Barry Kerollis is the artistic director of Movement Headquarters Ballet Company. He danced professionally with Pacific Northwest Ballet and Houston Ballet. Currently, he is on faculty at Broadway Dance Center, judges for Youth America Grand Prix and hosts the Pas de Chát: Talking Dance podcast.
I remember it like yesterday. Those days, when I could step to the front of my classroom and guide students through enchaînement—demonstrate the combination, offer tidbits of advice, cue my accompanist and walk around offering detailed corrections.
If you told me a month ago I would be forcibly holed up in my apartment as I led my first classes as a master teacher with Youth America Grand Prix, I might have looked at you like you had several heads. But when New York City began shutting down at breakneck speed, I knew I had to do something to protect my income. I dug deep into my toolbox and began developing online classes.
I was probably about 15 years old when the director of my local dance school, seeing my drive and ambition, asked me to work as a teaching assistant for one of the main ballet instructors. She asked to meet with me to discuss the details of my new job. She explained what my role was in the studio, expectations of me in the position and more. But as we approached the end of my meeting, I wasn't expecting the conversation to take the serious turn that it did.