Jury Panel Archives
2026 JURY & SELECTION PANEL
IGOR ANTONOV
RICHMOND BALLET
REHEARSAL DIRECTOR
RB II DIRECTOR
Igor Antonov was born in Zaporozie, Ukraine. Upon graduation from the Kiev Choreographic Institute, he joined the Donetsk Ballet (Ukraine) as a soloist. In 1990, he was invited to join Richmond Ballet, where for five seasons he danced leading roles in works by George Balanchine, John Butler, Antony Tudor, William Soleau, Malcolm Burn, and Stoner Winslett. During that time, he was also a medalist and best couple award winner at the International Ballet Competition in Jackson, Mississippi.
For the next several years, he danced with Deutsche Oper am Rhein in Dusseldorf, Germany, and made guest appearances with major ballet companies in Berlin, Madrid, and Nice.
In 2003, he returned to Richmond Ballet, and while continuing to perform with the Company, he began conducting rehearsals and teaching at the School of Richmond Ballet. After his retirement from the stage, Mr. Antonov stepped into the role of leading Richmond Ballet’s second company, Richmond Ballet II. He now serves as Rehearsal Director for the professional company.
YOSHIHISA ARAI
CINCINNATI BALLET
DIRECTOR OF SECOND COMPANY
Yoshihisa Arai began his Ballet training at the International Ballet Academy in Japan before he was accepted to The Royal Ballet School in London in 2005. While he was a student at The Royal Ballet School, Arai performed in works by Sir David Bintley, Sir Frederick Ashton, and Sir Kenneth MacMillan, with The Royal Ballet at Covent Garden and he was a Finalist of the Prix de Lausanne in 2007.
After graduating with honors and receiving the Achievement Award in 2008, Arai joined Northern Ballet in Leeds, UK under the direction of David Nixon CBE. In 2011, Arai moved to the United States and joined Tulsa Ballet where he performed works by William Forsythe, Jiří Kylián and Edwaard Liang.
The following year Arai joined The Joffrey Ballet Chicago under the leadership of Ashley Wheater MBE, where he gained innumerable experiences and the responsibility to perform countless principal and corps roles in world-renowned works by exceptional choreographers like Gerald Arpino, George Balanchine, Val Caniparoli, Alexander Ekman, Lar Lubovitch, Wayne McGregor, John Nuemeier, Annabelle Lopez Ochoa, Justin Peck, Yuri Possokov, Jerome Robbins, Stanton Welch & Christopher Wheeldon OBE.
As a choreographer, Arai created several successful new works for The Joffrey Ballet such as Boléro, Élégie, and Afternoon Watch, which premiered at The Lyric Opera House in Chicago. Arai has been invited to create a world premiere in collaboration with Berlin-based Composer, Designer, and Tony Award-winning choreographer, Christopher Wheeldon and Alondora de la Parra, founder and conductor of Festival PAAX GNP in Mexico.
Arai joined Cincinnati Ballet as a Rehearsal Director and Director of Second Company- CB2 in 2023 to aid in the success of the company’s vision for Equity, Diversity, and Inclusion.
OGULCAN BOROVA
THE JOFFREY BALLET
STUDIO COMPANY DIRECTOR
Oğulcan Borova was born in Turkey and recognized as the First Prize Winner at the 3rd National Rotary Clubs Dance Competition. His awards include a Bronze Medal at the Varna International Ballet Competition, Gold Medal at the New York International Ballet Competition, Gold Medal at the Seoul International Ballet Competition, and High Achievement Recognition from the Dokuz Eylül University, where he studied in the conservatory’s dance department.
From 2011-2015, he danced with The Joffrey Ballet, where he danced principal roles in the productions such as Don Quixote, La Bayadere, Prodigal Son, and The Nutcracker.
He returned to Cincinnati Ballet as a Ballet Master in 2015 and worked closely with Artistic Director Victoria Morgan. Following successful five seasons with Cincinnati Ballet, he pursued his career by joining the National Ballet of Finland as a Ballet Master in 2020, under the direction of Madeleine Onne.
Borova was appointed head of the Studio Company and Trainee Program in 2022.
AMY BRANDT
POINTE MAGAZINE
EDITOR IN CHIEF
Amy Brandt has been the editor in chief of Pointe magazine since 2014, following a 19-year dance career. She received her initial dance training at Dancenter North in Libertyville, Illinois, and at the Milwaukee Ballet School. She later joined the Milwaukee Ballet, where her repertoire included 19th century classics as well as works by Antony Tudor, George Balanchine, Mark Godden and Alonzo King, among others.
She joined The Suzanne Farrell Ballet in 2003, dancing soloist roles in Balanchine’s Agon, La Valse, Pas de Dix and Divertimento No. 15. In 2005, she performed in honor of Ms. Farrell at the nationally televised Kennedy Center Honors. Ms. Brandt has also danced with Dances Patrelle, New Chamber Ballet, Ad Hoc Ballet and Ballet NY.
She has written extensively for several dance publications, including Pointe magazine’s “Ask Amy” advice column, since 2009. She joined Pointe’s editorial staff in 2014, and has also served as an associate editor for Dance Teacher and Dance Magazine. Ms. Brandt has a BA in English and World Literatures from Marymount Manhattan College.
CHERYNE BUSCH
HOUSTON BALLET
UPPER SCHOOL PRINCIPAL
Cheryne Busch received her extensive dance training in South Africa in the Royal Academy and Cecchetti methods of ballet. As a Performing Arts Graduate, she was the recipient of the esteemed Dancers Guild Scholarship, further enhancing her choreographic and performing career. Ms. Busch was commissioned to create works for the National Eisteddfod and Concours de Ballet in South Africa. She is an accredited Examiner on the board of the National Society of Dance Teachers in South Africa, and holds an International certification from the Royal Academy of Dance in London. She was the Director of two ballet schools in South Africa for twenty years, before immigrating with her family to the United States.
Ms. Busch was invited and graciously accepted an offer to join Houston Ballet in 1998. While on faculty, she has taught Master classes and conducted teacher training workshops locally and abroad for numerous Summer Intensive courses and competitions. She coached the Maccabi dancers to gold medal status in the US and served as an artistic consultant and guest teacher for performing art schools in Houston. Ms. Busch taught master classes and served on the jury of YAGP in the USA, CDC in California, and the Japanese Grand Prix in Tokyo.
She received her floor barre certification in New York and studied character dance at the Royal Conservatory of the Hague. She has created character dance repertoire for the Houston Ballet Summer Intensive, as well as for Studio Series performances for HB11. In her role as the Upper School Principal, Ms. Busch is dedicated to recognizing, recruiting, coaching and rehearsing dancers in the upper school and Professional Program.
KAREEN CAMARGO
MIAMI CITY BALLET
FACULTY OF BALLET
Kareen Pauld Camargo was born in Haiti and moved to the United States at age two, growing up in New York. She trained at the American Ballet Theatre School, School of American Ballet, and Dance Theatre of Harlem School and Workshop Ensemble, and attended the High School of Performing Arts. While with the DTH Ensemble, she performed the dancing sections in George Gershwin’s Porgy and Bess at the Metropolitan Opera House. She later joined Dance Theatre of Harlem, performing works by Arthur Mitchell, George Balanchine, Bronislava Nijinska, Agnes de Mille, and Geoffrey Holder.
In 1990, she joined Miami City Ballet and was featured in Swan Lake, The Nutcracker, Raymonda Variations, Scotch Symphony, The Four Temperaments, and Agon, as well as works by Lynn Taylor-Corbett and Paul Taylor. After retiring from the stage, she joined the faculty of Miami City Ballet School (1998–2006) and returned in 2013 as permanent faculty. She also served as rehearsal and ballet mistress for the children in George Balanchine’s The Nutcracker™.
She joined the adjunct faculty of New World School of the Arts in 2009, teaching through 2020. She later worked with Thomas Armour Youth Ballet as outreach coordinator and instructor, staging productions of The Nutcracker, and has taught as guest faculty at Dance Theatre of Harlem’s Summer Intensive and other programs. In 2024–2025, she served as Principal Guest Teacher at the School of American Ballet and is a member of its Alumni Advisory Committee.
ANAIS CHALENDARD
BALLET RHODE ISLAND
RECRUITMENT REPRESENTATIVE
Serving as a 2026 Compulsory & Gala Coach
Anaïs Chalendard trained with Carole Bentolila in Roanne. Herself a student of Max Bozzoni étoile and teacher at the Paris Opera school. Anaïs then moved to Marseille and kept dancing under the tuition of Dominique Khalfouni in the École Nationale de danse de Marseille Roland Petit.
She got her first professional contract at the age of 17 with the Deutsch Oper am Rhein under the direction of Youri Vamos, after graduating her baccalauréat in economic and political science. She then got an engagement with the Staatsoper Unter den Linden in Berlin directed at the time by Vladimir Malakov.
Few years later, Chalendard joined the Badische Staatstheater under the direction of Birgit Keil, where she became a Principal. Chalendard joined the English National Ballet in 2008 under the direction of Wayne Eagling, where she was promoted to first soloist following performances in Manon and The Dying Swan. In 2012, Chalendard appeared at the Nureyev Festival in Russia as Giselle with Principal dancer Jozef Varga from Het National Ballet, and as Odette/Odile in Derek Dean's Swan Lake with English National Ballet. She has been listed in the “100 Best Dancers in the World” by Dance Europe Magazine. In June 2013, she was invited to dance Erik Brühn's La Sylphide with Friedemann Vogel, principal with the Stuttgart Ballet, and Rolando Sarabia, international guest artist, at the Teatro dell Opera di Roma.
Chalendard joined Boston Ballet in 2013 as a Second Soloist, and was promoted to Soloist in 2014 and Principal in 2016. In 2019, Anaïs was invited to dance with Kammer Tänzer Flavio Salamanka during Mozart festival In Salzburg. And has also guested as Princess Aurora in Maina Gielgud’s production of Sleeping Beauty with Joburg Ballet. She retired from the Stage in the role of Giselle in October 2019 in a special and last guest appearance with Joburg Ballet.
Fernando Coelho is founder and director of Dance Workshop e.V., artistic director of Dresden Easter Dance and Dresden Summer Dance, and founder of Dance Teacher Tutorial, a project for the digitization of dance education. He trained at Centro de Danças Helfany & Jânia, studied Business Administration at Universidade Gama Filho, and graduated as a Stage Dance Teacher for ballet, modern dance, and pas de deux from Mannheim University of Music and Performing Arts.
He has danced internationally as a soloist with Ballet Jovem Helfany & Jânia, Corpo de Baile da Cidade de Niterói, Fundação Theatro Municipal do Rio de Janeiro, Grupo de Dança D.C., and Badisches Staatstheater Karlsruhe.
From 2010 to 2021, as Head of the MA Dance Teacher Programme at Palucca University of Dance Dresden, he developed pedagogy programs, creating Germany’s first work-study program to support dancers transitioning to ballet masters or teachers. Coelho has taught methodology and didactics worldwide, held faculty positions at Palucca University and Hochschule für Musik und Tanz Köln, and worked as ballet master and assistant director at Landestheater Salzburg, SEAD, and Corpo de Baile da Cidade de Niterói.
He is a guest lecturer, jury member, and artistic consultant for institutions including Ballet Academy of the Vienna State Opera, L’Avant-Scène Danse Lausanne, and the International Dance Seminar of Brasília.
FERNANDO COELHO
PALUCCA UNIVERSITY OF
DANCE DRESDEN
PROFESSOR OF BALLET
EDWARD ELLISON
ELLISON BALLET
ARTISTIC DIRECTOR
Edward Ellison has traveled the world as a dancer, teacher, choreographer and ballet master. Companies he has taught for include American Ballet Theatre, Houston Ballet, Alvin Ailey and the Metropolitan Opera Ballet. He has been a guest teacher with The Juilliard School and Joffrey Ballet School, and continues to teach open classes at STEPS on Broadway.
As a ballet master, he has worked for such companies as the Boston Ballet, Norwegian National Ballet and Alberta Ballet, as well as staging Helgi Tomasson's Nutcracker for San Francisco Ballet's annual tour. With love and devotion to his students guiding his work, his approach is infused by study and close association with renown ballet masters and directors, such as Larisa Sklyanskaya, Helgi Tomasson, Irina Jacobson and Marius Zirra. He particularly credits his years of pedagogical study with Ms. Sklyanskaya for the depth of his artistic knowledge, as well as teacher courses at the Vaganova Ballet Academy in Russia and the National Ballet School in Canada.
A former soloist with the San Francisco Ballet and guest artist with many companies in the U.S. and abroad, Mr. Ellison's repertoire spans the great classical works of the 19th century to neoclassical and contemporary choreography of the 20th century and today.
Mr. Ellison employs a combination of detailed technical insight — including precise verbal and physical guidance to ensure proper alignment, placement, strength and coordinaton of the body — and artistic vision to excite and advance the student's journey. As Founder & Artistic Director of Ellison Ballet, Mr. Ellison has crafted an intensive study program to meet the needs of gifted ballet students from around the world who wish to dance professionally. Both the Summer Intensive and the in-depth Professional Training Program offer a stepping stone approach to realize new levels of achievement. The classes emphasize development of strong classical ballet technique, the exploration and discovery of the student's full artistic potential, and individual attention from the ballet master.
MARJORIE GRUNDVIG
PITTSBURGH BALLET THEATRE
HEAD OF PRE-PROFESSIONAL DIVISION
Ms. Grundvig began her ballet training in her hometown of Davis, California, and with Marguerite Phares in
Sacramento, California. Additionally, she spent summers on scholarship with San Francisco Ballet School.
At the age of 17, Ms. Grundvig joined the North Carolina Dance Theatre. She continued her performing career as a soloist with both the Tulsa Ballet and the Boston Ballet.
She has guest taught at many schools, both nationally and internationally, in addition to touring nationally to audition students for the annual summer programs of Boston Ballet and PBT.
Ms. Grundvig directed the ballet department of the Washington Academy of Performing Arts in Seattle prior to being appointed Director of the Pittsburgh Ballet Theatre School in August 2005. Since
starting at PBT, Ms. Grundvig has been part of a leadership team that has managed to increase total school
enrollment by more than 79%.
CHRISTOPHER HIRD
SARASOTA BALLET
EDUCATION DIRECTOR
Christopher Hird is from England and studied the Royal Academy of Dance syllabi before training at The Royal Ballet School. He toured Europe as part of a company headlined by the internationally acclaimed ballerina, Sylvie Guillem. After retiring from the stage, Hird worked as the Assistant to the Director of the British Ballet Organization, and later as Assistant to the Development Manager at The Royal Ballet School. He earned a Bachelor of Arts in Dance from the University of Roehampton and a Diploma from Canada’s National Ballet School’s Teacher Training Program.
Hird joined Boston Ballet School in 2003 and was promoted to Artistic Manager in 2009. He was a main teacher for students in the Pre-Professional and Classical Ballet Programs as well as being part of the Senior Leadership Team. Hird has staged ballets for the School including Swan Lake, The Sleeping Beauty, La Bayadère, and Sir Frederick Ashton’s Les Patineurs, Les Rendezvous and La Fille mal Gardée. Hird was also a Children’s Ballet Master for Boston Ballet’s The Nutcracker.
In 2013, Hird was appointed Head of Adult Programming. He has led the artistic vision for the redesign of the program as well as been instrumental in developing and enhancing the adult students’ engagement with Boston Ballet.
Hird has served on the international jury of the Japan Grand Prix in 2008 and 2010, the Surrey Festival of Dance (Canada) in 2007 and 2008, the Goiania Dance Festival (Brazil) in 2012 and 2015. He has been a guest teacher for Alvin Ailey American Dance Theater, Canada’s National Ballet School, Cecchetti Council of America and Harvard University.
The Sarasota Ballet appointed Christopher Hird as Director of Education and Principal for the Margaret Barbieri Conservatory in July 2016.
DAVIT HOVHANNISYAN
MILWAUKEE BALLET
SECOND COMPANY DIRECTOR
Davit Hovhannisyan began dancing at age six in his home country of Armenia. At age 10, he was accepted into the National Ballet School of Armenia on full scholarship, and by 16, he began his professional career with the Armenian National Ballet Company. Hovhannisyan then moved to the United States where he has received critical acclaim with numerous companies throughout the country.
Hovhannisyan joined Milwaukee Ballet in 2004, where he has danced principal roles in many Michael Pink ballets, including Romeo in Romeo & Juliet, Basilio in Don Quixote, the title role in Dracula, Captain Hook in Peter Pan, Josef in Mirror Mirror, Prince Siegfried in Swan Lake, Franz in Coppélia, Captain Phoebus in The Hunchback of Notre Dame/Esmeralda and The Prince in Beauty and the Beast.
He has also had the pleasure of working with choreographers such as Lila York, Stephen Mills, Bruce Wells, Trey McIntyre, Margo Sappington, Kathryn Posin and Mark Godden. These collaborations have led to him dancing in various contemporary works, and principal roles such as Prince Solor in La Bayadère, Tamino in The Magic Flute, Moon Prince in Scheherazade and Oberon in A Midsummer Night’s Dream.
DAYOUNG JUNG
OKLAHOMA CITY BALLET
REHEARSAL DIRECTOR
Serving as a 2026 Gala Choreographer
DaYoung Jung, from South Korea, trained at the Bolshoi Ballet Academy, graduating with honors and a master’s degree in Ballet Pedagogy. In 2006, she was a semifinalist at the Serge Lifar International Ballet Competition. She joined Oklahoma City Ballet in 2012, was promoted to soloist in 2014, and principal in 2017.
Jung performed leading roles in Giselle, Romeo & Juliet, Swan Lake, The Firebird, Cinderella, and The Sleeping Beauty, and danced works by George Balanchine, Jiří Kylián, Septime Webre, Toni Pimble, Twyla Tharp, Michael Pink, and Robert Mills. Her broad repertoire shaped her artistry and launched her choreographic career. She gave her final performance as Aurora in The Sleeping Beauty in May 2022, concluding a decade with the company.
Transitioning from the stage, Jung became a rehearsal director at Oklahoma City Ballet and an active educator. She has served as a panelist for Ballet Des Moines and as a judge at the ADC/IBC Finals. An award-winning choreographer, her works have been presented nationwide. She shared Dissipation and Composition at the Five Moons Dance Festival and won the audience award at Milwaukee Ballet’s Genesis competition for Vignettes. Her recent work There, Never There was performed in 2023 at Ballet Under the Stars at Scissortail Park.
TAMARA KING
BOSTON BALLET
ASSOCIATE SCHOOL DIRECTOR
Tamara King is an experienced teacher and dedicated dance educator. Originally from Albuquerque New Mexico, King began her training with Suzanne Johnston, Soili Arvola, and Leo Ahonen. King has been involved with Boston Ballet for more than 40 years since she was a scholarship recipient at Summer Dance Program in 1981.
King danced professionally in numerous classical, neoclassical, and contemporary works. Over the course of her dancing career, she danced with Louisville Ballet, Ballet West, and Boston Ballet. She danced a variety of principal, soloist, and corps roles in ballets such as The Sleeping Beauty, Swan Lake, The Nutcracker, Concert Barocco, Allegro Brillante, and more.
King launched her teaching career at Walnut Hill School for the Arts before returning to Boston Ballet in 2001. She was the Principal of the Summer Dance Program and was promoted to Principal of the Newton Studio in 2004. During her tenure, the Newton studio has become the hub of the Classical Ballet Program, and offers a carefully constructed ten-level curriculum, seven state of the art studios, and a building designed entirely on the Principles of Universal Design. She has established strong ties with institutional partners throughout the city of Newton, including relationships with the New Phil Harmonia Orchestra and Newton Cultural Alliance. King sat on the Board of Directors for the Newton-Needham Chamber of Commerce and launched a partnership with Lasell College, where she resided on the Advisory Board of the Humanities Department.
King is also a talented choreographer and guest teacher. She has choreographed four ballets that are shown by advanced-level students yearly, including Alice in Wonderland; Never, Neverland: The Adventures of Peter and Wendy; Seasons; and Cakewalk. King has guest taught for the American Ballet Theatre JKO School, The University of North Carolina School of the Arts, Harvard University, and the University of Utah. In addition to her teaching, she also serves as a juror for the prestigious Japan Grand Prix competition in Tokyo, Japan.
In 2020, King was promoted to Principal of Boston Ballet School where she oversaw faculty, curriculum, and operations for the Classical Ballet Program at the Boston and Newton studios and Summer Dance Program. She was promoted to Associate Director of BBS in 2023. In this role, King will advance her leadership in programming and faculty development to cover all BBS programs, including the Professional Division at Walnut Hill School for the Arts.
ALEXEY KULPIN
THE HARID CONSERVATORY
FACULTY OF BALLET
Serving as a 2026 Compulsory Coach
Alexey Kulpin is a graduate of the University of Culture and Art in St. Petersburg, Russia. He holds both bachelor’s and master’s degrees in ballet methodology and choreography. In 1998, he was the Grand Prix winner at the Muse of St. Petersburg Ballet Competition.
As a professional dancer, Mr. Kulpin has performed soloist and principal roles in both classical and contemporary ballets in Russia, Israel, and the United States. He danced professionally with St. Petersburg State Opera Ballet, St. Petersburg State Male Theatre by Mihailovsky, Ballet Israel, City Ballet of San Diego, Grand Rapids Ballet, Charleston Ballet Theater, Stars of St. Petersburg Municipal Theater of Music and Dance, and Krasnoyarsk Dance Ensemble. His roles included Basilio in Don Quixote; James in La Sylphide; Prince Ivan in Firebird; Spirit of the Rose in Le Spectre de la Rose; Swan Lake Pas de Trois; and the male leads in Tarentella and Maurice Bejart’s Trik Trak.
Mr. Kulpin specializes in teaching classical ballet, male and female variations, and character dance. His teaching career includes the Ballet Israel School, City Ballet of San Diego, Grand Rapids Ballet, and Charleston Ballet Company, where he taught company classes and served as director of the Charleston Ballet Young Artists Group. Most recently, he served as principal ballet teacher for Northern California Dance Conservatory. He has staged classical variations and choreographed solos for performance and ballet competitions. Mr. Kulpin joined The HARID Conservatory’s faculty in August, 2016.
LISA THORN MORRIS
ORLANDO BALLET
ASSOCIATE ARTISTIC DIRECTOR
As Associate Artistic Director at Orlando Ballet, Lisa Thorn Morris brings extensive professional experience that includes performing as a principal dancer, choreographer, and educator. Lisa has been significantly contributing to the success of the professional company’s artistic development since she joined as Ballet Master in 2015.
Lisa transitioned to artistic leadership after her 20-year dance career as a member of the Kansas City Ballet where she performed numerous principal roles. While at Kansas Ballet, she served as Associate Ballet Mistress before being elevated to Ballet Mistress in Residence. Other career highlights include performing professionally with the Pittsburgh Ballet Theater, Owen/Cox Dance Group, Lyric Opera of Kansas City, Starlight Theatre of Kansas City and Wylliams/Henry Contemporary Dance.
In addition to dancing professionally, Lisa has also choreographed for numerous organizations including the Orlando Ballet, Kansas City Ballet, Lyric Opera of Kansas City, Actors Theatre of Kansas City, and the Kansas City Youth Ballet. Lisa’s choreographic skill and success led to her being named 2005’s Emerging Choreographer at the Craft of Choreography Conference.
Lisa earned a bachelor’s degree in fine arts in Dance, graduating Summa Cum Laude from the University of Missouri where she served as an Adjunct Professor at the Conservatory of Music and Dance. She has served as guest instructor for the University of North Carolina School of the Arts (UNCSA) and Kansas City Ballet School. Originally from Dryden, New York, Lisa began her dance training as a child with the Ithaca Ballet before training with UNCSA, Pittsburgh Ballet School and the School of American Ballet.
NADIA PAVLENKO
SCHOOL OF PHILADELPHIA BALLET
RECRUITMENT REPRESENTATIVE
Serving as a 2026 Compulsory Coach
A native of Moscow, Russia, Nadia Pavlenko graduated from the Vaganova Ballet Academy in 1989. She joined the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre as a Soloist, performing leading roles in The Sleeping Beauty, Swan Lake, Giselle, Paquita, Coppélia, and Don Quixote. She toured throughout Russia, Germany, Italy, and the United States and continued her studies at the Rimsky-Korsakov St. Petersburg State Conservatory.
An eloquent and expressive artist, Pavlenko is also a dedicated pedagogue with more than 25 years of teaching experience. She served as Principal of the Ballet West Academy (2016–2017) and as Artistic Director of International Ballet Academy (2017–2025). During her tenure, she received the Outstanding Teacher Award from Youth America Grand Prix in 2015, 2017, and 2023, and the Outstanding Teacher Award from ADC IBC in 2018. Under her leadership, International Ballet Academy was named YAGP Outstanding School (2018–2022, 2024, 2025) and ADC IBC Outstanding School (2017, 2019–2024).
Her students now dance with leading companies and schools worldwide, including Bayerisches Staatsballett, Stuttgart Ballet, San Francisco Ballet, The Royal Ballet School, English National Ballet School, John Cranko Schule, Tanz Akademie Zurich, San Francisco Ballet School, and Houston Ballet Academy.
BRANDON RAGLAND
DAYTON BALLET
ARTISTIC DIRECTOR
Brandon Ragland danced as a leading artist with the Louisville Ballet, where he also served as Pre-Professional Program Manager for Louisville Ballet School and Resident Choreographer for the Louisville Ballet Youth Ensemble. He has taught for Alabama Ballet, Next Generation Ballet, Samford University, AROVA Contemporary Ballet, and Ballet Arkansas. He now serves as Artistic Director of the Dayton Ballet.
He received the Lift A Life Foundation Emerging Leader in the Arts Award from The Fund for the Arts and was named Best Artist by Louisville Magazine.
Ragland has created works for Louisville Ballet, Alabama Ballet, Ballet Arkansas, AROVA Contemporary Ballet, and Sedona Chamber Ballet, with presentations at RDA/Southeast Festivals. He choreographed Cinderella’s Ball and A Midsummer Night’s Dream for Louisville Ballet School.
He collaborated with The Kentucky Center for the Performing Arts and performed with The Black Iris Project at the John F. Kennedy Center for the Performing Arts.
Ragland earned a B.S. in Dance Arts Administration from Butler University and performed works by George Balanchine, Christopher Bruce, Stanton Welch, and others.
CRISTINA SASO
EUROPEAN SCHOOL OF BALLET
ESB TALENT SCOUT & RESIDENT FACULTY
Born in Rome, Cristina Saso began training at Balletto di Roma. At fourteen, she won a scholarship from Carla Fracci at the Prix Isola di Capri to attend the Princess Grace Academy, directed by Marika Besobrasova. She continued at the Heinz Bosl Stiftung Ballet Academy with Konstanze Vernon.
Her professional career began at the Teatro dell’Opera di Roma under Vladimir Vassiliev. She later joined the Teatro di San Carlo, where for nine years she performed soloist and principal roles under Elisabetta Terabust and Luciano Cannito. After a season with Tulsa Ballet, she returned to the Rome Opera as a lifelong principal, working with directors including Carla Fracci, Misha Van Hoecke and Eleonora Abbagnato. From 2018–2020 she served as Ballet Mistress/Assistant for company productions.
Her repertoire includes leading roles in Giselle, The Nutcracker, Romeo and Juliet, Swan Lake and Raymonda, in productions by Kenneth MacMillan, John Cranko, Rudolf Nureyev, Christopher Wheeldon and others. She also performed works by George Balanchine, Roland Petit, Alvin Ailey, Frederick Ashton, Martha Graham, Hans van Manen, Renato Zanella, Maurizio Wainrot and José Limón.
Cristina is currently Resident Teacher and Ballet Mistress at ESB and has been Talent Scout since 2019, teaching and scouting across Europe, the USA, Canada, Australia and Asia.
SHARON STORY
ATLANTA BALLET
DEAN OF EDUCATION
Dean Story is currently in her 21st season with Atlanta Ballet. She joined Atlanta Ballet after a professional dance career that spanned more than 20 years, including tenures with Joffrey Ballet, the School of American Ballet, New York City Ballet, Atlanta Ballet, and ten years with Boston Ballet.
In 1996, in addition to her role as ballet mistress, John McFall’s vision and mentorship brought Sharon to her current position as dean of the Centre for Dance Education, which has rapidly grown to one of the largest dance schools in the nation. The Centre for Dance Education is nationally recognized for great accomplishments in its programs and community initiatives. Under Sharon’s direction, the Centre achieved accreditation with National Association of Schools of Dance (NASD). Sharon is a member of the Board of Directors for NASD and is delighted to serve on many community and national boards.
Sharon received the 2015 Women Making a Mark award from Atlanta Magazine. She is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community needs, is innovative, and inspires the commitment and excellence that are the trademarks of Atlanta Ballet. She is very proud of the dancers who have studied at the Centre for Dance Education and continue to share their experiences on stage in the Atlanta Ballet company and around the globe. She thanks her family for all their love and support during her career.
OLIVER TILL
KANSAS CITY BALLET
SCHOOL DIRECTOR
Oliver Till trained at the Royal Ballet School and became a Soloist with Birmingham Royal Ballet under Sir David Bintley. He performed works by Peter Wright, David Bintley, Jessica Lang, Stanton Welch, Kenneth MacMillan, Michael Corder, Frederick Ashton, and Ninette de Valois, touring across the UK, Europe, USA, Japan, and China.
Alongside performing, he earned a BA in Business with Environment and interned at an investment bank in New York. He later founded a US-based video coaching platform and gained American Ballet Theatre National Training Curriculum certification (Pre-Primary–Level 7, Partnering).
He joined the Swedish National Ballet School, leading ABT curriculum implementation, mentoring students aged 8–11, supporting teacher development, and expanding outreach.
Returning to the US, he became Head of Children’s, Adult, and Adaptive Programs at Joffrey Ballet, focusing on curriculum design, performance pathways, operations, and audience engagement.
Oliver champions accessible, high-quality training and a holistic approach integrating mental and physical development to shape the future of dance education.
MARIA TORIJA
BALLETMET
ACADEMY DIRECTOR
Born in Madrid, Spain, Maria Torija began her ballet studies with Lola de Avila, Luis Fuentes and Carmen Roche. At the age of thirteen, she was awarded a Fulbright scholarship to study for three years at the School of American Ballet in New York.
After a short stint with the Ballet Nacional de España Clásico, in 1987 she began her 20-year career as a dancer with the Deutsche Oper Berlin ballet company, currently the Staatsballett Berlin. During her time in Berlin, Maria performed in solo and principal roles in numerous classic ballets, including works choreographed by George Balanchine.
She holds a Bachelor’s degree in Ballet Teaching, and graduated summa cum laude with a Master’s and PhD in Performing Arts from the Universidad Rey Juan Carlos, in Madrid. She also has an extensive teaching resume. Beginning with the Opera Ballet of Deutsche Oper Berlin, she has served as a faculty member at the Palucca Hochschule für Tanz, Dresden. Maria has participated in seminars and has been invited to teach classes throughout Europe, Japan and Hong King and the United States. While on the faculty of the Miami City Ballet and Miami City Ballet School, Maria taught dancing as well as classes on the history of ballet and other associated topics. She organized and conceived a popular program for the Open Barre at the Miami City Ballet, inviting the public to see a demonstration of the progression of professional ballet training. Maria became the Director of the BalletMet Academy in May 2017.
CAITLIN VALENTINE
BALLETMET
SECOND COMPANY ASSOCIATE DIRECTOR
Caitlin Valentine began her dance training in New Jersey before joining Orlando Ballet at age 16, led by Fernando Bujones. She later danced at Colorado Ballet as a soloist. Throughout her career, Caitlin has performed not only soloist roles, but also numerous principal roles including Kitri in Don Quixote, Aurora in The Sleeping Beauty, Odette/Odile in Swan Lake, Juliet in Romeo and Juliet, Giselle in Giselle, Dorothy in Dorothy and the Prince of Oz, Cinderella in Cinderella, Daisy in The Great Gatsby, The Survivor in Light/The Holocaust and Humanity Project, Lise in La Fille mal gardée, Tinkerbell in Peter Pan, Sugar Plum Fairy in The Nutcracker, and Guinevere in Camelot. She has been featured in contemporary works by Edwaard Liang, Val Caniparoli, Matthew Neenan, Dwight Rhoden, Amy Siewert, and Christopher Wheeldon and has enjoyed performing lead roles in George Balanchine’s Rubies, Serenade, Square Dance, Who Cares?, Allegro Brillante, Theme and Variations and Jerome Robbins’ Fancy Free.
Caitlin’s awards and honors include a Bronze Medal at the New York International Ballet Competition in 2003, Dance Magazine’s “25 to Watch” in 2005, and a Jury Award recipient at the USA International Ballet Competition in 2006.
Caitlin retired from the stage at the end of BalletMet’s 23/24 season and joined the staff as a teacher in the academy and a member of the Development team. She now serves as the second company associate director.