Conversations on Dance | Ballet & Dance Careers

This week we are joined by Miami City Ballet dancer Adriana Pierce. After training at the School of American Ballet and dancing as an Apprentice with The New York City Ballet, she joined Miami City Ballet in 2010.  Throughout her schooling, Pierce directed and choreographed numerous musical theater productions for a local theater group in New Jersey and first premiered her balletic choreography when she created two pieces for the School of American Ballet’s Annual Student Choreography Workshop under the guidance of Peter Martins.  In past years she has created works for the O, Miami Poetry Festival, Miami Chamber Music Society, the Knight Concert Hall, and for a collaboration with The New World Symphony. In November 2014, Pierce was chosen to participate in New York Choreographic Institute’s fall session, and in 2015 was selected to participate in the Resident Fellows program with the Center for Ballet and the Arts at New York University. Pierce created a new work for  The Ashley Bouder Project which debuted at New York’s The Joyce Theater in August 2015. Today we speak with Adriana about her choreography, launching a choreographic career, the challenges women in choreography are facing, and the recent New York Times article on the subject.

This week Rebecca and Michael wanted to take an opportunity to discuss retirement from the stage.  On April 9th Michael performed for the last time on a Miami City Ballet stage, closing out a more than decade long career with the company.  Today Rebecca catches up with Michael to talk about how he made his decision, what the final shows were like, and what comes next.  Because as Martha Graham says, “A dancer dies twice.  Once when they stop dancing, and the first death is the more painful.”

This week Rebecca and Michael wanted to take an opportunity to discuss retirement from the stage.  On April 9th Michael performed for the last time on a Miami City Ballet stage, closing out a more than decade long career with the company.  Today Rebecca catches up with Michael to talk about how he made his decision, what the final shows were like, and what comes next.  Because as Martha Graham says, “A dancer dies twice.  Once when they stop dancing, and the first death is the more painful.”

This week we are pleased to welcome, Joaquin De Luz, Principal Dancer with The New York City Ballet.  Joaquin was born in Spain and recieved his training at the Victor Ullate School of Ballet.  In August 1996 he came to the US and joined the Pennsylvania Ballet as a soloist and a year later he joined American Ballet Theater.  At ABT Joaquin joined the rank of soloist and danced a variety of leading roles.  In 2003, he moved across Lincoln Center to The New York City Ballet and became a Principal in 2005.  After recovering from a  serious back injury, De Luz, understanding the importance of cross training for healthy dancing, became a certified personal trainer.  He is now working with City Ballet’s Physical Therapists to develop a Dancer Fit program, catered specifically to each dancer’s needs.  Today we speak with Joaquin about his early training, coming to the US, dealing with injury, and looking to the future to expand his Dancer Fit program.  If you would like more information on Joaquin’s Dancer Fit program, we highly suggest you follow his Instagram: @joaquindeluz_dancerfit.

This week we are pleased to welcome, Joaquin De Luz, Principal Dancer with The New York City Ballet.  Joaquin was born in Spain and recieved his training at the Victor Ullate School of Ballet.  In August 1996 he came to the US and joined the Pennsylvania Ballet as a soloist and a year later he joined American Ballet Theater.  At ABT Joaquin joined the rank of soloist and danced a variety of leading roles.  In 2003, he moved across Lincoln Center to The New York City Ballet and became a Principal in 2005.  After recovering from a  serious back injury, De Luz, understanding the importance of cross training for healthy dancing, became a certified personal trainer.  He is now working with City Ballet’s Physical Therapists to develop a Dancer Fit program, catered specifically to each dancer’s needs.  Today we speak with Joaquin about his early training, coming to the US, dealing with injury, and looking to the future to expand his Dancer Fit program.  If you would like more information on Joaquin’s Dancer Fit program, we highly suggest you follow his Instagram: @joaquindeluz_dancerfit.

This week we are pleased to welcome Patricia Barker, Artistic Director of Grand Rapids Ballet and former Pacific Northwest Ballet Principal Dancer.  Patricia began her ballet training in Richland, WA and later studied at the Boston Ballet School and the Pacific Northwest Ballet School.  Patricia is regarded as one of the world’s most gifted ballerinas dancing with PNB for 25 years, and as a principal for two decades. After retiring from the stage in 2007, she took over the reigns at Grand Rapids Ballet in 2010  .  Today we talk with Patricia about what it was like to be PNB’s real homegrown star, how she aquired international recognition, who had the most impact on her career, and the work she is doing now at Grand Rapids Ballet.

This week we are pleased to welcome Patricia Barker, Artistic Director of Grand Rapids Ballet and former Pacific Northwest Ballet Principal Dancer.  Patricia began her ballet training in Richland, WA and later studied at the Boston Ballet School and the Pacific Northwest Ballet School.  Patricia is regarded as one of the world’s most gifted ballerinas dancing with PNB for 25 years, and as a principal for two decades. After retiring from the stage in 2007, she took over the reigns at Grand Rapids Ballet in 2010  .  Today we talk with Patricia about what it was like to be PNB’s real homegrown star, how she aquired international recognition, who had the most impact on her career, and the work she is doing now at Grand Rapids Ballet.

This week we are pleased to welcome Patricia Barker, Artistic Director of Grand Rapids Ballet and former Pacific Northwest Ballet Principal Dancer.  Patricia began her ballet training in Richland, WA and later studied at the Boston Ballet School and the Pacific Northwest Ballet School.  Patricia is regarded as one of the world’s most gifted ballerinas dancing with PNB for 25 years, and as a principal for two decades. After retiring from the stage in 2007, she took over the reigns at Grand Rapids Ballet in 2010.  Today we talk with Patricia about what it was like to be PNB’s real homegrown star, how she aquired international recognition, who had the most impact on her career, and the work she is doing now at Grand Rapids Ballet.

This week we are happy to welcome, Patrick Corbin, Assistant Professor of Practice at USC’s Glorya Kaufman School of Dance.  After starting his dance training with tap and jazz at a young age, he later enrolled in the School of American Ballet.  He went on to have a career in ballet with The Washington Ballet, Kansas City Ballet, ABT II and the Joffrey.  In 1989 Patrick joined the Paul Taylor Dance Company where he became one of their most celebrated artists, originating roles in many of Paul Taylor’s works.  Upon his retirement from the stage in 2005, he became a repetiteur for Taylor works.  He now currently serves as Assistant Professor of Paractice at USC’s Glorya Kaufman School of Dance.

This week we are happy to welcome, Patrick Corbin, Assistant Professor of Practice at USC’s Glorya Kaufman School of Dance.  After starting his dance training with tap and jazz at a young age, he later enrolled in the School of American Ballet.  He went on to have a career in ballet with The Washington Ballet, Kansas City Ballet, ABT II and the Joffrey.  In 1989 Patrick joined the Paul Taylor Dance Company where he became one of their most celebrated artists, originating roles in many of Paul Taylor’s works.  Upon his retirement from the stage in 2005, he became a repetiteur for Taylor works.  He now currently serves as Assistant Professor of Paractice at USC’s Glorya Kaufman School of Dance.