In the Magazine

Face to Face: Joy Womack

Joy Womack in Leonid Lavrosky's Classical Symphony at the Kennedy Center

California-born Joy Womack considered giving up dance after she was told by her early teachers that she didn’t have the body or turnout. But a Bolshoi Ballet master class in New York City put her back on the path toward a professional career. “That master class changed my life,” says Womack. “When I was asked to do the Bolshoi summer intensive, it was the first time I felt like I’d won something—that I was good enough.” At 15, she moved to Moscow and now, four years later, she is the first American woman to dance with the company. DT caught up with Womack this spring, at the close of her first year.

Learning to adapt: Getting through school was the hardest thing I’ve ever done. I love living in Russia now—I have a “family” here, and I love the theater. But no one came with me to the Bolshoi. I didn’t speak the language. And they just threw me into rehearsals. I had no idea what was going on. At the Kirov, I had some support: There are residence assistants and student life programs. At the Bolshoi, you’re on your own. When you get injured, you have to find a clinic yourself, and parents can’t complain to the school.

On company camaraderie after the acid attack on artistic director Sergei Filin: When this whole thing happened, I was rehearsing for The Rite of Spring. We were having seven-hour rehearsals every day, and we just became this tight-knit group of people, which was a blessing. But the focus has stayed very much on the quality of the work. It’s very serious.

Favorite role she’s performed there: Definitely The Nutcracker, as the Spanish doll. It’s the hardest part! I had to do it without any dress rehearsals or run-throughs, and I got to dance it on December 31, which is Russian New Year’s Eve and also like their Christmas.

The role she’s dying to dance: Giselle! My teacher said we can finally start learning it. I know it’s going to take a long time to get it ready, but this is the ballet I’ve been dreaming about my whole life. I can spend a year getting it ready—I’m fine with that. DT

Path to the Bolshoi

• 2007: Invited to Kirov Academy of Ballet of Washington, DC

• 2009: Attends Bolshoi Ballet Academy’s summer intensive in New York City and is offered a spot at the year-round program

• 2012: Graduates from the Academy and becomes the first American woman to dance with the Bolshoi Ballet

Photo by Vihao Pham

Photo by Tim Trumble, courtesy of Arizona State University

Many parents discourage their teenagers from majoring in dance because of fear that their child will become a struggling artist in an unforgiving city, only to end their career in injury. But a dance degree can lead to other corners of the profession, such as marketing, physical therapy and arts administration. "Parents always say their children need something to fall back on," says Daniel Lewis, former dean of the dance division at New World School of the Arts. "They only see the stage time, applause and flowers. But there's choreographing, teaching, PR—the careers are endless."

Others are more concerned with disappointment. "Your daughter doesn't have to be a major ballerina with ABT to be successful," says Lewis. "If she wants to be a dancer, she'll find the work. There's a certain amount of training you have to achieve before you even get accepted into a good college, so if you have the talent, and the drive, you can make it."

As mentors, teachers can be monumentally influential on students' college decision processes. Read on to hear from three dance majors who feel grateful they chose this path—and share their words with your students!

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To show her support for local studios, Kelly Berick requires all her students to be enrolled in an after-school program. Photo by Stephanie Csejtey, courtesy of Akron School of the Arts

When Kelly Berick began teaching high school students at Ohio's Firestone Community Learning Center within Akron Public Schools 21 years ago, she was newly engaged, newly licensed to teach K–12 dance and thrilled to land what she considered the perfect job. Her enthusiasm quickly soured, however, when after two weeks of teaching she called a local studio to introduce herself. "The owner told me her students didn't like me, didn't like what I was doing and were going to quit my program," she says. Her class of seven became a class of three.

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Photo by Matthew Murphy

Jacqulyn Buglisi has a flair for drama. To encourage the students in her intermediate and advanced Graham classes at The Ailey School to open their sternums in a high release, she tells them to stretch “like a flower came out of your heart." When attempting to convey the weight of a hand gesture, she explains that they must “pull the hem of heaven from the sky." During the extensive warm-up sequence, she reminds them that this is no time for complacency: “We don't do positions. We dance the series." Despite her penchant for the Graham dramatics, Buglisi is equally quick to curb any excess of melodrama in her students. “No Swan Lake with the arms," she admonishes one whose wrists are limply crossed.

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Teachers & Role Models
Robert Roldan and partner Taylor Sieve (courtesy of FOX)

Robert Roldan may have stolen our hearts on Season 7 of "So You Think You Can Dance"—but it seems his heart was stolen long before that by none other than Emmy Award winning choreographer, Mandy Moore.

As his first jazz teacher at Bobby's School of Performing Arts in Thousand Oaks California, Roldan says Moore taught him everything he knows about dancing. Now, as an All-Star on this season of "So You Think You Can Dance," he's applying those invaluable lessons with partner Taylor Sieve.

"What Mandy has always taught me, is that you need to feel the emotion and intention of the pieces you perform as a human before you can apply it to your dancing. Because of this, the week that Taylor and I performed Mandy's piece, I used the entire two hours of private rehearsal time we had to talk about what the piece was about and how we could connect to it as humans. I believe that doing this was ultimately more valuable than any time we could have spent cleaning details and making the piece perfect. Mandy taught me this at a young age, and I try to apply it to Taylor as much as I possibly can when I teach her. People won't connect to how high your leg is or what crazy tricks you can do. They want to feel something. And when you feel it, they feel it."

Watch Roldan on "So You Think You Can Dance" tonight on FOX.

Teachers & Role Models
Camille Rommett, left, with her mother Zena, who founded the floor-barre method. Photo courtesy of Rommett.

In 1965, Zena Rommett was asked to teach her unique Floor-Barre method at the American Ballet Center by ballet legend Robert Joffrey. Her gentle-yet-effective technique inspired countless professional dancers over the years, who became faithful followers as a supplement to their dance training. From choreographer Lar Lubovitch to Tommy Tune, Patrick Swayze and Judith Jamison, many swear by the benefits of the technique. Rommett taught it until she was 90.

The summer after Rommett's death, her daughter Camille made her debut on the faculty of our Dance Teacher Summit. She describes teaching to a packed convention room as "a very humbling experience." Despite students often telling her she sounds similar to her mother, she's learned it's not about filling her mother's shoes, but keeping her mother's legacy—and the integrity of the technique—alive.

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I have heard you say that tight hamstrings prevent full extension of the knees and that you prefer hamstring stretches in a standing position, rather than on the floor. Can you explain why?

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Dance Buzz
Photo by Julieta Cervantes

In February 2016, we featured the women of Ragamala Dance, the Minneapolis-based bharatanatyam company founded by mother-and-daughter team Ranee and Aparna Ramaswamy. (Daughter Ashwini is a dancer in the company and the troupe's publicist.) Since they appeared on our cover, they've had a busy year and a half, full of performances and exciting news. This weekend, they're featuring their mentor, Alarmél Valli, in a special performance at The Cowles Center for Dance & the Performing Arts in Minneapolis.

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