejoined Complexions in 2009, where he danced as Principal until 2012 before being appointed to an Artist in Residence. In 2014 Williams was featured as the title character in Debbie Allen’s Hot Chocolate Nutcracker, which aired on BET Network.

EBONI OSAVIO

Teacher of Street Jazz

Eboni Osavio began her journey into the arts at the age of four. As a native New Yorker she has trained extensively in jazz and hip hop while also studying ballet, tap, modern and West African dance. She began her professional performing career at Frank Hatchett's Professional Children's Program at Broadway Dance Center in New York City. She then had the honor of studying under and assisting the legendary jazz dancer Frank Hatchett in various dance projects, as well as becoming part of his VOP team. She took her first hip hop class as it was being introduced into dance studios under the direction of Robin Dunn. Eboni has choreographed, traveled and performed for various artists, networks and brands. When not performing, she is a dance instructor of over nine years at dance studios, afterschool programs and conventions with students of all ages and ability levels. As a teacher, she thrives off of the energy and passion her students have to offer. Eboni encourages her students to grow and find a love for dance through their own personal exploration. Her goal as a teacher is to inspire and empower all through the performing art of dance.

Eboni has worked with Grammy Award Winner Ludacris, Mariah Carey, Sean Paul, Lil Mama, R&B artist Jaheim, and Disturbing the Peace, to name a few. Some of her performance credits also include MTV's "Video Music Awards" and the NHL's New Jersey Devils Entertainment Team. In 2012 Eboni developed her own program, E.L. Dance NYC, created to inspire and instill the fundamentals of dance - technique, creativity, coordination, self-esteem, musicality and fun - in children. Currently, you can find Eboni teaching adults and children at Steps Youth Programs, Steps on Broadway, Ballet Hispanico and The Dalton School.

ELIZABETH YILMAZ

Teacher of Ballet

Elizabeth Yilmaz-Dobrow is a professional dancer, teacher and producer in New York City. She received her B.A in Dance from Marymount Manhattan College where she now serves on the Dance Advisory Board as the Nominating Chair. She is a former company member with Ballet Hispanico of New York.

This is Elizabeth's ninth season dancing with The Metropolitan Opera Ballet. Productions at the Metropolitan Opera include Bluebeard's Castle, Eugene Onegin, Turandot, Le Nozze De Figaro, Meistersinger, Werther, Die Zauberflöte, Parsifal, Manon, La Traviata, Aida, The Magic Flute and Tannhäuser. The last five of which have been transmitted live in HD to over 70 countries across the globe.

Elizabeth is a co-producer of the salon series Art Bath NYC. Art Bath is part art party part immersive concert, featuring world renowned artists in the historic Blue Building on East 46th St.

Elizabeth toured internationally with “Angelina Ballerina, The Musical", danced at Walt Disney World, and is a proud member of the American Guild of Musical Artist Union.

Elizabeth teaches dance throughout the United States and is on faculty with the 92nd Street Y and the Joffery Ballet Trainee Program in NYC. She has also taught ballet and musical theatre for Regional Dance America, Mile Square Theatre, Marymount Girls School, the Passport to learning project in New Jersey, the National Choreography Intensive and private lessons in Manhattan, Metro-Atlanta, and virtually.

FABRICE CALMELS

Teacher of Ballet

Born and raised in France, Fabrice Calmels began ballet training at three years old. At age eleven Mr. Calmels entered the prestigious, 300-year-old Paris Opera Ballet School, under the direction of Claude Bessy. During his training and schooling at there, Mr. Calmels worked with world-renowned dance masters such as Serge Golovine, Gilbert Mayer, Max Bozzoni, John Neumier, Jirí Kylián, Violette Verdy, and also performed at the beautiful Opera Palais Garnier theatre.

Following his graduation from the Paris Opera Ballet School, Mr. Calmels moved to the United States where he furthered his training by joining The Rock School, and danced with the Pennsylvania Ballet. Mr. Calmels grew to perfect and expand his technique in America. At Boston Ballet, under the direction of Anna-Marie Holmes, he learned the Russian technique with ballet masters Tatiana Terekhova and Sergei Berezhnoi, and also the Balanchine style at The School of American Ballet.

After September 11, 2001, unable to acquire his visa, Mr. Calmels returned home to France and joined Paris’ most famous cabaret, LIDO de Paris. There he was fortunate to hone his partnering skills by performing the show’s acrobatic pas de deux.

In 2002, Mr. Calmels established himself in Chicago with the Joffrey Ballet, under the direction of company co-founder Gerald Arpino, again being exposed to another style of dance. In 2004 and age 23, Mr. Calmels became a lead dancer at the Joffrey Ballet, notably through his Principal role as Apollo. He was also coached by the famous Sir Anthony Dowell for the title role of Oberon in Ashton’s “A Midsummer Night’s Dream.” In the fall 2009, he performed the title role in the Joffrey Ballet’s premiere of Lar Lubovitch’s “Othello”, which he reprised in the spring of 2013.

Mr. Calmels has danced several times for television and was interviewed extensively for the documentary “Joffrey: Mavericks of American Dance.” Notably, in 2014, Mr. Calmels was a guest judge on the hit Fox television show, So You Think You Can Dance. Mr. Calmels has received numerous awards and accolades during his career including establishing a Guinness World Record for Tallest Ballet Dancer in the World.

Currently, Mr. Calmels is still dancing with the Joffrey Ballet. He is also focusing his time on choreography, modeling, acting, and promoting dance and dance education through his membership on the Dizzy Feet Foundation board.

GABRIELLE LAMB

Teacher of Ballet

Gabrielle Lamb is a Princess Grace Award-winning choreographer based in NYC, where she directs Pigeonwing Dance. Her work also been presented by the Royal Winnipeg Ballet, Ballet, Whim W'him (Seattle), Ballet Collective (NYC), Ballet Austin, Ballet Memphis, and the Sacramento, Milwaukee, and Kansas City Ballets.

Ms Lamb, a 2020 Guggenheim Fellow, has won choreographic competitions at Hubbard Street Dance Chicago and Milwaukee Ballet, as well as the Banff Centre's Lee Award and a NY City Center Choreography Fellowship. In 2018 she was Grand Prize Winner of the S&R Foundation's Washington Award. In 2018 and 2019 she was selected to create for the American Ballet Theatre Choreographic Incubator.

A native of Savannah, GA, she trained at the Boston Ballet School and was a longtime soloist at Les Grands Ballets Canadiens. In 2009 she was invited by Christopher Wheeldon to join his company Morphoses in NYC. Her performing repertoire also included new creations by Mauro Bigonzetti, Pontus Lidberg, and Shen Wei, as well as leading roles in existing works by Naharin, Balanchine, Kylian, and Duato. She was described by DANCE Magazine as "a dancer of stunning clarity who illuminates the smallest details--qualities she brings to the dances she makes, too".

GRACIE ANDERSON

Teacher of Jazz

Gracie is currently touring with the Broadway National tour of CATS as a Dance Captain and Swing. She grew up training and competing in Latin, Standard and Smooth ballroom styles all around the world. She is honored to be a 13x top six finalist at NDCA's U.S. Nationals in the Latin and Standard championships. As a two-time U.S. national champion, she represented the U.S. at the WDC World Championships in Paris, France placing 14th in Youth Latin and 8th in the Fred Astaire Cup. She went on to graduate from Marymount Manhattan College as the Gold Key recipient for her BFA in Dance, concentrating in ballet.

IRENE HOGARTH-CIMINO

Teacher of Ballet

Ms. Hogarth-Cimino was born in South Africa, training in the Cecchetti Method with Joy Shearer, Patricia Mcintosh and Faith Devilliers, and graduated with a Performing Art’s Diploma from the University of Cape-Town. Ms. Hogarth-Cimino continued her training in New York at the School of American Ballet, the Joffrey School and the Martha Graham School, working with Twyla Tharp, private coaching with Gelsey Kirkland and Charla Genn, and the Paris Opera Ballet Seminars. She danced soloist and principal roles with South Africa’s NAPAC Dance Company and was accepted into ABT for the Met season in 1994, before joining the American Repertory Ballet, under directorship of Septime Webre. Ms. Hogarth-Cimino joined Ballet Hispanico in 2000 and performed principal roles with the company for eight years before transitioning into an artistic and administrative role as the Artistic Assistant to founder, Tina Ramirez; Ballet Mistress and teacher for the school and company; and more recently as Ballet Hispanico’s Deputy School Director. In 2008 she worked in collaboration with Gelsey Kirkland and Michael Chernov to develop and implement the ballet curriculum for Ballet Hispanico’s pre-professional training program. Ms. Hogarth-Cimino began teaching in 1995 under the mentorship of one of South Africa’s leading teachers of children, Natalie Stern, and has taught master classes and been a guest teacher at numerous schools and companies, including American Repertory Ballet; Kibbutz Contemporary Dance Company, Israel; UC Santa Barbara; Marymount College, NY; The Julliard School; Alvin Ailey School; Princeton Ballet School; Steyvesant High School and La Guardia High School of the Performing Arts. She is currently on the faculty at The Joffrey Ballet School and The Alvin Ailey School.

JACOBY PRUITT

Teacher of Ballet and Contemporary

Jacoby Pruitt (He/Him) is a NYC based dance artist, teacher, and choreographer. In 2021 he joined the Bill T. Jones/ Arnie Zane Company.

He began his dance training in Miami, FL where he attended New World School of the Arts. He is an honors graduate of NYU's Tisch School of Dance and is a recipient of the Martha Hill Dance Fund's "Young Professional Award."

Jacoby has had the privilege of performing works by choreographers Alvin Ailey, Robert Battle, Dwight Rhoden, Shannon Gillen, Jae Man Joo, and Lara Murphy among various others. He has performed as a guest artist with Germaul Barnes Vewsic Dance, The Jamal Jackson Dance Company, Cullen and Them, and Don't Ask Why in Dallas, TX. Jacoby has worked commercially on Good Morning America, Logo's Trailblazer Awards, Comedy Central, and the film adaptation of Lin Manuel Miranda's In The Heights.

Jacoby was a member of Ailey II where he had the opportunity to perform alongside the Alvin Ailey American Dance Theater in Hope Boykins' r-Evolution Dream and Alvin Ailey's masterpiece Revelations. He has also been a member of the Sean Curran Company, The Metropolitan Opera Ballet, and Company XIV.

JASON LUKS

Teacher of Theater Dance

Jason Luks is a professional performer, choreographer and teacher. He is currently on faculty at the Joffrey Ballet School teaching Musical Theater. He was a member of the "Falsettos" Broadway choreography team and assisted Josh Prince and Pulitzer Prize winner, Director James Lapine, on the choreography for "Mrs. Miller Does Her Thing." Jason's performance credits include “On The Town" (Barrington Stage), “My One And Only” (Stages St. Louis), “White Christmas” (Broadway), Tap Stars (international tour), Saturday Night Live, The Tonight Show with Jimmy Fallon, The Late Late Show with James Corden, and MTV’s Video Music Awards. Jason performed at the Kennedy Center for Presidents Obama and Bush. He was the Adult World Tap Dance Solo Champion at the International Dance Organization’s World Tap Dance Championships (’03), and ADA’s national Young Choreographer of the Year (’05).

Jason’s choreography has been presented on Broadway's Walter Kerr Theater (Falsettos), the Kennedy Center, Symphony Space NYC, Joffrey Ballet School, and University of Richmond. Jason is a guest teacher at many conventions including NYCDA and Syncopate. Jason graduated from NYU’s Tisch School of the Arts with a BFA in Dance. He leads an incredible team of DANJ dance educators including on and off-Broadway performers, members of leading dance companies, university and conservatory faculty, and professional choreographers.

JOSEFINA ROJAS

Teacher of Jazz

Josefina Rojas is a professional dancer, originally from Santiago, Chile. They began dancing at Sandra Claren School of Irish Dance where they got the chance to start performing professionally at a young age, and even went on to win the Preliminary Champion title at the South American Irish Dance Championships. At age 15, they moved to New York City to train at the Joffrey Ballet School, where they graduated from the ballet trainee program. Since graduating, they have performed with companies such as Cindy Brandle Dance Company and Bodies Never Lie Dance Company, and appeared in multiple short films.  In the past couple of years, they've had the pleasure of being the dance captain for Flight Path Dance Project. As a teacher they aspire to create a joyful and safe environment for dancers to grow not only as dancers, but also as people.

KARA WALSH

Teacher of Ballet

Meet Kara Walsh, a native New Yorker who has a deep passion for movement, wellness, and compassion for all living beings. Kara has been dancing since she was a child and has trained extensively in ballet, modern, and contemporary dance at the School of Performing Arts in Litchfield Ct. She spent summers at the Jillana School in Taos, NM and continued her studies at the Ailey School. Kara was a member of Donald Byrd’s Spectrum dance Theater in Seattle WA and played the role of Dream Laurey in the 5th Avenue Theater’s production of Oklahoma. She performed with The Black Iris Project and has worked with choreographers Benoit Swan Pouffer, Susan Misner, Mary Ann Lamb and Francesca Harper. Kara can be seen in Fosse/Verdon and Fued on FX. Currently Kara is dancing and working on many projects with Karole Armitage.

KAREN GAYLE

Teacher of Modern Dance

Originally from Toronto, Karen began her formal training in the Claude Watson Arts Program. After moving to New York, she furthered her studies at The Ailey School where she fell in love with the Horton technique. Karen has had the honor of performing the works of such choreographers as Earl Mosley, Ronald K. Brown and Tony winner Hinton Battle.She has taught at Ballet Hispanico, The Ailey Extension, The School at Columbia University, Horace Mann, New Dance Group, and is currently a faculty member at Steps on Broadway, Marymount Manhattan College, Montclair State University and The Joffrey Ballet School. She has had the opportunity to guest teach and choreograph across the U.S. and abroad, including Canada, Mexico, Bolivia, Italy, Cyprus, and Israel and is a faculty member of Techniche Danza Moderna.

Choreography commissions include: Marymount Manhattan College, The Harvard Ballet Company, Steps Repertory Ensemble, General Mischief Dance Theatre, The Boston Tea Party Opera, Steffi Nossen, Earl Haig High School and Montclair State University. As artistic director of the xodus dance collective, her choreography has been showcased at such iconic concert dance venues as: American Dance Guild Festival, DUMBO Dance Festival, Movement Research at Judson Church, the Downtown Dance Festival, JPAC, Here Arts Center, The Ailey Theatre, The Queen Elizabeth Theatre in Toronto and the Inside/Out Festival at Jacob's Pillow.

KATHERINE NAUMAN

Teacher of Modern

Katherine Nauman (she/her) is a Horton technique instructor, performer and arts administrator. She is on faculty at The Ailey School, Joffrey Ballet School, and STEPS on Broadway, and serves as the Engagement Project Manager for Bay-Area based AXIS Dance Company. Katherine previously taught for LINES Ballet/BFA at Dominican University and the LINES Ballet Summer and Training Programs and was the Director of the Alonzo King LINES Dance Center. While living in San Francisco she performed with Ray Tadio, SOULSKIN Dance and Mary Carbonara Dances.

Prior to her time in SF, Katherine trained, performed and taught in NYC. After graduating from The Ailey School, she was teaching and choreographic assistant to Horton master teachers Milton Myers and JoLea Maffei, and taught at Juilliard, LaGuardia High School, The Ailey School and STEPS. She danced for companies including: Stanley Love Performance Group, bopi’s black sheep/dances by kraig patterson, Maffei Dance Company, Glen Rumsey Dance Project, and Makram Hamdan Dance Company.

LAURA PETERSON

Teacher of Composition and Improvisation

Laura Peterson is a NYC-based dance artist creating works that challenge the limits of physicality and reframe performance spaces. Influenced by the visual art of the 1970’s, she simultaneously creates visually arresting installations and rigorous choreography. Her performances have included large scale paintings, 1000 sq ft of living lawn, 16 ft tall paper sculptures, and other giant structures. Recently, she performed her piece, SOLO, as part of the Museum of Modern Art exhibition Judson Dance Theater: The Work Is Never Done. Peterson’s works have been performed throughout New York City and nationally at venues including The Kennedy Center for the Performing Arts, Lincoln Center Out-of-Doors, Jacob’s Pillow Inside/Out, and internationally in Europe and Argentina.

Peterson has been awarded residencies and commissions for over ten years, including the HERE Arts Center Artist Residency Program (HARP). She was the recipient of a Bogliasco Fellowship and residency in Italy, and residencies at Marble House Project Residency, Jamaica Center for Arts and Learning, Subcircle Residency, Dance New Amsterdam and others. Her work has been commissioned by Dixon Place (NYC), Lower Manhattan Cultural Council for the River-To-River Festival, Queens Museum of Art, Dance New Amsterdam and she received the  Reflection:Response Commission at Temple University. She created two works for Nick Cave’s Sound Suits with Balance Dance Company and the Boise Art Museum, as well as repertory for the Pennsylvania Ballet and the Hartford Ballet.

Peterson has taught dance and choreographed student works for Princeton University, Marymount Manhattan College, Rutgers University, SUNY Brockport, LIU Brooklyn, CUNY Lehman College, Bowdoin College, and others. She has led workshops in the US and internationally, and is a current faculty member at The Joffrey Ballet School in New York City.

She holds an MFA in Dance from New York University’s Tisch School of the Arts and a BFA in Modern Dance from University of the Arts in Philadelphia.

LIL MALINICH

Teacher of Acting

Lil Malinich has been working with Broadway-affiliated theatre company Working Artists Theatre Project (WAT Project) since 2007 as an Actress and Producer, and co-founded the award-winning Canadian company Theatre Soup.  Her diverse body of stage work includes classic and contemporary plays including Shakespeare, Chekhov, Tennessee Williams, Harold Pinter, Brad Fraser and Judith Thompson.  Leading roles with WAT Project include Timberlake: American Pulp, Rope, Life Without Parole, and the biographical play Fruits Unheard Of in which she portrayed American photographer Diane Arbus.  The Deluxe Illustrated Body, a play Lil co-wrote, received the Brickendon Award for Best Original Script and was produced in NYC by Spiral, Inc. under the direction of Janis Powell.  Feature film and TV credits include Vision Vehicle's Construction directed by Malcolm Goodwin, Paradise written and directed by Marc Lafia, TV movie Red Hook High, ABC's "All My Children'' and FOX's "Gotham."  She has appeared in commercials and industrials in Canada and the US.  In addition to studying at the Susan Batson Studio, Lil has studied with Maggie Flannigan, Terry Schreiber and Giles Foreman, holds an Honors B.A in English and Dramatic Arts and a Bachelor of Education.  She has worked internationally as a teacher in Canada, New York, Paris and Rome.  Building community is pivotal to Lil's work.  Currently, she is working with Brain Jail Productions on the development of feature mockumentary film National Pastime, and on Antonio Merino's short film Educate the Monster.  She has also collaborated with the David Lynch Foundation (For Consciousness-Based Education and World Peace) in creating staged reading fundraiser events, and developed the NYC screening series for David Lynch's documentary Meditation, Creativity, Peace.  Lil is an acting coach at the Susan Batson Studio, member of SAG-AFTRA, and honored to be part of the Joffrey Ballet School team.   

MARGO SAPPINGTON

Teacher of Contemporary Ballet

Margo Sappington, international choreographer/director, a Texan, began her professional career dancing with the Joffrey Ballet in New York at the age of 17, and her choreographic career at age 21 with Oh! Calcutta! in which she also performed in NY/LA, London and the film.

She has created works for ballet, opera and theater companies on 4 continents and special projects for international ballet stars. The companies include, Joffrey Ballet, (New York/Chicago), Pennsylvania Ballet, Houston Ballet, Atlanta Ballet, Kansas City Ballet, Milwaukee Ballet, Carolina Ballet, Oklahoma City Ballet, Alvin Ailey Dance Theater, Hubbard Street Dance Chicago, Ballets Jazz de Montreal and Dallas Black Dance Theater.

Abroad she has created for Ballet du Capitole, Ballet du Nord, Ballet de Bordeaux (France), ATERballetto (Italy), Ballet Nuevo Mundo and Rajatabla Danza (Venezuela), and Nederlands Dans Theater. Sappington was the first American choreographer to create a new work for the National Ballet of China (Beijing) and a new full-length ballet (2009) for the Abai Opera and Ballet Theater, Almaty, Kazakhstan.

Always interested in creating dances to popular music, Sappington has choreographed to the music of Prince, Joffrey Ballet's Billboards; Esquivel, Kansas City Ballet, Zuzu Lounge, and Indigo Girls performing live with Atlanta Ballet, Shed Your Skin. Common People, created for Milwaukee Ballet to William Shatner's CD "Has Been", is now a documentary film called William Shatner's Gonzo Ballet.

From 1995-99 she shared artistic direction of Ballet: The Daring Project with ballerina Valentina Kozlova. The company of 10 dancers presented her works across the U.S. and in Italy plus 3 seasons at the Joyce Theater in New York City. Her series of ballets on artists include, Rodin, Mis En Vie, Under the Sun, on the works of Alexander Calder, Toulouse-Lautrec in association with the Musée Toulouse Lautrec in France, and Virgin Forest, the jungle paintings of Douanier Rousseau for Milwaukee Ballet and the subject of an award winning documentary by Milwaukee Public Television. On May 2, 2014, her pas de deux from Under the Sun was featured on PBS' "Great Performances", celebrating Pennsylvania Ballet's 50th Anniversary.

Not limited to the concert stage, Sappington's work has enhanced the international opera simulcasts, "Live from the San Francisco Opera" with the ballets in La Gioconda, Samson Et Delilah, and AIDA. Her extensive theatrical experience across the U.S. includes 4 Broadway shows with Tony and Drama Desk Nominations plus many commercials and music videos.

MICHAEL CUSUMANO

Teacher of Ballet

Michael Cusumano grew up in Long Island New York. At the age of 14 he won the bronze medal at the International Ballet Competition in Varna, Bulgaria, the youngest male dancer to medal in the competition’s history till then. That same year he went on to win the special Jury Prize at the Prix de Paris 1994. Michael then joined American Ballet Theater at age 15, the youngest male dancer in the company’s history. Michael then danced as a soloist with the Boston Ballet. He made his Broadway debut in “All Shook Up” and then went on to star as “the jury” in the smash hit “Chicago” the musical on Broadway. Michael won the title of Mr.Broadway 2011. Other credits include “The Most Happy Fella” at New York State Theater, “On the Town” at Encores, “Live with Regis and Kelly”, “The Today’s Show”, “ABT Now for PBS”, “Le Corsaire for PBS”, feature film “Center Stage”, “The Late Show with Stephen Colbert” “SNL”. Michael most recently appeared in the original production of “An American in Paris” on Broadway. He is currently on faculty at Pace University.

MONIQUE SMITH

Teacher of Jazz Dance

Monique Smith is an Honors graduate of the Fordham/Ailey BFA Program. Performance credits include After Midnight (Broadway), Memphis (Broadway), Hot Feet (Broadway), and dance companies including Philadanco, Sonya Tayeh Dance, and Forces of Nature Dance Company. She has performed for Radio City Music Hall, Madison Square Garden and the New York Philharmonic and is a Fred and Adele Astaire Award nominee. She recently performed in a national commercial for Square Space.

Monique teaches for dance academies and ballet schools across the U.S. and is an adjudicator for Youth America Grand Prix. She has also worked as choreographer for Marymount Manhattan College, Circle of Sisters for Fantasia Barrino, Associate Choreographer to Savion Glover for Don't Bother Me, I Can't Cope at City Center, and is Associate Choreographer to Ann Yee for Caroline, or Change on Broadway.

NICHOLAS RANAURO

Teacher of Theatre Dance

Nicholas Ranauro (he/him) is a New York City based director, choreographer, dancer, and dance educator. He is a 2014 graduate of The Juilliard School. Performance credits include Black No More; A New Musical (Chor. Bill T Jones), The Phantom of the Opera (25th Anniversary Tour), Brigadoon (Encores! Dir/Chor Christopher Wheeldon), Joseph and the Amazing Technicolor Dreamcoat (Tour, Dir/Chor Andy Blankenbuehler) iLuminate, Keigwin & Co, Companía Tania Pérez-Salas, and Seeing You (Immersive, Dir/Chor Ryan Heffington). Nicholas’ choreography has been fostered by Dance Lab NY, DanceBreak, The Steps on Broadway Conservatory, Houston Contemporary, and the 92nd Street Y. Recent choreography and direction credits include Broadway in Chicago’s ‘Children of Eden’ and Constellation Stage and Screen’s productions of ‘Don’t Let the Pigeon Drive the Bus’ and ‘Curious George, the Golden Meatball’. Nicholas is a dance coach for Musical Theatre College Auditions, has served as a visiting professor of theatre dance at Indiana University, and is a Pilates and Gyrotonic(r) certified instructor. He is represented by CESD Talend Agency.

RAMONA KELLEY

Teacher of Ballet

Ramona is from Berkeley, CA where she began her training at Berkeley Ballet Theater. She went on to earn a BFA in dance from New York University’s Tisch School of the Arts. Ramona danced the principal role of ‘Betsy’ in Twyla Tharp’s Come Fly Away and went on to dance with the Tharp company creating new roles in addition to performing repertory works. She is a principal guest artist with Oakland Ballet and has also performed with Christopher Wheeldon’s An American in Paris, Dance Lab New York, Minnesota Dance Theatre, Claudia Schreier and Co, Post:Ballet, Sidra Bell, Cherylyn Lavagnino Dance and Phantom of the Opera (25th Anniversary Tour) among others. Ramona has taught for Pacific Northwest Ballet, as well as master classes in Tharp technique across the country. She is an adjunct ballet faculty at NYU’s Tisch Dance.

RICHARD GLOVER

Teacher of Ballet

Richard Glover is from Brooklyn, NY, where he began his training at the Brooklyn Music School. He then went on to study at the Dance Theatre of Harlem, followed by The School of American Ballet at Lincoln Center, both on full scholarship. Mr. Glover began his professional career at Pittsburgh Ballet Theater dancing in The Four Temperaments, Swan Lake, The Nutcracker, and Serenade. He danced with Colorado Ballet in Denver, performing in ballets such as The Nutcracker, Cinderella, Giselle, Hunchback of Notre Dame, Dracula, and a world premiere by choreographer Rennie Harris. Richard also danced with several companies in London, including performances at English National Ballet and The Royal Opera House. He also appeared in a music video for music artist Asgeir, choreographed by Celia Rowlson-Hall. Richard recently served as Ballet Master and Company Manager at Brooklyn Ballet as well as Director of Programs at DanceLab NY. Along with freelance performing, Richard teaches, coaches, and choreographs at various schools and companies including New York University, Joffrey Ballet, Mark Morris, Martha Graham, and Juilliard.

ROBERT REDICK

Teacher of Jazz

Robert Redick is a New York-based choreographer, producer, and dance educator. A Joffrey Ballet School graduate; his choreographic and teaching credits include Joffrey Ballet School, Earl Mosley’s Diversity of Dance, Harlem School of the Arts, Muhlenberg College, Columbia Ballet Collaborative, Frank Sinatra School of the Arts, Brooklyn Arts High School, Kanyok Arts Initiative, Fort Hamilton High School and the Jazz Choreography Project. Additionally, Robert is currently Programs Director and resident choreographer at Earl Mosley’s Diversity of Dance. Since 2018, he has been the production coordinator, curator and host for the Uptown Rising Performance Series held at the Bridge for Dance. Uptown Rising gives choreographers the affordable opportunity to present and receive feedback on their work and process. Robert has a deep passion for creating an inclusive, challenging and rewarding experience with the artists he collaborates with. He believes in instilling confidence and allowing a safe space for ALL dancers to thrive.

SEKOU MCMILLER

Teacher of Latin Jazz

At the forefront of a new movement in Latin dance, Sekou's unique style has an Afro-Caribbean essence that is laced with many different dance techniques. Combined with an explosive energy, Sekou's dancing and choreography have garnered him broad recognition worldwide that spans from Broadway to the international underground latin scene. He is the Founder and Artistic Director of the Afro-Latin Dance Company, Sekou McMiller Dance Co and was a choreographic fellow for the Alvin Ailey Dance Foundation's New Directions Choreography lab Winter/Spring 2017.

In addition, he has performed and choreographed for Top Latin artist such as Gilberto Santa Rosa, Willie Colon, Cheo Feliciano, Johnny Pacheco, Tito Rojas, Tito Nieves, PitBull, as well as the pop icon Madonna. Featured in the movie "In the Heights." Currently Sekou is a faculty member at Joffrey Ballet School, Steps on Broadway, Ailey Extension, Marymount Manhattan College, NYU Tisch, Ballet Hispánico, and Broadway Dance Center.

SUZIE GOLDMAN

Teacher of Ballet, Pointe, Variations, and Performance Studies

Suzanne Goldman began her performing career at American Ballet Theatre under the artistic directorship of Mikhail Baryshnikov. She’s also danced with Pennsylvania Ballet, Vienna State Opera Ballet, Alonzo King’s Lines Ballet among other companies. During her career, she had the opportunity to perform a wide range of roles, from “Swan Lake” to William Forsythe’s “Artifact”, Paul Taylor’s “Arden Court” and José Limon’s “The Moor’s Pavane”. She has taught at ABT’s Summer Intensive Program, Metropolitan Opera Ballet, The Royal Ballet, The Joffrey Ballet School, Marymount Manhattan College, Hunter College, The New School University, Barnard and Tisch School of the Arts at NYU. She received her BA from SUNY Empire State College.

VALENTINA KOZLOVA

Teacher of Ballet

Valentina Kozlova was born in Moscow and trained at the Bolshoi Ballet School. Ms. Kozlova performed with the Bolshoi Theatre from 1973-1979 and was promoted to Principal Dancer in 1975. She danced all of the major classical roles. In 1979, while on tour with the Bolshoi Ballet in the US, she defected and immediately was in great demand as guest artist. She marked her Broadway debut in 1982 as Vera Baranova in the revival of On Your Toes, featuring Balanchine's Slaughter on Tenth Avenue ballet. Ms. Kozlova joined the New York City Ballet in 1983 as Principal Dancer and remained with the company until 1995, dancing lead roles from the repertoires of such dance icons as George Balanchine and Jerome Robbins, Peter Martins, Richard Tanner and Eliot Feld.

The list of Ms. Kozlova's accomplishments and accompanying accolades when appearing in major international ballet events is endless... Spoleto, La Scala, Florence Opera House, English National Ballet, Paris Opera, Basel Ballet, Australia, Ballet de Santiago (Chile), Teatro Colon (Buenos Aires) and Hong Kong. She also appeared in ballet galas in Africa, Greece, England, India, Italy, Portugal, Spain, Don des Etoiles in Canada, Taiwan, Korea and Japan. Her performances on video include the Pavlova Special (CBS), La Fille Mal Gardee (Philips Video, Germany), and Spartacus (VEAR Productions, Argentina).

Ms. Kozlova has also frequently appeared on television, including talk shows and entertainment programs around the world. Following Glasnost, Ms. Kozlova was afforded a triumphant return to Moscow in 1991, with NBC News covering her performance at the Kremlin Palace. Ms. Kozlova returned to Moscow in 1992 to perform the premiere of a new solo, Blue Angel, created for her by choreographer Margo Sappington.

In 1995, Ms. Kozlova and Margo Sappington established Ballet: The Daring Project, a ballet company dedicated to performing new works. Ms. Kozlova also appeared in A Christmas Carol with movie legend Tony Randall and Broadway star Ben Vereen.

In 2003, Ms. Kozlova opened her own dance school, Valentina Kozlova's Dance Conservatory of New York, providing students with the highest level of dance instruction based on traditional Russian Technique and George Balanchine's fast footwork. The school's prime location offers a wide variety of culture and diverse activities located nearby. For her students, Ms. Kozlova has staged, directed and produced a variety of works.

In 2009, Ms. Kozlova presented One Magical Performance: The Legacy Gala at The Joyce Theater in New York in celebration of the thirtieth anniversary of her defection. Principal dancers from New York City Ballet and ABT appeared as guest artists at this spectacular, sold out event, along with students from the school.

Ms. Kozlova continues to serve as a juror for major dance competitions in the US and abroad.

VIOLETA ANGELOVA

Teacher of Ballet

V, as she is affectionately called, was born in Sofia, Bulgaria. She made her first steps in ballet in her mother’s dance school, later also attending the “K.Koldamova” dance studio with which she frequently performed in concerts on stage and TV. She participated in sports before ballet took over. She was accepted into the National School of Dance Arts after a rigorous audition process and graduated with high honors. She received a scholarship to and also graduated from the Vienna State Opera Ballet School in Vienna, Austria.

V has been invited to represent Bulgaria at the Royal Festival of Arts in Jordan among a number of international ballet events. She has extensively toured the United States, dancing as a guest artist or with a company, and has danced at the International Festival in Edinburgh, Scotland, and the Opera and Ballet Festival in St.Petersburg, Russia among others. Her career has afforded her the opportunity to work with some of the finest professionals in the world. The companies she has performed with include The Vienna State Opera Ballet, Volksoper-Vienna, Ballet Internationale, The New Jersey Ballet, The Suzanne Farrell Ballet, as a returning guest with the National Ballet of Bulgaria, Eglevsky Ballet, Ballet Metropolitan, California Ballet, Ballet Minnesota and many others. As part of artistic partnerships with the Suzanne Farrell Ballet, Violeta has also performed with the Cincinnati Ballet, Ballet Austin and Sarasota Ballet.

Her varied repertoire, over seventy ballets, includes the title roles and leading roles in storytelling classics – The Sleeping Beauty, Giselle, The Nutcracker, Don Quixote, Swan Lake, La Bayadere, Coppelia, Esmeralda, Cinderella, et al.; as well as many Balanchine ballets, among them –  Serenade, Agon, Concerto Barocco, Valse Fantasie, La Sonnambula,  Sonatine, Apollo, Divertimento No.15, Walpurgisnacht ballet, La Source, Stars & Stripes, Allegro Brillante, Monumentum pro Gesualdo & Movements for Piano & Orchestra; one act and miniature works, such as The Dying Swan by Fokine; and classical and modern pieces by contemporary choreographers in Europe, and the United States.

In 2003 V officially began teaching dance in the United States. She is fully certified American Ballet Theater NTC teacher, for all levels and partnering. She has been on the faculty of the New Jersey School of Ballet, L’Etoile Ballet Academy, Joffrey Ballet School, among others. She’s given master classes at over two dozen institutions and conservatories. She gives private lessons, and teaches as a guest at studios across the New York metro area.

In dance, she’s worked as a producer, choreographer, coach and star of ballet performances.

Whenever she is not dancing, V works on other facets of her artistic realization.

She is the only Bulgarian – American ballerina.

WESLEY ENSMINGER

Teacher of Contemporary

Wesley Ensminger, originally from Santa Cruz, CA, holds a Bachelor of Fine Arts Degree in Dance Performance and Choreography from California Institute of the Arts. He has collaborated with a vast range of professional companies and choreographers as a performing artist throughout California, Arizona and New York City. His personal codified teaching practice and research within choreography and composition has allowed him to travel all around the US, Canada and Europe. Wesley’s most recent choreographic works have been presented at The Gibney Dance Theater NYC, The Dance Teacher Summit, The Joffrey Ballet School, The Roy and Edna Disney Lund Theater LA and at various other venues around New York City. He is currently on faculty at the Joffrey Ballet School in NYC where he teaches Release Technique, Composition and Improvisation and can be found teaching regularly at Gibney Dance NYC. As an educator, collaborator, and creator, Wesley is consistently experimenting and is open and excited to share his unending exploration of movement with other artists of any and every medium.

YINET FERNANDEZ

Teacher of Ballet

Born: Mariano’ La Habana, Cuba.

Training: Provincial School of the Arts, National School of Ballet, Ballet Nacional de Cuba.

Professional experience: Dance Theatre of Harlem (fifth season), Connecticut Ballet, Ballet Nacional de Cuba. Repertoire includes: Sleeping Beauty, The Nutcracker, Swan Lake, Giselle, Coppélia, La Fille mal gardée, Don Quixote and works by George Balanchine, Robert Garland, Christopher Wheeldon, Darrell Grand Moultrie and Dianne McIntyre.

CURRICULUM

The Joffrey Ballet School curricula for each of the Ballet and Jazz & Contemporary Programs are divided into 5 sections.  For the Ballet Program these are: Ballet Techniques, Contemporary Dance Techniques, Allied Dance Studies, Allied Theory Studies, Performance Studies and Senior Capstone.  For the Jazz & Contemporary Program this is Contemporary & Modern Dance Techniques, Ballet Techniques, Allied Dance Techniques, Allied Theory Studies, Performance Studies and Senior Capstone.  

Below is a list of the components included in each section, and the total clock hours. The student has 4 to 6 years to complete the curriculum. Detailed course descriptions follow. Each program can be completed in 8 Terms of sixteen weeks each (excluding holidays and vacation breaks).

Ballet Curriculum

The Ballet Techniques section consists of 3 components, which are Ballet, Pointe and Variations.  This is a total of 1,728 clock hours.

The Contemporary Dance Techniques section consists of 3 components, which are Contemporary, Contemporary Ballet and Jazz.  This is a total of 768 clock hours.

The Allied Dance Studies section consists of 5 components, which are Partnering, Character, Improvisation, Composition, and Choreography. This is a total of 144 clock hours.

The Allied Theory Studies section consists of 6 components, which are Health & Nutrition, History of Dance I & II, Dance Anatomy, Music Concepts, and Critical Analysis. This is a total of 192 clock hours.

The Performance Studies section consists of Rehearsals, Repertory and Performances. This is a total of 752 clock hours.  

The Senior Capstone section consists of students utilizing all components comprehensively learned to create an original body of work. This is a total of 32 hours.

The entire four-year Ballet Program culminates in 3,616 clock hours. The number of clock hours each year are as follows: year one 452 clock hours per term for a total of 904 clock hours, year two 452 clock hours per term for a total of 904 clock hours, year three 452 clock hours per term for a total of 904 clock hours and year four has 452 clock hours per term for a total of 904 clock hours.

Jazz & Contemporary Curriculum

The Ballet Dance Technique consists of 1 Component, which is Ballet Technique, and this is a total of 960 clock hours.

The Contemporary & Modern Dance Techniques section consists of 3 components, which are Contemporary, Modern, and Contemporary Partnering.  This is a total of 840 clock hours.

The Allied Dance Studies section consists of 7 Components, which are Jazz, Theater Dance, Hip Hop, Street Jazz, Latin Jazz, Improvisation, and Composition.  This is a total of 840 clock hours.

The Allied Theory Studies section consists of 6 Components, which are Health & Nutrition, History of Dance I & II, Dance Anatomy, Music Theory, and Critical Analysis. This is a total of 192 clock hours.

The Performance Studies section consists of Rehearsals & Performances. This is a total of 752 clock hours.

The Senior Capstone section consists of students utilizing all components comprehensively learned to create an original body of work. This is a total of 32 hours.

The entire four-year Jazz & Contemporary Program culminates in 3,616 clock hours. Each Term consists of 452 clock hours; 904 clock hours per academic year (two terms).

COURSE DESCRIPTIONS

Ballet Trainee Program Course Descriptions

JBS 100 – Ballet Techniques

Ballet Technique IA

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:                         E. Jouravlev, I. Cimino, V. Angelova, U. Verduzco

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860.

Catalog Description:

JBS 100 – Ballet Technique IA. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. Ballet Technique IA is an introduction to a course of study of ballet that will result in the attainment of a professional level of expertise. It is the first course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the first of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 101 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IA

Prerequisite:          Acceptance into the Ballet Trainee Program

Course Instructors:                 A. Jouravlev, E. Jouravlev, I. Cimino, V. Angelova, U. Verduzco, A. Liceca

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982

Catalog Description:

JBSBT 101 – Pointe, Variations, Partnering, and Men’s Technique IA. Prerequisite: Acceptance into the Ballet Trainee Program. This is the first in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility. 
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory.
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent. 
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IA is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the first of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

Pointe, Variations, Partnering, and Men’s Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes. 

JBS 102 – Ballet Techniques

Ballet Technique IB

Prerequisite:          JBS 100 or Departmental Consent

Course Instructors:                         E. Jouravlev, A. Greenberg, V. Angelova                                

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860.

Catalog Description:

JBS 102 – Ballet Technique IB. Prerequisite: JBS 100 or Departmental Consent. Ballet Technique IB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the second course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the second of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 103 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IB

Prerequisite:          JBSBT 101 or Departmental Consent

Course Instructors:         A. Jouravlev, E. Jouravlev, U. Verduzco, S. Caddell, A. Greenberg, B. Shelver, V.                 Angelova

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982.

Catalog Description:

JBSBT 103 – Pointe, Variations, Partnering, and Men’s Technique IB. Prerequisite: JBSBT 101 or Departmental Consent. Pointe, Variations, Partnering, and Men’s Technique IB is the second in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility. 
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory.
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent. 
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IB is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the second of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

Pointe, Variations, Partnering, and Men’s Technique course sequence sets Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes.

JBS 200 – Ballet Techniques

Ballet Technique IIA

Prerequisite:          JBS 102 or Departmental Consent

Course Instructors:                         E. Jouravlev, A. Liceica, A. Greenberg, V. Angelova, F. Camels, A. Jouravlev                

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860.

Catalog Description:

JBS 200 – Ballet Technique IIA. Prerequisite: JBS 102 or Departmental Consent. Ballet Technique IIA is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the third course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression.  Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.
6. Articulate, in writing, aspects of ballet training, theory, and methodology.

Summary of Topics and Course Requirements:

Ballet Technique IIA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the third of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 201 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IIA

Prerequisite:          JBSBT 103 or Departmental Consent

Course Instructors:                A. Jouralev, F. Camels, A. Greenberg, V. Kozlova, E. Jouralev, B. Shelver

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982. 

Catalog Description:

JBSBT 201 – Pointe, Variations, Partnering, and Men’s Technique IIA. Prerequisite: JBSBT 103 or Departmental Consent. Pointe, Variations, Partnering, and Men’s Technique IIA is the third in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility. 
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory.
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent. 
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IIA is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the third of an eight-course. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

Pointe, Variations, Partnering, and Men’s Technique course sequence sets Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes.

JBS 202 – Ballet Techniques

Ballet Technique IIB

Prerequisite:          JBS 200 or Departmental Consent

Course Instructors:                         U. Verduzco, V. Kozlova,  F. Camels, I. Cimino, A. Liceica                                

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860.

Catalog Description:

JBS 202 – Ballet Technique IIB. Prerequisite: JBS 200 or Departmental Consent. Ballet Technique IIB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the fourth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.
6. Articulate, in writing, aspects of ballet training, theory, and methodology.

Summary of Topics and Course Requirements:

Ballet Technique IIB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the fourth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 203 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IIB

Prerequisite:          JBSBT 201 or Departmental Consent

Course Instructors:          A. Jouravlev, E. Jouravlev, F. Camels, A. Greenberg, V. Angelova, I. Cimino, C.                 Williams, A. Liceica 

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982.

Catalog Description:

JBSBT 203 – Pointe, Variations, Partnering, and Men’s Technique IIB. Prerequisite: JBSBT 201 or Departmental Consent. Pointe, Variations, Partnering, and Men’s Technique IIB is the fourth in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility. 
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory. 
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent.
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IIB is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the fourth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Pointe, Variations, Partnering and Men’s Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes.

JBS 300 – Ballet Techniques

Ballet Technique IIIA

Prerequisite:          JBS 202 or Departmental Consent

Course Instructors:                         A. Jouravlev, S. Caddell, C. Williams, V. Kozlova                                 

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 300 – Ballet Technique IIIA. Prerequisite: JBS 202 or Departmental Consent. Ballet Technique IIIA is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the fifth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IIIA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the fifth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 301 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IIIA

Prerequisite:          JBSBT 203 or Departmental Consent

Course Instructors:                        A. Jouravlev, S. Caddell, F. Camels, A. Greenberg, C. Williams, V. Kozlova

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982

Catalog Description:

JBSBT 301 – Pointe, Variations, Partnering, and Men’s Technique IIIA. Prerequisite: JBSBT 203 or Departmental Consent. Pointe, Variations, Partnering, and Men’s Technique IIIA is the fifth in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility. 
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory. 
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent. 
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IIIA is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the fifth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Pointe, Variations, Partnering and Men’s Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes.

JBS 302 – Ballet Techniques

Ballet Technique IIIB

Prerequisite:          JBS 300 or Departmental Consent

Course Instructors:                         A. Jouravlev, S. Caddell, C. Williams, V. Kozlova                                

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 302 – Ballet Technique IIIB. Prerequisite: JBS 300 or Departmental Consent. Ballet Technique IIIB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the sixth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IIIB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the sixth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 303 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IIIB

Prerequisite:          JBSBT 301 or Departmental Consent

Course Instructors:                        A. Jouravlev, S. Caddell, F. Camels, A. Greenberg, C. Williams, V. Kozlova

Office Location:              434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982

Catalog Description:

JBSBT 303 – Pointe, Variations, Partnering, and Men’s Technique IIIB. Prerequisites: JBSBT 300 or Departmental Consent. Pointe, Variations, Partnering, and Men’s Technique IIIB is the sixth in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility. 
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory. 
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent. 
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IIIB is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the sixth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Pointe, Variations, Partnering and Men’s Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes.

JBS 400 – Ballet Techniques

Ballet Technique IVA

Prerequisite:          JBS 302 or Departmental Consent

Course Instructors:                         S. Caddell, C. Williams, A. Jouravlev, V. Kozlova

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 400 – Ballet Technique IVA. Prerequisite: JBS 302 or Departmental Consent. Ballet Technique IVA is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the seventh course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression.  Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility to a professional level of proficiency.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with individuality, expressiveness and creativity within the parameters of correct ballet technique.

Summary of Topics and Course Requirements:

Ballet Technique IVA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the seventh of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 401 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IVA

Prerequisite:          JBSBT 303 or Departmental Consent

Course Instructors:                        A. Jouravlev, S. Caddell, F. Camels, A. Greenberg, E. Jouravlev, C. Williams, V.                                 Kozlova

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982

Catalog Description:

JBSBT 401 – Pointe, Variations, Partnering, and Men’s Technique IVA. Prerequisites:  JBSBT 303 or Departmental Consent. Pointe, Variations, Partnering, and Men’s Technique IVA is the seventh in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory. 
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent. 
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IVA is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the seventh of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Pointe, Variations, Partnering and Men’s Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes.

JBS 402 – Ballet Techniques

Ballet Technique IVB

Prerequisite:          JBS 400 or Departmental Consent

Course Instructors:                         S. Caddell, C. Williams, A. Jouravlev, V. Kozlova                        

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 402 – Ballet Technique IVB. Prerequisite: JBS 400 or Departmental Consent. Ballet Technique IVB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the eighth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression.  Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility to a professional level of proficiency.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with individuality, expressiveness and creativity within the parameters of correct ballet technique.

Summary of Topics and Course Requirements:

Ballet Technique IVB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the eighth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSBT 403 – Ballet Techniques

Pointe, Variations, Partnering, and Men’s Technique IVA

Prerequisite:          JBSBT 401 or Departmental Consent

Course Instructors:                        A. Jouravlev, S. Caddell, F. Camels, A. Greenberg, E. Jouravlev, C. Williams, V.                                 Kozlova

Office Location:              434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012. ISBN-13: 9780486132860. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets: The Scene-by-Scene Stories of the Most Popular Ballets Old and New. Anchor Books, 1975. ISBN-13: 9780385033985 ISBN-10: 0385033982

Catalog Description:

JBSBT 403 – Pointe, Variations, Partnering, and Men’s Technique IVB. Prerequisites: JBSBT 401 or Departmental Consent. Pointe, Variations, Partnering, and Men’s Technique IVB is the final course in an eight-course sequence which focuses on all technical skills related to ballet technique en pointe and the technical skills specific to the male gender in the ballet modality. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision and flexibility. 
2. Display correct anatomical alignment, both in static and dynamic movement. 
3. Perform the studied basic steps of ballet with aplomb (poise and assurance). 
4. Perform studied exercises with coordination of all parts of the body. 
5. Perform studied exercises with expressiveness, and a responsiveness to musical and rhythmical structures. 
6. Pointe exercises (Females only). 
7. Perform solo dances from the traditional ballet repertory. 
8. Dance in the common tempo with a partner with elementary complementary poses. 
9. Find the center of balance in elementary adagio and tours lent. 
10. Display commensurate strength and co-ordination in all basic lifted work. 
11. Use torso and body isolations in basic dance combinations. 
12. Perform group dances with an understanding of correct style from the historical ballet repertoire. 

Summary of Topics and Course Requirements:

Pointe, Variations, Partnering, and Men’s Technique IVB is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the final course of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which address ballet technique en pointe, artistry, and work ethic. Each course explores highly-nuanced forms within technical approaches to ballet en pointe in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Pointe, Variations, Partnering and Men’s Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes.

JBSBT 110 – Contemporary Dance Techniques

Jazz and Contemporary Dance IA

Prerequisite:          Acceptance into the Ballet Trainee Program

Course Instructors:                         C. Franklin, R. Redick, C. Williams

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Fuhrer, Margaret, and Alicia Graf Mack. American Dance: The Complete Illustrated                 History. Voyageur Press, 2014. ISBN – 13: 9781627885690

Catalog Description:

JBSBT 110 – Jazz and Contemporary Dance IA. Prerequisite: Acceptance into the Ballet Trainee Program. The first in an eight-course sequence, Jazz and Contemporary Dance IA emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps with assurance.
4. Perform studied exercises with co-ordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmic structures.
6. Articulate terminology and basic principles.
7. Use torso and body isolations in basic jazz dance combinations.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IA is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the first of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 112 – Contemporary Dance Techniques

Jazz and Contemporary Dance IB

Prerequisite:          JBSBT 110 or Departmental Consent

Course Instructors:                 W. Ensminger, C. Franklin, B. Waldinger, M. Sappington

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Fuhrer, Margaret, and Alicia Graf Mack. American Dance: The Complete Illustrated                 History. Voyageur Press, 2014. ISBN – 13: 9781627885690.

Catalog Description:

JBSBT 112 – Jazz and Contemporary Dance IB. Prerequisite: JBSBT 110 or Departmental Consent. The second in an eight-course sequence, Jazz and Contemporary Dance IB emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps with assurance.
4. Perform studied exercises with co-ordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmic structures.
6. Articulate terminology and basic principles.
7. Use torso and body isolations in basic jazz dance combinations.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IB is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the second of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 210 – Contemporary Dance Techniques

Jazz and Contemporary Dance IIA

Prerequisite:          JBSBT 112 or Departmental Consent

Course Instructors:                   R. Redick, J. Rodriguez, J. Gomez, M. Sappington

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Foulkes, Julia L. Modern Bodies: Dance and American Modernism from Martha                 Graham and Alvin Ailey. University of North Carolina Press, 2002.ISBN-13:                         9780807853672.

Catalog Description:

JBSBT 210 – Jazz and Contemporary Dance IIA. Prerequisite: JBSBT 112 or Departmental Consent. The third in an eight-course sequence, Jazz and Contemporary Dance IIA emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps with assurance.
4. Perform studied exercises with co-ordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmic structures.
6. Articulate terminology and basic principles.
7. Use torso and body isolations in basic jazz dance combinations.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IIA is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the third of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 212 – Contemporary Dance Techniques

Jazz and Contemporary Dance IIB

Prerequisite:          JBSBT 210 or Departmental Consent

Course Instructors:                   R. Redick, C. Franklin, W. Ensminger, C. Williams

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Foulkes, Julia L. Modern Bodies: Dance and American Modernism from Martha                 Graham and Alvin Ailey. University of North Carolina Press, 2002.ISBN-13:                         9780807853672.

Catalog Description:

JBSBT 212 – Jazz and Contemporary Dance IIB. Prerequisite: JBSBT 210 or Departmental Consent. The fourth in an eight-course sequence, Jazz and Contemporary Dance IIB emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps with assurance.
4. Perform studied exercises with co-ordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmic structures.
6. Articulate terminology and basic principles.
7. Use torso and body isolations in basic jazz dance combinations.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IIB is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the fourth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 310 – Contemporary Dance Techniques

Jazz and Contemporary Dance IIIA

Prerequisite:          JBSBT 212 or Departmental Consent

Course Instructors:                  C. WIlliams, A. Stiskin, C. Franklin, M. Sappington

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Guarino, Lindsay and Wendy Oliver, eds. Jazz Dance: A History of the Roots and                 Branches. University Press of Florida, 2015. ISBN-13: 9780813061290.

Catalog Description:

JBSBT 310 – Jazz and Contemporary Dance IIIA. Prerequisite: JBSBT 212 or Departmental Consent. The fifth in an eight-course sequence, Jazz and Contemporary Dance IIIA emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied intermediate/advanced steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied intermediate/advanced steps with assurance.
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Articulate terminology and intermediate/advanced principles used in the study of technique.
7. Use torso and body isolations in intermediate/advanced combinations. Display correct anatomical alignment, both in static and dynamic movement.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IIIA is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the fourth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 312 – Contemporary Dance Techniques

Jazz and Contemporary Dance IIIB

Prerequisite:          JBSBT 312 or Departmental Consent

Course Instructors:                   C. WIlliams, A. Stiskin, C. Franklin, M. Sappington

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Guarino, Lindsay and Wendy Oliver, eds. Jazz Dance: A History of the Roots and                 Branches. University Press of Florida, 2015. ISBN-13: 9780813061290.

Catalog Description:

JBSBT 312 – Jazz and Contemporary Dance IIIB. Prerequisite: JBSBT 310 or Departmental Consent. The sixth in an eight-course sequence, Jazz and Contemporary Dance IIIB emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied intermediate/advanced steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied intermediate/advanced steps with assurance.
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Articulate terminology and intermediate/advanced principles used in the study of technique.
7. Use torso and body isolations in intermediate/advanced combinations. Display correct anatomical alignment, both in static and dynamic movement.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IIIB is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the sixth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 410 – Contemporary Dance Techniques

Jazz and Contemporary Dance IVA

Prerequisite:          JBSBT 312 or Departmental Consent

Course Instructors:                  C. Williams, A. Stiskin, C. Franklin, M. Sappington

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Katan-Schmid, Einav. Embodied Philosophy in Dance: Gaga and Ohad Naharin’s                 Movement Research. Palgrave MacMillan, 2016. ISBN-13: 9781349956296.

Catalog Description:

JBSBT 410 – Jazz and Contemporary Dance IVA. Prerequisite: JBSBT 312 or Departmental Consent. The seventh in an eight-course sequence, Jazz and Contemporary Dance IVA emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied advanced steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied advanced steps with assurance.
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Articulate terminology and advanced principles used in the study of technique.
7. Use torso and body isolations in advanced combinations. Display correct anatomical alignment, both in static and dynamic movement.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IVA is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the seventh of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 412 – Contemporary Dance Techniques

Jazz and Contemporary Dance IVB

Prerequisite:          JBSBT 410 or Departmental Consent

Course Instructors:                  C. Williams, A. Stiskin, C. Franklin, M. Sappington

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Katan-Schmid, Einav. Embodied Philosophy in Dance: Gaga and Ohad Naharin’s                 Movement Research. Palgrave MacMillan, 2016. ISBN-13: 9781349956296.

Catalog Description:

JBSBT 412 – Jazz and Contemporary Dance IVB. Prerequisite: JBSBT 410 or Departmental Consent. The final course in an eight-course sequence, Jazz and Contemporary Dance IVB emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied advanced steps with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied advanced steps with assurance.
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Articulate terminology and advanced principles used in the study of technique.
7. Use torso and body isolations in advanced combinations. Display correct anatomical alignment, both in static and dynamic movement.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IVB is one of the distinguishing courses offered in the Ballet Trainee Program curriculum. It is the final of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Contemporary Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to jazz and contemporary forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum. 

JBSBT 120 – Allied Dance Techniques

Character Dance IA

Prerequisite:          Acceptance into the Ballet Trainee Program

Course Instructors:                  A. Clavel

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Lopoukov, Andrei. Character Dance. Dance Books Limited, 2000. ISBN-13: 9780903102902.

Catalog Description:

JBSBT 120 – Character IA. Prerequisite: Acceptance into the Ballet Trainee Program. Character IA is an in-depth study of the embodied practices of character and folk dances from around the world. The components of this course extend, enrich, and inform the core technique of ballet. This is the first course in a three-course sequence. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Articulate terminology and basic principles used in the study of character dance technique. 
2. Use torso and body isolations in basic dance combinations. 
3. Perform group dances with an understanding of correct style from the historical ballet repertoire. 
4. Perform group dances from the historical ballet/character repertoire with precision in forming both body and stage design. 

Summary of Topics and Course Requirements:

Character IA is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the first of a three-course sequence of Character courses. These three courses take a scaffolded approach to student learning via an intensive, in-depth study of specific movement skills and studies to reshape the body. The course also enhances an understanding of movement theory, competency of technical skills, and concentration of style and dynamics – all while learning the historical significance of each character dance studied. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, tradition and social, philosophical and emotional perspectives.

The Character Dance course sequence sets Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to classical ballet, thus preparing dancers for careers in the professional ballet world. Character dance appears in multiple acts of most 19th-century ballets like Swan Lake, Don Quixote, etc., and this in-depth study of the forms supports students aspiring to perform at the highest professional level. As an integral facet of classical ballet context and history, this course sequence provides another facet of preparation for students to enter and thrive within the field of professional level classical ballet.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes. 

JBS 123 – Allied Dance Studies

Improvisation

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:         C. Leasca

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Blom, Lynne Anne, and L. Tarin Chaplin. The Moment of Movement: Dance                         Improvisation. University of Pittsburgh Press. 1988. ISBN-13: 9780822954057.

Catalog Description:

JBS 123 – Allied Dance Studies - Improvisation. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. Improvisation is an introduction for all levels of experience. Classes introduce and guide dancers through concepts for spontaneous movement invention, as a somatic practice and performative principle. Varied tasks encourage creativity for the expansion of a dancer’s personal movement vocabulary in an explorative space. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the basic structure of improvisation, following assigned tasks with commitment and dedication.
2. Develop a freedom and awareness, to release expectation and spontaneously discover personal pathways of the body.
3. Develop personal, artistic ownership over movement.
4. Expand the range of movement alternatives, to begin developing a unique expression of personal vocabulary.
5. Explore a self-defined relationship between dance and music.

Summary of Topics and Course Requirements:

Improvisation, an essential course in the Joffrey Ballet School Trainee Program curriculum, is an introduction for all levels of experience. This course sets the Joffrey Ballet School apart from other institutions in its demand for creativity in problem solving. As dancers practice the varied movement experiences throughout the course, they expand their options within movement initiation and vocabularies, thus increasing their versatility and creative choices. Dancers finishing this section of the coursework are multi-faceted, autonomous artists who can contribute more both to the Joffrey Ballet School communities and to their surrounding communities.

JBSBT 220 – Allied Dance Techniques

Character Dance IB

Prerequisite:          JBSBT 120 or Departmental Consent

Course Instructors:                          A. Clavel

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Lopoukov, Andrei. Character Dance. Dance Books Limited, 2000. ISBN-13: 9780903102902.

Catalog Description:

JBSBT 220 – Allied Dance Techniques – Character Dance IB. Prerequisite: JBSBT 120 or Departmental Consent. A continuation of Character IA, Character IB builds upon the previous semester’s study of the embodied practices of character and folk dances from around the world. The components of this course extend, enrich, and inform the core technique of ballet. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Articulate terminology and basic principles used in the study of character dance technique. 
2. Use torso and body isolations in basic dance combinations 
3. Perform group dances with an understanding of correct style from the historical ballet repertoire. 
4. Perform group dances from the historical ballet/character repertoire with precision in forming both body and stage design.

Summary of Topics and Course Requirements:

Character IB is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the second of a three-course sequence of Character courses. These three courses take a scaffolded approach to student learning via an intensive, in-depth study of specific movement skills and studies to reshape the body. The course also enhances an understanding of movement theory, competency of technical skills, and concentration of style and dynamics – all while learning the historical significance of each character dance studied. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, tradition and social, philosophical and emotional perspectives.

The Character Dance course sequence sets Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to classical ballet, thus preparing dancers for careers in the professional ballet world. Character dance appears in multiple acts of most 19th-century ballets like Swan Lake, Don Quixote, etc., and this in-depth study of the forms supports students aspiring to perform at the highest professional level. As an integral facet of classical ballet context and history, this course sequence provides another facet of preparation for students to enter and thrive within the field of professional level classical ballet.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes. 

JBS 223 – Allied Dance Studies

Dance Composition I

Prerequisite:          JBS 123

Course Instructors:         A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Blom, Lynne Anne, and L. Tarin Chaplin. The Intimate Act of         Choreography. University         of Pittsburgh Press, 1982. ISBN-13: 9780822953425.

Catalog Description:

JBS 223 – Allied Dance Studies – Dance Composition I. Prerequisite: JBS 123. Dance Composition I establishes a basic understanding of dance composition, utilizing space, time, and kinesthetic response. The course culminates in the creation of a self-choreographed/performed solo. Varied tasks provide a platform for all students to understand and experience the creative process from a choreographic standpoint. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the basic structure of composition, following assigned tasks with commitment and dedication.
2. Demonstrate and execute variations of spatial design, understanding the potential architecture of body and space.
3. Develop an introductory, personal choreographic style and aesthetic.
4. Perform a self-choreographed solo, executing learned tasks that utilize space, time, and kinesthetic response.
5. Explore a self-defined relationship between dance and music.

Summary of Topics and Course Requirements:

Dance Composition, an essential course in the Joffrey Ballet School Trainee Program curriculum, is an introduction to dance composition for all levels of experience. This course sets the Joffrey Ballet School apart from other institutions in its demand for creativity in problem solving. As dancers practice the varied movement experiences throughout the course, they expand their options within movement initiation and vocabularies, thus increasing their versatility and creative choices. Dancers finishing this section of the coursework are multi-faceted, autonomous artists who can contribute more both to the Joffrey Ballet School communities and to their surrounding communities.

JBSBT 320 – Allied Dance Techniques

Character Dance IIA

Prerequisite:          JBSBT 220 or Departmental Consent

Course Instructors:                  A. Clavel

Office Location:               434 Ave of the Americas, New York NY 10011

Required Reading:         Lopoukov, Andrei. Character Dance. Dance Books Limited, 2000. ISBN-13: 9780903102902.

Catalog Description:

JBSBT 320 – Allied Dance Techniques – Character Dance IIA. Prerequisite: JBSBT 220 or Departmental Consent. Character IIA is an in-depth study of the embodied practices of character and folk dances from around the world. The components of this course extend, enrich, and inform the core technique of ballet. This is the final course in a three-course sequence. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Articulate terminology and basic principles used in the study of character dance technique. 
2. Use torso and body isolations in basic dance combinations 
3. Perform group dances with an understanding of correct style from the historical ballet repertoire. 
4. Perform group dances from the historical ballet/character repertoire with precision in forming both body and stage design.

Summary of Topics and Course Requirements:

Character IIA is one of the distinguishing courses offered in the Ballet Trainee curriculum. It is the final of a three-course sequence of Character courses. These three courses take a scaffolded approach to student learning via an intensive, in-depth study of specific movement skills and studies to reshape the body. The course also enhances an understanding of movement theory, competency of technical skills, and concentration of style and dynamics – all while learning the historical significance of each character dance studied. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, tradition and social, philosophical and emotional perspectives.

The Character Dance course sequence sets Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to classical ballet, thus preparing dancers for careers in the professional ballet world. Character dance appears in multiple acts of most 19th-century ballets like Swan Lake, Don Quixote, etc., and this in-depth study of the forms supports students aspiring to perform at the highest professional level. As an integral facet of classical ballet context and history, this course sequence provides another facet of preparation for students to enter and thrive within the field of professional level classical ballet.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. No jewelry may be worn in ballet partnering classes. It must be kept to a minimum in other classes. 

JBS 323 – Allied Dance Studies

Composition II

Prerequisite:          JBSJC 223

Course Instructors:         A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Humphrey, Doris. The Art of Making Dances. Princeton Book Co. 1991, ISBN-13:                 9780871271587. Smith-Autard, Jacqueline M. Dance Composition: A Practical                 Guide to Creative Success in Dancemaking. Methuen Drama, 6th Ed. 2010. ISBN-13:         9781408115640.

Catalog Description:

JBS 323 – Allied Dance Studies – Composition II. Prerequisite: JBS 223. Dance Composition II utilizes knowledge from Dance Composition I to expand principles of creating from one onto multiple dancers. It culminates in a work set on a group of fellow students. The process provides prospective choreographers practice in communicating individual aesthetic with an emphasis on direction. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the complex structures of group composition, following assigned tasks with commitment and dedication.
2. Demonstrate and execute variations of spatial design, understanding the potential architecture of multiple bodies in space.
3. Develop an identifiable, personal choreographic style and aesthetic.
4. Choreograph a work on fellow dancers, executing learned tasks that utilize space, time, and kinesthetic response.
5. Explore a self-defined relationship between dance and music.

Summary of Topics and Course Requirements:

Dance Composition II, an essential course in the Joffrey Ballet School Trainee Program curriculum, is an intermediate/advanced approach to dance composition. This course sets the Joffrey Ballet School apart from other institutions in its demand for creativity in problem solving. As dancers practice the varied movement experiences throughout the course, they expand their options within movement initiation and vocabularies, thus increasing their versatility and creative choices. Dancers finishing this section of the coursework are multi-faceted, autonomous artists who can contribute more both to the Joffrey Ballet School communities and to their surrounding communities.

JBS 130 – Allied Theory Studies

Health and Nutrition

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:                   S. Wenig

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Chmelar, Robin D., and Sally S. Fitt. Diet for Dancers: A Complete Guide to Nutrition                 and Weight Control for Dancers. Princeton Book Company, 1994. ISBN-13:                         9780916622893.

Catalog Description:

JBS 130 – Allied Theory Studies – Health and Nutrition. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. The Health and Nutrition course expands the student’s working knowledge of healthy living and wellness within a special context of dance. Students will be guided through the various dimensions of health and wellness, as well as ways to monitor and strengthen each facet of their well-being. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Identify the importance and fundamentals of a healthy nutritional plan.
2. Describe preventative measures to protect the dancing body.
3. Utilize individualized techniques to support wellness.
4. Recognize and use reliable sources of health information.
5. Define methods to utilize health insurance to the fullest capacity.
6. Define the types of eating disorders, with their associated risks, treatments, and prevention.
7. Assess forms of cross-training and the correlated benefits for pre-professional and professional dancers.

Summary of Topics and Course Requirements:

One of the distinguishing theory courses in the Joffrey Ballet School Trainee Program curriculum, the Health and Nutrition course sets the Joffrey Ballet School apart from other institutions in its study of health from a specialized perspective in dance. Students will develop skills needed to answer health-related questions, understand prevention and health promotion techniques, and become “health literate” in order to make the best decisions for themselves and their careers. Dancers who study and understand principles of health and wellness find a greater comprehension and overall connectedness of their instrument and its needs; this knowledge is a great tool for students to pursue a career in the field of dance in the healthiest, most sustainable way possible. Due to the all-encompassing nature of this course, students entering the workforce represent a breed of artists with enhanced body awareness and more likelihood for longevity in the professional field.

JBS 132 – Allied Theory Studies

History of Dance I

Prerequisite:          JBS 130

Course Instructors:                   B. Waldinger

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Au, Susan. Ballet and Modern Dance. Thames and Hudson, 2002. ISBN-13:                         9780500204115. Beaman, Patricia Leigh. World Dance Cultures: From Ritual to                 Spectacle. New York: Routledge, 2017. ISBN-13: 9781138907737.

        Homans, Elizabeth. Apollo’s Angels: A History of Ballet. Random House, 2010.                 ISBN-13: 9780812968743.

Catalog Description:

JBS 132 – Allied Theory Studies –History of Dance I. Prerequisite: JBS 130. History of Dance I outlines the history of the traditional ballet and modern/postmodern dance canons, which are divided equally throughout the semester. The course supports a basic historical context for both forms. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Develop a critical understanding of dance as a form of cultural expression.
2. Identify dance as a significant social structure from a global perspective.
3. Describe and identify the major periods and figures that impacted dance in Western Culture.
4. Identify the historical factors that affected the development of Ballet, Modern, and Contemporary Dance.
5. Describe the relationship between the history of dance and the present-day iteration and trends.

Summary of Topics and Course Requirements:

Dance History I is one of the distinguishing core courses offered in the Joffrey Ballet School Trainee Program curriculum. This critical thinking course is complementary to the studio course offerings in its outcome to produce a dancer who better understands their relationship to the art form of dance through a historical, political, and social lens. This results in a general knowledge of western/concertized dance from a global perspective. Dance History I distinguishes the Joffrey Ballet School from other institutions in its contextualization of the form, which leads to students who can intelligently engage in foundational conversations about dance – making them more well-rounded contributors and arts advocates to society.

This course will explore why and how concert dance is a vital participant both reflecting and shaping global politics. Unit 1 covers the history of ballet from its origins in the courts of France through the present, including a brief history of the Joffrey Ballet, while Unit 2 covers the evolution and history of modern/postmodern proscenium dance-makers and the Africanist aesthetic to the present day. Through a combination of lecture, discussion, reading/writing assignments, and exams, students will learn from a hybrid of two teaching approaches: 1, the traditional teaching of the dance canon, and 2, how these forms reflect, shape, and inform the discourse in which it originates.

JBS 230 – Allied Theory Studies

Music Concepts I

Prerequisite:          JBS 132

Course Instructors:                   B. Lazarus

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Teck, Katherine. Ear Training for the Body: A Dancer’s Guide to Music. Ed. 1.                 Pennington, NJ: Princeton Book Publishers. 1994.ISBN-13: 9780871271921.

Catalog Description:

JBS 230 – Allied Theory Studies – Music Concepts I. Prerequisite: JBS 132. Music Concepts provides an introduction to music that will be of benefit in the attainment of a professional level of ability as a performer and/or choreographer of dance. Topics include in-depth study of music theory and an overview of music history. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Acquire a working vocabulary of musical elements.
2. Describe the basic principles of music theory, including rhythmic motives and key structure.
3. Identify the major historical periods and the cultural constructions that significantly impacted a variety of musical styles.
4. Identify and define historical examples of influential collaborations between composers and choreographers.
5. Apply models of the interaction between music and dance.

Summary of Topics and Course Requirements:

One of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum, Music Concepts provides an introductory theoretical framework for music as it specifically relates to dance. Students will learn score reading, meter and time signature, basic music terminology, score-reading, an overview of music history with enhancements of listening skills, and aspects of choreographer/composer collaboration.

The course sets the Joffrey Ballet School apart from other institutions because it invites dancers to find a deeper understanding and connection between dance and the music which drives it, thus offering another creative and theoretical tool for the dancer to make more artistic choices in their movement qualities. Through the formalized study of music theory, another layer of knowledge is added to the dancer’s toolbelt: as a dancer finds more complex comprehension of music, their way of analyzing dance is further clarified. The student develops another avenue by which to problem-solve with creativity and fluidity, thus further preparing students to enter the professional dance world.

JBS 232 – Allied Theory Studies

Dance Anatomy

Prerequisite:          JBS 230

Course Instructors:                   A. Folckomer

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Clippinger, Karen S. Dance Anatomy and Kinesiology. Human Kinetics, 2007.                 ISBN-13: 9781492586432.

        Kapit, Wynn and Lawrence M. Elson. The Anatomy Coloring Book, Pearson, 4th ed.,                 2013.ISBN-13: 9780321832016.        

Catalog Description:

JBS 232 – Allied Theory Studies – Dance Anatomy. Prerequisite: JBS 230. Dance Anatomy applies the basic anatomical principles for a deeper understanding of the dancing body. Students will gain a basic understanding of body mechanics and how that relates to the field of dance, including: extensive anatomical vocabulary, common dance-related injuries, and self-care techniques to treat/prevent injury. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the vocabulary of human anatomy and apply this knowledge to dance training.
2. Articulate the functions of anatomical structures, verbally and physically.
3. Identify parts of the body with ease and become aware of their use in dance training.
4. Develop the student’s ability to assess strengths, weaknesses, and anatomical differences, enabling the student to safely enhance and adapt movement technique.

Summary of Topics and Course Requirements:

Dance Anatomy is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. In this course, students will gain a basic understanding of body mechanics and how that relates to the field of dance, including: extensive anatomical vocabulary, common dance-related injuries, basic working knowledge of the parts of the body as they relate to the art form of dance, and self-care techniques to treat and prevent injury. The course emphasizes knowledge of the musculoskeletal system and principals of movement so that a dancer gains refined comprehension of their body, learning self-care techniques both in movement and in rest, as well as how to self-advocate in both studio and medical contexts.

Dance Anatomy sets the Joffrey Ballet School apart from other institutions in its study of human anatomy in direct relationship to the art form of dance. Dancers who study and understand principles of anatomy find a greater comprehension and overall connectedness of their instrument and its needs; this knowledge is a great tool for students to pursue a career in the field of dance in the healthiest, most sustainable way possible. Due to the all-encompassing nature of this course, students entering the workforce represent a breed of artists with enhanced body awareness and more likelihood for longevity in the professional field.

JBS 330 – Allied Theory Studies

History of Dance II

Prerequisite:          JBS 232

Course Instructors:                    B. Waldinger

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Beaman, Patricia Leigh. World Dance Cultures: From Ritual to Spectacle. New York:                 Routledge, 2017. ISBN-13: 9781138907737.

Catalog Description:

JBS 330 – Allied Theory Studies – History of Dance II. Prerequisite: JBS 232. History of Dance II surveys dance traditions of India, Bali, Java, Cambodia, China, Japan, and Africa, providing insights to the political, historical, and socioeconomic contexts of each region. Students will learn the interconnectedness between non-concertized dance forms and the concertized dance forms previously studied in the History of Dance I. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Develop a critical understanding of dance as a form of cultural expression.
2. Identify dance as a significant social structure from a global perspective.
3. Describe and identify the major periods and figures that impacted dance in Western Culture.
4. Identify the historical factors that affected the development of Ballet, Modern, and Contemporary Dance.
5. Describe the relationship between the history of dance and the present-day iteration and trends.

Summary of Topics and Course Requirements:

History of Dance II is one of the distinguishing courses of the Joffrey Ballet School Trainee Program, offering students a more globalized perspective of dance outside of the "traditional" dance canon. This course sets the Joffrey Ballet School apart from other institutions in its study which extends beyond western proscenium dance, which most competing dance programs rarely explore. The student benefits from a multi-faceted approach to dance histories and the communities from which they arise, connecting the student and the university at a global level.

The course is taught from a social justice-oriented perspective which seeks to bring awareness of marginalized groups of peoples who are commonly ignored from the western dance canon. This is the very root of global citizenship – recognizing that “The Other” is, in fact, equal, despite its systematic historicized exclusion from the dance canon. This course is a platform by which students will develop cultural awareness, sensitivity in connectedness, and respect for what they may not know.

JBS 332 – Allied Theory Studies

Critical Analysis

Prerequisite:          JBS 330

Course Instructors:                   A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Desmond, Jane. Meaning in Motion: New Cultural Studies of Dance (Post-                        Contemporary Interventions). Duke University Press, 1997. ISBN-13: 9780822319429.

Catalog Description:

JBS 332 – Allied Theory Studies – Critical Analysis. Prerequisite: JBS 330. Critical Analysis challenges students to analyze and study the historical, cultural, social, and performative contexts of diverse dance forms from across the world. Students will interpret and evaluate choreographic works, with consideration for the relationship between dance and society. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Develop the ability to describe, discuss, appreciate and analyze dance in various forms across cultures.
2. Assess dance with consideration for historical, cultural, or sociological implications.
3. Analyze the contribution of influential choreographers to the art form of dance, across multiple eras.
4. Refine analytical skills to assess dance thoughtfully and concisely.
5. Identify a personal aesthetic from reading and viewing live and filmed performances.

Summary of Topics and Course Requirements:

One of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum, Critical Analysis provides an introductory theoretical framework for analyzing dance from a historical, cultural and sociological perspective. Students learn to evaluate work critically, elevating the form and content of their reactions. These reactions recognize and articulate the function and characteristics of dance forms, across time and place.

The course sets the Joffrey Ballet School apart from other institutions because it invites dancers to think and speak critically about dance, with an increased understanding of social values, cultural identity, gender, race, and personal experiences in response to artistic endeavors through movement. Student’s intercultural awareness will be heightened through class lectures and discussions, readings, visuals, and live performances. The identity of personal aesthetic will also be shaped, as student compare, contrast, identify, and analyze dance through history and across cultural lines. Together, these modules lead students to intelligently engage in foundational conversations about dance – making them more well-rounded contributors and arts advocates to society.

JBS 140 – Performance Studies

Performance Studies I

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:                  E. Jouravlev, A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

        Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009.ISBN-13: 9780743235273.

Catalog Description:

JBS 140 – Performance Studies I. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. Performance Studies I comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 142 – Performance Studies

Performance Studies II

Prerequisite:          JBS 140

Course Instructors:                  E. Jouravlev, A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

        Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009.ISBN-13: 9780743235273.

Catalog Description:

JBS 142 – Performance Studies II. Prerequisite: JBS 140. Performance Studies II comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 240 – Performance Studies

Performance Studies III

Prerequisite:          JBS 142

Course Instructors:                  E. Jouravlev, A. Stiskin,

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

        Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009.ISBN-13: 9780743235273.

Catalog Description:

JBS 240 – Performance Studies III. Prerequisite: JBS 142. Performance Studies III comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 242 – Performance Studies

Performance Studies IV

Prerequisite:          JBS 240

Course Instructors:                  E. Jouravlev, A. Stiskin,

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

        Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009.ISBN-13: 9780743235273.

Catalog Description:

JBS 242 – Performance Studies IV. Prerequisite: JBS 240. Performance Studies IV comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms.. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 340 – Performance Studies

Performance Studies V

Prerequisite:          JBS 242

Course Instructors:                  A. Jouravlev, E. Jouravlev, A. Stiskin,  

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

        Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009.ISBN-13: 9780743235273.

Catalog Description:

JBS 340 – Performance Studies V. Prerequisite: JBS 242. Performance Studies V comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 342 – Performance Studies

Performance Studies VI

Prerequisite:          JBS 340

Course Instructors:                   A. Jouravlev, E. Jouravlev, A. Stiskin,

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

        Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009.ISBN-13: 9780743235273.

Catalog Description:

JBS 342 – Performance Studies VI. Prerequisite: JBS 340. Performance Studies VI comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 440 – Performance Studies

Performance Studies VII

Prerequisite:          JBS 342

Course Instructors:                   A. Jouravlev, E. Jouravlev, A. Stiskin,

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

        Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009.ISBN-13: 9780743235273.

Catalog Description:

JBS 440 – Performance Studies VII. Prerequisite: JBS 342. Performance Studies VII comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 6.75 clock hours per week for a total of 108 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 442 – Performance Studies

Performance Studies VIII

Prerequisite:          JBS 440

Course Instructors:                   A. Jouravlev, E. Jouravlev, A. Stiskin,

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970.

Catalog Description:

JBS 442 – Performance Studies VIII. Prerequisite: JBS 440. Performance Studies VIII comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms.  Average of 8.75 clock hours per week for a total of 140 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 450 – Senior Project

Senior Capstone

Prerequisite:          All required 300-level coursework

Course Instructors:                   A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Tharp, Twyla. The Creative Habit: Learn it and Use it for Life. Simon and Schuster,                 2009 ISBN-13: 9780743235273.

Catalog Description:

JBS 450 – Senior Capstone. Prerequisite: All required 300-level coursework. The Senior Capstone course culminates an individual’s study of dance. With professional mentorship, students utilize all components comprehensively learned to create an original body of work. The scope of the study is determined by the student, analyzing a future identity and career inside dancemaking, performance outcomes, and/or various artistic mediums. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Create a unique and original body of work.
2. Engage with professionals in the field of dance.
3. Execute all aspects of the presentation.
4. Work with a dance professional(s) outside of the Joffrey Ballet School in some capacity.
5. Design effective collaborative performance opportunities within the surrounding New York City community.

Summary of Topics and Course Requirements:

One of the final required courses in the distinguishing Joffrey Ballet School Trainee Program, the Senior Capstone course is the culminating expression of the student’s four years of training. Through the mentorship and guidance of the instructor, the individual cultivates an idea of personal/artistic interest and significance, performs research related to the topic, and finally, produces the original thesis in the format of a showing, paper, and/or presentation. The structure of the course is intentionally fluid to encourage the student’s individual introspection and creativity as it relates to the art form.

The Senior Capstone course sets the Joffrey Ballet School apart from other institutions in its process-driven opportunity for students to discover an idea that authentically interests and excites them. The student is then encouraged to research the chosen topic, and then curate an experience which fills a gap/enriches the community (This community can range from the Joffrey community to a global level). Through these processes, the student learns the real-world skill related to bringing an idea into being, as well as the creative problem solving necessary to use the art form as a platform by which to serve others. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and also an excellent representative for the high standard of education at the Joffrey Ballet School.

Jazz and Contemporary Trainee Program Course Descriptions

JBS 100 – Ballet Techniques

Ballet Technique IA

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:                         R. Kelley, K. Walsh, Y. Fernandez

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 100 – Ballet Technique IA. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. Ballet Technique IA is an introduction to a course of study of ballet that will result in the attainment of a professional level of expertise. It is the first course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the first of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBS 102 – Ballet Techniques

Ballet Technique IB

Prerequisite:          JBS 100 or Departmental Consent

Course Instructors:                   R. Kelley, K. Walsh, Y. Fernandez

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet.                 Dover, 2012.

Catalog Description:

JBS 102 – Ballet Technique IB. Prerequisite: JBS 100 or Departmental Consent. Ballet Technique IB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the second course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the second of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBS 200 – Ballet Techniques

Ballet Technique IIA

Prerequisite:          JBS 102 or Departmental Consent

Course Instructors:                         B. Shelver, E. Yilmaz, Y. Fernandez, R. Kelley, A. Franceschi

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 200 – Ballet Technique IIA. Prerequisite: JBS 102 or Departmental Consent. Ballet Technique IIA is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the third course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression.  Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.
6. Articulate, in writing, aspects of ballet training, theory, and methodology.

Summary of Topics and Course Requirements:

Ballet Technique IIA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the third of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBS 202 – Ballet Techniques

Ballet Technique IIB

Prerequisite:          JBS 200 or Departmental Consent

Course Instructors:                         R. Glover, E. Yilmaz, B. Shelver, Y. Fernandez, A. Franceschi, R. Kelley

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 202 – Ballet Technique IIB. Prerequisite: JBS 200 or Departmental Consent. Ballet Technique IIB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the fourth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied basic steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.
6. Articulate, in writing, aspects of ballet training, theory, and methodology.

Summary of Topics and Course Requirements:

Ballet Technique IIB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the fourth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBS 300 – Ballet Techniques

Ballet Technique IIIA

Prerequisite:          JBS 202 or Departmental Consent

Course Instructors:                         K. Walsh, A. Franceschi, M. Cusumano, G. Lamb, R. Kelley

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 300 – Ballet Technique IIIA. Prerequisite: JBS 202 or Departmental Consent. Ballet Technique IIIA is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the fifth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IIIA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the fifth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBS 302 – Ballet Techniques

Ballet Technique IIIB

Prerequisite:          JBS 300 or Departmental Consent

Course Instructors:                         K. Walsh, A. Franceschi, M. Cusumano, G. Lamb, R. Kelley

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 302 – Ballet Technique IIIB. Prerequisite: JBS 300 or Departmental Consent. Ballet Technique IIIB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the sixth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression. Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with expressiveness and a responsiveness to music and rhythmical structures.

Summary of Topics and Course Requirements:

Ballet Technique IIIB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the sixth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBS 400 – Ballet Techniques

Ballet Technique IVA

Prerequisite:          JBS 302 or Departmental Consent

Course Instructors:                         R. Kelley, G. Lamb, A. Franceschi, M. Cusumano, B. Shelver

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 400 – Ballet Technique IVA. Prerequisite: JBS 302 or Departmental Consent. Ballet Technique IVA is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the seventh course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression.  Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility to a professional level of proficiency.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with individuality, expressiveness and creativity within the parameters of correct ballet technique.

Summary of Topics and Course Requirements:

Ballet Technique IVA is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the seventh of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBS 402 – Ballet Techniques

Ballet Technique IVB

Prerequisite:          JBS 400 or Departmental Consent

Course Instructors:                         R. Kelley, G. Lamb, A. Franceschi, M. Cusumano, B. Shelver

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Grant, Gail. Technical Manual and Dictionary of Classical Ballet. Dover, 2012.                 ISBN-13: 9780486132860

Catalog Description:

JBS 402 – Ballet Technique IVB. Prerequisite: JBS 400 or Departmental Consent. Ballet Technique IVB is a continued course of study of ballet that will result in the attainment of a professional level of expertise. It is the eighth course in an eight-course sequence which emphasizes a sound foundation in correct postural alignment, flexibility and core strength, and artistic expression.  Average of 7.5 clock hours per week for a total of 120 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the studied steps of ballet with commensurate strength, precision, and flexibility to a professional level of proficiency.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied basic steps of ballet with aplomb (poise and assurance).
4. Perform studied exercises with coordination of all parts of the body.
5. Perform studied exercises with individuality, expressiveness and creativity within the parameters of correct ballet technique.

Summary of Topics and Course Requirements:

Ballet Technique IVB is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. It is the eighth of an eight-course sequence of Ballet Technique courses. These eight courses take a scaffolded approach to student learning, which address ballet technique, artistry, and work ethic. These courses explore highly-nuanced forms within technical approaches to ballet in order to build and strengthen their pre-existing foundational technique. This course is designed to build the strength, flexibility, endurance, and control necessary for performance of beginning/intermediate-level ballet barre and center exercises, from adagio to allegro. Steps of virtuosity are studied in their preparatory forms. Expressiveness and interpretive qualities are incorporated in all training. Theoretical training is included, focusing on the logical and progressive organization of Ballet Pedagogy and Methodology. An understanding of proper body mechanics and the French vocabulary will also be emphasized.

The Ballet Technique course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience of the form as it relates to the professional echelon, thus preparing students for careers in the professional dance world. Ballet technique, which is widely believed to be one of the primary forms of western concert dance, is considered a primary skill for dancers entering the professional dance realm. In such a competitive and overly-saturated field of the arts, a solid foundation of technical training in ballet sets our students apart from others seeking jobs in the field.

Students are expected to display a motivated work ethic, developing qualities of reliability, dependability, and self-initiative. Attendance and punctuality are mandatory. Students are required to wear appropriate ballet dance wear, which reveals the outward shape of the feet, torso, arms and legs. Hair should be appropriately arranged off the face. Jewelry should be kept to a minimum.

JBSJC 110 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IA

Prerequisite:          Acceptance into the Jazz & Contemporary Trainee Program

Course Instructors:                         A. Stiskin, K. Nauman, A. Hurd, C. Cogliandro

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Forsythe, Ana Marie, Cheryl Ball, Marjorie Perce, and Alvin Ailey. Dance Technique of         Lester Horton. Princeton Book Company, 1992. ISBN-13: 9780871271648.

Catalog Description:

JBSJC 110 – Contemporary and Modern Dance IA. Prerequisite: Acceptance into the Jazz & Contemporary Trainee Program. The first in an eight-course sequence, the Contemporary and Modern Dance IA course applies introductory principles and vocabulary of both contemporary dance and Horton technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the introductory movement and vocabulary of contemporary dance and Horton technique, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary of contemporary dance and Horton technique with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the first of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Horton Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 111 – Contemporary and Modern Dance Techniques

Contemporary Partnering IA

Prerequisite:          Acceptance into the Jazz & Contemporary Trainee Program

Course Instructors:         B. Krapels

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form.                 McFarland & Company, 2006. ISBN-13: 9780786426478

Catalog Description:

JBSJC 111 – Contemporary Partnering IA. Prerequisite: Acceptance into the Jazz & Contemporary Trainee Program. Contemporary Partnering IA applies principles of weight distribution and manipulation of the body in contact through complex phrase work. Tasks apply principles of weight sharing, counterbalance, and responsiveness. Proper execution and communication are emphasized. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute introductory grips, wraps, and movement principles that develop a reliance on two bodies in space.
2. Display correct anatomical alignment, both in static and dynamic, weight-bearing movement.
3. Perform the studied movement with assurance and trust.
4. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to another dancer.
5. Develop personal, artistic ownership over movement and phrase work.

Summary of Topics and Course Requirements:

Contemporary Partnering IA, the first in a four-course sequence within the distinguishing Jazz & Contemporary Trainee Program curriculum. The course sequence takes a scaffolded educational approach, building increasingly complex phrase work each semester. This course sequence sets  the Joffrey Ballet School apart from other institutions because 1., the diversified and highly marketable skill of safe partnering is not offered in other traditional dance programs, and 2., it provides the student with the advantage of self-confidence in various forms of partner work, which is not usually learned until the dancer is working in the professional field. The student finishes the four-course sequence with a learned ability to work with others in all types of settings and projects, contributing to the overall working balance of students within the arts communities.

JBSJC 112 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IB

Prerequisite:          JBSJC 110 or Departmental Consent

Course Instructors:                   A. Stiskin, K. Nauman, A. Hurd, C. Cogliandro

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Forsythe, Ana Marie, Cheryl Ball, Marjorie Perce, and Alvin Ailey. Dance Technique of         Lester Horton. Princeton Book Company, 1992. ISBN-13: 9780871271648.

Catalog Description:

JBSJC 112 – Contemporary and Modern Dance IB. Prerequisite: JBSJC 110 or Departmental Consent. The second in an eight-course sequence, the Contemporary and Modern Dance IB course applies introductory principles and vocabulary of both contemporary dance and Horton technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Demonstrate and describe contemporary dance visually and verbally.
2. Understand the major aesthetic premises and development of contemporary dance.
3. Utilize a deeper understanding of strength, stretch, and range of mobility.
4. Execute a deeper understanding of core strength and safe stretching techniques.
5. Develop musicality, dynamics, clarity, and articulation in time and space.
6. Explore the expressive and qualitative range of movement and performance.
7. Display power of movement, following initiation and release.
8. Develop rudimentary level technique and performance skills.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the second of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Horton Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 210 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IIA

Prerequisite:          JBSJC 112 or Departmental Consent

Course Instructors:         K. Gayle, C. Cubero, C. Cogliandro, J. Pruitt

Office Location:        434 Avenue of the Americas, New York NY 10011

Required Reading:         Strauss, Marc Raymond and Myron Howard Nadel. Looking at Contemporary Dance:         A Guide for the Internet Age. Princeton Book Company, 2012. ISBN-13:                         9780871273543. Shelver, Bradley. Performance Through The Dance Technique Of                 Lester Horton. CreateSpace Independent Publishing, Platform, 2013. ISBN-13:                 9781482392784

Catalog Description:

JBSJC 210 – Contemporary and Modern Dance IIA. Prerequisite: JBSJC 112 or Departmental Consent. The third in an eight-course sequence, the Contemporary and Modern Dance IIA course applies introductory principles and vocabulary of both contemporary dance and Horton technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Personally demonstrate and describe rudimentary components of contemporary dance visually and verbally.
2. Understand the major aesthetic premises and development of contemporary dance.
3. Utilize a deeper understanding of strength, stretch, and range of mobility.
4. Execute a deeper understanding of core strength and safe stretching techniques.
5. Explore the expressive and qualitative range of movement and performance.
6. Develop musicality, dynamics, clarity, and articulation in time and space.
7. Display power of movement, following initiation and release.
8. Develop rudimentary level technique and performance skills.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IIA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the third of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Horton Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 211 – Contemporary and Modern Dance Techniques

Contemporary Partnering IB

Prerequisite:          JBSJC 111 or Departmental Consent

Course Instructors:         B. Krapels

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Pallant, Cheryl. Contact Improvisation: An Introduction to a Vitalizing Dance Form.                 McFarland & Company, 2006. ISBN-13: 9780786426478

Catalog Description:

JBSJC 211 – Contemporary Partnering IB. Prerequisite: JBSJC 111 or Departmental Consent. Contemporary Partnering IB applies principles of weight distribution and manipulation of the body in contact through complex phrase work. Tasks apply principles of weight sharing, counterbalance, and responsiveness. Proper execution and communication are emphasized. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute beginning-intermediate grips, wraps, and movement principles that develop a reliance on two bodies in space.
2. Apply principles of weight-sharing in phrase work with consciousness and deliberacy.
3. Display correct anatomical alignment, both in static and dynamic, weight-bearing movement.
4. Perform the studied movement with assurance and trust.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to another dancer.
6. Develop personal, artistic ownership over movement and phrase work.

Summary of Topics and Course Requirements:

Contemporary Partnering IB, the second in a four-course sequence within the distinguishing Jazz & Contemporary Trainee Program curriculum. The course sequence takes a scaffolded educational approach, building increasingly complex phrase work each semester. This course sequence sets the Joffrey Ballet School apart from other institutions because 1., the diversified and highly marketable skill of safe partnering is not offered in other traditional dance programs, and 2., it provides the student with the advantage of self-confidence in various forms of partner work, which is not usually learned until the dancer is working in the professional field. The student finishes the four-course sequence with a learned ability to work with others in all types of settings and projects, contributing to the overall working balance of students within the arts communities.

JBSJC 212 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IIB

Prerequisite:          JBSJC 210 or Departmental Consent

Course Instructors:         C. Cubero, C. Cogliandro, J. Pruitt, K. Gayle

Office Location:        434 Avenue of the Americas, New York NY 10011

Required Reading:         Strauss, Marc Raymond and Myron Howard Nadel. Looking at Contemporary Dance:         A Guide for the Internet Age. Princeton Book Company, 2012. ISBN-13:                         9780871273543. Shelver, Bradley. Performance Through The Dance Technique Of                 Lester Horton. CreateSpace Independent Publishing, Platform, 2013. ISBN-13:                 9781482392784

Catalog Description:

JBSJC 212 – Contemporary and Modern Dance IIB. Prerequisite: JBSJC 210 or Departmental Consent. The fourth in an eight-course sequence, the Contemporary and Modern Dance IIB course applies introductory principles and vocabulary of both contemporary dance and Horton technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Personally demonstrate and describe intermediate components of contemporary dance visually and verbally.
2. Understand the major aesthetic premises and development of contemporary dance.
3. Utilize a deeper understanding of strength, stretch, and range of mobility.
4. Execute a deeper understanding of core strength and safe stretching techniques.
5. Explore the expressive and qualitative range of movement and performance.
6. Develop musicality, dynamics, clarity, and articulation in time and space.
7. Display power of movement, following initiation and release.
8. Develop intermediate level technique and performance skills.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IIB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the fourth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Horton Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 310 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IIIA

Prerequisite:          JBSJC 212 or Departmental Consent

Course Instructors:         C. Rago, A. Stiskin, C. Cogliandro, A. Benard

Office Location:        434 Avenue of the Americas, New York NY 10011

Required Reading:         Louppe, Laurence. Poetics of Contemporary Dance. Dance Books Ltd., 2010.                 ISBN-13: 9781852731403

Catalog Description:

JBSJC 310 – Contemporary and Modern Dance IIIA. Prerequisite: JBSJC 212 or Departmental Consent. The fifth in an eight-course sequence, the Contemporary and Modern Dance IIIA course applies introductory principles and vocabulary of both contemporary dance and Graham technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Personally demonstrate and describe intermediate-advanced components of contemporary dance visually and verbally.
2. Understand the major aesthetic premises and development of contemporary dance.
3. Utilize a deeper understanding of strength, stretch, and range of mobility.
4. Execute a deeper understanding of core strength and safe stretching techniques.
5. Explore the expressive and qualitative range of movement and performance.
6. Develop musicality, dynamics, clarity, and articulation in time and space.
7. Display power of movement, following initiation and release.
8. Develop intermediate-advanced level technique and performance skills.
9. Quickly comprehend and retain combinations in classes, in preparation for auditions.
10. Understand the demands and skills necessary to pursue dance professionally.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IIIA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the fifth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Graham Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 311 – Contemporary and Modern Dance Techniques

Contemporary Partnering IIA

Prerequisite:          JBSJC 211 or Departmental Consent

Course Instructors:         B. Krapels

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Stark Smith, Nancy. Caught Falling: The Confluence of Contact Improvisation. Contact         Quarterly, 2008. ISBN 978-0-937645-09-3

Catalog Description:

JBSJC 311 – Contemporary Partnering IIA. Prerequisite: JBSJC 211 or Departmental Consent. Contemporary Partnering IIA applies principles of weight distribution and manipulation of the body in contact through complex phrase work. Tasks apply principles of weight sharing, counterbalance, and responsiveness. Proper execution and communication are emphasized. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute intermediate-advanced grips, wraps, and movement principles that develop a reliance on two bodies in space.
2. Apply principles of improvisation and composition.
3. Display correct anatomical alignment, both in static and dynamic, weight-bearing movement.
4. Perform the studied movement with assurance and trust.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to another dancer.
6. Develop personal, artistic ownership over movement and phrase work.

Summary of Topics and Course Requirements:

Contemporary Partnering IIA, the third in a four-course sequence within the distinguishing Jazz & Contemporary Trainee Program curriculum. The course sequence takes a scaffolded educational approach, building increasingly complex phrase work each semester. This course sequence sets the Joffrey Ballet School apart from other institutions because 1., the diversified and highly marketable skill of safe partnering is not offered in other traditional dance programs, and 2., it provides the student with the advantage of self-confidence in various forms of partner work, which is not usually learned until the dancer is working in the professional field. The student finishes the four-course sequence with a learned ability to work with others in all types of settings and projects, contributing to the overall working balance of students within the arts communities.

JBSJC 312 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IIIB

Prerequisite:          JBSJC 310 or Departmental Consent

Course Instructors:         C. Rago, A. Stiskin, C. Cogliandro, A. Benard

Office Location:        434 Avenue of the Americas, New York NY 10011

Required Reading:         Louppe, Laurence. Poetics of Contemporary Dance. Dance Books Ltd., 2010.                 ISBN-13: 9781852731403

Catalog Description:

JBSJC 312 – Contemporary and Modern Dance IIIB. Prerequisite: JBSJC 310 or Departmental Consent. The sixth in an eight-course sequence, the Contemporary and Modern Dance IIIB course applies intermediate principles and vocabulary of both contemporary dance and Graham technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination.  Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Personally demonstrate and thoroughly describe advanced-intermediary components of contemporary dance visually and verbally.
2. Understand the major aesthetic premises and development of contemporary dance.
3. Utilize a deeper understanding of strength, stretch, and range of mobility.
4. Execute a deeper understanding of core strength and safe stretching techniques.
5. Explore the expressive and qualitative range of movement and performance.
6. Develop musicality, dynamics, clarity, and articulation with complex alterations of time and space.
7. Display power of movement, following initiation and release.
8. Develop advanced-intermediary level technique with a unique performance qualities.
9. Quickly comprehend and retain combinations in classes, in preparation for auditions.
10. Understand the demands and skills necessary to pursue dance professionally.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IIIB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the sixth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets NJCU apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Graham Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at NJCU.

JBSJC 410 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IVA

Prerequisite:          JBSJC 312 or Departmental Consent

Course Instructors:         C. Rago, C. Cogliandro, J. Pruitt, A. Benard

Office Location:        434 Avenue of the Americas, New York NY 10011

Required Reading:         Laermans, Rudi. Moving Together: Making and Theorizing Contemporary Dance.                 Valiz/Antennae Series, 2015. ISBN-13: 9789078088523. Horosko, Marian. Martha                 Graham: The Evolution of Her Dance Theory and Training. University Press of Florida,         2002. ISBN-13: 9780813024738

Catalog Description:

JBSJC 410 – Contemporary and Modern Dance IVA. Prerequisite: JBSJC 312 or Departmental Consent. The seventh in an eight-course sequence, the Contemporary and Modern Dance IVA course applies intermediate principles and vocabulary of both contemporary dance and Graham technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Personally demonstrate and describe advanced components of contemporary dance visually and verbally.
2. Understand the major aesthetic premises and development of contemporary dance.
3. Utilize a deeper understanding of strength, stretch, and range of mobility.
4. Execute a deeper understanding of core strength and safe stretching techniques.
5. Explore the expressive and qualitative range of movement and performance.
6. Develop musicality, dynamics, clarity, and articulation in time and space.
7. Display power of movement, following initiation and release.
8. Develop advanced level technique and performance skills.
9. Quickly comprehend, retain, and perform combinations in classes, in preparation for auditions.
10. Understand the demands and skills necessary to pursue dance professionally.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IVA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the seventh of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Graham Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 412 – Contemporary and Modern Dance Techniques

Contemporary and Modern Dance IVB

Prerequisite:          JBSJC 410 or Departmental Consent

Course Instructors:         C. Rago, C. Cogliandro, J. Pruitt, A. Benard

Office Location:        434 Avenue of the Americas, New York NY 10011

Required Reading:         Laermans, Rudi. Moving Together: Making and Theorizing Contemporary Dance.                 Valiz/Antennae Series, 2015. ISBN-13: 9789078088523. Horosko, Marian. Martha                 Graham: The Evolution of Her Dance Theory and Training. University Press of Florida,         2002. ISBN-13: 9780813024738

Catalog Description:

JBSJC 412 – Contemporary and Modern Dance IVB. Prerequisite: JBSJC 410 or Departmental Consent. The final course in an eight-course sequence, Contemporary and Modern Dance IVB applies intermediate principles and vocabulary of both contemporary dance and Graham technique. Students will build on the basic understanding of technical execution and performance quality, while emphasizing proper alignment and coordination. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Personally demonstrate and describe advanced components of contemporary dance visually and verbally.
2. Understand the major aesthetic premises and development of contemporary dance.
3. Utilize a deeper understanding of strength, stretch, and range of mobility.
4. Execute a deeper understanding of core strength and safe stretching techniques.
5. Explore the expressive and qualitative range of movement and performance.
6. Develop musicality, dynamics, clarity, and articulation in time and space.
7. Display power of movement, following initiation and release.
8. Develop advanced level technique and performance skills.
9. Quickly comprehend, retain, and perform combinations in classes, in preparation for auditions.
10. Understand the demands and skills necessary to pursue dance professionally.

Summary of Topics and Course Requirements:

Contemporary and Modern Dance IVB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the final course of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Contemporary and Modern Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules (Contemporary and Graham Technique) in this course assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 120 – Allied Dance Studies

Jazz and Commercial Dance IA

Prerequisite:          Acceptance into the Jazz & Contemporary Trainee Program

Course Instructors:         G. Anderson, N. Ranauro, E. Osavio, A. Jefferson, M. Smith

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Guarino, Lindsay. Jazz Dance: A History of the Roots and Branches. University Press         of Florida, 2015. ISBN-13: 9780813061290

Catalog Description:

JBSJC 120 – Allied Dance Studies - Jazz and Commercial Dance IA. Prerequisite: Acceptance into the Jazz & Contemporary Trainee Program. Jazz and Commercial Dance IA is the first in an eight-course sequence which explores principles of jazz forms, theatre dance, and hip hop. Emphasis is placed on correct alignment, flexibility, core strength. Students will also learn terminology, history, and performance concepts. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the introductory movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Commercial Dance IA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the first of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 122 – Allied Dance Studies

Jazz and Commercial Dance IB

Prerequisite:          JBSJC 120 or Departmental Consent

Course Instructors:         G. Anderson, N. Ranauro, E. Osavio, A. Jefferson, M. Smith

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Guarino, Lindsay. Jazz Dance: A History of the Roots and Branches. University Press         of Florida, 2015. ISBN-13: 9780813061290

Catalog Description:

JBSJC 122 – Allied Dance Studies - Jazz and Commercial Dance IB. Prerequisite: JBSJC120 or Departmental Consent. Jazz and Commercial Dance IB is the second in an eight-course sequence which explores principles of jazz forms, theatre dance, and hip hop. Emphasis is placed on correct alignment, flexibility, core strength. Students will also learn terminology, history, and performance concepts.  Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the introductory movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Contemporary Dance IB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the second of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBS 123 – Allied Dance Studies

Improvisation

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:         C. Leasca

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Blom, Lynne Anne, and L. Tarin Chaplin. The Moment of Movement: Dance                         Improvisation. University of Pittsburgh Press. 1988. ISBN-13: 9780822954057

Catalog Description:

JBS 123 – Allied Dance Studies - Improvisation. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. Improvisation is an introduction for all levels of experience. Classes introduce and guide dancers through concepts for spontaneous movement invention, as a somatic practice and performative principle. Varied tasks encourage creativity for the expansion of a dancer’s personal movement vocabulary in an explorative space. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the basic structure of improvisation, following assigned tasks with commitment and dedication.
2. Develop a freedom and awareness, to release expectation and spontaneously discover personal pathways of the body.
3. Develop personal, artistic ownership over movement.
4. Expand the range of movement alternatives, to begin developing a unique expression of personal vocabulary.
5. Explore a self-defined relationship between dance and music.

Summary of Topics and Course Requirements:

Improvisation, an essential course in the Joffrey Ballet School Trainee Program curriculum, is an introduction for all levels of experience. This course sets the Joffrey Ballet School apart from other institutions in its demand for creativity in problem solving. As dancers practice the varied movement experiences throughout the course, they expand their options within movement initiation and vocabularies, thus increasing their versatility and creative choices. Dancers finishing this section of the coursework are multi-faceted, autonomous artists who can contribute more both to the Joffrey Ballet School communities and to their surrounding communities.

JBSJC 220 – Allied Dance Studies

Jazz and Commercial Dance IIA

Prerequisite:          JBSJC 122 or Departmental Consent

Course Instructors:         N. Ranauro, A. Waddell, A. Jefferson, E. Osavio

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Henry, Dollie. The Essential Guide to Jazz Dance. Crowood Press, 2020. ISBN-13:                 9781785006357

Catalog Description:

JBSJC 220 – Allied Dance Studies - Jazz and Commercial Dance IIA. Prerequisite: JBSJC 122 or Departmental Consent. The third in an eight-course sequence, Jazz and Contemporary Dance IIA emphasizes the creation of a sound foundation for contemporary and jazz modalities through correct postural alignment, flexibility, and core strength. The dynamic expression encouraged through this aesthetic increases the dancer’s proficiency in other dance forms. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the intermediate movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Commercial Dance IIA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the third of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 222 – Allied Dance Studies

Jazz and Commercial Dance IIB

Prerequisite:          JBSJC 220 or Departmental Consent

Course Instructors:         G. Anderson, A. Jefferson, A. Waddell, E. Osavio, N. Ranauro

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Henry, Dollie. The Essential Guide to Jazz Dance. Crowood Press, 2020. ISBN-13:                 9781785006357

Catalog Description:

JBSJC 222 – Allied Dance Studies - Jazz and Commercial Dance IIB. Prerequisite: JBSJC 220 or Departmental Consent. Jazz and Commercial Dance IIB is the fourth in an eight-course sequence which explores principles of jazz forms, theatre dance, and hip hop. Emphasis is placed on correct alignment, flexibility, core strength. Students will also learn terminology, history, and performance concepts. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the intermediate movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Commercial Dance IIB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the fourth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBS 223 – Allied Dance Studies

Dance Composition I

Prerequisite:          JBS 123

Course Instructors:         A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Blom, Lynne Anne, and L. Tarin Chaplin. The Intimate Act of Choreography. University         of Pittsburgh Press, 1982. ISBN-13: 9780822953425

Catalog Description:

JBS 223 – Allied Dance Studies – Dance Composition I. Prerequisite: JBS 123. Dance Composition I establishes a basic understanding of dance composition, utilizing space, time, and kinesthetic response. The course culminates in the creation of a self-choreographed/performed solo. Varied tasks provide a platform for all students to understand and experience the creative process from a choreographic standpoint. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the basic structure of composition, following assigned tasks with commitment and dedication.
2. Demonstrate and execute variations of spatial design, understanding the potential architecture of body and space.
3. Develop an introductory, personal choreographic style and aesthetic.
4. Perform a self-choreographed solo, executing learned tasks that utilize space, time, and kinesthetic response.
5. Explore a self-defined relationship between dance and music.

Summary of Topics and Course Requirements:

Dance Composition, an essential course in the Joffrey Ballet School Trainee Program curriculum, is an introduction to dance composition for all levels of experience. This course sets the Joffrey Ballet School apart from other institutions in its demand for creativity in problem solving. As dancers practice the varied movement experiences throughout the course, they expand their options within movement initiation and vocabularies, thus increasing their versatility and creative choices. Dancers finishing this section of the coursework are multi-faceted, autonomous artists who can contribute more both to the Joffrey Ballet School communities and to their surrounding communities.

JBSJC 320 – Allied Dance Studies

Jazz and Commercial Dance IIIA

Prerequisite:          JBSJC 222 or Departmental Consent

Course Instructors:         N. Ranauro, A. Waddell, S. McMiller, A. Jefferson, J. Luks

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Cramer, Lyn. Creating Musical Theatre: Conversation with Broadway Directors and                 Choreographers. Methuen Drama, 2013. ISBN-13: 9781408185322

Catalog Description:

JBSJC 320 – Allied Dance Studies - Jazz and Commercial Dance IIIA. Prerequisite: JBSJC 222 or Departmental Consent. Jazz and Commercial Dance IIIA is the fifth in an eight-course sequence which explores principles of jazz forms, theatre dance, and hip hop. Emphasis is placed on correct alignment, flexibility, core strength. Students will also learn terminology, history, and performance concepts. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the advanced-intermediate movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Commercial Dance IIIA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the fifth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 322 – Allied Dance Studies

Jazz and Commercial Dance IIIB

Prerequisite:          JBSJC 320 or Departmental Consent

Course Instructors:         N. Ranauro, A. Waddell, S. McMiller, A. Jefferson, J. Luks

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Cramer, Lyn. Creating Musical Theatre: Conversation with Broadway Directors and                 Choreographers. Methuen Drama, 2013. ISBN-13: 9781408185322

Catalog Description:

JBSJC 322 – Allied Dance Studies - Jazz and Commercial Dance IIIB. Prerequisite: JBSJC 320 or Departmental Consent. Jazz and Commercial Dance IIIB is the sixth in an eight-course sequence which explores principles of jazz forms, theatre dance, and hip hop. Emphasis is placed on correct alignment, flexibility, core strength. Students will also learn terminology, history, and performance concepts. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the advanced-intermediate movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Commercial Dance IIIB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the sixth of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBS 323 – Allied Dance Studies

Composition II

Prerequisite:          JBSJC 223

Course Instructors:         A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Humphrey, Doris. The Art of Making Dances. Princeton Book Co. 1991, ISBN-13:                 9780871271587. Smith-Autard, Jacqueline M. Dance Composition: A Practical Guide         to Creative Success in Dancemaking. Methuen Drama, 6th Ed. 2010. ISBN-13:                 9781408115640.

Catalog Description:

JBS 323 – Allied Dance Studies – Composition II. Prerequisite: JBS 223. Dance Composition II utilizes knowledge from Dance Composition I to expand principles of creating from one onto multiple dancers. It culminates in a work set on a group of fellow students. The process provides prospective choreographers practice in communicating individual aesthetic with an emphasis on direction. Average of 1.5 clock hours per week for a total of 24 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the complex structures of group composition, following assigned tasks with commitment and dedication.
2. Demonstrate and execute variations of spatial design, understanding the potential architecture of multiple bodies in space.
3. Develop an identifiable, personal choreographic style and aesthetic.
4. Choreograph a work on fellow dancers, executing learned tasks that utilize space, time, and kinesthetic response.
5. Explore a self-defined relationship between dance and music.

Summary of Topics and Course Requirements:

Dance Composition II, an essential course in the Joffrey Ballet School Trainee Program curriculum, is an intermediate/advanced approach to dance composition. This course sets the Joffrey Ballet School apart from other institutions in its demand for creativity in problem solving. As dancers practice the varied movement experiences throughout the course, they expand their options within movement initiation and vocabularies, thus increasing their versatility and creative choices. Dancers finishing this section of the coursework are multi-faceted, autonomous artists who can contribute more both to the Joffrey Ballet School communities and to their surrounding communities.

JBSJC 420 – Allied Dance Studies

Jazz and Commercial Dance IVA

Prerequisite:          JBSJC 322 or Departmental Consent

Course Instructors:         A. Jefferson, J. Luks, A. Waddell, N. Ranauro, S. McMiller, G. Anderson

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Moore, Rachel S. The Artist’s Compass: The Complete Guide to Building a Life and a         Living in the Performing Arts. Atria Books, 2017. ISBN-13: 9781501126642

Catalog Description:

JBSJC 420 – Allied Dance Studies - Jazz and Commercial Dance IVA. Prerequisite: JBSJC 322 or Departmental Consent. Jazz and Commercial Dance IVA is the seventh in an eight-course sequence which explores principles of jazz forms, theatre dance, and hip hop. Emphasis is placed on correct alignment, flexibility, core strength. Students will also learn terminology, history, and performance concepts. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the advanced movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Commercial Dance IVA is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the seventh of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBSJC 422 – Allied Dance Studies

Jazz and Commercial Dance IVB

Prerequisite:          JBSJC 420 or Departmental Consent

Course Instructors:         A. Jefferson, J. Luks, A. Waddell, N. Ranauro, S. McMiller, G. Anderson

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Moore, Rachel S. The Artist’s Compass: The Complete Guide to Building a Life and a         Living in the Performing Arts. Atria Books, 2017. ISBN-13: 9781501126642

Catalog Description:

JBSJC 422 – Allied Dance Studies - Jazz and Commercial Dance IVB. Prerequisite: JBSJC 420 or Departmental Consent. Jazz and Commercial Dance IVB is the final course in an eight-course sequence which explores principles of jazz forms, theatre dance, and hip hop. Emphasis is placed on correct alignment, flexibility, core strength. Students will also learn terminology, history, and performance concepts. Average of 6 clock hours per week for a total of 96 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Execute the advanced movement and vocabulary of Jazz and the associated techniques of commercial dance, with commensurate strength, precision and flexibility.
2. Display correct anatomical alignment, both in static and dynamic movement.
3. Perform the studied movement and vocabulary with assurance.
4. Perform studied exercises with coordination from desired parts of the body.
5. Perform studied exercises with energy, commitment, accuracy, and a responsiveness to musical and rhythmical structures.
6. Develop personal, artistic ownership over movement.

Summary of Topics and Course Requirements:

Jazz and Commercial Dance IVB is one of the distinguishing courses offered in the Jazz & Contemporary Trainee Program curriculum. It is the final of an eight-course sequence. These eight courses take a scaffolded approach to student learning, which are devised to fortify, stretch, and strengthen the body. This class is an intensive approach toward specific movement skills and studies to reshape the body while enhancing an understanding of movement theory, competency of technical skills, and concentration of style and dynamics.

The Jazz and Commercial Dance course sequence sets the Joffrey Ballet School apart from other institutions because it provides students with a detailed embodied experience to these forms as they relate to the professional echelon, thus preparing students for careers in the professional dance world. The modules in this course (Jazz, Theatre Dance, Street and/or Latin Jazz, and Hip Hop) assist with growth and versatility, resulting in the development of an accomplished dancer. Through this approach, students will begin to actively apply a conscious knowledge of dance as it relates to humanity, global traditions, and philosophical and emotional perspectives. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School.

JBS 130 – Allied Theory Studies

Health and Nutrition

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:                  S. Wenig

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Chmelar, Robin D., and Sally S. Fitt. Diet for Dancers: A Complete Guide to Nutrition                 and Weight Control for Dancers. Princeton Book Company, 1994. ISBN-13:                         9780916622893

Catalog Description:

JBS 130 – Allied Theory Studies – Health and Nutrition. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. The Health and Nutrition course expands the student’s working knowledge of healthy living and wellness within a special context of dance. Students will be guided through the various dimensions of health and wellness, as well as ways to monitor and strengthen each facet of their well-being. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Identify the importance and fundamentals of a healthy nutritional plan.
2. Describe preventative measures to protect the dancing body.
3. Utilize individualized techniques to support wellness.
4. Recognize and use reliable sources of health information.
5. Define methods to utilize health insurance to the fullest capacity.
6. Define the types of eating disorders, with their associated risks, treatments, and prevention.
7. Assess forms of cross-training and the correlated benefits for pre-professional and professional dancers.

Summary of Topics and Course Requirements:

One of the distinguishing theory courses in the Joffrey Ballet School Trainee Program curriculum, the Health and Nutrition course sets the Joffrey Ballet School apart from other institutions in its study of health from a specialized perspective in dance. Students will develop skills needed to answer health-related questions, understand prevention and health promotion techniques, and become “health literate” in order to make the best decisions for themselves and their careers. Dancers who study and understand principles of health and wellness find a greater comprehension and overall connectedness of their instrument and its needs; this knowledge is a great tool for students to pursue a career in the field of dance in the healthiest, most sustainable way possible. Due to the all-encompassing nature of this course, students entering the workforce represent a breed of artists with enhanced body awareness and more likelihood for longevity in the professional field.

JBS 132 – Allied Theory Studies

History of Dance I

Prerequisite:          JBS 130

Course Instructors:                         B. Waldinger

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Au, Susan. Ballet and Modern Dance. Thames and Hudson, 2002. ISBN-13:                         9780500204115. Beaman, Patricia Leigh. World Dance Cultures: From Ritual to                 Spectacle. New York: Routledge, 2017. ISBN-13: 9781138907737. Homans, Jennifer.         Apollo’s Angels: A History of Ballet. Random House, 2010. ISBN-13: 9780812968743

Catalog Description:

JBS 132 – Allied Theory Studies –History of Dance I. Prerequisite: JBS 130. History of Dance I outlines the history of the traditional ballet and modern/postmodern dance canons, which are divided equally throughout the semester. The course supports a basic historical context for both forms. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Develop a critical understanding of dance as a form of cultural expression.
2. Identify dance as a significant social structure from a global perspective.
3. Describe and identify the major periods and figures that impacted dance in Western Culture.
4. Identify the historical factors that affected the development of Ballet, Modern, and Contemporary Dance.
5. Describe the relationship between the history of dance and the present-day iteration and trends.

Summary of Topics and Course Requirements:

Dance History I is one of the distinguishing core courses offered in the Joffrey Ballet School Trainee Program curriculum. This critical thinking course is complementary to the studio course offerings in its outcome to produce a dancer who better understands their relationship to the art form of dance through a historical, political, and social lens. This results in a general knowledge of western/concertized dance from a global perspective. Dance History I distinguishes the Joffrey Ballet School from other institutions in its contextualization of the form, which leads to students who can intelligently engage in foundational conversations about dance – making them more well-rounded contributors and arts advocates to society.

This course will explore why and how concert dance is a vital participant both reflecting and shaping global politics. Unit 1 covers the history of ballet from its origins in the courts of France through the present, including a brief history of the Joffrey Ballet, while Unit 2 covers the evolution and history of modern/postmodern proscenium dance-makers and the Africanist aesthetic to the present day. Through a combination of lecture, discussion, reading/writing assignments, and exams, students will learn from a hybrid of two teaching approaches: 1, the traditional teaching of the dance canon, and 2, how these forms reflect, shape, and inform the discourse in which it originates.

JBS 230 – Allied Theory Studies

Music Concepts I

Prerequisite:          JBS 132

Course Instructors:                         B. Lazarus

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Teck, Katherine. Ear Training for the Body: A Dancer’s Guide to Music. Ed. 1.                 Pennington, NJ: Princeton Book Publishers. 1994. ISBN-13: 9780871271921

Catalog Description:

JBS 230 – Allied Theory Studies – Music Concepts I. Prerequisite: JBS 132. Music Concepts provides an introduction to music that will be of benefit in the attainment of a professional level of ability as a performer and/or choreographer of dance. Topics include in-depth study of music theory and an overview of music history. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Acquire a working vocabulary of musical elements.
2. Describe the basic principles of music theory, including rhythmic motives and key structure.
3. Identify the major historical periods and the cultural constructions that significantly impacted a variety of musical styles.
4. Identify and define historical examples of influential collaborations between composers and choreographers.
5. Apply models of the interaction between music and dance.

Summary of Topics and Course Requirements:

One of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum, Music Concepts provides an introductory theoretical framework for music as it specifically relates to dance. Students will learn score reading, meter and time signature, basic music terminology, score-reading, an overview of music history with enhancements of listening skills, and aspects of choreographer/composer collaboration.

The course sets the Joffrey Ballet School apart from other institutions because it invites dancers to find a deeper understanding and connection between dance and the music which drives it, thus offering another creative and theoretical tool for the dancer to make more artistic choices in their movement qualities. Through the formalized study of music theory, another layer of knowledge is added to the dancer’s toolbelt: as a dancer finds more complex comprehension of music, their way of analyzing dance is further clarified. The student develops another avenue by which to problem-solve with creativity and fluidity, thus further preparing students to enter the professional dance world.

JBS 232 – Allied Theory Studies

Dance Anatomy

Prerequisite:          JBS 230

Course Instructors:                         A. Folckomer

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Clippinger, Karen S. Dance Anatomy and Kinesiology. Human Kinetics, 2007.                 ISBN-13: 9781492586432. Kapit, Wynn and Lawrence M. Elson. The Anatomy                 Coloring Book, Pearson, 4th ed., 2013. ISBN-13: 9780321832016

Catalog Description:

JBS 232 – Allied Theory Studies – Dance Anatomy. Prerequisite: JBS 230. Dance Anatomy applies the basic anatomical principles for a deeper understanding of the dancing body. Students will gain a basic understanding of body mechanics and how that relates to the field of dance, including: extensive anatomical vocabulary, common dance-related injuries, and self-care techniques to treat/prevent injury. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Understand the vocabulary of human anatomy and apply this knowledge to dance training.
2. Articulate the functions of anatomical structures, verbally and physically.
3. Identify parts of the body with ease and become aware of their use in dance training.
4. Develop the student’s ability to assess strengths, weaknesses, and anatomical differences, enabling the student to safely enhance and adapt movement technique.

Summary of Topics and Course Requirements:

Dance Anatomy is one of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum. In this course, students will gain a basic understanding of body mechanics and how that relates to the field of dance, including: extensive anatomical vocabulary, common dance-related injuries, basic working knowledge of the parts of the body as they relate to the art form of dance, and self-care techniques to treat and prevent injury. The course emphasizes knowledge of the musculoskeletal system and principals of movement so that a dancer gains refined comprehension of their body, learning self-care techniques both in movement and in rest, as well as how to self-advocate in both studio and medical contexts.

Dance Anatomy sets the Joffrey Ballet School apart from other institutions in its study of human anatomy in direct relationship to the art form of dance. Dancers who study and understand principles of anatomy find a greater comprehension and overall connectedness of their instrument and its needs; this knowledge is a great tool for students to pursue a career in the field of dance in the healthiest, most sustainable way possible. Due to the all-encompassing nature of this course, students entering the workforce represent a breed of artists with enhanced body awareness and more likelihood for longevity in the professional field.

JBS 330 – Allied Theory Studies

History of Dance II

Prerequisite:          JBS 232

Course Instructors:                         B. Waldinger

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Beaman, Patricia Leigh. World Dance Cultures: From Ritual to Spectacle. New York:                 Routledge, 2017. ISBN-13: 9781138907737

Catalog Description:

JBS 330 – Allied Theory Studies – History of Dance II. Prerequisite: JBS 232. History of Dance II surveys dance traditions of India, Bali, Java, Cambodia, China, Japan, and Africa, providing insights to the political, historical, and socioeconomic contexts of each region. Students will learn the interconnectedness between non-concertized dance forms and the concertized dance forms previously studied in the History of Dance I. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Develop a critical understanding of dance as a form of cultural expression.
2. Identify dance as a significant social structure from a global perspective.
3. Describe and identify the major periods and figures that impacted dance in Western Culture.
4. Identify the historical factors that affected the development of Ballet, Modern, and Contemporary Dance.
5. Describe the relationship between the history of dance and the present-day iteration and trends.

Summary of Topics and Course Requirements:

History of Dance II is one of the distinguishing courses of the Joffrey Ballet School Trainee Program, offering students a more globalized perspective of dance outside of the "traditional" dance canon. This course sets the Joffrey Ballet School apart from other institutions in its study which extends beyond western proscenium dance, which most competing dance programs rarely explore. The student benefits from a multi-faceted approach to dance histories and the communities from which they arise, connecting the student and the university at a global level.

The course is taught from a social justice-oriented perspective which seeks to bring awareness of marginalized groups of peoples who are commonly ignored from the western dance canon. This is the very root of global citizenship – recognizing that “The Other” is, in fact, equal, despite its systematic historicized exclusion from the dance canon. This course is a platform by which students will develop cultural awareness, sensitivity in connectedness, and respect for what they may not know.

JBS 332 – Allied Theory Studies

Critical Analysis

Prerequisite:          JBS 330

Course Instructors:                         A. Stiskin

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Desmond, Jane. Meaning in Motion: New Cultural Studies of Dance                                 (Post-Contemporary Interventions). Duke University Press, 1997. ISBN-13:                         9780822319429

Catalog Description:

JBS 332 – Allied Theory Studies – Critical Analysis. Prerequisite: JBS 330. Critical Analysis challenges students to analyze and study the historical, cultural, social, and performative contexts of diverse dance forms from across the world. Students will interpret and evaluate choreographic works, with consideration for the relationship between dance and society. Average of 2 clock hours per week for a total of 32 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

1. Develop the ability to describe, discuss, appreciate and analyze dance in various forms across cultures.
2. Assess dance with consideration for historical, cultural, or sociological implications.
3. Analyze the contribution of influential choreographers to the art form of dance, across multiple eras.
4. Refine analytical skills to assess dance thoughtfully and concisely.
5. Identify a personal aesthetic from reading and viewing live and filmed performances.

Summary of Topics and Course Requirements:

One of the distinguishing courses offered in the Joffrey Ballet School Trainee Program curriculum, Critical Analysis provides an introductory theoretical framework for analyzing dance from a historical, cultural and sociological perspective. Students learn to evaluate work critically, elevating the form and content of their reactions. These reactions recognize and articulate the function and characteristics of dance forms, across time and place.

The course sets the Joffrey Ballet School apart from other institutions because it invites dancers to think and speak critically about dance, with an increased understanding of social values, cultural identity, gender, race, and personal experiences in response to artistic endeavors through movement. Student’s intercultural awareness will be heightened through class lectures and discussions, readings, visuals, and live performances. The identity of personal aesthetic will also be shaped, as student compare, contrast, identify, and analyze dance through history and across cultural lines. Together, these modules lead students to intelligently engage in foundational conversations about dance – making them more well-rounded contributors and arts advocates to society.

JBS 140 – Performance Studies

Performance Studies I

Prerequisite:          Acceptance into the Joffrey Ballet School Trainee Program

Course Instructors:                         A. Stiskin, B. Shelver

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970. Tharp, Twyla. The Creative Habit: Learn it         and Use it for Life. Simon and Schuster, 2009. ISBN-13: 9780743235273

Catalog Description:

JBS 140 – Performance Studies I. Prerequisite: Acceptance into the Joffrey Ballet School Trainee Program. Performance Studies I comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 142 – Performance Studies

Performance Studies II

Prerequisite:          JBS 140

Course Instructors:                         A. Stiskin, B. Shelver

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970. Tharp, Twyla. The Creative Habit: Learn it         and Use it for Life. Simon and Schuster, 2009. ISBN-13: 9780743235273

Catalog Description:

JBS 142 – Performance Studies II. Prerequisite: JBS 140. Performance Studies II comprises the rehearsal/preparation processes and the formal performances of ballet and contemporary dance forms. Average of 5.25 clock hours per week for a total of 84 clock hours.

Course Objectives:

Upon completion of this course, students will be able to:

Effectively engage in rehearsals for dance works by one or a number of choreographers by:

1. Demonstrating a professional approach to rehearsals.
2. Contributing willingly and ably to collaborative choreographic processes and /or choreographic tasks as required by the choreographer.
3. Appropriately responding to, and use of, oral communication.
4. Engaging with created movement material.
5. Working as a team member in the creation and organization of aesthetic movement material.
6. Dancing in a group accurately and with consideration of others.
7. Demonstrating a commitment to personal improvement.

Perform the choreographic work of one choreographer, or dance works by a number of choreographers, by:

1. Performing with technical skill, clarity and precision.
2. Performing with commensurate strength and cardiovascular endurance.
3. Performing with appropriate expression.
4. Performing with musicality and rhythm.
5. Performing with precision and awareness in groups and with partners.
6. Demonstrating a professional conduct during performance and in the theatre environment.

Summary of Topics and Course Requirements:

The Performance Studies course series is an integral facet of the distinguishing Joffrey Ballet School Trainee Program curriculum. In these eight courses, the student learns choreography set by a professional, studies the work’s artistic and technical depths as an exploration of process, and finally, performs the work on the formal proscenium stage at the close of the semester. The depth of these courses invites students to actively apply a conscious knowledge of dance as it relates to humanity, tradition, and philosophical/emotional perspectives to their own artistic process both working individually and in groups. This sense of global citizenship and social responsibility as an artist makes the student a strong contributor to society and an excellent representative for the high standard of education at the Joffrey Ballet School. The Performance Studies course series sets the Joffrey Ballet School apart from other institutions due to its intensive approach to the dancer’s process of art-making at the highest professional echelon possible, providing the student with insight of and preparation for life within a professional dance company.

JBS 240 – Performance Studies

Performance Studies III

Prerequisite:          JBS 142

Course Instructors:                         A. Stiskin, B. Shelver

Office Location:        434 Ave of the Americas, New York NY 10011

Required Reading:         Watkins, A., and Clarkson, P. M. Dancing Longer, Dancing Stronger. Princeton Book                 Company, 1990. ISBN-13: 9780871273970. Tharp, Twyla. The Creative Habit: Learn it         and Use it for Life. Simon and Schuster, 2009. ISBN-13: 9780743235273