• Contributors
    • Catherine L. Tully, Owner/Editor
    • Dance Writers
      • Rachel Hellwig, Assistant Editor — Dance
      • Jessika Anspach McEliece, Contributor — Dance
      • Janice Barringer, Contributor – Dance
      • José Pablo Castro Cuevas, Contributor — Dance
      • Katie C. Sopoci Drake, Contributor – Dance
      • Ashley Ellis, Contributor — Dance
      • Samantha Hope Galler, Contributor – Dance
      • Cara Marie Gary, Contributor – Dance
      • Luis Eduardo Gonzalez, Contributor — Dance
      • Karen Musey, Contributor – Dance
      • Janet Rothwell (Neidhardt), Contributor — Dance
      • Matt de la Peña, Contributor – Dance
      • Lucy Vurusic Riner, Contributor – Dance
      • Alessa Rogers, Contributor — Dance
      • Emma Love Suddarth, Contributor — Dance
      • Andrea Thompson, Contributor – Dance
      • Sally Turkel, Contributor — Dance
      • Lauren Warnecke, Contributor – Dance
      • Sharon Wehner, Contributor – Dance
      • Ashley Werhun, Contributor — Dance
      • Dr. Frank Sinkoe, Contributor – Podiatry
      • Jessica Wilson, Assistant Editor – Dance
    • Dance Wellness Panel
      • Jan Dunn, MS, Editor
      • Gigi Berardi, PhD
      • James Garrick, MD
      • Robin Kish, MS, MFA
      • Moira McCormack, MS
      • Janice G. Plastino, PhD
      • Emma Redding, PhD
      • Erin Sanchez, MS
      • Selina Shah, MD, FACP
      • Nancy Wozny
      • Matthew Wyon, PhD
    • Music & Dance Writers
      • Scott Speck, Contributor – Music
    • Interns
      • Intern Wanted For 4dancers
    • Contact
  • About
    • About 4dancers
    • Advertise With 4dancers
    • Product Reviews on 4dancers
    • Disclosure
  • Contact

4dancers.org

A website for dancers, dance teachers and others interested in dance

Follow Us on Social!

Visit Us On YoutubeVisit Us On TwitterVisit Us On PinterestVisit Us On FacebookVisit Us On Instagram
  • 4dancers
    • Adult Ballet
    • Career
    • Auditions
    • Competition
    • Summer Intensives
    • Pointe Shoes & Footwear
      • Breaking In Shoes
      • Freed
      • Pointe Shoe Products
      • Vegan Ballet Slippers
      • Other Footwear
  • 4teachers
    • Teaching Tips
    • Dance History
    • Dance In The US
    • Studios
  • Choreography
  • Dance Wellness
    • Conditioning And Training
    • Foot Care
    • Injuries
    • Nutrition
      • Recipes/Snacks
  • Dance Resources
    • Dance Conferences
    • Dance Products
      • Books & Magazines
      • DVDs
      • Dance Clothing & Shoes
      • Dance Gifts
      • Flamenco & Spanish Dance
      • Product Reviews
    • Social Media
  • Editorial
    • Interviews
      • 10 Questions With…
      • Dance Blog Spotlight
      • Post Curtain Chat
      • Student Spotlight
    • Dance in the UK
    • Finding Balance
    • Musings
    • One Dancer’s Journey
    • Pas de Trois
    • SYTYCD
    • The Business Of Dance
    • Finis
  • Music & Dance
    • CD/Music Reviews

A Professional In A Student’s Class

September 7, 2017 by Rachel Hellwig

By Samantha Hope Galler

Samantha Hope Galler at Miami City Ballet’s Studios.

Layoff periods of up to five months gave me the opportunity to educate myself in and around the dance world. What I learned is invaluable. No matter where we stand in our careers there will always be a student inside of us striving to learn as we did in school. Although we thrive as professionals today, the focus is in a different place. I would like to share a few benefits to stepping back into student life.

No matter where we stand in our careers there will always be a student inside of us striving to learn as we did in school.

As a student, I was enthralled by the idea of company life. It was the ultimate goal to one day join a major company and dance the roles my idols did. I remember clearly when members of Boston Ballet would attend school classes with us. Taking class beside a professional was a reminder of why we wanted to dance while putting things in perspective. It was an exciting chance, at such a young age, to watch firsthand their interpretation of a step. Yes, we would attend all of their performances, but it did not compare to being next to them in class. In fact, it was the only way for us to have a glimpse into what company life would be like if we were to ever move into the professional world.

Personally, being surrounded by professionals as a student taught me that the professional dance world was small. Each dancer in the company at the time was unique and could dance everything. If I wanted a chance at being part of it I needed to stand out.  This shifted my personal training goals.

Today, stepping back into student class places a professional dancer in a foreign environment. Elements of student life which we used to be accustomed to feel very different. Not only is there a different approach to class, there is another level of freedom. One component that has not changed, however, is our goal of the learning aspect of class.  My ballet teacher of nearly 21 years, Frances Cavicchio Kotelly, always teaches her students that there is no end to learning. Whether you are a student or professional, it does not make sense to stop learning when the art continues to evolve.

Whether you are a student or professional, it does not make sense to stop learning when the art continues to evolve.

In 2010, while dancing with Alabama Ballet, I attended the two-week August program at Central Pennsylvania Youth Ballet. This would be my third summer dancing with CPYB, but my first as a professional dancer. There was one other professional attending the program from New York City Ballet. My instructor was Darla Hoover–I didn’t know it at the time, but I would work with her closely in my later years with Alabama Ballet.

I was placed in CPYB’s top level for ages 14-17. To begin with, the age difference between us was dramatic. These ladies were polishing details and preparing to audition for major companies in the coming years. The first thing I realized was how hard it was to be in class with this age group. This was due to the fact that they were going through probably the most intense and important layer of training which included multiple technique classes a day.

It was an eye-opener because I saw what I had been neglecting over the last couple years as a professional. Attending this program and forcing myself to dress in pink tights and a black leotard showed me how to shape my dancing in a different way. In order to fix the big picture, you must fix the small details. It can be extremely difficult to balance a life of rehearsals and the upkeep of technique. Sometimes something has to give during the season and it is commonly our technique. My experience at CPYB taught me to allow myself to be a student again, especially during the layoff season.

My advice to new professionals would be to find time to step into student class even for just a few hours. This is a time when you can focus on your class rather than working to prepare your body for rehearsals.

Samantha’s 2008 Honorable-Mention-Winning National Foundation for the Advancement of the Arts Entry

Earlier this summer, I attended Miami City Ballet school classes. It was an intriguing experience to stand back and watch the next generation of students work. As they approach the end of their school year, they prepare for career-changing performances and demonstrations. The possible opportunity to receive an apprenticeship with the main company is at the forefront. Usually, there are only a few company spots available so it can be a high-stress period.

As I observe them, I wish they knew what I know now. I see their eagerness to move on, but I also understand the importance of time and how it can benefit them in the future. Students hope to race through school and move into professional life, but it is so important to stay present in the moment. I have witnessed professionals who could have benefited from an additional year in school and eventually it catches up with them.  Learning to maximize time can be the key to greater personal success in the future.

Students hope to race through school and move into professional life, but it is so important to stay present in the moment.

Students have asked me for advice and I share anything I can to help them feel confident when approaching this challenging time in their lives. I was fortunate to have my parents close by when I was transitioning out of school and that truly helped me stay positive. Many students, at this point, have moved away from home so they are no longer living with their families. This makes it difficult because that security blanket is no longer there.

My parents would always tell me to learn as much as you can about dance and trust yourself. This career, whether it be student life or professional life, relies solely on trusting yourself. When you trust yourself, you trust the dancing you present and you stay confident. There is always a place for you whether it be in a small or a large company. It will be the right fit and you will thrive in that environment. This is the best advice I can pass on. When you see another dancer getting a spot in the company of your dreams it does not mean that your dream is over. It might mean you are taking a different path and, in the end, it could turn out to be more beneficial.

When you see another dancer getting a spot in the company of your dreams it does not mean that your dream is over. 

No matter how successful a dancer is, nothing is beneath you, especially the idea of stepping back into student life and remembering we were all students at one point.

Samantha at Central Pennsylvania Youth Ballet in 2001.

Samantha Hope Galler. Photo by Daniel Azoulay.
Miami City Ballet’s Samantha Hope Galler

Contributor Samantha Hope Galler, a Bedford, Mass. native, spent 13 years training with The Ballet Academy, Inc., under the direction of Frances Kotelly in the Cecchetti Method. She performed six seasons with The Northeast Youth Ballet under the direction of Denise Cecere. She continued training, on scholarship, with Boston Ballet School and received the PAO Merit Trainee Scholarship. She received the NFAA Honorable Mention Award in Ballet. Galler spent summers training at Boston Ballet, Central Pennsylvania Youth Ballet and Boston Conservatory. She danced with Cincinnati Ballet in their 2008-2009 season under the direction of Victoria Morgan.

Samantha spent five seasons with Alabama Ballet under the direction of Tracey Alvey and Roger Van Fleteren. During her tenure there, she was promoted to principal dancer. She had the honor of performing some of her dream roles including Juliet in Romeo and Juliet, Odette/Odile in Swan Lake, The Lilac Fairy in The Sleeping Beauty, The Sylph and Effie in La Sylphide, Myrtha and Moyna in Giselle, Dryad Queen and Mercedes in Don Quixote, the Rancher’s Daughter in Agnes De Mille’s Rodeo. Her Balanchine roles included Dark Angel in Serenade; The Sugarplum Fairy, Arabian and Lead Marzipan in George Balanchine’s The Nutcracker™; and the principal roles in Allegro Brillante and Tarantella. She has also performed in Jiří Kylian’s Sechs Tanze, and Van Fleteren’s Shostakovich and Romancing Rachmaninov, both world premieres.

Samantha joined Miami City Ballet as a member of the corps de ballet in 2014. Since joining Miami City Ballet, Samantha has performed in various roles including as the Sugar Plum Fairy in Balanchine’s The Nutcracker and as the Harp Soloist in Balanchine’s Raymonda Variations.

Follow Samantha on her website and blog.

Filed Under: 4dancers, Career Tagged With: ballet class, career, Miami City Ballet, Professional Life, Samantha Hope Galler, Student Life

Journaling For Dancers: Why You Need It & How It Helps

March 28, 2016 by 4dancers

IMG_5130
Photo courtesy of Grier Cooper

by Grier Cooper

You work hard during ballet class because you know your hard work will pay off. But how do you know what’s working and what isn’t? Aside from occasional comments or critiques from your teachers, you don’t. But you can change that! By implementing this simple journaling process, you can track your progress so you have a clear idea.

You’ll be doing some writing so you’ll need a small sketchbook or journal (choose a pretty one!) and a pen. Be sure to give yourself a few minutes before and after class to read through the questions and write down your thoughts. This process is just for you, so keep it light, simple and fun.

Before class begins, do the following:

Set an intention

Take a few moments to set an intention. An intention is a purpose, or a desired action or result. Close your eyes and ask yourself what your intention is for this particular class. The answer may come as a thought, feeling or vision. Write down whatever comes to mind, even if it’s just one word. An example might be wanting to feel centered and grounded throughout class. Setting an intention can be quite powerful because it helps us focus on what’s most important.

Photo courtesy of Grier Cooper
Photo courtesy of Grier Cooper

Choose your goals

Next, write down 2-3 goals. Keep them simple and achievable. You may be struggling with en dedans pirouettes, for example. While you can’t guarantee that you’ll be able to pull off a triple turn by the end of class, your goal could be to ask your teacher or a friend to watch your turns and help you determine what’s off.

After class is finished, set aside a few moments to jot down responses to the following questions. Since this is a self-assessment, be honest (and fair… dancers are often their own worst critics) when you answer.

  • What did I do well?
  • Where do I need to improve?

List at least three answers to each question and make sure it’s a balanced list with the same number of things for each category. Remember: it’s just as important to acknowledge what you did well, perhaps even more so, since this area is often overlooked–most dancers are too busy being hard on ourselves.

Taking a few minutes every day to work with this journaling process is a powerful tool will help you stay focused and give you a clear picture of your performance in class. Work with it regularly and you’ll never leave class again wondering how you did. Over time you’ll be able to track your results and achievements.

Write on!


 

AuthorPhotoWebGrier Cooper left home at fourteen to study at the School of American Ballet and has performed San Francisco Ballet, Miami City Ballet, and others, totaling more than thirty years of experience as a dancer, teacher and performer. She blogs about dance and has interviewed and photographed a diverse collection dancers and performers including Clive Owen, Nicole Kidman, Glen Allen Sims and Jessica Sutta. She is the author of the Indigo Ballet Series ballet novels for young adults. Visit Grier at http://www.griercooper.com

Filed Under: 4dancers Tagged With: ballet class, dance class, dance journal, dancers, grier cooper, Journaling for dancers

Hubbard Street 2 Hits the Road: European Tour 2015

March 24, 2015 by 4dancers

Hubbard Street 2
Left: Jugendstil-Festhalle, Landau in der Pfalz. Photo by Andrea Thompson. Middle: Hubbard Street 2 dancers in Aschaffenburg, from left: Katie Kozul, Zachary Enquist, Elliot Hammans, Jules Joseph and Adrienne Lipson. Photo by Andrea Thompson. Right: Sketch by audience member of HS2 performance in Heerlen, the Netherlands, signed by the company. Photo by Zachary Enquist.

by Andrea Thompson

After a whirlwind tour of three central European countries in late February and early March, regular 4dancers contributor and Hubbard Street 2 Dancer Andrea Thompson found a quiet spot and answered some questions about the experience.

Where did you go?

We flew into Frankfurt and drove around Germany to perform in Rüsselsheim, Landau, Aschaffenburg, Idar-Oberstein and Essen. After that we drove across the border to Heerlen in the Netherlands, and then flew to our last stop in Treviso, Italy.

How long did you stay in each city?

Just long enough to arrive and sometimes have a workshop that day, then tech and perform the following day. We stayed longer in Rüsselsheim because we had an acclimation day there when we landed, and we had a day off in Landau as well.

What was a typical day on tour like? [Read more…]

Filed Under: Editorial Tagged With: andrea thompson, ballet class, Dance Tour, European Tour, German Tour, Hessisches Staatsballett, hs2, hubbard street 2, Italian Tour, Julie Ballard, Netherlands, Terence Marling, Tyler Schnese

HELP! How Do I Get Back Into Dance Classes?

December 27, 2014 by Katie Sopoci Drake

Photo courtesy of KCBalletMedia at
Photo courtesy of KCBalletMedia at https://www.flickr.com/photos/67555847@N06/

by Katie C. Sopoci Drake

Hey there. It has been a while, hasn’t it? Teaching, the day-job, kids, or just plain old life got in the way. Although you may have been showing others how to dance, practicing yoga, and even performing here and there, it’s not the same as taking class, so now you’re nervous as heck. Now, you don’t have any grand illusions of running off to audition for a national tour (been there, done that), but you wouldn’t mind brushing up on your technique, and making sure you can jump into the odd performance without tearing anything.

But here come the doubts. I don’t know where to go. All of my dance clothes are long gone. I don’t think I’ll be able to keep up. I don’t even know what level I am anymore. I really don’t want to be in an “adult” class with 12-year-olds.

Before I give you the pep talk, first things first… [Read more…]

Filed Under: Adult Ballet Tagged With: 4dancers, adult ballet, Ballet, ballet class, chicago, dance, dance class, dance studio, dance teachers, katie sopoci drake, modern dance, teaching dance

Student Spotlight: Luke Bradshaw

September 16, 2013 by 4dancers

Luke Bradshaw
Luke Bradshaw

1. Can you tell readers how you became involved with dance?

My involvement in dance began with a trickle and soon became a torrent.

By chance I saw Billy Elliot and it immediately grabbed me. After realising quite how much stretching can hurt and thinking of the associated stigma of being a male dancer, I dismissed the idea, as being “for girls”. However I still harboured a want to know more. I began to ask a few of the girls at school about the basic positions of ballet. They showed me once, twice, three times but before long grew frustrated as I continued to ask questions. The poor girls eventually gave up and with exasperated sighs, told me to come to their class. I do not think they expected me to.

The week after, I did my first plie. I remember it distinctly. Knowing that dance was what I wanted to do with my life, even as I plie’d. After moving through a few dance schools in my quest to learn as much as I could, I eventually auditioned for Laine Theatre Arts and Bird College, two musical theatre institutions. Having always been told, “it’s easy for guys”, I was confident I would get into both. I did not get into either. It was the best thing that ever happened to me. I just wanted it all the more. I did A-level exams and went to a ballet school in the evenings. I then auditioned for and went to London Studio Centre the following year.

2. What do you find you like best about dance class? [Read more…]

Filed Under: Student Spotlight Tagged With: Ballet, ballet class, london studio centre, luke bradshaw, student spotlight

  • 1
  • 2
  • 3
  • 4
  • Next Page »

Dance Artwork

Get Your Dance Career Info Here!

Dance ebook cover

Podcast

Disclosure – Affiliate & Ad Info

This site sometimes features advertising, affiliate marketing, or affiliate links, such as Amazon Associate links and others. When you click on these links, we get a small sum that helps to support the website operations. Thank you! There’s more detailed information on ads and our disclosure policy under the About tab in our navigation at the top of the site. We clearly mark any and all posts that contain these features.

Copyright Notice

Please note that all of the content on 4dancers.org is copyrighted. Do not copy, utilize, or distribute without express permission. We take cases of infringement seriously. All rights reserved ©2022.

Copyright © 2025 · Metro Pro on Genesis Framework · WordPress · Log in