College of Visual and Performing Arts School of Dance

Cross-college collaboration helps George �鶹��Ƶ dancers stay ready for the stage

Sarah Holland — Thu, 12 Mar 2026 17:44:40 +0000

Cross-college collaboration helps George �鶹��Ƶ dancers stay ready for the stage Sarah Holland Thu, 03/12/2026 - 13:44

Photo by Evan Cantwell/Office of University Branding

As the athletic trainer for the George �鶹��Ƶ School of Dance, Jena Hansen-Honeycutt is one of the first to notice when something’s not quite right. So when she started seeing an influx in injuries among dance students, she approached College of Education and Human Development professor of athletic training Jatin Ambegaonkar and then-student Kelley Wiese, PhD Kinesiology ’25, hoping to find a solution.

Dancers are “aesthetic athletes,” meaning they have the high workloads and high injury rates like traditional athletes. “They dance for at least three hours a day in classroom practice alone,” said Hansen-Honeycutt. “And that doesn’t account for their extracurricular work: rehearsals, choreography, or additional practice.”

And like athletes, the dancers are also trying to balance heavy physical demands with their classes, sleep schedules, dietary needs, and social lives.

Despite this, dancers are often medically underserved.

“The blend of artistry and athleticism separates them from traditional athletes, yet they have the same physical demands often without a dedicated medical team to support them,” explained Ambegaonkar.

In exploring data collection opportunities to help answer Hansen-Honeycutt's inquiry, Wiese found that workload monitoring—common for traditional athletes—was underutilized in dance. And because fatigue is the number one self-reported cause of injury in dancers, she thought this would be the best place to start.

“We can recognize there’s a correlation between fatigue and injury, but you need data in order to make a stronger case for implementing cultural and systemic changes,” said Wiese. Wiese, a trained dancer and now an assistant professor of athletic training at Shenandoah University, worked with Ambegaonkar during her doctoral program at George �鶹��Ƶ on various studies at the intersection of kinesiology and dance.

Dancers were given wrist-worn biosensors to wear 24 hours a day for seven days. They repeated the study four times throughout the semester. “We wanted to understand the cycles of the body breaking down and recovering as workload increased and decreased throughout their semester,” explained Ambegaonkar.

Participating students were also given surveys to provide subjective perceptions of their workload, sleep habits, and energy levels.

Photo by Evan Cantwell/Office of University Branding

Reviewing the data, Wiese found that at peak times throughout the semester, students were spending more than seven hours a day completing moderate to vigorous physical activity between class, rehearsals, practice, and choreographing. As a result, energy levels decreased and fatigue increased, indicating a need for integrated recovery times and programs.

Another key finding from this study was the dissonance between students’ perceived sleep and the biosensor data. While students self-reported great and sufficient sleep, the biosensors reported insufficient sleep.

“Over time, insufficient sleep can lead to difficulty recovering and therefore higher rates of injury,” said Wiese. “Particularly when they’re already struggling to recover.”

As a result, the research team worked together to develop what Ambegaonkar calls “micro-interventions” through improved sleep health education programs to help students become aware of the issue and develop better sleep habits. Hansen-Honeycutt has created sleep health resources for students around the impacts of good sleep on their academic and physical performance and is working with the faculty to incorporate this messaging into their classrooms.

“It’s so important to have this collaborative, teamwork approach with dance faculty, because they’re setting the culture in their program or in their studio. They will be the ones imparting these changes,” said Wiese.

“This study proved to me that us dance majors are extremely active, more than I often realize!” said senior dance major Sanaa Fairley. “I learned that I could develop a much more consistent sleep schedule to set up my space and therefore my mind, in a healthy way each day to prepare for rest.” Fairley has implemented other recovery techniques, such as cold showers, into her routine as well because of the study.

Senior dance major T’aja Williams also reported improved sleep hygiene through a consistent bedtime, as well as making her more aware of how academic, socio-emotional, and physical activities impact her schedule and technology use. “This study allowed me to see where potential pockets of homework, rest, social media engagement, and phone calls can take place and making active decisions regarding where and when is healthiest for each activity,” she said.

Building good habits now will help George �鶹��Ƶ dance students have long and fulfilling careers in dance. And Ambegaonkar and Wiese think this study might help pave the way for further research into the physical demands and impacts of dance.

“I think George �鶹��Ƶ is a pioneer in the field of dance medicine,” said Ambegaonkar. “We’re broadening the scope of what kinesiology is in the public health domain and what it can do in the public health domain.”

Jena Hansen-Honeycutt (top left), Kelley Wiese (top center), and Jatin Ambegaonkar (top left) with dance students. Photo by Evan Cantwell/Office of University Branding

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George �鶹��Ƶ dance students perform alongside Limón Dance Company

Shayla Brown — Wed, 03 Dec 2025 17:27:00 +0000

George �鶹��Ƶ dance students perform alongside Limón Dance Company Shayla Brown Wed, 12/03/2025 - 12:27

This fall, �鶹��Ƶ’s dance studios buzzed with excitement as School of Dance students prepared for and performed José Limón’s 1958 original composition Missa Brevis, alongside professional dancers from the Center for the Arts artists in residence Limón Dance Company.

“We’re thrilled to welcome one of the most prestigious modern dance companies to George �鶹��Ƶ,” said Victor Adebusola, assistant director of programming and engagement in the College of Visual and Performing Arts. “Their residency gives our School of Dance students the opportunity to learn from and collaborate with incredible professional artists.”

More than 80 George �鶹��Ƶ students participated in an intense audition process, led by Limón company members Kurt Douglas and Logan Francis Krueger, and 13 were selected to perform the piece.

Junior dance major Avery Nank said that these auditions can get pretty intense. Nank had previous experience with the dance company, participating in two Limón summer intensive sessions in Colorado and New York City, but auditioning still made her nervous.

“I had previously learned some of the choreography, but I was still really nervous because I wanted it so badly,” she said.

After winning a spot in Missa Brevis, the students then worked with Douglas and Krueger to learn the choreography and prepare for the company’s November Concert Hall performance.

Guest artist residencies are intense learning opportunities and a chance for George �鶹��Ƶ dance students to make connections that are invaluable to their careers. After the guest artists choose their cast, a challenging 10-day rehearsal period begins that parallels a professional work schedule. These long days result in a finished work that is performed before a Center for the Arts audience.

School of Dance students rehearsing with Limón Dance Company members. Photo by Evan Cantwell/Office of University Branding.

Limón Dance Company was founded in 1946 by José Limón and Doris Humphrey. The piece Missa Brevis takes place during World War II and was inspired by Limón’s tour of Europe, organized by the U.S. Department of State. The choreography is meant to reflect resilience and hope amidst devastation.

“When [Limón] went to Poland, he saw how ruined it was, but also how uplifting the people were,” said sophomore dance major Robert Harris. “He wanted to carry that and show the world that even though something can be torn down, the fight against adversity is higher and that you can achieve what you want to with your community.”

The guest artist program lets George �鶹��Ƶ dancers learn to perform the piece and gain insights into the lives of professional dancers.

“It was cool to hear about the dancers’ experiences that led them to Limón,” said Harris. “They were very open with us, answering all of our questions and being very patient with us. It was a very eye-opening experience because it showed me that there really is a possibility of me being able to do this in the future.”

“As a young student, it's not often that you get to work with a professional company as a learning opportunity. I’m very thankful knowing that I was able to be a part of this. It was once in a lifetime,” said Harris.

Nank said her biggest takeaway was the possibility of growth when working as a team.

“We can all grow immensely if we're doing it at the same time and we’re doing it together. It just takes patience, discipline, and taking the time to care about the people around you,” she said.

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Dance alum returns to campus for guest residency

ckearney — Fri, 21 Mar 2025 14:46:34 +0000

Dance alum returns to campus for guest residency ckearney Fri, 03/21/2025 - 10:46

�鶹��Ƶ alumnus Robert Rubama, BFA Dance ’18, was on the Fairfax Campus for a guest residency this spring semester. During their time on campus, Rubama worked with School of Dance students to help stage and rehearse choreographer Yue Yin's "Through the Fracture of Light," which the students will perform at the Dance Gala Concert on March 28 and 29 at 8 p.m. at the Center for the Arts.

Rubama performed a Yin piece as a George �鶹��Ƶ student and later worked for and toured with the Yue Yin Dance Company (YYDC), performing “Through the Fracture of Light.” Yin’s work showcases a technique she created, the FoCo Technique, which is a contemporary form of dance movement rooted in Chinese classical and folk dance “melded with the diverse influences of the immigrant experience.”

Rubama shared their professional experience with students during the residency. “While assisting [YYDC’s rehearsal director] Grace Whitworth in restaging the piece, I focused on providing the dancers with tips to navigate a work as physically rigorous as Yin's,” they said. “I emphasized the importance of connecting to their breath and managing their energy while performing. Additionally, I wanted to share safe ways to execute the movements that respected the choreographer's intent while honoring the individual needs of the dancers, as everyone is different.”

Robert Rubama. Photo provided

Rubama has worked with the Metropolitan Opera, Haus of Bambi, Groundworks Dance Theater, Orange Grove Dance, Flockworks Dance, and the Mark Morris Dance Group, and was an artist in residence at the National Building Museum, the Floor on Atlantic, and the Homeport Art House.

As an independent choreographer, Rubama’s work has been performed by Company E Dance, Spark Movement Collective, Bucknell University, Cleveland Dance Project, Jane Franklin Dance, Luna Dance Company, and Terre Dance Collective.

During their time at George �鶹��Ƶ, Rubama said they valued many of the opportunities at the School of Dance provided, including the chance to choreograph for peers and performing in the annual gala. “These opportunities taught me how to lead rehearsals effectively and ethically, how to articulate my creative vision through both words and movement, and the necessary skills for working in a rehearsal environment,” they said. “I also learned the importance of being a cover or understudy for a piece.”

Rubama also was candid with the students about working as a professional. “As a professional artist, my work encompasses performing, choreographing, arts administration, and teaching, all while balancing a non-dance job,” they said. “I maintain balance by being clear about scheduling with those I work with, establishing boundaries about my workload, and making financially sound choices.”

When providing advice to current dance students, Rubama encouraged them to be curious. “During your time at George �鶹��Ƶ, you will encounter various perspectives on movement,” they said. “If certain approaches resonate with you, engage with that professor or guest artist to explore those ideas further. If you have interests outside of dance, pursue those as well (in areas like marketing, arts administration, photography, or videography). These additional skills can intersect with your work in dance.”

The opportunity to work with guest artists and contemporary choreographers is a critical part of career preparation for dance majors. Nearly 80% of the class of 2024 received contracts with major dance companies within months of graduation. And as Susan Shields, director of the School of Dance, asserts—the graduates are also excellent “dance citizens” when out there in the professional world.

“The School of Dance has the most generous alums. They are trained to be excellent dance citizens, and we appreciate that they have represented our values so beautifully in the professional world,” said Shields, herself a George �鶹��Ƶ alum. “Whenever they return, they offer more than dance steps. They share insights, connections, and even offer a couch to sleep on if needed. To watch your former student teach a current student, well....any professor knows that is probably one of the most gratifying experiences one can hope for in the profession."

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CVPA Announces Recipients of the 2025 Young Alumni Commissioning Project Awards

Emily Schneider — Wed, 19 Feb 2025 16:28:07 +0000

CVPA Announces Recipients of the 2025 Young Alumni Commissioning Project Awards Emily Schneider Wed, 02/19/2025 - 11:28

�鶹��Ƶ’s College of Visual and Performing Arts (CVPA) announces the recipients of the sixth round of its Young Alumni Commissioning Project Awards. Two alumni were chosen based on the artistic excellence, career impact, and feasibility of their proposals and will receive financial, marketing, and production support to have their projects presented by the college at a �鶹��Ƶ Arts venue during the 2025–26 season.

“This year’s Young Alumni Commissioning Project Awards continue our mission to support emerging artists across the spectrum of disciplines that we practice and teach in �鶹��Ƶ Arts. The projects are compelling in both form and content, rising to the top of a very competitive pool of proposals,” said College of Visual and Performing Arts Dean Rick Davis. “We are equally excited to showcase the work we’ve supported in recent cycles, proving the value of this program not only to the artists themselves, but to the community at large, as we add more highly accomplished artistry to the world’s inventory.”

Brianna Camp is the 2025 recipient of the Young Alumni Commissioning Project Award. Photo provided

Brianna Camp

Brianna Camp, BFA Art and Visual Technology ’23, received the Young Alumni Commissioning Project Award and $5,000 in commissioning support for Flare: Finding a Sense of Place in the Chronically Ill Body. This work will consist of a series of large-scale oil paintings, each accompanied by documentary photographs and poetry. In exploring her personal experiences with navigating the ebb and flow of her chronic illness, Flare offers audiences the chance to reflect on how we process pain over time and the vastness of the potential for healing.

Camp is interested in pursuing a career in art therapy and hopes this project will serve as a starting point toward her future practice. Reflecting on her time at George �鶹��Ƶ and the impact that the faculty had on her development as an artist, Camp said, “When I make work from a place of authenticity, allowing for potential mistakes, changes, and discoveries, I am able to get closer to expressing what feels true. Their belief in me helped me find my voice and understand the importance of sharing my perspective. I hope to create my project from this place of openness and authenticity that they helped foster within me.”

Marina Vianello is the recipient of the 2025 Young Alumni Creative Development Award. Photo provided

Marina Vianello

Marina Vianello, BFA Dance ’18, received the Young Alumni Creative Development Award and $2,500 in commissioning support for Three Generations of Bach, an intergenerational multimedia dance work. Vianello will work with her mother, Andrea Skowronek, a retired professional dancer, to recreate and blend together inspiration from an original dance work that Skowronek developed early in her career, set to music accompaniment from her own father. Collaborating as co-directors on this new piece, Vianello and Skowronek will incorporate live flute accompaniment of Bach’s Partita in A Minor, video footage of Skowronek performing as a young woman, and live performances by Vianello and Skowronek—solo and together.

A professional dancer and choreographer herself, Vianello aims to explore how the passage of time affects movement, memories, and mindsets, and wants audiences to consider what is lost and what is gained as one ages and releases themselves from the limits of ageism and judgment. Reflecting on her journey after graduating from George �鶹��Ƶ, Vianello shared, “I have such admiration for the dance artists who continuously create opportunities for themselves and others, and this is something I champion and will always strive for and hope to forever do.”

Over the past five years, 18 CVPA alumni have been granted awards anywhere from $2,500 to $5,000 to support the creation of a new artistic work for projects in film, dance, visual art, music, and game design. To be considered for this year’s award, applicants must have graduated from CVPA from the class of 2014 and after. Proposals could include original new work in any art form suitable for performance, exhibition, or screening in a �鶹��Ƶ Arts venue. The size, length, duration, magnitude, and content are at the artist’s discretion. Potential venues include George �鶹��Ƶ’s traditional theater spaces, galleries, and cinemas, but proposals for non-traditional venues, including digital spaces, were also considered.

During the 2023–24 award cycle, Jumana Al Refai, BFA Dance ’17, received the Young Alumni Commissioning Project Award and $5,000 in commissioning support for Tashkeel َتْشِكيل,, a short film that explores all aspects of “Haraka”—the Arabic word for movement. Rebecca Wahls, BFA Theater ’15, received the Young Alumni Creative Development Award and $3,000 in commissioning support of Him, a feature-length ensemble comedy film. The film follows the final five contestants on a reality dating show, whose world is turned upside down as they discover a dark truth about their “suitor.” Wahls directed, co-wrote, and co-produced Him, alongside actor and writer Trey Higgins. The screening at George �鶹��Ƶ’s Fairfax Campus will take place on March 21, and a screening at Carnegie Mellon University’s Los Angeles Campus is also planned.

The Young Alumni Commissioning Project is made possible by a generous bequest from the estate of Linda E. Gramlich for the support of young artists, and by donors to George �鶹��Ƶ’s previous Giving Day, including Shugoll Research.

�鶹��Ƶ the 2025 Award Recipients

Brianna Camp (she/her) is a visual artist living in Fairfax, Virginia. She received her Bachelor of Fine Arts degree with a concentration in painting from George �鶹��Ƶ’s School of Art in 2023. Camp plans to combine her creative practice with her passion for social engagement and advocacy. In the coming years, she hopes to receive a graduate degree with a focus in art therapy. Camp’s first solo show, Lightkeeper, debuted at the Lake Frederick Shenandoah Lodge Art Gallery in December 2023. Her work has been shown at other galleries across the Northern Virginia area including the Kunsthaus Gallery, Open Space Arts, The Torpedo Factory Art Center, and the Gillespie Gallery at �鶹��Ƶ. Camp will be a guest artist at the Torpedo Factory Art Center in February 2025. She has also participated in chalk art events, receiving first place in the professional category at ChalkFest in Reston, Virginia, and Chalk the Walk in Virginia Beach, Virginia. Camp’s paintings, murals, and drawings emphasize light and utilize an impressionistic and painterly approach. As a chronically ill artist, Camp is inspired by the healing connection that can be facilitated through art, both on a personal and societal level. She recognizes art as a potential form of social action and as a tool to build community. Her site-specific works and murals often involve her peers and local organizations. Camp is drawn to portraiture and landscapes in her more personal pieces. She finds her artistic process to bring inner healing, allowing her to process pain and uncover the places where the light shines in.

Marina Vianello is a dance artist, choreographer, and arts administrator based in New York City. She grew up in Kansas City, Missouri, and began her training at City in Motion Dance Theater’s School of Dance. She graduated magna cum laude with a BFA in Dance and a minor in global systems from George �鶹��Ƶ, where she was awarded an annual Dance Talent Scholarship. Throughout college, she was cast in pieces by Alejandro Cerrudo, Robert Battle, Lar Lubovitch, Susan Shields, Christopher d’Amboise, and David Grenke, and she choreographed three pieces for the �鶹��Ƶ Dance Company. She has trained with the Mark Morris Dance Group on full scholarship, with Rioult Dance NY, with DanceWorksChicago, and with Shannon Gillen at the b12 dance festival in Berlin, Germany where she performed at the dock11 theatre. Professional performance credits include the Lyric Opera of Kansas City (West Side Story and The Pearl Fishers), Yoo & Dancers (92NY Artist in Residence), JKing Dance Company, As Arts NY Dance, and Terre Dance Collective. She is fluent in French and has performed internationally at Châteaux en Fêtes (Festival of Castles) in Dordogne, France, and recently returned for their 2024 festival. She currently dances professionally with Ballaro Dance, Mari Meade Dance Collective, and Arsenal Movement Dance Project. Her choreography has been presented at the Tada Theatre, Chain Theatre, and Arts on Site in NYC, and the Gem Theater and Folly Theater in Kansas City. She teaches dance and Pilates throughout NYC and serves as the Director of Operations for Pony Box Dance Theatre.

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From Fairfax to the Sydney Opera House: Hope Spears Reflects on Her Artistic Journey

Lakin Raybuck — Fri, 07 Feb 2025 16:49:35 +0000

From Fairfax to the Sydney Opera House: Hope Spears Reflects on Her Artistic Journey Lakin Raybuck Fri, 02/07/2025 - 11:49

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Hope Spears is an artist from West Palm Beach, Florida, who began her dance training at a young age. She pursued her passion at �鶹��Ƶ, where she earned a BFA in Dance from the College of Visual and Performing Arts in 2021.

Hope Spears, BFA Dance '21

After graduating, Spears moved to Los Angeles to work as a freelance artist, expanding her artistic horizons. In 2023, she became a full-time company artist with LA Dance Project. In addition to her dance career, Spears is a professional photographer and established model, blending her artistic talents across creative fields.

Spears was on campus this spring to teach a masterclass at the School of Dance.

During your time here at �鶹��Ƶ, what were some of the most insightful experiences that prepared you as a company artist with LA Dance project? Where is the most exciting place you performed?

There are so many experiences at �鶹��Ƶ that allowed me to step into professional settings with an embolden confidence and newly developed sense of self. Jena’s anatomy class set me up to be smart about how I use my body, which comes in handy when working 10 a.m.-6 p.m. Monday through potentially Saturday.

Buffy’s [Price] somatic class enlightened me by giving me space to explore the rich inner world that lies within us. Christopher’s [D’Amboise] audition workshop taught me how to play to my strengths, which I definitely kept in mind when I was auditioning for LADP. Susan [Shields], Karen [Reedy], Shaun [Boyle D’Arcy], and Linda [Miller] always reminding me that I am a badass both in and out of the dance studio. Jim [Lepore] broadened my perspective by introducing me to Afro-Cuban and bringing us to Cuba. Truly the list goes on and on and on. I could run through all my schedules from each semester and tell you about the effect it had on developing me into the artist that I am today. I am a well-rounded human because of my experience at �鶹��Ƶ and for that I am forever thankful.

The most exciting place I performed was probably the Sydney Opera House. To be in such an iconic place was unreal. I almost cried walking into the artist entrance on the first day.

In addition to dancing, you’ve ventured into modeling and photography. How did these creative fields come into your life, and how do they complement your dance career?

George �鶹��Ƶ alumna Hope Spears gave a masterclass at the School of Dance this spring. Photo provided

Photography has been in my life for quite a long time. I started doing it in high school but then really had a chance to experiment and hone my skills after I had a major knee injury that put me out of dance for about a year. I went to a performing arts high school for dance, and in order for me to get graded/still participate in the program, I photographed classes and performances. I did a similar thing at �鶹��Ƶ (without injury) and it allowed me to explore further how movement could be perceived in a different medium/way.

Modeling came into my life a little more recently. I had done a smidge of it growing up, but nothing like I am doing now. I thought it would be a fun way to take what I know about movement and cameras and combine them into one in a slightly less taxing way. When I have breaks from LA Dance Project, it’s a good way to still have an income while also giving my body a rest from the 10 a.m.-6 p.m. dance schedule.

All three of these career choices overlap in some way and allowed me to carry multiple perspectives about the job. Knowing how to dance/move has helped me create interesting photos both as a model and photographer. Being a photographer has helped me develop movement that captures well on camera and gives me something to talk about when I am on set modeling (I love learning from the photographers on set). And modeling has taught me how to know what angles look best on a camera and given me a fun space to play with movement.

Upon your return to School of Dance as a guest artist, how did it feel to be back on old stomping grounds with new young artists?

Absolutely amazing. I almost cried walking back into the space. Watching and talking to the young artists that are there now was so inspiring. It gave me hope for the future of dance and honestly for the future in general. No matter what career we all end up in, I know that �鶹��Ƶ takes in and promotes kind, intelligent, empathetic people which are the type of people the world could use more of.

What advice would you give to aspiring dancers who are in college right now, especially those thinking about transitioning into a professional career after graduation?

I think my biggest piece of advice for aspiring dancers and those thinking about transitioning into professional careers would be to remember that it is just dance. Yes, it is your passion and what you’ve been working, I’m assuming, majority of your life for. Yes, it has this ability to change the world. Yes, technique and artistry matter… yes, and yes, and yes.

However, I have found that if that is all you focus on and is what you sleep, eat, and breathe, you’ll end up stressed and burnt out sooner than you think. It’s like holding on to something you love so tightly that it ends up suffocating. In my most meaningful moments of my dance career, I have noted that my other experiences in life, that aren’t necessarily dance related, have been more beneficial to the work than any dance knowledge that I have gained throughout the years. Again, not saying that you should now ignore the dance training and knowledge that you have and are learning, but just keep in mind that a well-rounded dancer is actually a well-rounded human. One that can hold multiple perspectives, be empathetic in all situations, has a deep understanding of who they are, that all comes from life experiences, not just dance experiences.

Keep an open mind, remain curious about your surroundings, and don’t take yourself or this job too seriously. At the end of the day, it is just a job. I acknowledge that I am saying that as a person who is privileged enough to have a full time company job, but trust me, you are so much more than the job you have. You all have got this! And you have the wonderful �鶹��Ƶ community to help you when you’re “out in the real world,” as the saying goes.

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�鶹��Ƶ Artist-in-Residence Ballet Hispánico Returns to Center for the Arts, Leads Hispanic Heritage Month Events

Laura Mertens — Fri, 27 Sep 2024 19:35:55 +0000

�鶹��Ƶ Artist-in-Residence Ballet Hispánico Returns to Center for the Arts, Leads Hispanic Heritage Month Events Laura Mertens Fri, 09/27/2024 - 15:35

�鶹��Ƶ’s Center for the Arts presents a full residency, culminating in a Great Performances at �鶹��Ƶ program, featuring �鶹��Ƶ Artist-in-Residence Ballet Hispánico this October. During Hispanic Heritage Month, the company will visit Northern Virginia for four days to offer a range of educational and interactive dance programs, leading up to its mainstage performance at the Center for the Arts on October 5.

“We’re excited to have Ballet Hispánico back in our community to help us celebrate Latino culture through dance and cultural enrichment activities. We will certainly feel the presence of this dynamic and fun group across campus, and I’m delighted to have them engage with so many different community stakeholders,” said Victor Adebusola, programming and engagement manager at the Center for the Arts at George �鶹��Ƶ.

Recognized as one of America’s cultural treasures, Ballet Hispánico celebrates the ever-growing and multifaceted Hispanic diasporas through vibrant contemporary dance. The company was founded in New York City by dance luminary Tina Ramirez in 1970, on the principle that everyone deserves dance, quality dance training, and innovative performances. Since becoming its artistic director and CEO in 2009, Eduardo Vilaro has further built Ballet Hispánico to uplift the intersection of Hispanic cultures, pioneeringly breaking down boundaries and stereotypes.

The October 5 program at the Center for the Arts features: Sombrerísimo by Annabelle Lopez Ochoa, inspired by the surrealist world of Belgian painter René Magritte; Buscando a Juan by Eduardo Vilaro, inspired by the life of Juan de Pareja, the Afro-Hispanic painter who was enslaved in Spanish painter Diego Velázquez’s studio for over two decades before becoming an artist in his own right; and Club Havana by Pedro Ruiz, which transports audiences through classic Cuban culture with the intoxicating rhythms of conga, rumba, mambo, and cha-cha-chá.

As a �鶹��Ƶ Artist-in-Residence, Ballet Hispánico will engage George �鶹��Ƶ students and the local community through a variety of classes, talks, and interactive workshops in the days ahead of the company’s performance. Details about these events are listed in the schedule below.

Launched during the 2019–20 season through George �鶹��Ƶ’s College of Visual and Performing Arts, the �鶹��Ƶ Artist-in-Residence Program connects artists appearing at the Center for the Arts and its sister-venue the Hylton Performing Arts Center with on- and off-campus communities.

Open-to-the-Public Residency Events:

Field Trip: Ballet Hispánico

Friday, October 4, at 11 a.m.
Center for the Arts at �鶹��Ƶ (4373 �鶹��Ƶ Pond Drive, Fairfax, VA 22030)
FREE, registration required

In conjunction with the Great Performances at �鶹��Ƶ series, the Center makes it easy for your class or group to attend field trips, which are all offered in person. From their seats, students will be introduced to dance, theater, and music from around the world.

Artists in Conversation: Latin Social Dance Workshop with Ballet Hispánico

Friday, October 4, at 7 p.m.
Stacy C. Sherwood Community Center (3740 Blenheim Boulevard, Fairfax, VA 22030)
FREE, registration required

This Hispanic Heritage Month event celebrates the ever growing and multifaceted Hispanic diasporas, featuring an interactive social dance workshop led by the “smashingly theatrical” dance company (Chicago Sun-Times) Ballet Hispánico. Move to the rhythms of salsa, merengue, cha chá, and more!

Co-presented by the City of Fairfax and the Center for the Arts at �鶹��Ƶ

Residency Activities for George �鶹��Ƶ and Local Communities:

The events listed below are not open to the general public.

Tuesday, October 1, at 9 a.m.

Ballet Hispánico and Artistic Director Eduardo Vilaro will virtually visit the class “Survey of Latin American History,” taught by Associate Professor Joan Bristol from George �鶹��Ƶ’s College of Humanities and Social Sciences. Vilaro will present to the students on topics that include the history of Ballet Hispánico and how the need for visibility for a community spurned rich innovation based on the intersection of Latin diasporas; colonization, the cross-Atlantic slave trade, and the legacy of movement throughout our history; and the history of Latin dance in modern dance and culture in the United States. There will also be a Q&A for the students.

Wednesday, October 2 at 10:30 a.m.

Ballet Hispánico will offer a masterclass on modern repertoire to students in George �鶹��Ƶ’s School of Dance.

Wednesday, October 2 at 1 p.m.

Ballet Hispánico will offer a masterclass on modern repertoire to local high school students in the Fairfax Academy.

Thursday, October 3 at 1:30 p.m.

Ballet Hispánico Artistic Director and CEO Eduardo Vilaro will join the virtual class “Introduction to Arts Management,” taught by Professor Sam Sinagra from George �鶹��Ƶ’s Arts Management Program. Vilaro will present the history of Ballet Hispánico and how the company centers its mission when creating programs and initiatives. There will also be a Q&A for the students.

Thursday, October 3 at 6:30 p.m.

Ballet Hispánico will lead a Latin Social Dance Workshop and Community Party, hosted by the Latin Student Association and �鶹��Ƶ Dining at Southside Dining Hall. This event is open to George �鶹��Ƶ students, faculty, and staff.

Friday, October 4 at 1 p.m.

Ballet Hispánico will offer a dance workshop to a limited number of participants from the school time matinee.

Center for the Arts Public Performance Information:

�鶹��Ƶ Artist-in-Residence
Ballet Hispánico
Saturday, October 5 at 8 p.m.
$55, $47, $33; half-price for youth through Grade 12

Tickets for Center for the Arts performances are on sale to the general public and available for purchase in person at the Center for the Arts Ticket Office (open Tuesday–Saturday from 10 a.m. to 6 p.m. and two hours prior to ticketed events in the Center for the Arts Concert Hall), by calling 703-993-2787, or through the Center for the Arts website (cfa.gmu.edu).

A pre-performance discussion with Ballet Hispánico’s Artistic Director and CEO Eduardo Vilaro, moderated by George �鶹��Ƶ School of Dance Professor Lawrence Jackson, will take place in Monson Grand Tier, which is located on the third level of the Center for the Arts Lobby, 45 minutes prior to curtain.

The �鶹��Ƶ Artist-in-Residence program is supported in part by the Wendy Frieman and David Johnson Fund.

�鶹��Ƶ Ballet Hispánico
Ballet Hispánico was born from a bold vision to transform the world through the power of dance and reimagine how Latinx culture is celebrated on the global stage. Since its founding in 1970 by the trailblazing Tina Ramirez, Ballet Hispánico has been breaking barriers and reshaping expectations, using dance as a dynamic force for cultural expression, empowerment, and meaningful change.

Today, Ballet Hispánico proudly stands as the largest Latino cultural organization in the United States and an acclaimed "America’s Cultural Treasure." Through our three core pillars—the professional Company, School of Dance, and Community Arts Partnerships—we lead with purpose, uplifting the vibrant, diverse voices of the Hispanic diaspora. Our Company brings the work of visionary Latinx choreographers to life, delivering groundbreaking performances that ignite cultural dialogue and challenge artistic boundaries.

Under the visionary leadership of Artistic Director and CEO Eduardo Vilaro, who began his journey with Ballet Hispánico as a dancer in 1985, the company continues to chart new paths forward. Building on Tina Ramirez’s legacy, Vilaro has expanded the company’s impact, amplifying the intersectional stories of Latinx identities. Programs like Instituto Coreográfico, the Latinx Leaders Summit, and Diálogos foster innovation and leadership, nurturing the next generation of Hispanic artists and cultural leaders.

A true trailblazer in the world of dance, Ballet Hispánico has performed for more than 2.5 million people across three continents. As we look to the future, our unwavering commitment is to empower communities, inspire through the beauty of dance, and continue elevating Latinx voices on the world stage.www.ballethispanico.org.

�鶹��Ƶ Eduardo Vilaro
Eduardo Vilaro, Artistic Director & CEO of Ballet Hispánico since 2009, has revitalized the company with his vision of dance as a reflection of America’s diverse cultural tapestry. Born in Cuba and raised in New York, Vilaro’s choreography explores the Latin American experience and its intersections with other cultures. He previously founded Luna Negra Dance Theater in Chicago, promoting Latinx artistry. Vilaro’s work has earned him numerous awards, including an honorary Doctorate from Adelphi University, recognizing his leadership in advancing diversity, equity, and inclusion in the arts.

�鶹��Ƶ the Center for the Arts
A �鶹��Ƶ Arts venue, the Center for the Arts is the centerpiece of performing arts on �鶹��Ƶ’s Fairfax campus. Each year, the Center welcomes hundreds of thousands of community members into its nearly 2,000-seat Concert Hall. The Center presents an annual season of national and international professional artists through its Great Performances at �鶹��Ƶ and Family Series—offering the best of classical music, opera, jazz, global music, dance, theater, and more. Managed by George �鶹��Ƶ’s College of Visual and Performing Arts, the Center hosts many student and faculty performances presented by the Schools of Music, Theater, and Dance and supports the events of the School of Art, Film and Video Studies, Computer Game Design, and Arts Management programs. The Center brings distinguished visiting artists as �鶹��Ƶ Artists-in-Residence for extended engagements designed to engage and inspire diverse audiences both on and off campus. The Center for the Arts serves as a performance home for many community arts organizations in the greater Washington, D.C. area. cfa.gmu.edu.

�鶹��Ƶ �鶹��Ƶ
�鶹��Ƶ, Virginia’s largest public research university, is located near Washington, D.C., and enrolls more than 40,000 students from 130 countries and all 50 states. George �鶹��Ƶ has grown rapidly over the last half-century and is recognized for its innovation and entrepreneurship, remarkable diversity, and commitment to accessibility. In 2023, the university launched �鶹��Ƶ Now: Power the Possible, a one-billion-dollar comprehensive campaign to support student success, research, innovation, community, and stewardship. www.gmu.edu.

For more information, please visit:
�鶹��Ƶ’s Center for the Arts

In This Story

Victor Adebusola

Get tickets for the October 5 Ballet Hispánico performance

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New School of Dance Partnership Connects Students and Faculty Across the Pond

Emily Schneider — Fri, 16 Aug 2024 01:22:09 +0000

New School of Dance Partnership Connects Students and Faculty Across the Pond Emily Schneider Thu, 08/15/2024 - 21:22

In This Story

Shaun Boyle D'Arcy

See Photos From a Fall 2025 NSCD Visit to School of Dance

Dance artist Shaun D’Arcy knows firsthand the impact of sharing new ideas in the world of contemporary dance. With the inauguration of a brand-new partnership between �鶹��Ƶ’s School of Dance and England’s Northern School of Contemporary Dance (NSCD), students from both prestigious institutions will have the chance to learn, explore, and build together.

D’Arcy leading a dance class at NSCD in January 2024. Photo by Amelia Perry-Falvey

"This partnership with NSCD aligns perfectly with our mission to foster innovation and excellence in the arts," said D’Arcy, an assistant professor in the School of Dance. "We look forward to the many opportunities this collaboration will bring for our students and faculty."

The partnership, beginning in Fall 2024, represents a shared interest from both institutions to foster creativity and academic excellence and marks a significant step forward in bridging the worlds of contemporary dance and higher education. Both institutions are renowned for their dedication to dance training and academic research at the highest level.

In addition, both schools’ strategic visions encourage collaboration with business, alumni, and community partners. This common goal provides opportunities for joint research initiatives, which will benefit students and faculty while cultivating a deeper understanding of different cultural and educational perspectives.

"We are thrilled to embark on this collaborative journey with �鶹��Ƶ. This partnership will not only enhance the educational experiences of our students and faculty but also contribute significantly to the discourse in contemporary dance and academic research," said Matthew Slater, interim head of undergraduate studies at NSCD.

A performer caught mid-movement at NSCD. Photo by Elly Welford

NSCD is a leading center for contemporary dance in the United Kingdom and is currently the only institution to offer conservatory-level professional dance training in England outside London. Founded in 1985 by pioneering dance educationist Nadine Senior MBE (1939-2016), NSCD offers undergraduate and post-graduate degrees and has since gone on to produce some of the leading names in the world of contemporary dance today. Alumni include the internationally celebrated Akram Khan (1998), independent choreographer Gary Clarke (2001), and Tamsin Fitzgerald (1998), founder and artistic director of 2Faced Dance Company.

While living in England for three years, D’Arcy completed a master's degree, taught dance, performed, and presented her own original works of choreography. During this time, she noted similarities and contrasts between contemporary dance practices in the United Kingdom and United States. After returning to the United States in 2012, D’Arcy remained determined to maintain those connections and open international doors for her students. A promising pilot program at the University of Utah in 2014 gave D’Arcy the chance to test the idea of a dance exchange with NSCD. Now, as a professor in George �鶹��Ƶ’s School of Dance, she has brought this exceptional opportunity to dance students and faculty here in Virginia.

Innovation is at the core of the partnership with a central component being the robust exchange of knowledge, ideas, and cultures. In this early stage, the partnership is intentionally designed to allow organic evolution and growth, aiming to make way for potential exchange programs (both remote and in-person), joint research ventures, and artistic collaborations.

George �鶹��Ƶ students striking a pose during a promotional photo shoot. Photo Credit: Tim Coburn

At George �鶹��Ƶ this fall, D’Arcy will teach a special topics course that will support this initial phase of the partnership. Students in the class will explore the work of UK-based contemporary dance companies and choreographers, as well as take part in dialogues with NSCD faculty and students who will attend some sessions via Zoom. The course will allow for introspection, reflection, and discussion among George �鶹��Ƶ students as they draw connections between contemporary dance practices in the United States and the UK.

Beyond the class structure, D’Arcy plans to pair students from both schools to encourage one-on-one relationship-building and conversations about their future plans and personal experiences as emerging professionals in their field. Similarly, as faculty from both institutions get to know one another and their areas of research, the open and evolving nature of this partnership allows for ongoing growth and change as new ideas emerge.

Looking ahead, both NSCD and �鶹��Ƶ’s School of Dance are hoping for the chance to arrange in-person opportunities for students and faculty alike, but are also eager to explore the all together different possibilities and pathways that unfold in the coming months as this partnership blossoms.

Follow along with George �鶹��Ƶ's School of Dance on Facebook, Instagram, and YouTube, and with NSCD on Instagram and X (formerly Twitter) as well as on their website.

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Elizabeth Wiehe is ‘en pointe’ to graduate from George �鶹��Ƶ’s School of Dance

Shayla Brown — Wed, 01 May 2024 16:20:06 +0000

Elizabeth Wiehe is ‘en pointe’ to graduate from George �鶹��Ƶ’s School of Dance Shayla Brown Wed, 05/01/2024 - 12:20

�鶹��Ƶ senior Elizabeth Wiehe says that ballet is her first love.

The School of Dance student, who is graduating this spring, grew up being classically trained in ballet. She chose George �鶹��Ƶ because she wanted to explore other dance forms. Wiehe, who is in the Honors College, also has a minor in journalism, and hopes to combine these disciplines to tell stories about dance.

Elizabeth Wiehe. Photo provided.

During her time at George �鶹��Ƶ, Wiehe had the opportunity to work with visiting guest artists who came to campus. In her junior year, she worked with Fiona Jopp from Sydney Dance Company on choreographer Rafael Bonachela’s “Variation 10.” The piece was performed at the School of Dance Gala 2023. Learn more about the piece.

Wiehe is also the recipient of the Distinction in the Journalism Minor for her dedication and tenacity in pursuing her minor in journalism with academic excellence.

Wiehe has presented four of her own choreographed works at George �鶹��Ƶ and her final piece was presented at the School of Dance's Spring: Dance Innovation at Harris Theater. She also danced in “Visions and Miracles” by George �鶹��Ƶ professor Susan Shields and in Martha Graham’s “Steps in the Streets” during the latest George �鶹��Ƶ Dance Company Gala.

What’s your best memory at George �鶹��Ƶ?

My best memories at George �鶹��Ƶ are the guest residencies that I've been a part of. I did a residency learning choreography by Martha Graham, who is the mother of modern dance. The historic piece we performed, “Steps in the Street,” was about women in the 1930s dealing with exile, grief, and devastation. As an all-female cast, we had to work together as an ensemble to share the intense emotions the piece was asking of us. It was also a challenge having to learn Graham’s technique that drives the choreography. Being able to challenge myself in those spaces was so fulfilling to me.

Elizabeth Wiehe. Photo provided.

How have you grown while at George �鶹��Ƶ?

I was drawn to George �鶹��Ƶ’s program because I wanted to study a little bit of everything—ballet, modern—and George �鶹��Ƶ has the best programs for that. I also have a much better understanding of how my body moves. I'm a taller dancer and before I didn’t understand the power of being a 5’8” mover and the momentum you can have with that. I learned to push those boundaries and never give up on myself.

What is your best piece of advice for incoming students?

Love it 100 percent. Trust yourself and make sure that whatever you do is your passion. There’s a misconception that you have to be naturally talented, but really it just has to come from a place of love. If you love it enough, it's going to work out. The doors will open for you if you are willing to put in the work.

What’s next for you?

I always knew my post-graduation goal is to dance professionally, and George �鶹��Ƶ has helped me do that. I’ll start working with Chamber Dance Project in June. Karen Reedy, the School of Dance director, told me about this opportunity, so I learned an excerpt from one of their pieces and [was hired]. It's very full circle in a sense because I never thought my first professional job would be en pointe.

I also plan to use my journalism minor to bring attention to the dance world. Not many people are even aware George �鶹��Ƶ has a strong dance program and I believe writing about dance to an audience who doesn’t get to experience it is really important. I love writing and how journalism brings attention to people’s stories that have yet to be told.

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Karen Reedy

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�鶹��Ƶ’s School of Dance Presents Annual Gala Concert at the Center for the Arts

Zoe Harr — Thu, 22 Feb 2024 20:02:31 +0000

�鶹��Ƶ’s School of Dance Presents Annual Gala Concert at the Center for the Arts Zoe Harr Thu, 02/22/2024 - 15:02

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Karen Reedy

Susan Shields

Amanda Snellings

Buy Tickets to �鶹��Ƶ School of Dance Gala Concert

Learn More �鶹��Ƶ �鶹��Ƶ School of Dance

School of Dance students rehearse Robert Battle’s “Awakening” for �鶹��Ƶ’s 2023 Gala Concert.

(Photo Credit: Cristian Torres/Strategic Communications/�鶹��Ƶ)

�鶹��Ƶ’s School of Dance presents the 2024 �鶹��Ƶ School of Dance Gala Concert on March 22 and 23, celebrating a rich array of diverse choreographic voices that span from the early days of modern dance to the freshest perspectives of today. As such, this year’s program showcases �鶹��Ƶ’s School of Dance students in four varied works by well-known choreographers and dance educators Kyle Abraham (Drive), Rena Butler (This, That, and the Third), Martha Graham (Steps in the Street), and Susan Shields (Visions and Miracles).

“We are thrilled to present this year's �鶹��Ƶ Dance Company Gala Concert performances, featuring works by such renowned choreographers including our very own Susan Shields,” said Director of the �鶹��Ƶ School of Dance Karen Reedy. A hallmark of our program is our strong connection to the professional field. Our dancers grow tremendously through working closely in residency with these important dance artists. They heighten their professionalism, make connections for their careers, and truly grow from students to artists. We invite audiences to join us to witness the stunning results of our dancers’ hard work. For those who would like to take their support of the School of Dance a step further, we hope to see you at the �鶹��Ƶ Dance Fête on March 23.”

A.I.M by Kyle Abraham performed at the Center on February 17. (Photo Credit: Courtesy A.I.M by Kyle Abraham)

Commissioned for New York City Center’s Fall for Dance Festival in 2017, Kyle Abraham’s Drive is a memory-infused piece celebrating the ecstasy of a dance club. Abraham has shared that his origins in dance began in the club world when he was a teenager growing up in Pittsburgh, Pennsylvania. This personal experience inspired the high-energy propulsive work set to club beats, which features an ensemble of eight dancers. This performance is staged by Jae Neal. In addition to Abraham’s piece being included in �鶹��Ƶ’s School of Dance Gala, Abraham’s contemporary dance company, A.I.M by Kyle Abraham, is a 2023/2024 �鶹��Ƶ Artist-in-Residence which included masterclasses with �鶹��Ƶ School of Dance students and the local community prior to their performance at the Center for the Arts on February 17.

Rena Butler’s This, That, and the Third premiered in 2019 as part of Hubbard Street Dance Chicago’s Forge Forward program. The work explores themes of otherness and code-switching. Over 23 minutes, Butler introduces each member of the six-person cast through distinctive solos and intimate duets. The result is a powerful piece in which the ensemble finds connection through shared experience, revealing the power of multiplicity and a progressive future. This performance is staged by Rena Butler and Madison Pineda. For a special preview of Butler’s piece, watch the video below.

Premiered at New York City’s Guild Theater in 1936—as part of a larger piece entitled Chronicle—Martha Graham’s Steps in the Street was created in response to the rise of fascism in Europe. The rhythmic piece is performed by 12 women, who depict the tragedy and isolation of war through a new dance vocabulary developed by the iconic Graham. The original program notes from the full work’s premiere reads, “Chronicle does not attempt to show the actualities of war; rather, by evoking war’s images, it sets forth the fateful prelude to war, portrays the devastation of spirit which it leaves in its wake, and suggests an answer.” The piece is staged by Elizabeth Auclair.

This piece will also be featured in �鶹��Ƶ’s Center of the Arts’ Martha Graham Dance Company performance on April 13.

�鶹��Ƶ School of Dance Professor, Susan Shields.

A joyous and colorful celebration of music, Susan Shields’ Visions and Miracles will remind audiences that spring is right around the corner. The large ensemble piece debuted in 2012 as part of The Juilliard School’s “New Dances” project. Set to a lively score by composer Christopher Theofanidis, Shields choreography resonates with vibrancy and serves as a metaphor for �鶹��Ƶ’s emerging young performers as they embark on their journeys. Shields is an alumna of, and currently a professor in, �鶹��Ƶ’s School of Dance. This piece is staged by Shields and assistants Lauren Ciccolini and Nateisha Reaves.

Prior to the March 23 performance, supporters will attend the �鶹��Ƶ Dance Fête at 5:30 p.m. in the deLaski Performing Arts Building. This intimate benefit event is a special celebration of �鶹��Ƶ’s School of Dance faculty and students. Guests will enjoy open studio demonstrations of works by leading choreographers, including those featured in the Gala Concert program, as well as a food-and-drink reception. All net proceeds from the �鶹��Ƶ Dance Fête go toward �鶹��Ƶ School of Dance student scholarship funds. The event is co-chaired by Kimberly K. Eby and Julia G. Morelli and Platinum Sponsors of the event are Dr. Peter N. Stearns and Ms. Donna L. Kidd. To learn more about the hard work and art created by �鶹��Ƶ School of Dance, watch the video below.

Witness the impressive future of dance and purchase tickets to �鶹��Ƶ School of Dance Gala Concert on March 22 and 23. For sponsorship inquiries and questions about �鶹��Ƶ Dance Fête, please contact Amanda Snellings at 703-993-1593.

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International dance conference offers �鶹��Ƶ students unique performance and networking opportunities

Shayla Brown — Wed, 14 Feb 2024 19:55:01 +0000

International dance conference offers �鶹��Ƶ students unique performance and networking opportunities Shayla Brown Wed, 02/14/2024 - 14:55

In This Story

Lawrence M. Jackson

As Lawrence Jackson, a �鶹��Ƶ School of Dance professor, watched four of his students performing on stage at the annual International Conference and Festival of Blacks in Dance, he said, “It was a moment of validation.”

“The performance illustrated the effectiveness of �鶹��Ƶ’s dance program and our commitment to fostering, nurturing, and showcasing talent from the next generation of dance artists,” he said.

A photo of �鶹��Ƶ's School of Dance students performing at the 2024 International Conference and Festival of Blacks in Dance. Photo provided.

The conference was hosted Jan. 24-28 in Memphis, Tenn., by the International Association of Blacks in Dance (IABD). The association and its conferences serve as vital platforms for promoting excellence, fostering collaboration, and advancing the visibility of Black dance within the broader dance community and society. 

The association holds significant importance as a prominent organization dedicated to promoting and preserving the contributions of Black dance artists and professionals. �鶹��Ƶ students who participated include first-year to senior Dance majors.

“This is the first time that �鶹��Ƶ’s School of Dance has ever gone to an IABD conference, so I’m really grateful and excited to be a part of that,” said sophomore dance major Sanaa Fairley.

Their performance, which was part of the Youth and College Artists Performance “Love for the Rhythm,” was choreographed by senior Brianna Dawkins.

“It was extremely important for me because it was my first time representing myself as a professional choreographer,” said Dawkins, who is an arts management minor.

The conference gave students opportunities to showcase their skills and network with current professionals in their field.

After their performance, the �鶹��Ƶ students received invitations to audition for different dance companies, said Dawkins. “That was really amazing because we all walked out of the theater with these new opportunities,” Dawkins said.

“There are so many valuable experiences like classes and panels held by masters in their field,” said Fairley. For example, the students all took a West African dance class that was offered to attendees. “That [class] was really grounding and allowed me as an artist to see what inspiration I could pull from other people and cultures.”

“We really tried to soak up as much knowledge as we could, especially as younger dancers learning from our older peers and making those connections.”

The students compared the conference atmosphere to a family reunion.

“I saw people that I've danced with in previous summer intensives and reconnected with teachers that I've trained with. I also met directors of companies which is important for potential future jobs,” said Dawkins.

This performance was freshman Jaelyn Perkins’ first at an IABD conference as a college student.

“It was amazing to be able to share that space with so many Black artists and having that sense of community. There are endless accessible opportunities for Black dancers at this conference,” said Perkins.

�鶹��Ƶ's dance program contributes to these experiences by consistently facilitating connections between students and professionals in the industry, said Jackson. Throughout the academic year, students are routinely exposed to opportunities within the field, such as networking events and internships.

“Through my experiences here at �鶹��Ƶ, there are so many professional opportunities like this conference. I felt so empowered being around so many successful Black dancers,” said sophomore dance major T’aja Williams. “It was a constant reminder of what my capability can look like and the possibility of being successful.”

Overall, the trip was a huge success, Jackson said.

“I would love to make it an annual or biennial trip. The School of Dance maintains a commitment to providing enriching experiences that align with the educational mission of the dance program and I think attendance at IABD helps facilitate that commitment,” he said.

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During your time here at �鶹��Ƶ, what were some of the most insightful experiences that prepared you as a company artist with LA Dance project? Where is the most exciting place you performed?

In addition to dancing, you’ve ventured into modeling and photography. How did these creative fields come into your life, and how do they complement your dance career?

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What advice would you give to aspiring dancers who are in college right now, especially those thinking about transitioning into a professional career after graduation?

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�鶹��Ƶ Artist-in-Residence Ballet Hispánico Returns to Center for the Arts, Leads Hispanic Heritage Month Events

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Residency Activities for George �鶹��Ƶ and Local Communities:

Center for the Arts Public Performance Information:

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Elizabeth Wiehe is ‘en pointe’ to graduate from George �鶹��Ƶ’s School of Dance

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How have you grown while at George �鶹��Ƶ?

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What’s next for you?

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