At Broche Ballet, we believe ballet is for everyone. We're creating a supportive yet motivating community of people who share a common drive and goal to constantly improve, seek perfection, and help each other along the way.
We also want to allow other dancers, teachers, and artists to have space to practice what they love without the up front cost of renting and operating a studio, from yoga to pilates to acting to other styles of dance. Dancers and teachers should be able to focus on what they love, not have to deal with the operations of running a studio.
WHY the name "BROCHE" BALLET?
A broche (French for the English word brooch) is an ornament fastened to clothing with a hinged pin and catch. Broches are often unique or one-of-a-kind pieces of art that can be worn on otherwise plain clothing, such as suits blazers or coats.
Madeline Albright, former Secretary of State, famously wore themed broches to meetings with foreign dignitaries to have fun, express herself, or even deliver messages, such as when she wore a bug broach to a meeting with the Russians to allude to the "bug" listening device that they had planted.
The power of the broche is in that is is a classic, elegant, unique, and nonverbal way to express yourself, just like dance. The studio is decorated with broches collected from family and friends over the years from all over the world and from many generations to remind you to find and express your own uniqueness.
How it all began - A message from our founder and ballet coach, Julie Gill
At the age of 17, I took my first ballet class. I had no prior dancing experience, and would not have considered myself to be athletic or graceful in the slightest. I couldn't touch my toes, nor could I walk up stairs without tripping. Regardless, ballet captured my imagination immediately. I earned a dance minor from Pace University, trained in both youth summer intensive programs and adult programs, and studied privately.
My training began at California Ballet School and San Diego Civic Youth Ballet. After moving to New York City, I trained in adult programs at Joffrey Ballet School, Steps on Broadway, Ballet Academy East, Alvin Ailey, and Peridance. During this time, I trained extensively under Kat Wildish at Alvin Ailey, where I performed classical ballet excerpts with classmates and local dance companies. I also studied privately with Beth Kurtz, where I gained a solid base of technique, an understanding of the mechanics of advanced steps, and the foundation of my future dance training.
I went on to study at Pace University, I studied alongside students from the BFA Commercial Dance program to bolster my ballet training with exposure to many different styles of dance, choreography, and performance opportunities.
After just 4 years of training in ballet, I was accepted into the Gelsey Kirkland summer intensive, where I studied under Gelsey Kirkland herself, and performed Gisele alongside pre-professional students. I also attended the Central Pennsylvania Youth Ballet Summer Intensive, where I placed into a level appropriate for students with 10+ years of dance experience.
I have danced in excerpts from Swan Lake, Sylvia, Tarantella, and many others in Kat Wildish Performing in NYC Showcase, and danced in the Corps de Ballet for Giselle with the Gelsey Kirkland collegiate summer intensive. However, I believe that the best performers are not always the best teachers. Understanding the art of performance is essential to teaching, but is not the most important quality in a teacher.
A teacher must push you to become the best you can be, and must be able to help you see a new perspective that you could not see on your own. They must be able to identify problems and help guide you to find solutions.
As a late-starting dancer, I have a unique memory of problems that I faced during training, and how I worked to solved them. I teach students of levels ranging from absolute beginner to pointe and ages ranging from 9 to adult. I have a deep technical understanding of the mechanics and steps of ballet and works with each student to learn the necessary skills for their level.
Additionally, having pieced together training from so many different schools, teachers, styles, and states, plus also getting deep into power lifting, and going through an injury through which I was forced to learn many new things about the body, I bring a unique perspective collected from many years of different advice, opinions, and perspectives. I have had to analyze each piece of advice to discover what works for me and my students to piece together a philosophy of teaching that is unique and effective.
Passion for sharing the love of ballet
I love to work with children to help them understand and become aware of their body, placement, and technique. At a young age, children have the ability to understand their bodies and correct issues, setting them up for success as they grow and mature. The benefits of individual coaching and attention at this age can span their career and set them on the right path from the very start.
Adults love to work with me, too, because I take their training very seriously. Adults with a passion for ballet are an absolute joy to teach, and I understand and respect the desire to learn the art form more deeply than in a group exercise class.
I also believe that ballet benefits many more types of people as well. Athletes at the top of their game need many of the concepts in ballet. Control, stability, mobility, focus, and more. Athletes who incorporate ballet into their on- or off-season training regimen will have a unique leg up on their competition and enjoy many benefits of improved fine muscle control and mobility.
Ballet is for everyone, and I want to break down the stereotypes and help everyone enjoy it and see the benefits.