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Watch: The Windows Project Brings American and Cuban Dancers Together

In 2011, New York City–based choreographer Pedro Ruiz returned to Cuba after 21 years of dancing with Ballet Hispanico and more than 30 years being away. The experience was so moving that he created The Windows Project as a continuous cultural collaboration between American artists and Cuban dancers.

"I was so overwhelmed seeing all the dancers do Afro-Cuban dance with live music. It was the moment my soul reconnected to Cuba and to my roots," says Ruiz of his first trip back. "I started weeping." He saw that, while Cuban companies and schools have amazing knowledge and passion for dance, they needed access to train with teachers in a variety of techniques, and choreographers outside of Cuba. "Cuba is still struggling economically, so the dancers also don't have good ballet shoes or costumes, and The Windows Project was my way to begin to help," he says.


Since its inception, the project has brought choreographic and educational opportunities to Danza Contemporanea de Cuba, Danza del Alma and Ballet Contemporaneo de Camaguey, as well as with local dance students. Part of his journey was featured in a 2011 PBS documentary Coming Home.

Last summer, The Windows Project partnered with Hunter College's Arnhold Graduate Dance Education Program, where Ruiz is the visiting artist-in-residence. Two graduate students, Sabrina Jaafar Melton and Uthman Ebrahim, accompanied Ruiz to Camaguey, Cuba for a one-week cultural and educational exchange.

Between teaching master classes and rehearsing with Ballet Contemporaneo de Camaguey, the American artists performed parts of Ruiz's new work in progress—Taking the Soul for a Walk—with the company. The completed ballet will be presented in February 2018, when the Cuban company takes the stage at the Kaye Playhouse at Hunter College. The Cuban dancers will also teach master classes in Cuban ballet technique and Cuban modern dance, and there will be a discussion panel on the influence of American dance technique in Cuba.

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Maks and Val Chmerkovskiy. Photo courtesy Dance With Me

Listening to Maks and Val Chmerkovskiy riff together makes it crystal-clear why each has mastered the art of partnering in the ballroom—they've long been doing this dance in real life as brothers and business partners.

Along with their "Dancing with the Stars" pedigree (and a combined three mirror-ball trophies between them), Maks and Val (and their father, Sasha) also run Dance With Me, a dance company hosting six ProAm Dancesport competitions annually and running 14 brick-and-mortar studio locations across the U.S.

Last year, the pair launched an online component, Dance & Co. The online video platform offers beginner through advanced instruction in not only ballroom but an array of other styles, as well as dance fitness classes from HIIT to yoga to strength training. "DWTS" fans will recognize such familiar faces as Peta Murgatroyd, Jenna Johnson, Sharna Burgess and Emma Slater, along with Maks and Val themselves.

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@jayplayimagery, courtesy Kerollis

In the spring of 2012, Barry Kerollis was abruptly forced into treating his career as a small business. Having just moved cross-country to join BalletX, he got injured and was soon let go.

"I'd only ever danced with big companies before," the now-freelance dance-teacher-choreographer-podcaster recalls. "That desperation factor drove me to approach freelancing with a business model and a business plan."

As Kerollis acknowledges, getting the business of you off the ground ("you" as a freelance dance educator, that is) can be filled with unexpected challenges—even for the most seasoned of gigging dancers. But becoming your own CEO can make your work–life balance more sustainable, help you make more money, keep you organized, and get potential employers to offer you more respect and improved working conditions. Here's how to get smart now about branding, finances and other crucial ways to tell the dance world that you mean business.

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Teachers Trending
Courtesy Oleson

American dance educator Shannon Oleson was teaching recreational ballet and street-dance classes in London when the pandemic hit. As she watched many of her fellow U.S. friends pack up and return home from their international adventures, she made the difficult choice to stick with her students (as well as her own training—she was midway through her MFA at Trinity Laban Conservatoire of Music and Dance).

Despite shutdowns and shelter-in-place orders, she was able to maintain a teaching schedule that kept her working with her dancers through Zoom, as well as lead some private, in-home acro classes following government guidelines. But keeping rec students interested in the face of pandemic fatigue hasn't been easy.

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