Ballet Careers
Rosenfield in Dances Patrelle's Yorkville Nutcracker. Photo by Rosalie O'Connor, Courtesy Rosenfield.

Shoshana Ronsenfield's career has not followed a straight path. In a surprising move, the born-and-raised New Yorker left a burgeoning career at New York City Ballet in 2012 to study economics at Barnard College. Upon graduating, Rosenfield spent six months freelancing with companies including New Chamber Ballet and Tom Gold Dance before spending two years working in global management at Goldman Sachs (and dancing on the side).

Now Rosenfield is on to a new chapter: She's just completed a boot camp in computer coding, and is currently doing a coding teaching fellowship. But she's still dancing. This weekend, Rosenfield will appear in Tom Gold Dance's fall season at Florence Gould Hall. We caught up with Rosenfield to hear all about how she's balanced college and career and how she's learned that it is possible to do it all.

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Ballet Training
Itzkan Barbosa in Dances Patrelle's The Yorkville Nutcracker. Photo by Eduardo Patino, Courtesy Dances Patrelle.

The waltz turn, says Ballet Academy East teacher and Dances Patrelle artistic director Francis Patrelle, must be distinguished from a dainty balancé en tournant. Here, he shares how he encourages his students to bring "American largesse" to this luscious, sweeping movement.

Keep moving: "In the waltz turn, every step you take is forward," says Francis Patrelle. "Brush or développé to croisé en avant, then two steps on relevé—wait, don't turn yet!" In one beat, turn and brush or développé back, and then step forward again through fourth position.

"Push the walls away": Many small errors, Patrelle notes, inhibit dancers' ability to travel. "The most common correction I give is that there is no rond de jambe in your waltz turn. Find the way to make it the freest and smoothest, make it bigger, flow through it!"

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