Since retiring from New York City Ballet in 2002, Tracey has become an admired and dedicated teacher and arts advocate. She served as the Director of Boston Ballet School (BBS) from 2007–2021 and was profiled in a 2009 issue of Dance Teacher Magazine. During her tenure at BBS, Tracey drew upon her teaching experiences, studies in psychology, and ties to community clinicians to initiate a comprehensive Wellness Program at BBS. She also created the Next Generation, a year-end performance showcasing pre-professional students, which has become an annual highlight that spotlights BBS as a leader in local and regional arts education. Her stature in the dance world brought BBS extraordinary access to the Balanchine and Robbins repertoire, enhancing the training and performance experience for students. In addition, Tracey committed to commissioning underrepresented voices in choreography by amplifying the work of women and BIPOC choreographers such as Jill Johnson, Lia Cirio, and Ja’ Malik, among others. Tracey further distinguished BBS internationally by establishing exchange programs with Canada’s National Ballet School, Paris Opera Ballet School, the Royal Danish Ballet, and Dresden’s Semperoper Ballet. And under her leadership, BBS also became a partner school with the prestigious Prix de Lausanne international ballet competition.
Tracey continues to dedicate her efforts as a dance educator with a strong commitment to diversity, equity, inclusion, and access to champion change. She has served on panels for MoBBallet’s annual educational symposiums (2019, 2020, and 2022) and has worked with colleagues at Dance USA School Directors Affinity Group to share learning around culturally responsive teaching practices to better support faculty. Tracey’s work as an international arts educator continues as she serves on the organizing committee for World Ballet School Day (2020 and 2021), and the 2023 edition of Assemble Internationale; an Olympic-caliber gathering of pre-professional students and directors from schools around the globe empowering young artists to develop their voices, hosted by Canada’s National Ballet School.
Born in Pueblo, Colorado, Tracey began ballet studies with her mother, Nancy Tracey, at age six. In 1982, she was accepted as a student at the School of American Ballet (SAB), the official school of New York City Ballet (NYCB). At SAB, she was the recipient of an Atlantic Richfield Foundation scholarship (1982–85) as well as a Princess Grace Foundation award (1985–86) that cited her “exceptional promise and dedication to excellence.”
In 1986, Tracey joined the NYCB corps de ballet, launching a celebrated 16-year stage career. A principal dancer from 1991 until her retirement in 2002, she excelled in the Balanchine repertoire, appearing frequently in such core works as Apollo, Allegro Brilliante, Ballo della Regina, Concerto Barocco, Serenade, Square Dance, Symphony in C, Vienna Waltzes, Western Symphony, and Who Cares?, among others. She was also featured in a range of Robbins’ ballets, including Andantino, Afternoon of a Faun, The Four Seasons, and The Goldberg Variations, and created a role in the choreographer’s Ives, Songs (1988). She originated roles in works by William Forsythe, Richard Tanner, Ib Andersen, Trey McIntyre, and Peter Martins, including his Les Petit Riens, Fearful Symmetries, Zakouski, and his production of The Sleeping Beauty, in which she appeared both as Princess Aurora and Princess Florine. With NYCB, Tracey toured Europe and Asia, appeared in the PBS “Live from Lincoln Center” series, and danced the Marzipan Shepherdess in the 1993 film of Balanchine’s The Nutcracker.
As a Balanchine Repetiteur, Tracey has staged several of his works including, Concerto Barocco, Theme and Variations, Scotch Symphony, Raymonda Variations, and Divertimento #15, among others in both professional companies and schools. And in 2011 she was recognized with a Jerome Robbins Foundation award for her distinguished interpretation as a Robbins’ dancer.
Originally from San Antonio, Karissa is a graduate of NYU where she received her
Bachelor of Arts degree in History and was a Jackie Robinson Foundation scholar.
Through her passion for carrying on the beautiful tradition of tap dance, she combines
her knowledge of history and more than twenty years of training to equip her students
with exceptional technique, musicality, and the ability to develop their own unique voice.
Karissa enjoys connecting with students of all ages and dance backgrounds through her
workshops at various institutions across the United States including UCLA, NYU, and
the Debbie Allen Dance Academy. Currently she is on faculty at Adrenaline Dance
While living in NYC, Karissa had the opportunity to perform as part of Dormeshia’s
“Sophisticated Ladies” at the historic Cotton Club and also appeared with Emmy Award
winner Jason Samuels Smith’s A.C.G.I. In April 2016, she made her Broadway debut as
the Dance Captain and as a member of the dance ensemble in Shuffle Along, or, the
Making of the Musical Sensation of 1921 & All That Followed, choreographed by Savion
Glover and directed by George C. Wolfe. Karissa also performed in ABC’s “Taking the
Stage: Changing America”, produced by Quincy Jones and in celebration of the
Smithsonian’s National Museum of African American History. She was named one of
Dance Magazine’s “25 to Watch” in 2016.
Originally from Washington D.C., Leo Manzari has headlined in the touring and Off-Broadway productions of Maurice Hines is Tappin’ Thru Life, featured Guest Star on So You Think You Can Dance, The Mo’nique Show, PBS News Hour, Jerry Lewis Telethon, ABC’s The View, PBS’ Kennedy Center’s 50th anniversary. He’s performed alongside Grammy Award® winning band “The Free Nationals” in various virtual events. He’s featured with multiple POPS orchestras across the world including The Philly POPS, The San Diego Symphony, The Florida Orchestra to name a few.
Leo is also featured in two documentaries available for streaming: Maurice Hines’ Bring Them Back, and Leonard Soloway’s “Broadway.” He’s appeared in the Late Late Show with James Corden and Ariana Grande. Manzari sold out his debut headline performance at The Cutting Room (450 cap) and he has performed his original music at prominent venues in Los Angeles: El Cid, The Sun Rose, The Study, and The Hollywood Majestic. Spotify has also supported Leo’s music with placements on their highly streamed editorial playlists. For more information, follow Leo’s socials @leomanzari and subscribe to his email list via his website www.leomanzari.com
Be considered for one or both programs at the same audition! In person auditions concluded in February; however, we are still accepting video applications. See audition information below.
Auditions are for both the 2023 Summer Ballet Intensive Program and the 2023–2024 Colburn Dance Academy.
Video applications will be accepted for Summer 2023 and for Dance Academy 2023–24. Please send audition videos to firstname.lastname@example.org.
Register for Auditions
The Colburn School is excited to offer a two-week summer ballet intensive program that is designed to provide students with a bridge to connect the end of their year-round training and the start of their longer summer training courses.
Students will also be given an experience of the year-round training in Colburn’s Dance Academy, a rigorous highly personalized pre-professional ballet program that prepares dancers for their individual aspirations by honoring the great traditions of classical ballet and embracing the new and contemporary.
Enhance your ballet training and experience life as a Colburn Dance Academy student during this two-week intensive. Students will grow through close work with Colburn’s distinguished faculty, and special master teachers.
Classes will include ballet technique, contemporary, partnering, conditioning, conversations on ballet’s history and evolution, cultural excursions, and learning the repertory of leading choreographers.
The Colburn School’s downtown Los Angeles location offers access to some of the best venues, art installations, and dining experiences in the country. During the intensive, you can explore all that LA’s cultural center has to offer, and even stay on campus in Colburn’s dorms.
Residential Students (Tuition only): $1,200
Residential Students (Room and Board): $1,530
Non-Residential Students (Tuition only): $1,400
Jill Nunes Jensen is a member of the Colburn faculty where she teaches courses in artistic inquiry and leads conversations with invited guest artists. Dr. Nunes Jensen is also a member of the Dance faculty at Loyola Marymount University. She has a Ph.D. in Dance History and Theory from the University of California, Riverside and a masters in Dance from UCLA.
She has instructed courses in dance history, ballet technique, dance as social action, choreography, and serves as a senior thesis mentor. For years, her research has been the primary scholarship on Alonzo King LINES Ballet and she has presented on the company internationally. Her work has been published in the journals Dance Chronicle and Theatre Survey, in addition to the books When Men Dance, Perspectives on American Dance: The Twentieth Century, and Re-thinking Dance History (2nd ed.). Dr. Nunes Jensen has organized conferences in Los Angeles and New York City, and has served on the executive board of what is now the Dance Studies Association.
In 2016, she co-curated the first conference dedicated to contemporary ballet at the Center for Ballet and the Arts (NYU) and Barnard College (Columbia). She has been an invited speaker at the San Francisco Ballet’s Boundless Symposium (2018), Duke University (2019), and the University of Maryland (2021). As co-editor of The Oxford Handbook of Contemporary Ballet (2021), the first treatment of contemporary ballet as a discipline, Dr. Nunes Jensen’s work and pedagogical approach to dance history seeks to shift the discourse of ballet studies by centering the work of artists of color. At present, she is working on a monograph about Alonzo King LINES Ballet, a San Francisco-based company founded by King in 1982.
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.