Silas Farley began his training when he was 7 years old in his hometown of Charlotte, North Carolina with Sal and Barbara Messina at King David Christian Conservatory. He continued his training at Charlotte Ballet Academy with Hamburg Ballet alumni Kathryn Moriarty and Mark Diamond and New York City Ballet (NYCB) alumni Patricia McBride and Jean-Pierre Bonnefoux. He completed his ballet training at The School of American Ballet (SAB). He joined NYCB in 2012 and danced with the Company until 2020. There he performed principal roles in the works of George Balanchine and Christopher Wheeldon and originated roles in ballets by Wheeldon, Lauren Lovette, and Justin Peck.
Farley has taught nationally and internationally, including at the School of American Ballet, New York City Ballet, Slovak National Ballet, Colburn School, Peabody Conservatory, Hartt School, Chautauqua School of Dance, and The Kennedy Center. He has choreographed for the School of American Ballet, the New York Choreographic Institute, Columbia Ballet Collaborative at Columbia University, and Works & Process at The Guggenheim, The Washington Ballet, and American Ballet Theatre.
In 2017, Farley collaborated with poet Ilya Kaminsky on the ballet adaptation of Kaminsky’s book, Deaf Republic, at Grace Farms Foundation. In the fall of 2017, Farley was commissioned by MetLiveArts to choreograph a site-specific work at The Metropolitan Museum of Art. That work, Songs From The Spirit, was made in collaboration with the Ear Hustle podcast and was set to music by currently and formerly incarcerated musicians from San Quentin State Prison. The ballet premiered at The Met Museum in 2019.
Farley was an inaugural Jerome Robbins Dance Division Research Fellow at The New York Public Library for the Performing Arts. He has written for Dance Magazine and lectured for the New York City Ballet, New York Philharmonic, Saratoga Performing Arts Center, Park Avenue Armory, and Museum of Modern Art. Farley is writer and host of the New York City Ballet podcast, Hear The Dance. Mr. Farley served as the Armstrong Visiting Artist in Residence in Ballet in The Meadows School of the Arts at Southern Methodist University (SMU) for the 2020–21 academic year.
In addition to his role as Dean of the Trudl Zipper Dance Institute, Mr. Farley is an Amplify Artist at the Colburn School. He is also an Alumnus Trustee of Professional Children’s School and serves on the Board of The George Balanchine Foundation.
Silas Farley’s Vision for Los Angeles’ Colburn School
New York Times
Silas Farley to Lead Dance Academy in Los Angeles
Los Angeles Times
New York City Ballet alum Silas Farley, 26, is named dean of Colburn dance institute
The Washington Post
Washington Ballet concludes its virtual season with a breath of fresh air, captured on film
New York Times
Retiring From Ballet at 26? Dancing Can Get You Only So Far
Songs from The Spirit, choreographed and performed by Silas Farley
Metropolitan Museum of Art Digital Premiere
Anachorisi (Departure), choreographed and performed by Silas Farley
Works & Process at the Guggenheim
Darleen Callaghan began her dance training with the Stone-Camryn School of Ballet in Chicago where she performed as a child with the New York City Ballet, Pennsylvania Ballet, and the Stone-Camryn Ballet. She was then awarded full scholarships for further study at the American Ballet Theatre School and the School of American Ballet in New York City. As a student at SAB, she had the privilege of performing with Jacques D’Amboise & Friends, Jean-Pierre Bonnefoux-Patricia McBride & Company, and at the White House for the President at a NATO Summit Dinner. Throughout her performing career, Callaghan danced in numerous ballets from the Balanchine repertory including Symphony in C, Divertimento #15, Square Dance, Four Temperaments, Scotch Symphony, Valse Fantaisie, and Allegro Brillante. She danced in a variety of principal, soloist, and corps de ballet roles with the North Carolina Dance Theatre performing in classical and contemporary works by Aiello, Ariaz, Balanchine, Bournonville, Nebrada, Petipa, Thomasson, and Vesak. She joined the company for two European tours, performances at the Spoleto Festivals in America and Italy, and extensive annual tours throughout the United States.
Upon retiring from the stage, Darleen honed her skills as a teacher, choreographer, and arts administrator. Darleen is nationally recognized for her work as Director of the North Carolina Dance Theatre School of Dance (the official school of the North Carolina Dance Theatre, now Charlotte Ballet), where she increased enrollment from 150 to 700 students in the first three years and achieved national recognition for the School as a major professional training academy. As Director of the Miami City Ballet School, she was instrumental in establishing a variety of new curriculum, performance, and outreach initiatives. Darleen oversaw the development of a new school syllabus and expanded the Pre-Professional Division curriculum to include composition classes, a Student Choreography Showcase and a comprehensive Supplemental Training Program that included Pilates, Gyrotonics, and weight-training classes. She established the Miami City Ballet School Ensemble, a pre-professional student performing company, which performed the Miami City Ballet’s signature outreach program, “Ballet for Young People” in major theaters throughout South Florida. Darleen also developed the widely acclaimed “Ballet Bus” program, providing transportation, counseling, and ballet training to underserved children in the local community.
Cara Hansvick began her training at Dance Center Evanston before attending Indiana University Jacob’s School of Music. She was accepted on the Dean’s Scholarship, and received her Bachelor of Science in Ballet and Arts Management. During her time there she performed principal roles in Balanchine’s Serenade, Concerto Barocco, Elegie, and Swan Lake, as well as Merce Cunningham’s Duets, Antony Tudor’s Dark Elegies.
Her summer studies include Chautauqua Institution, Alonzo King Lines Ballet, Hubbard Street Dance Chicago, and Milwaukee Ballet. Following graduation, she joined the Charlotte Ballet, where she danced for two seasons. She performed leading roles in works by Jean Pierre Bonnefoux, Dwight Rhoden, Sasha Janes, and Mark Diamond.
Cara joined the American Contemporary Ballet as a principal dancer in 2018 where she danced principal roles in Balanchine’s Elegie, The Nutcracker, Who Cares?, and Raymonda Variations as well as Lincoln Jones’ Verklarte Nocht, Death and the Maiden, Astaire Dances, and The Nutcracker Suite. In addition to dancing, she also is a classical trained Pilates and GYROTONIC instructor.
Jasmine grew up in Charlotte, NC where she began dancing for a church play at seven years old. Soon after, she began formal ballet training at North Carolina Dance Theater under Patricia McBride, and Jean-Pierre Bonnefoux. At fourteen she was awarded a full scholarship to move to New York City and further her ballet training at the School of American Ballet.
During her four years at SAB, she traveled to various summer training programs such as Pacific Northwest Ballet, Houston Ballet, and Miami City Ballet. Upon graduation at the School of American Ballet, Jasmine moved to Los Angeles to join the corps de ballet of Los Angeles Ballet, where she is now a Soloist. There she has performed leading roles in various Balanchine and classical story ballets, as well as contemporary works.
Jasmine also performs as a guest artist with various companies in the states, including Luminario Ballet, Raiford Rogers Modern Ballet, the Los Angeles Philharmonic, and Black Iris Project. She recently traveled to India with Luminario Ballet as a US cultural ambassador to perform works at the Kala Ghoda Arts Festival. There she led outreach and master classes from ages 5-50.
Jasmine’s greatest passion is sharing the gift of dance with anyone who may be unfamiliar and allowing audiences and students to understand that dance is an accessible conduit of language, expression, and connects us all.
Yuka Fukuda, originally from Tokyo, Japan, trained at Tokyo Junior Ballet and Asami Maki Ballet Arts. Upon coming to the United States, she trained at George Mason University in Virginia and The Ailey School in New York City. On graduating in 1999, she was invited to join Ailey’s second company Ailey II, performing with them from 1999–2002.
Yuka went on to be a company member of Dallas Black Dance Theatre for two years. She performed in six productions of The King and I, including at the venue Papermill Playhouse, as well as several national tours. She played the role of Victoria in Cats at West Virginia Public Theater. She served as an assistant choreographer for the production of Gospel Gospel Gospel directed and choreographed by Otis Sallid. She has worked with renowned choreographers such as Robert Battle, Jessica Lang, Jacqulyn Buglisi, Donald Byrd, Ronald K. Brown, and many more.
As a teacher, she has taught at the Nang Young Academy of Fine Arts in Singapore, Dallas Black Dance Academy, and headed up the Modern department at Champs Charter High School for the Performing Arts. She is also a faculty member at Los Angeles County High School for the Arts (LACHSA), Lula Washington Dance Theater, and City Ballet of Los Angeles.
She has completed her Horton pedagogy training with Anna Marie Forsyth.
Aaron Williams is a virtuosic tap dancing multi-instrumentalist, trained in classical music, jazz, and rudimental percussion technique. He achieved internet fame with his viral video, Mario on Marimba, which has received millions of views on Youtube, Facebook, Instagram, and other social media sites. He appeared in Coca Cola’s “America the Beautiful” campaign which aired during the Superbowl, the Olympics, and the Winter Olympics Opening Ceremony. He is the composer of “Jazzy Note Blocks,” the music behind Note Blocks – AVM Shorts Episode 5, which has racked up nearly 70 million views on Youtube.
In addition to his online and commercial successes, Aaron is a world-class music educator. He holds Level 3 Certification in Orff Schulwerk pedagogy, and he has presented teacher training workshops for AOSA, KIPP Schools, CMEA (California Music Education Association), and several colleges and universities. He is a recipient of the ACEMM Winter Spotlight Award, which is granted for outstanding work in learning communities utilizing music and movement. Aaron has done extensive work as a Band Director, Private Lessons Instructor, and Music Specialist for students ranging in age from 2 to 92.
Aaron is one half of the explosive rhythmic, percussion duo, Collision of Rhythm.
Chard Gonzalez is a native San Diegan, dance artist, educator, and advocate. He has choreographed, performed, and taught dance throughout the USA and Europe. Companies he has performed with include: Nai-Ni Chen Dance Company (NYC), Douglas Dunn & Dancers (NYC), ALDES (Italy), Company Blu (Italy), Compagnia Virgilio Sieni Danza (Italy), Cathy Seago and Dancers (UK), and Jonathan Burrows (UK). Chard received his BFA in Dance Performance from SUNY Purchase and an MA in Dance Studies from Laban Centre London. In 2009, he established Chard Gonzalez Dance Theatre in New Orleans. CGDT has since performed throughout the USA.
Chard has over 25 years experience of teaching ballet and modern techniques, improvisation, choreography, and performance skills. He has taught at London Contemporary Dance School, Laban Centre, London Studio Centre, Roehampton University, Douglas Anderson School of the Arts, New Orleans Center for Creative Arts, California Ballet School, San Diego Academy of Performing Arts, Pieter Performance Space, and many other private studios. Chard’s balanced approach emphasizes how dancers may reach their goals in their technical, artistic, and professional development.
Victoria is a dancer, teacher, and creator of the podcast Dance With Teachers. Originally from Park City, Utah, her dancing career has taken her from Utah to New York and now Los Angeles.
Victoria received her Bachelor of Science in Childhood Education from The State University of New York at Cortland and her Master of Arts in Dance Education from New York University Steinhardt. She is certified to teach elementary education, English language learners as well as dance K–12.
Victoria is passionate about teaching and has presented her work in dance education with the National Dance Education Organization (NDEO), California Dance Education Association (CDEA) as well as taught at Dance Teacher Summit. She served on the Subject Matter Advisory Panel for Dance in Sacramento to further develop the dance credential in California. She has also offered her expertise as a judge in the competition circuit. She has been featured in works by Jordan Matter (Dancers Among Us) and Brandon Stanton (Humans of New York).
Currently, she teaches creative movement within the modern department at the Colburn School. She also teaches dance at Gabriella Charter School in Los Angeles. She enjoys fusing her childhood and dance education training to create interdisciplinary lessons throughout her curriculum.
Julianna Bulgarelli grew up in the Pasadena area, and began studying ballet, tap, and musical theater at Pasadena Civic Ballet. At 15, she was accepted into the Colburn School’s professional training program, under the direction of Leslie Carothers, Glenn Edgerton, and Glen Eddy. Julianna was later accepted into The Ailey School/Fordham University’s BFA Program in New York and in 2015, graduated magna cum laude with honors in Spanish studies. While at The Ailey School, she was fortunate enough to perform works by Nicholas Villaneuve, Germaul Barnes, Matthew Rushing, and Alenka Cizmesija. She also became a member of JUNTOS Collective, a non-profit that uses dance to develop leadership and community building in underserved areas. With JUNTOS, she performed and taught dance workshops in Mexico, Nicaragua, Costa Rica and New York City.
Currently, Julianna is very proud to be on faculty at the Colburn School’s Trudl Zipper Dance Institute, where she teaches modern dance to young dancers. She is also the dance teaching artist at both Angelica Center for Arts and Music and Hope Street Family Center, two organizations that bring arts programs to youth in the Pico-Union and downtown areas. As well as teaching youth, Julianna also teaches open adult dance and movement-wellness classes at Pilates & Arts in Echo Park.
As a choreographer, Julianna has performed and presented her own work as part of Dance Recourse Center’s Terra Nova Residency program, led by Rosanna Gamson and has also traveled to New Mexico and Costa Rica to choreograph, teach, and perform. In 2019, she became an apprentice with JazzAntiqua Dance and Music Ensemble, under the direction of Pat Taylor and is thrilled to be working with a choreographer whose work is infused with the rich history of jazz and modern dance.
In addition to dancing and teaching, Julianna is also very passionate about music and the global impact that the arts can have on people of all backgrounds. She hopes to continue to share with future generations the power of building cross-cultural connections through the arts.
In addition to teaching at the Colburn School, Lisa Gillespie is an adjunct professor of dance at Loyola Marymount University and a frequent instructor at the Santa Clarita Ballet Academy. She has taught at the American Musical Dramatic Academy, everybody dance!, Marat Daukayev School of Ballet and Lois Ellyn Ballet School.
Lisa began her training with Thomas and Ilona Russell (National Ballet of Washington DC, Frederic Franklin), Genevieve Damon (Marquis de Cuevas Ballet, Massine), San Francisco Ballet, and on scholarship at North Carolina School of the Arts, as well as with Stefan Wenta.
She recently worked with Polunin Ink to create Satori, an evening of dance at the Coliseum Theatre in London’s West End and in Prague. She has performed as Eliza in the Théâtre du Châtelet’s production of The King and I, directed by Lee Blakeley and reprised the role at Lyric Opera of Chicago. She has performed in many operas including King Roger, directed by Stephen Wadsworth and Maometto II, directed by David Alden at Santa Fe Opera. Other operas include Seattle Opera’s Carmen and Pearlfishers and Die Fledermaus for The Dallas Opera, San Diego Opera and Washington National Opera (PBS Grand Performances) and Aida for Pacific Symphony. She has performed in The Merry Widow for LA Opera, Houston Grand Opera, and The Dallas Opera. Other LA Opera credits include Macbeth, directed by Tony Award winner Darko Tresnjak, Aida, Queen of Spades, La Traviata, Vanessa and Placido Domingo & Friends Gala. Musical theater roles include Louise in Carousel, Dream Laurey in Oklahoma! and Eliza in The King and I for Musical Theater of Wichita. Lisa was with Ballet Arizona where she performed in ballets such as Balanchine’s Serenade, Four Temperaments, Rubies, Pilobus’ Land’s Edge and The Nutcracker. She has danced original works by Francisco Martinez and worked with Raiford Rogers Modern Ballet for many years touring to London and New York.
Lisa has a Bachelor of Arts in English Literature from George Mason University. She has completed 200 hours of yoga teacher training from Loyola Marymount University and ABT’s National Training Curriculum Level Pre-Primary – Level 3.