Photo by Kyle Froman

Boross studied extensively with jazz legend Matt Mattox, wrote his master's thesis on Mattox's career and has been a professor in six university dance programs. Here, he teaches one of Mattox's codified warm-up exercises.

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Photo by Kyle Froman

Peter Brandenhoff is on faculty at Ballet Arts and The Ailey School, where he teaches the technique of 19th-century Danish choreographer August Bournonville. Here, he teaches the Bournonville grand jeté, a signature step in the style.

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Photo by Kyle Froman

Talli Jackson is a member of the Bill T. Jones/Arnie Zane Dance Company and the recipient of a Princess Grace Award. Here, he teaches a contemporary side hip suspension, a basic partnering lift that requires efficient distribution of weight.

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Photo by Kyle Froman

Maguette Camara was raised in Dakar, Senegal, where he studied West African dance and drumming with Ballet Bougarabou Dance Company. Now, he lives in New York City, where he's on faculty at The Ailey School, The Ailey Extension, Barnard College and Djonibo Dance Centre at Peridance Capezio Centre. Here, he teaches a Kuku combination, which is danced to acknowledge community members' accomplishments.

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Sara Knight is a graduate of both The Royal Ballet School and the Vaganova Ballet Academy, and she founded SLK Ballet School in New York City in 2009. Here, teaches entrelacé—known as "grand jeté en tournant en arrière" to Cecchetti students.

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Photo by Kyle Froman

On a chilly Friday morning in a New York City studio, a group of students are making themselves fall, over and over again. This isn't an exercise in futility—it's Roxane D'Orléans Juste's class in Limón technique, and the dancers are venturing off center in a classic fall-and-recovery combination. As they swing their legs out and up and let gravity do its work, only to rebound against the floor and launch themselves back to an upright position, they attempt a moment of suspension. This signature principle of fall-and-recovery proves to be one of the more challenging concepts for students to grasp. "The idea of suspension is not necessarily natural," Juste says, with a lilting accent that reveals her Montreal origins. "How do you teach suspension?"

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Photo by Kyle Froman

Michael Blake joined the Joffrey Ballet School faculty as director of the jazz and contemporary program five years ago and has since revamped the curriculum. Here, he teaches a jump-and-roll combination that helps students discover oppositional energy.

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Tammi Shamblin works magic with the boys of Ballet Tech in New York City. Here, she uses imagery to teach rond de jambe.

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