New York City Ballet principal Daniel Ulbricht takes on a new role: artistic advisor to Manhattan Youth Ballet

Who’s the short guy at the front of the classroom with the springboard jump, permanent high spirits, muscular technique and insatiable stamina? It’s Daniel Ulbricht, principal dancer with New York City Ballet. Ulbricht is widely renowned for his electrifying presence onstage. What isn’t so well-known is his talent for teaching—and his remarkable drive to do so.

Last June, Rose Caiola, the executive artistic director of Manhattan Youth Ballet, announced that Ulbricht, who’d been teaching regularly at MYB, would become artistic advisor to the pre-professional ballet academy. The departure of François Perron, the former managing artistic director of MYB, left a vacancy for a teacher and advisor with energy, foresight and the ability to pull the best out of young ballet students.

Erin Fogarty, the director of programming at MYB, had worked with Ulbricht at the New York State Summer School of the Arts in Saratoga. “I have been friends with Daniel for many years, and I’ve seen him come to life as a dance educator,” she says. “He’s so good with kids of all ages, and he really knows how to deliver information.” NYCB principal Wendy Whelan, who teaches at MYB when her schedule allows, also admires Daniel’s teaching talent. “Daniel is a natural,” she says. “He’s organized and very confident and comfortable. The guy likes to talk and explain—he’s generous with his knowledge.”

After Perron’s departure from MYB, Ulbricht says, “I started doing a little more at the school than just the guest-teaching spot. I was frequently coaching and running rehearsals.” He sat down with the MYB staff and NYCB artistic director Peter Martins and made a plan to work this demanding post into his dancing schedule. Now, as artistic advisor, “Daniel is in a lot of the meetings for our programming—what we want with the curriculum, how we are developing and changing it, helping it grow, what the kids will perform, what variations we think they should learn,” says Fogarty. “He doesn’t sit here at a desk, but he has major decisions to make.”

But why, at the age of 27—and the apex of his performing career—would Ulbricht want to divert his energy to another demanding job? Even before the appointment, he was devoting 50 percent of his time outside of NYCB to teaching jobs, often during stretches on the road. “I’m hoping that this will help me build something,” he says. “To really sustain and accelerate progress, you have to have a more present approach to teaching. I thought it would be interesting to create a unique platform here, an open forum to make this as successful as possible for a nice caliber of teachers and students.”

“I think he’ll do a fantastic job,” Whelan says. “I’m sure he’s chomping at the bit—he has so many ideas, so much energy. He dances a lot with the company, but not as much as some others, so he wants to fill in the time with more dance.”

As artistic advisor, Ulbricht’s duties include teaching at least twice a week at MYB and helping to outline and improve a solid curriculum and standard for the school. For the past 16 years, MYB has offered a diverse curriculum that included Vaganova and Balanchine training. Ulbricht hopes to highlight the faculty’s teaching strengths and find out what shortcomings need to be addressed. “If I have one teacher teaching style A and another one teaching style B, I’m losing the cohesion I need,” says Ulbricht. “That’s probably the most sensitive area as well, because a lot of teachers get very comfortable in their styles, but that’s really what it’s about—getting the teachers on the same page so the students can take full advantage of this opportunity.”

But he admits that he will be experimenting as he goes along. “The syllabus is ever evolving in dance, I find,” he says. “You see a wave of students who do pirouettes particularly well and you go, ‘OK, that’s great.’ But if you have a school that doesn’t have very strong partners or jumpers or balancers, you need to address that. You want to find something that has a structure but can adapt. The dance world is changing, and we want our techniques to grow with it.”

Ulbricht began his teaching career at age 21, giving classes at NYSSSA during NYCB’s summer residency at Saratoga. At 23, he co-led the NYSSSA session with Jenifer Ringer and has been in demand as a teacher ever since. His style of teaching matches his vibrant presence onstage. “I would say it’s very high energy—that’s for sure,” says Ulbricht with a chuckle. “It’s a mix of strong classical technique and the speed and musical nuance that the School of American Ballet gave me. I am very positive and upbeat. I don’t want to see a student walk away from a class without reaching her potential.” A lot of students, he points out, think they can do anything because they see it on TV or YouTube. “They have to understand that there are still mechanics and technique involved—then we can have a really good discussion,” he says.

But Ulbricht wasn’t always confident at the front of the classroom. He started out so nervous that he would stutter through pliés. “I could show steps, but I had a hard time vocalizing them,” he says. Gradually, he learned that, just as with his dancing, a little fun went a long way. “I learned that the students did better when they were enjoying what they’re doing—when they weren’t doing tendus and pliés like they’re long division,” he says.

A number of mentors led Ulbricht to examine the methodology of teaching. Peter Boal, former NYCB principal and now artistic director of Pacific Northwest Ballet, tops the list. “He has a way of showing the combination without showing off,” says Ulbricht. “He realizes that sometimes people need to see how something is supposed to look. He’ll show it and you’ll say, ‘That’s amazing—I get it now.’ It’s very revealing, the way he demonstrates.” Ulbricht also cites Michael Vernon, now the Ballet Department chair at Indiana University, for giving him insight into how to work with people, and Patricia McBride and Jean-Pierre Bonnefoux for teaching him about Balanchine’s legacy while he was a student at the Chautauqua summer intensives.

Nonetheless, Ulbricht stresses that dancing is still his number-one job, and that teaching has only enhanced his performance quality. “Every time I teach a step, it’s like teaching a language—I’m looking up the verb, the origin and the usage of it,” he says. “Then I see how I can apply that knowledge to my craft onstage.”

One of Ulbricht’s top priorities for MYB is to bring in dancers from NYCB and American Ballet Theatre to teach and choreograph, making a tangible connection between the studio and the professional stage. “It’s not just about seeing so-and-so onstage in a tutu, but seeing that person and knowing that she cares about me and my dancing,” says Ulbricht. And he believes the professional dancers—Whelan included—will learn as much as the students. By encouraging both his colleagues and his students, he aspires to inspire both.

Choreographically, Ulbricht will be cutting his teeth with MYB, as well. “I always use the word ‘dabble’ when it comes to my choreography, because I think I am still discovering my voice and my process,” he says. He relishes unhurried time in the MYB studios to create, which is unlike the often-frenetic process at NYCB.

Ultimately, Ulbricht wants the ballet world to progress, and he wants to be part of the process. He thinks of his students as lightbulbs. “There are some who flicker, some who need to be replaced and some who are beaming bright,” he says. “My goal is to get that whole classroom beaming. My job is to turn it up to a brighter wattage. Success to me is if somebody says, ‘I received the best training possible.’ You never know what your students might become—they might become dancers, or fans of ballet, or philanthropists to the arts. But I want to instill that passion so that they can enjoy dance at any time in their life.” DT

 

Joseph Carman, former soloist with ABT and the Joffrey Ballet, is the author of Round About the Ballet.

Photo by Matthew Murphy

Dance Teacher Tips
Photo by Jayme Thornton for Dance Magazine

When choosing music for tap, Jason Samuels Smith encourages teachers to start with classic jazz music. Improvisation, call and response, and syncopated rhythms embedded in the genre and its history, in general, help students to understand the structure of tap, which is different than other styles of dance. "Tap dancers have the responsibility to be more than just a visual artist," he says. "They're an instrument and a sound."

Keep reading... Show less
Sponsored by Turn It Up Dance Challenge
Courtesy Turn It Up

With back-to-back classes, early-morning stage calls and remembering to pack countless costume accessories, competition and convention weekends can feel like a whirlwind for even the most seasoned of studios. Take the advice of Turn It Up Dance Challenge master teachers Alex Wong and Maud Arnold and president Melissa Burns on how to make the experience feel meaningful and successful for your dancers:

Keep reading... Show less
Dance Teacher Summit
Photo by Sarah Ash, courtesy of Larkin Dance

Ask Michele Larkin-Wagner and Molly Larkin-Symanietz what sets them and Maplewood, Minnesota–based Larkin Dance Studio apart, and they immediately give the credit to their mom. Shirley Larkin founded the school in 1950 and continued to oversee the growing business until she passed away in 2011. "She put Minnesota on the map for dance training and made other local studios step up to the plate to become as strong as we are," Michele says. "A lot of people's lives are better because of Shirley Larkin."

For Michele and Molly, following in their mom's footsteps was a no-brainer. "I knew I was going to be a choreographer and take over the studio," Michele says. To Molly, seven years Michele's junior and the baby out of six siblings, the studio was always a second home. The two sisters trained across genres but had distinct specialties: Michele found her niche in jazz, musical theater and lyrical, while Molly excelled in tap. In the summers, they'd travel for workshops in Chicago, New York City and Los Angeles. While Michele was in class with jazz legends like Gus Giordano, JoJo Smith, Luigi and Frank Hatchett, Molly was taking tap classes with the likes of Brenda Bufalino and Phil Black.

Keep reading... Show less
Sponsored by The Studio Director

As a studio owner, you're probably pretty used to juggling. Running a business is demanding, with new questions and challenges pulling your attention in a million different directions each day.

But there's a solution that could be saving you time and money (and sanity!). Studio management systems are easy-to-use software programs designed for the particular needs of studio owners, offering tools like billing, enrollment, inventory and emails, all in one place. The right studio management system can help you handle the day-to-day tasks that bog you down as a business owner, leaving you more time for the most important work—like connecting with students and planning creative curriculums for them. Plus, these systems can keep you from spending extra money on hiring multiple specialists or using multiple platforms to meet your administrative needs.

So how do you make sure you're choosing a studio management system that offers the same quality that your studio does? We talked to The Studio Director—whose studio management system provides a whole host of streamlined features—about the must-haves for any system, and the bonuses that make an excellent product stand out:

Keep reading... Show less
Dance Teacher Summit
Photo courtesy of Gandarillas

In Macarena Gandarillas' jazz class at California State University, Fullerton, a sign in the studio reads, "Never underestimate the power of determination." This simple mantra embodies what has made this self-described "danceaholic" such an impactful teacher.

When Gandarillas came to Los Angeles at age 6 with her family from Santiago, Chile, the language barrier was beyond overwhelming—until her mom enrolled her in ballet classes. Gandarillas found an instant love. "There were no Spanish-speaking kids at my school," she says. "But with dance I could communicate with my body. I'd finally found my voice."

Keep reading... Show less
Sponsored by Harlequin Floors
Burklyn Ballet, Courtesy Harlequin

Whether you're putting on a pair of pointe shoes, buckling your ballroom stilettos or lacing up your favorite high tops, the floor you're on can make or break your dancing. But with issues like sticking or slipping and a variety of frictions suitable to different dance steps and styles, it can be confusing to know which floor will work best for you.

No matter what your needs are, Harlequin Floors has your back, or rather, your feet. With 11 different marley vinyl floors available in a range of colors, Harlequin has options for every setting and dance style. We rounded up six of their most popular and versatile floors:

Keep reading... Show less
Dance Teacher Tips
Getty Images

Q: Is teaching for an after-school program a good way to find a job in K–12?

Keep reading... Show less
Sponsored by Insure Fitness
AdobeStock, Courtesy Insure Fitness Group

As a teacher at a studio, you've more than likely developed long-lasting relationships with some of your students and parents. The idea that you could be sued by one of them might seem impossible to imagine, but Insure Fitness Group's Gianna Michalsen warns against relaxing into that mindset. "People say, 'Why do I need insurance? I've been working with these people for 10 years—we're friends,'" she says. "But no one ever takes into account how bad an injury can be. Despite how good your relationship is, people will sue you because of the toll an injury takes on their life."

You'll benefit most from an insurance policy that caters to the specifics of teaching dance at one or several studios. Here's what to look for:

Keep reading... Show less
Dance Teacher Summit
Photo courtesy of Inspire School of Arts and Sciences

It was the morning of November 8, 2018, and Jarrah Myles' first-period choreography students were in last-minute rehearsals for their fall dance concert that evening. "All of a sudden my students' phones started ringing like crazy," says Myles, a teacher at Inspire School of Arts and Sciences, a Chico, California, high school whose dance and theater programs Myles helped establish in 2010. "And once they answered, I saw these tragic faces staring back at me."

Keep reading... Show less
Site Network

abezikus/Getty Images

"Dancers can do everything these days," I announced to whoever was in earshot at the Jacob's Pillow Archives during a recent summer. I had just been dazzled by footage of a ballet dancer performing hip hop, remarkably well. But my very next thought was, What if that isn't always a good thing? What if what one can't do is the very thing that lends character?

Keep reading... Show less
Just for fun
Courtney Schwartz and Jake Mcauley perform a Talia Favia combination at Radix Dance Convention Nationals. Via Instagram

Summer intensives and Nationals make June, July and August some of the richest dance-video months of the year. There is so much fabulous content out there, we can hardly contain our excitement!

We have spent hours down the rabbit hole of class videos this week and thought you should see some of our favorite findings.

Enjoy!

Keep reading... Show less
Dance Teacher Summit
Photo courtesy of Infinite Flow

While taking class in 2006, Marisa Hamamoto felt a tingling sensation in her elbows, then suddenly collapsed to the floor. She was hospitalized and diagnosed with spinal cord infarction, a rare spinal stroke that left her paralyzed from the neck down. Despite being told by her doctor that she may never walk again, let alone dance, Hamamoto miraculously walked out of the hospital two months later.

Since her stroke, Hamamoto has found a new lease on life. She has channeled her indomitable will to overcome adversity into a dance company that marries her love of ballroom dance with her passion for social activism. Los Angeles–based Infinite Flow is the first professional wheelchair ballroom dance company in the U.S. Over the past four years it has become a torchbearer for social change, performing worldwide and offering workshops and school assemblies to educate audiences about accessibility and inclusion.

Keep reading... Show less

mailbox

Get DanceTeacher in your inbox