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.


Buglisi's authority on the Graham technique is formidable—she was a principal dancer with the Martha Graham Dance Company for 12 years. Soon after the birth of her son in 1988, as her association with MGDC was winding down, Denise Jefferson approached her and offered a teaching position at Ailey. Buglisi fondly remembers Alvin Ailey himself taking time to stop in and watch her classes. Within two years, she became the chair for The Ailey School's Graham-based modern department.

Though most of these students have been studying Graham technique with her for three or four years—as professionals, international, certificate or Ailey/Fordham BFA students—there is conscientiousness on every face: Buglisi has carefully imparted that there are always deeper understandings of the familiar pulses, flexed wrists and energized spirals to explore. Her own attentiveness and investment mirrors that of her students—she calls one who is perpetually in the back row to the front, apparently per an earlier agreement to encourage confidence.

For students who are new to Graham technique, the biggest hurdle can be to find the connection to their centers. “Understanding contraction and release requires such awareness," says Buglisi. “Once they recognize their centers, that's really the beginning." She devotes moments in her class to stillness and introspection, encouraging her students to appreciate their own beauty and potential without getting caught up solely in the mechanics of the movement. “It's OK to smile!" Buglisi occasionally reminds her class. “Be happy with the image in the mirror."

Jacqulyn Buglisi is a born-and-bred New Yorker who trained at the High School of Performing Arts, where she studied Graham technique. After performing and teaching in Europe for several years, she returned to New York to dance for Pearl Lang and Joyce Trisler. She was a principal dancer with the Martha Graham Dance Company for 12 years. In 1993, she co-founded Buglisi Dance Theatre with fellow Graham dancers Donlin Foreman and associate founders Terese Capucilli and Christine Dakin. She is the chair of the Graham-based modern department at The Ailey School, where she has been teaching for more than 25 years.

Courtney Celeste Spears, 20, is a sophomore Ailey/Fordham BFA student.

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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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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Dancer Health
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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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If you run a dance studio, you know it's a 24/7 commitment. It's a tough and rewarding job, but like everything in life, there comes time for a change, a chance to slow down or move on to the next life venture. If you're like Danie Beck, who owned Dance Unlimited for 40 years, a former student may want to take over your business—and need your advice. Or, if you're like Deborah Riley, who co-directed a nonprofit dance school, you'll want your school to have a long life beyond your tenure.

Whatever your retirement scenario, your legacy and financial security may well be affected by the successor you choose and how smooth a transition it is for your staff and students. Three studio directors who have recently gone through the succession process offer their stories and advice.

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