I’ll soon be transitioning away from writing my regular Dance Teacher columns (don’t worry, I’ll still be around writing features!), but before I go, I want to take a moment to thank my own dance teachers who have shaped me into the person I am today. 

The foundation of my dance training began at a classically based studio in Salt Lake City, Utah, called Salt Lake Dance Center. I credit my classical technique to the owner of the school, Jillana Hess Webb. Having come from a family of ballet dancers, Jillana had a reverence for dance. She was always dressed pristinely and had high expectations for how we as students presented ourselves. We were taught to be on time, focused, and respectful of the teacher at the front of the room. From pointed toes, to stretched knees, to tight fifths, she gave me my technique. Jillana had a knack for teaching with imagery. I’ll never forget the way she taught elegant port de bras by wading her arms through imaginary pools of water. As she lifted her hand out of the pretend pond, she’d zero in on the way drops might drip from her middle finger as it gravitated toward her thumb. She’d draw our attention to the gentle lift of her pointer, ring, and pinky fingers, somehow finding the perfect balance between soft and energized placement. I utilize the technique Jillana gave me every day—in every class, audition, and performance, her words are carved into my muscle memory. Thank you, Jillana, for giving me my base.

My love for dance was ultimately inspired by Jillana’s daughter, Heather Webb Jasso. Heather had a big, passionate personality. Every step she did was expansive, full, and connected. Her choreography was often emotional, and she would encourage me to dig deep to find the story within. That digging introduced me to the catharsis of movement. Dancing one of her solos felt like exploring pain points I’d been avoiding and then having a big cry. I’d finish each run feeling lighter than when the music started. Once you’ve experienced that kind of emotional release from movement, it’s impossible to stay away. In my late teens and early 20s, I battled a debilitating chronic health condition that took me out of dance for the better part of a decade. In times when I wanted to give up, I clung to my hope of dancing again, and that pulled me through. I would not have had that love of dance, that lifeline, had it not been for Heather. Thank you, Heather, for giving me passion.

At age 14 I moved to a major competition studio in Bountiful, UT, called Dance Impressions, where I worked with legendary studio owner Kandee Allen. Under her leadership, the school felt like it was made entirely of star performers. Her teaching style was firm and direct, and her high expectations encouraged us all to aim higher and reach our potential. She took us to major national conventions, introduced us to some of the biggest names in the industry, and even brought in A-list choreographers, like Joey Dowling, Jacki Ford, Jen Osorio Pendleton, and Cedar Lake’s Matt Rich, to set choreography. She showed me what was possible, and what was expected to succeed in the industry. Thank you, Kandee, for taking my dancing to the next level and making a professional career possible.

The cherry on top of my adolescent dance training came in the form of two Russian ballet teachers at the University of Utah: Regina Zarhina and Misha Tchoupakov. I broke my foot in my junior year of high school and spent the better part of seven months oscillating between a boot and a cast. In an effort to maintain my training while off of dance, a good friend invited me to try Regina’s floor barre classes. I went, skeptical of the benefits, and found the elixir of life. The class engaged my rotators and strengthened muscles that had long been forced into dormancy. Misha and Regina pushed my flexibility and gave me tools to maintain my turnout and extensions. By the time I was cleared to dance again, they had cut my road back to full strength in half. As I transitioned to regular ballet classes and rehearsals with them, I grew exponentially. They helped me compete confidently at Youth America Grand Prix, and the contemporary solo they refined ultimately led to my first professional job with Odyssey Dance Theatre in Draper, UT. Most importantly, the lessons they taught me about recovery would prove to be invaluable 10 years later, when I made my return post-illness. Thank you, Misha and Regina, for refining my technique and for showing me that it’s possible to recover from setbacks, and be stronger than ever.

Like every dancer I’ve interviewed over these three years, it feels impossible to narrow the focus of this article to just a few teachers. I have been blessed by the counsel and direction of many other educators, including Liz Martineau, Jana Monson, Nancy Bielski, and Billy Griffin. I am grateful for all of the people who have invested time into my dancing, who have made me a better person, and who have graciously answered all of my questions as I’ve transitioned into becoming a dance educator myself. (I’m looking at you, Kim DelGrosso!)

A special thank-you to all of the dancers who have shared your experiences with me over the years, and to all of the educators who treated them with such care. I will cherish your stories forever and promise to pass your lessons on to the next generation of dancers.