In The Spotlight: Flamenco Black
The 2023 Scholarship Recipients
IMHO: Master Teacher or Guest Artist?
DCNT Celebrates 50 Years!
Seasonal Performances + More
AUGUST - OCTOBER 2023
4 THE SPOTLIGHT: FLAMENCO BLACK
8
2023: THE SCHOLARSHIP RECIPIENTS
IMHO: BILL WALDINGER 10
DCNT AT 50 14 SEASONAL
+ MORE 16
COVER: DCNT at 50: The Ladies who started it all!
Clockwise: Lorraine Cranford, Mrs. (Lorine) Head, Natalie Skelton, Denise Brown, and Mary Bywaters (seated).
DANCE is published quarterly by the Dance Council of North Texas and is available online. Articles of interest to the community, performance calendar information, letters to the editor, and press releases are welcome.
EDITOR Mair Cawston
CONTRIBUTOR William Waldinger
Go to thedancecouncil.org to: Join Dance Council of North Texas or renew an existing membership, sign up for CenterStage, DCNT’s weekly eblast delivered to your inbox each Wednesday, get information about advertising opportunities or donate to DCNT!
I trust you had a wonderful summer and are eagerly embracing the arrival of the fall season, brimming with new possibilities. As we prepare for exciting opportunities ahead, mark your calendars for an extraordinary milestone—the Dance Council’s 50th birthday celebration on October 28th! From its humble origins as a gathering of dedicated studio owners, the Dance Council has grown into a vibrant force shaping the dance landscape in Dallas. Immerse yourself in the rich history of dance in North Texas by exploring the Fourth Floor of the J. Erik Jonsson Central Library Archive Room. This treasure trove houses countless photos, press clippings, publications, programs, and more, chronicling the journey of dance from its early days to the present. It’s a journey worth delving into—a nostalgic glimpse into the dance legacy we continue to build. Coming up next on our fall calendar is the eagerly anticipated Dallas Dance Film Festival Season 5. The festival site opens on August 1st, and early bird submissions enjoy a discounted entry fee. Whether you’re an aspiring filmmaker or know someone who is, seize this opportunity to showcase your talent and creativity. The films must be dance-oriented and no more than 10 minutes long, welcoming both amateurs and seasoned professionals to compete.
As part of our commitment to nurturing the future of dance, the Scholarship site opens on December 15th. We invite students aged 13 to 21 (unless otherwise stated) to apply for financial awards to support their summer study endeavors. For detailed requirements and application guidelines, visit https://dancecouncil.clubexpress.com/ content.aspx?page_id=22&club_id=752324&module_id=109136. We, at Dance Council, are dedicated to supporting our members in every way possible. If you have any questions or need assistance, please don’t hesitate to reach out. Let us embark on this season together, celebrating the artistry, passion, and camaraderie that define the heart of dance.
May this season be filled with inspiration, growth, and countless moments of joy!
Dance Council of North Texas | 3630 Harry Hines Blvd | Dallas | TX 75219 214 219-2290
director@thedancecouncil.org | thedancecouncil.org
DANCE COUNCIL SPONSORS
P.S. Don’t forget to check out CenterStage for dance auditions, performances, jobs and more! Sign up here: signup.e2ma.net/sign up/1827774/1782200/. Find us at thedancecouncil.org, on facebook.com/dancecouncilofnorthtexas, and instagram.com/ dancecouncilntx.
DELILAH BUITRON + BRIDGET L. MOORE FIND COMMON GROUND
DCNT: How did the idea for Flamenco Black come about?
Delilah: A couple of experiences, both personal and professional, led to the rise of the Flamenco Black concept. In February 2020 the City of Dallas Office of Arts and Culture Community Artist Program (CAP) program asked if our company, The Flame Foundation, would lead an hour-long discussion and performance on flamenco and its African origins and influences during Black History month. As I researched I came across a wealth of information—books like Sonidos Negros, Afro-Andalusian Memories, and the film Gurumbé, which features Yinka Esi Graves (Flamenco Black guest bailaora and choreographer), an African decent flamenco dancer from London who now resides in Sevilla. I became intrigued and wanted to discover more about Afro-Andalusian and African flamenco roots. On a personal level, my eldest son who is a biracial, black-white-latino, had asked me if there were any black flamenco performers. Why not, I thought. Or if there are, why haven’t they performed in Dallas? We teach many after school programs and children, and if there were black professional flamenco dancers onstage maybe more of our black children, students and communities would want to learn the technique.
I discussed doing a show called Flamenco Black in 2022 with Julie Moon, a friend, flamenco dancer and producer from Atlanta. She said she knew Yinka, and that she had brought her to Atlanta a couple of years ago.
A few weeks later I was choreographing a piece for the Dallas Theater Center’s big collaborative works. Most of the producers and choreographers involved in that project stopped by our Estudio one afternoon including Bridget L. Moore, who was part of the artistic team. For the record, I have been a fan of B.MOORE DANCE for years, and loved her piece, Sketches of Spain. I told her I’d always wanted to work with her and later that evening when we ran into each other at a restaurant I said: “Ok, let’s do a show called Flameno Black ”. (continued)
We stayed in contact that summer and I wrote her to say I was going to submit the project to the City of Dallas Office of Arts and Culture for a grant. We were awarded and the journey began!
Bridget: Delilah Buitron, Antonio Arrebola, and I were out with Fernando Hernandez, costume designer and mutual friend. We were all having a meal together, and casually discussing The Odyssey produced by Dallas Theater Center, of which we were all a part of. I choreographed for the production, and Delilah created a flamenco solo as one of the companies presented. The work was truly remarkable and enticing. I’ve always loved flamenco dance! We both talked about the admiration we had for each other’s work and how it would be nice to collaborate. She mentioned that she had an idea that she wanted to propose to me, involving B. MOORE DANCE. I knew right away that I wanted to participate when she said, ‘Flamenco Black ’.
DCNT: Did the final outcome change from your original concept and if so, how and why?
Delilah: The outcome has changed somewhat, but all for the good and integrity of the show. There are a lot of team players involved in this production of Flamenco Black and more investigation into Afro-Andalusian history and African flamenco roots has influenced what each choreographer, musician, dancer, and artistic team player contributes in style and skills. Working remotely with the flamenco musicians and Yinka
has also contributed to changes in aesthetics and emotions.
Bridget: So far, everything is going as planned. Our work and various processes are keeping us both busy. We launched the project in March of this year because we wanted to have ample opportunity to allow our ideas to flourish and inform our choices. From the start, Yinka Esi’ Graves and Antonio Arrebola have been working with the dancers. For my process, I have observed rehearsals, video footage, and conducted research on Andalusian history and its African roots.
DCNT: How is the final performance structured and what should the audience expect to see and feel?
Delilah: Flamenco Black is a compilation of flamenco songs, dances, and stories that are directly linked to Afro-Andalusian history, African Flamenco roots, and black communities. They express powerful imagery through traditional and contemporary stylization.
Bridget: The final structure is still a work in progress, as we are in our own creative processes and working together to formulate it. Our aim is to create a temperament of passion and energy that encompasses the entire spectrum of Flamenco Black. The descendants of Africans (Moors) as they relate to Flamenco have a rich history that needs to be unpacked and understood The AfroAndalusian’s pre-history is often overlooked, but it did indeed exist. Discovering and exploring the
different facets through movement and observing has been a fascinating experience.
DCNT: Do you think this experience will influence future choreography when working on your own company projects?
Delilah: I believe this is the beginning of future Flamenco Black productions.
Bridget: My work is influenced by my life and the things that are happening around me and that I care deeply about. My work consistently incorporates various forms of culture. I believe that we live in a global society, so the work that I do as an artist should reflect that. Flamenco Black is an extension or expansion of my creative exploration as a dance practitioner.
DCNT: Do you plan to collaborate on projects in the future??
Delilah: Collaborating with Bridget Moore has been a wonderful artistic learning experience. I can’t wait to take Flamenco Black on tour! Bridget: Absolutely. Collaboration is a vital component of B. MOORE DANCE’s mission. Since the company’s inception, I’ve made an effort to work with various artists and organizations, so I certainly look forward to other collaborative projects in the near future.
Delilah Buitron Arrebola is the Artistic Director of The Flame Foundation, a 501c3 organization whose mission is to educate and promote knowledge, skill, and appreciation of the performing and visual arts to children and adults in Dallas, Texas. Their primary focus is on Flamenco dance, music, and its history. theflamefoundation.org | facebook.com/theflamefoundation | .instagram.com/ theflamefoundation.
Bridget L. Moore is the Artistic Director of B. MOORE DANCE, a Dallas-based contemporary modern dance company, whose mission is to empower and transcend generations through the art of dance by cultivating the arts through leadership, education and performances. bmooredance.org | facebook. com/bmooredance.org | instagram.com/b.moore. dance.
Yesterday I fell into yet another online discussion on the “Master Class” and “Master Teacher”. This is a topic discussed in previous blog posts, and I almost feel rather revisit the “tights vs. no tights” or “dancing shoe” discussions than rehash this subject yet again. But every single comment. I went to the profile pages participant, just to get a handle on with whom I was And I came to a realization. For the most part, the teachers were more or less of one mind, the younger were more or less of another, and no one was actually to anyone else.
When I was a kid in the 1960s, Look magazine editor Poppy coined the term “The Generation Gap” to this phenomenon.
In a nutshell, many (not all) of the younger teachers that there are many brilliant young dancers who can valuable experiences in the classroom. This makes classes “Master Classes” and should grant them “Master Teacher”. They also cited these dancers’ reels social medial followings as worthy of conferring upon title “Master Teacher”. There were some young participants the discussion who were still in their teens, proclaiming this moniker of “Master Class” be applied to their classes well because of their “nearly twenty years of training” “the stage experience they have had”. They kept stating decades of experience doesn’t entitle anyone to that the use of these terms should be based solely dancers’ abilities.
Many (not all) of the older teachers, agreed that there many brilliant young dancers, but that the terms Class” and especially “Master Teacher” should be for teachers with decades of experience who have produced superior results in the classroom. The consensus the older teachers was that a dancer’s reels and Instagram followers were irrelevant when it came to bestowing title of Master Class or Master Teacher. These older commented that they would never call themselves
the terms topic that I’ve feel that I’d with one But I read of every was dealing. the older teachers actually listening
editor John describe believed can create makes their the title reels and them the participants in proclaiming that classes as training” and stating that anything; solely on the there are “Master reserved produced consensus among Instagram bestowing the teachers themselves master
teachers; that this label should be reserved for the absolute very best, legendary teachers in our industry. This sentiment lead some of the younger participants to call these older teachers “angry” and “insecure” which then led to more name calling including “entitled” and “moron”. It was clear to me that much of the arguing (there was a lot) and much of the name calling (there was a lot) was due to the fact that most of the participants were not really reading and “listening” (for lack of a better word) to the differing opinions. There has always been a “Generation Gap” and there will always be a generation gap. But what I find so interesting is: Why is it so large and difficult to bridge with respect to this topic? I am aware that what follows deals in broad generalizations and there are always going to be individuals who don’t conform to this discussion.
I think a lot of this gap in understanding has to do with the culture in which each of us has been raised. When I was a child we were not raised to believe that we were special; in fact our parents, and society at large, went out of their way to be sure that we understood that we were NOT special. I think that the goal was to raise us to have a sense of determination, a strong work ethic and a genuine humility in how we carried and conducted ourselves. I believe that they wanted us to understand our “place in the world”. And for the most part it seems to have worked. Most of the older teachers in the discussion and quite frankly, most of the older teachers I know, fit this profile and exhibit these traits; traits that are considered admirable and among the hallmarks of good parenting. Today’s younger teachers were raised in a completely different environment. This generation was raised to understand that they WERE special. They were raised to know that they deserved to have their dreams fulfilled. They were raised to know that they could achieve whatever they hoped to achieve.
I think that the goal was to raise them to have good self esteem, confidence in their abilities, and a sense of optimism with respect to their futures. And for the most part it seems to have worked. Most of the younger teachers in the discussion
as well as most of the younger teachers I know, exhibit these traits; traits that are considered admirable and among the hallmarks of good parenting.
I’m clearly speaking in broad generalizations and there are many “shades of grey”; there are obviously going to be many individuals who don’t fit this model. But I believe that there is a lot of truth in the differences I’ve outlined. I’m also not saying that one way of being raised is better, more valid, or yields a better result than the other; they simply yield a different result. And so here we stand. We have the terms “Master Class”and “Master Teacher”. These terms clearly confer a certain level of status or “specialness” on those to whom they are applied; a status that one group “knows” that they, themselves deserve while another group “knows” that they, themselves do not. And if we proclaim what we “know” about ourselves without understanding why we feel that way, and if we fail to listen to what others “know” about themselves without trying to understand where these feelings originate, we come to this impasse.
Perhaps some of the teachers of my generation should try to look at their work and themselves with a little more objectivity. Maybe we aren’t really owning who we are, what we bring to the table and what level of mastery we, as individuals, truly possess. And likewise, perhaps some of the younger teachers should try to look at their work and themselves with a little more objectivity and try to have a deeper understand of where they truly fit within the scheme of the industry. But more importantly, maybe we all should try to look more objectively at our colleagues on the other side of this generation gap and maybe we all might learn something and come to a better understanding.
Now, back to the crux of the matter: the terms “Master Class” and “Master Teacher”. I stated my opinions on the bestowing of these terms in the aforementioned discussion thread and most of my readers already know (or can surmise) where I sit on this topic. I have some very strong opinions on this: classicalballetandallthatjazz.com/2016/12/22/masterteachers-and-master-classes/. But MY opinion is not germane to this discussion. Language is fluid. Slang expressions are constantly creeping into regular usage. The nuance of word meanings changes over time. So maybe “Master Class” can be synonymous with “special class” and maybe “Master Teacher” can be synonymous with “guest teacher”. And maybe not. And maybe if we didn’t attach so much specialness to the word “Master”we could all go back to arguing about dancing with one shoe.
Bill Waldinger is based in New York City and teaches primarily at the Joffrey Ballet School, Ballet Academy East, and is on the faculty at the New York Film Academy. This entry appeared on his online blog “Classical Ballet and All That Jazz” on July 24, 2023. You can follow him at: facebook.com/william.waldinger.
DEADLINE: OCT 15, 2023
In 1973, the organization was formed as the Dallas Dance Council and became incorporated as a 501c3 in 1974. Reflecting its broader constituency and outreach, the Dallas Dance Council became the Dance Council in 1995. In 2009, the organization’s name was changed to Dance Council of North Texas (DCNT) to define its geographical origination for the national and international dance community. DCNT was initially organized by and continues to achieve its vision through a dedicated and energetic board of directors and volunteers. DCNT receives funding through its membership, affordable marketing resources offered to the dance community, individual donors, foundations, corporations, the City of Dallas Office of Arts & Culture, and the state agency, Texas Commission on the Arts.
Over the years Dance Council has sponsored and produced multiple programs ans services such as:
A Chance 2 Dance, Adaptive Dance, ArtsPark, Art And Stage, Curtain Call Dance Festival, Dallas Morning News Dance Festival, Dallas DancFest, Dallas Dance Film Festival, Dancers Network, Dance Council Honors, Dance Planet, Dancing at McCall Plaza, Heart 2 Heart, National Tap Dance Celebration, The Scholarship Program, Taste Dance Addison Style, Vitruvian Salsa Festival...
The ladies of early Dallas Civic Ballet and the founders of Dance Council of North Texas!
Clockwise: Lorraine Cranford, Mrs. (Lorine) Head, Natalie Skelton, Denise Brown, and Mary Bywaters (seated).
The early days of Dallas Civic Ballet, in a piece called “Dallas Divertissment”. Clockwise: Ann Etgin, Jurgen Pagels, Jerry Bywaters Cochran, Don Cater Cranford, Lorraine Cranford, and Bill Atkinson.
celebrating its 50th year in existence!
DanceCouncilScholarshipRecipientspp.20-23
PerformanceCalendarpp.6-7
The evolution of the Dance Council logo and publications over the years. Copies of these and items from the Natalie Skelton estate and other contributors are on file on the Fourth Floor of the J. Erik Jonsson Central Library, 1515 Young Street, Dallas, TX 75201.
September 16. Homecoming 2. Bruce Wood Dance returns to Fort Worth for a one–night–only event. Performance includes Joy Bollinger’s Blue and two iconic works by Bruce Wood: The Only Way Through Is Through, and his 70s homage, Polyester Dreams 8PM | W.E. Scott Theatre, 1300 Gendy St., Fort Worth, TX 76107. Tickets are $45 at bwdhc2.eventbrite.com.
Alice. Pendleton’s takes the audience on a fun adventure with Lewis Carroll’s most beloved character, Alice. September 22 at 8PM | 2PM and 8PM September 23 | Moody Performance Hall | attpac. org/on-sale/2023/momix-alice/?utm_source=DanceCouncil&utm_ medium=Listing&utm_campaign=Digital.
September 22 - 23. TITAS/DANCE UNBOUND presents Momix’s
September 30 - October 1. Ballet Frontier presents A Midsummer Night’s Dream, choreography Chung Lin Tseng. I.M.Terrell Performing Arts Center. Tickets: balletfrontier.org.
by
October 13 - 14. LakeCities Ballet Theatre presents its annual Halloween classic Le Ballet de Dracula. The lead danced by Shannon Beacham, will take flight at The Grand Theatre in Lewisville. This hauntingly original ballet was written by Tom Rutherford with original choreography by Kelly Lannin and assisted by Shanon Tate. October 13 at 7:30 PM | October 14 at 2PM and 7:30PM | Tickets available at lakecitiesballet.org.
October 23. Les Danses d’Automne. Dallas Ballet Company premieres new works by choreographers Christina Ghiardi & Alexis Stus. Also featuring DBCo repertoire, Dallas Ballet Center Contemporary Company and more! We are thrilled to welcome our special guest performers, Zion Dance Project! 3PM | Granville Arts Center | dallasballetcompany.org/les-danses-d-automne.
Photo by Brandon Tijerina
September 8 - 9. Flamenco Black—Unraveling the mystery of Flamenco black history and its Afro Andalusian roots. Produced by The Flame Foundation in collaboration with B. Moore Dance and starring visiting guest Bailaora Yinka Esi Graves. $25 | Latino Cultural Center, 2600 Live Oak Street, Dallas | flamencoblack.org.
Photo by Sharen Bradford
Photo
Carley Denton
October 13 - 14. TITAS/DANCE UNBOUND presents Sankai Juku, a stunning immersive experience, rich with Japanese culture, artistic excellence and the power of creativity. 8PM | Moody Performance Hall | attpac.org/on-sale/2023/sankaijuku/?utm_source=DanceCouncil&utm_ medium=Listing&utm_campaign=Digital.
October 27 - 28. Dracula. Fall under the spell of one of literature’s most entrancing characters in this spine-chilling world premiere by Avant Chamber Ballet’s director Katie Puder with a score by Philip Glassperformed live! The ballet immerses audiences in this edge-of-your-seat suspense that will exhilarate novice ballet-goers and aficionados alike. Recommended for audiences 10 years and older. October 27 at 7:30PM | October 28 at 2:30PM and 7:30PM | Moody Performance Hall | Tickets start at $30 | avantchamberballet.org.
October 29. Ballet Ensemble of Texas presents Dracula—a Ballet with a Bite! Costumes encouraged! Irving Arts Center. Go to Balletensembleoftexas. org for more information!
November 16, 2023
Summer Study Scholarships
February 9th Yearly Dance Planet 27 April 7, 2024
Auditions September 9th at
LakeCities
1400 FM 407, Lewisville, Texas. For more information on audition times, availability requirements and more, please visit lakecitiesballet.org.
Membership Levels:
Student $30 (Full-time) Senior $30 (age 65+)
Individual $40
Household $75 (2 individuals at the same address)
Organizations $90 (studios, schools, dance companies, retail, businesses)
Large Organizations $120 ($250 K+ annual budget)
Sponsor $100 - $499 Patron $500 - $999
Benefactor $1000 +
Membership Benefits for All Members Include:
• Priority Registration & Discounts to DCNT Performances, Events & Master Classes
• Eligibility for Student Scholarships
• Access to Teaching Opportunities
• Discounts at Dance Businesses & Select Dance Performances
• Free Subscription to DCNT Quarterly Publication
• Free Subscription to DCNT’s Weekly E-newsletter, CenterStage
• Recognition on the DCNT Website
• Voting Privileges at DCNT Annual Meeting (Except Student Level)
• DCNT Membership Card
• Discounts on Space Rental at Sammons Center for the Arts
• Discounts on Select Studio Rentals Around the Metroplex
Membership Benefits for Organization Members
Also Include:
• Free Expanded Performance/Calendar Listings in DCNT Quarterly Publication
• Free Performance/Event/Job Listings in CenterStage + On the DCNT Website
• Free Info Links on DCNT Web Pages; ‘Find a Dance Studio’ + ‘Find a Dance Link’
• Discounted Intensive Listings in DCNT Quarterly Publication
• Access to Performance Opportunities, Many with Stipends
• Advertising Discounts
To join DCNT, sign-up online at: thedancecouncil.org
For more information, visit thedancecouncil.org, or contact maircawston@yahoo.com.
Follow DCNT on social media @ facebook.com/dancecouncilofnorthtexas, and instagram.com/dancecouncilntx.
• Grow and learn in a unique, supportive environment
• Grow and learn in a unique, supportive environment
• Strengthen your unique skill set
• Strengthen your unique skill set
• High-level ballet training
• High-level ballet training
• Boutique class size
• Boutique class size
• Guest instructors
• Guest instructors
• Frequent performance opportunities
• Frequent performance opportunities
• 501(c)3 offers merit, need-based scholarships/male dancer discount www.texasyouthballet.org
• 501(c)3 offers merit, need-based scholarships/male dancer discount
www.texasyouthballet.org
admin@texasyouthballet.org
admin@texasyouthballet.org
469.952.6262 | 214.477.9434 mobile
469.952.6262 | 214.477.9434 mobile
BALLET ACADEMY OF TEXAS
145 Fitness Ct, Coppell TX 75019 972-745-0199 Balletacademyoftexas. com. Director, Tammie Reinsch
Professional training for ages 2 ½ - Adult Ballet, Pointe, Pas de Deux, Jazz, Contemporary, Modern, Tap, Coaching and Professional Preparatory Program. Alumni performing with national and international companies, including American Ballet Theatre. Home of Ballet Ensemble of Texas Artistic Director, Thom Clower Balletensembleoftexas.org
AVANT CHAMBER BALLET
Train for your career, not competitions
ACB Trainees - professional training for ages 14 and up. First Steps - low-cost classes for ages 4-8. 2408 Farrington St, Dallas, TX 75207 avantchamberballet.org, info@avantchamberballet.org
CONTEMPORARY BALLET DALLAS
Lindsay DiGiuseppe, Director & Owner. Year round Professional Training in a positive Environment in the Heart of Dallas. Classes for all ages:
18mos-Adult in ballet, tap, jazz, hip hop, pointe, modern, contemporary, creative movement, parent & me; pre-professional program; Youth Ballet, Tap & Hip hop Companies; Largest adult selection of dance classes in Dallas, Located at Central Expressway & Mockingbird Ln. Dallas, TX 214-821-2066 www.contemporaryballetdallas.com admin2@schoolofcbd.com
DALLAS BALLET CENTER
Judy and Brent Klopfenstein, Artistic Directors. 8530 Abrams Rd, Ste 608, Dallas, TX 214.348.3224 dallasballetcenter.com info@dallasballetcenter.com
DALLAS BALLET COMPANY
DBC Tap Connection & DBC Contemporary Company. Judy & Brent Klopfenstein, Artistic Directors. 8530 Abrams Road, Ste 608, Dallas, TX dallasballetcompany.org info@dallasballetcompany.org
THE DALLAS CONSERVATORY
(Dallas and Frisco campuses)
Jacqueline Porter, Artistic Director. Now in its 15th anniversary year, 7-time YAGP Outstanding School Winner offers world-class facilities and instruction for 18 months to Adult in ballet, pointe,
partnering, variations, contemporary, jazz, modern, hip hop, theatre dance, ballroom, tap, acro, Bollywood, singing, acting, musical theater, TV/Film and fitness. Our graduates are at Juilliard, USC, and work professionally in dance and theater. Classes for absolute beginners through professional. • NEW Commercial Program ages 8-22 led by world renowned Blake McGrath • Classical Training Program for 14-22, daytime with optional housing • 5 performing companies for recreational and pre-pro students with varying price and commitment • Public Master Class Series • International Summer Dance Intensives at 5 levels • 15 dance studios + 3 voice studios available to rent • Frisco Square, Dallas, Lewisville-Castle Hills locations. //TheDallasConservatory.org
Lisa Racina-Torre, Owner/Director. Ballet, pointe, jazz, tap, contemporary, hip-hop, Pilates, Ages 3-Adult. Home of Denton City Contemporary Ballet. 4103 Mesa Dr, Denton, TX 940.383.2623 Director@dentondance.com dentondance.com
BALLET CENTER OF FORT WORTH
Artistic Director Enrica & Chung-Lin Tseng. 6132 Overton Ridge Blvd, Ft Worth, TX 76132 817.423.9888 balletcenterfortworth.com
balletcenter_fw@yahoo.com
MARGO DEAN SCHOOL OF BALLET
Home of Ballet Concerto. Ballet for all ages & levels, flamenco & Jazz dance. 3803 Camp Bowie Blvd, Ft Worth, TX 76107 817.738.7915 webster_dean@att. net margodeanballet.com balletconcerto.com
TEXAS BALLET THEATER SCHOOL
—FORT WORTH
The official school of Texas Ballet Theater offers programs ranging from beginner ballet to elite professional training, ages 3 and up. Classes also include jazz and tap, as well as adult classes. | 1500 Mall Circle, Ft Worth, TX 76116 | 817-763-0207 | fwschool@ texasballet.org | texasballettheater.org texasballettheater.org
THE BALLET CONSERVATORY
Home of Lake Cities Ballet Theatre
Kelly Lannin, Director. 1400 FM 407, Lewisville, TX 75077 972.317.0194.
balletconservatory.com
lakecitiesballet.org. 4-time YAGP
Outstanding School. 4-time YAGP Best Teacher Award
TEXAS YOUTH BALLET: CONSERVATORY AND COMPANY
901 N. McDonald St, Suite 705.
Boutique ballet conservatory, highlevel ballet training includes pas de deux, men’s program. Frequent guest instructors. Jennifer Dulin, Artistic Director 214-477-9434 texasyouthballet.org
CHAMBERLAIN BALLET
Pre-professional Dance Company. Kathy Chamberlain, Artistic Director 1404 Gables Court, Suite 101, Plano TX 214-412-8589 ChamberlainBallet.Org
CHAMBERLAIN SCHOOL OF BALLET
Kathy Chamberlain, Director. Classical ballet, jazz, tap,musical theater, adult classes. 3003W. 15th St, Plano, TX 972.985.1374 chamberlainschoolofballet.com
HATHAWAY ACADEMY OF BALLET
Home of Collin County Ballet Theatre
“Lessons of a Lifetime”. A premier ballet academy serving North Texas, providing professional training for over 20 years in dance technique for all ages. Directors, Kirt & Linda Hathaway former dancers of Dallas Ballet. Developing the dancer’s technical skills and performance artistry. 2865 McDermott Rd #140, Plano, TX 75025 972 7470600 hathawayacademyofballet.com & collincountyballettheatre.com
TEXAS BALLET THEATER SCHOOL— DALLAS
he official school of Texas Ballet Theater offers programs ranging from beginner ballet to elite professional training, ages 3 and up. Classes also include jazz, tap, and modern, as well as adult classes. | 300 N. Coit Rd. Ste. 231, Richardson, TX 75080 | 214-377-8576 | Dallasschool@ texasballet.org | texasballettheater.org
TOBY’S SCHOOL OF DANCE
Home of Richardson Fine Arts
Conservatory. Sally & Don Andriot. 635 W Campbell Rd, Suite 224, Richardson, TX 75080 972.235.0514 tobyschoolofdance@gmail.com tobysdance.com
