Dancer and LEAP student Jordan Tilton takes a study break backstage.

Megan Amanda Ehrlich, Courtesy LEAP Program

Dancing While Earning a Degree: As LEAP Turns 20, 4 Pros Share How Its Unique Program Works

Claire Sheridan wanted to change the status quo. Leading up to the 1990s, she recalls, "there was a 'shut up and dance' mind-set," and as the founder of the dance program at St. Mary's College of California and a longtime teacher in professional companies, she had seen too many dancers retire with no plan for a successful career transition. "At that time, if you thought about education and the future," she says, "you were not a committed dancer. I wanted to fight that."

With the support of St. Mary's, Sheridan developed the Liberal Education for Arts Professionals program, or LEAP, an innovative liberal-arts bachelor's degree program designed especially for professional dancers. She first presented her idea to executives at San Francisco Ballet. "Kudos to that company, because they said, 'This is great,'" she says. "Eleven of the first 18 dancers who started in August 1999 were from SFB."

This fall semester marks the 20th anniversary of LEAP, which now enrolls 85 to 100 students per term at locations in San Francisco, Los Angeles and New York (a Las Vegas branch is on pause). By spring 2020, it will have had 300 graduates. Sheridan's curriculum design awards credits for dancers' professional experience, yoga and Pilates teacher training, and for coursework completed at other institutions and via online extension. All students must complete 10 core courses through St. Mary's, but lectures, papers and exams can be scheduled around touring and performances. Dancers complete the degree on their own timeline.

Thanks to Sheridan and former program director Mark Baird, LEAP has indeed changed the status quo. "Dancers have come to expect that pursuing their education while dancing professionally is just something that's done now," says Stephanie Miller, LEAP's associate director since 2017. "And they are coming to LEAP at a younger and younger age."

Read on for four dancers' LEAP experiences.

Calvin Royal III: Soloist, American Ballet Theatre

Calvin Royal III in Sir Kenneth MacMillan's Manon.

Gene Schiavone, Courtesy ABT.

LEAP Student since 2018

Earning a degree has always been important to Calvin Royal III. He completed courses in political science, chemistry and writing at Long Island University during his three years in ABT II and as an ABT apprentice, but when he joined the corps in 2011, "I had to put it on hold because of my schedule," he recalls. "The traveling, performances, rehearsals—it was crazy."

That changed when Royal earned a promotion to soloist in 2017. "[It] gave me the confidence to say, 'If I could put in all that work and get to this level in my career, then I can explore education again,'" says the 30-year-old. Nevertheless, getting back into the swing of things was an adjustment. "I have to be focused learning new ballets for ABT's upcoming season, and on my one day off a week, I go to class for LEAP. A lot of the work is on my commute, or when I get home exhausted."

In the spring, Royal completed an online psychology course, and last fall he took Western Traditions, a seminar that entails reading and discussing literature like Maus and The Odyssey. "It wasn't just about writing the papers, it was about critical thinking and really trying to understand what the writers were trying to convey at that moment in history," he says. Taking the summer off from his studies allowed him to prepare for his fall debut in George Balanchine's Apollo. "I like to give my brain and my body a rest so that when I come back for the ABT season, I feel recovered."

Royal values education not only as a bridge to his eventual post-dance career, but also for its own sake. "As hectic as life as a performing artist can be, in the long run it's worth it to enrich your mind."

Madison Keesler: Soloist, San Francisco Ballet

Keesler with Steven Morse in Benjamin Millepied's Appassionata.

Erik Tomasson, Courtesy SFB.

LEAP Student since 2010

"I want to be a leader," says Madison Keesler, 28, whose vision for the future includes arts management and public service. LEAP is a stepping stone to those goals, no matter how long it takes: She enrolled in 2010 as an SFB corps dancer, then took four years off while she was a first soloist with English National Ballet. She resumed LEAP in 2017, when she returned to the SFB corps. When chipping away at her degree feels daunting, "I remember those long-term goals—I want to make sure I have security because I have that degree."

A recent promotion to soloist has freed up more time for studying, and when SFB is on tour in Copenhagen in October and November, she'll keep up on lectures via Zoom, an online video-chatting platform. "A lot of schools don't fully know how all-consuming a ballet career is, but the people at LEAP really understand." Keesler admits that time management is a struggle, and she's learned to strategize each semester in advance. "If I have a ton of performances and a research paper, I need to do stuff ahead of time," she says. "Sometimes I'll read over the summer, so that during Nutcracker I don't have to start from scratch."

Keesler appreciates the credits LEAP awards for work experience. "We have to learn how to hold ourselves as a professional employee from a very young age. Whether it's communication skills, the discipline of holding yourself accountable for doing what's expected—we learn that on the job."

Lauren King: Soloist, New York City Ballet

King in Balanchine's Tschaikovsky Piano Concerto No. 2

Erin Baiano, Courtesy NYCB

2017 LEAP Graduate

It look Lauren King a couple of years to adjust to life in the corps of New York City Ballet. Once she had it down, though, she craved a new challenge. "I love ballet, but for my own mental health I need to focus on something outside of the microcosm of dance," she says. She decided to get a college degree, and started LEAP at age 23. While she was worried about being older than her classmates, LEAP students have ranged in age from 19 to 65, and many are well into their professional careers. "It was a no-pressure entry point, and there was a lot of support," says King, now 35.

King took wide-ranging electives, from math and science to business and languages, and she found that the physical intensity of professional ballet actually fueled her. "You have that adrenaline, and you can use the physical energy to feed your brain in your downtime," she says. "I would be doing homework during an hour off, early in the morning, while putting on makeup. You fit it in wherever you can."

Nine years later, she received her diploma. "And a few months later I got bored!" She's now completing a master's degree in museum studies through Harvard Extension while dancing at her peak—in NYCB's fall season, she performed Violette Verdy's role in George Balanchine's "Emeralds." King has thrived on the dancer-student double life. "Dancers are very accustomed to focusing on what we're passionate about, so it was really easy to transfer that to school."

Katie Pivarnik, MD: Danced with New Jersey Ballet, Joffrey Ensemble, Eglevsky Ballet

Pivarnik n her graduation day at St. Mary''s College of Califrona

Courtesy Pivarnik

2010 LEAP Graduate

Katie Pivarnik completed her LEAP program in a mere 20 months. Between her decade-long performing career and the associate's degree in business administration she earned while dancing with New Jersey Ballet, she had many transferable credits. "It was a robust curriculum," she says, and LEAP's supportive environment made it easier to tackle. "Everyone was coming in at a different level—some were recent high school graduates, others had been out for a long time. It was inspiring to be with that variety of students, and we all helped each other."

LEAP's focus may be liberal arts, but it led Pivarnik to a career in science. "We took an anatomy/physiology class at the Harkness Institute—that was phenomenal. It jump-started my interest in medicine." After graduating, she completed a premed program at Columbia University and earned her MD at the Warren Alpert Medical School of Brown University. "It was a shock to be sitting in a lecture hall with 300 other students," she recalls, but LEAP had prepared her for that challenge, as well. "LEAP's smaller settings encouraged me to speak up and have an opinion. I found a voice through writing and presenting in front of peers. When I moved on to postbaccalaureate and then medical school, I had to do that all the time." Now 36 and a third-year resident at Albany Medical College, Pivarnik looks forward to practicing obstetrics and gynecology.

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Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

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Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

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Wanyue Qiao, American Ballet Theatre

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Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

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Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

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Leah McFadden, Colorado Ballet

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Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

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India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

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Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami City Ballet

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Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

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Pacific Northwest Ballet's Angelica Generosa Shares Her Classic, Comfy Style In and Out of the Studio

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She's also quite fond of designer handbags. "They're my go-to accessory, and they're also my weakness when shopping," she says, naming Chloé, Chanel and Dior as some of her favorite brands. "I really appreciate the craftsmanship it takes to produce one—they're so beautiful and each has its own story, in a way."

In the studio, Generosa prioritizes comfort, and she'll change up her look depending on the repertoire (leotards and tutus for classical works, breathable shirts with workout pants for contemporary). But she always arrives to work in style. "I really love putting together outfits for even just going to the studio," she says. "It's another way of expressing my mood and what kind of vibe I'm going for that day."

The Details: Street

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BCBG blazer: "It has some shoulder pads and a really cool pattern," says Generosa. "It reminds me of my mom and '80s fashion."

Zara blouse: She incorporate neutrals, like this white satin button-up, to balance bright pops of colors.

Angelica Generosa looks off to her right in front of a glass-windowed building. She wears a blue blazer, white blouse, gray jeans and carries a small green handbag.

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Madewell jeans: Comfort is a major factor for Generosa, who gets her fashion inspiration from her mom, friends and people she comes across day to day.

Chloé bag: "I tend to have smaller purses because I'm quite small. Bigger bags overwhelm me sometimes—unless it's my dance bag, of course!"

The Details: Studio

Angleica Generosa, wearing a blue tank leotard, black wool leggings and pink pointe shoes, balances in a lunge on pointe with her left leg in front, facing a wall of windows.

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Label Dancewear leotard: "This was designed by my good friend Elizabeth Murphy, a principal dancer here at PNB. Her leotards always fit me really well."

Mirella leggings: "I get cold easily," says Generosa, who wears leggings and vests to stay warm throughout the day.

Angelica Generosa, wearing a blue tank leotard, black wool tights and pink pointe shoes, jumps and crosses her right foot over her left shin while lifting her arms up to the right.

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Freed of London pointe shoes: "When sewing them, I crisscross my elastics and use an elasticized ribbon from Body Wrappers," which helps alleviate Achilles tendon issues, she says. She then trims the satin off of the tip of the shoe. "Then I bend the shank a bit to loosen it up and cut a bit off where my arch is."

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This New "Nutcracker" Competition Wants Your Dance Studio to be Part of a Virtual Collaboration

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"Nutcracker is a tradition that is ingrained in our hearts," says UBC co-founder Lissette Salgado-Lucas, a former dancer with Royal Winnipeg Ballet and Joffrey Ballet. "We danced it for so long as professionals, we can't wait to pass it along to dancers through this competition."

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