Purchase Order

The conservatory, one of the most respected dance programs in the U.S., went through eight deans in 12 years before finding Carol Walker, who transformed the school during her 23-year administration, from 1984 to 2007. By 1998, she had approved an MFA degree, increased the enrollment of male dancers from 10 to 25 percent and attracted out-of-state and international students alike. “Every year the quality improved, both of the students coming in and those graduating,” says Walker. Although she resigned in June, Walker plans to work at the conservatory after a one-year sabbatical. She is currently on the boards of both the New York State Council for the Arts and Doug Varone and Dancers.

A Fresh Start
Purchase’s new dean, Carol Shiffman, knows she has to fill some pretty big shoes, but she is more than ready for the challenge. “Carol Walker created an astonishing program and has the kind of dynamism that has kept it growing and changing and fresh,” she says. “I will be looking to add more cultures and other dance forms so our dancers become even more versatile.”

Versatility is the hallmark of Shiffman’s resumé. She has danced professionally, directed her own dance group, Momentum Dance Company in L.A., served on the California Arts Council, taught at numerous universities and, most recently, was the chair of the music department at Cornish College.

She expects to spend her first year analyzing what the program does best.“I want to look at what’s the most wonderful and what we can add so that we continue to keep the best and move forward,” Shiffman says, adding that there are a few changes she can’t help but make at the start. One is expanding the mix of repertory: “I’m hoping to bring some West Coast voices into the conversation,” she explains, “and different styles, whether contact-based work, other kinds of weight sharing or more inversion work.”

Her philosophy meshes with a university-wide shift toward introducing diverse voices from around the world. In preparation for Purchase’s yearlong celebration of Africa and the African Diaspora, Shiffman has already asked Kevin Wynn, faculty member and alum, to create a piece in collaboration with visiting musician Tania León, founding member and first music director of the Dance Theatre of Harlem.

Getting With the Program
From her very first day, Shiffman says she was struck by the department’s strong sense of community: “The excitement was palpable and the instant sense of joy amongst the dancers to be back—to be dancing—was tremendously inspiring.”

The demanding program at Purchase attracts self-motivated, hard-working students who are confident in their decision to pursue dance careers. The slogan dancers chose to emblazon on T-shirts sold at fundraisers was, “I can’t . . . I have rehearsal.” Shiffman says, “That’s the life they choose, and they choose it very knowingly.”

This year, 168 undergraduates and nine graduates, including seven exchange students, were admitted into the program after a grueling audition process. (Admission to the conservatory counts as admission to the university.) Prospective students, who must first submit references, a high school transcript, a full-body photo and resumé, are required to complete a ballet barre, center and across-the-floor work, followed by a 50-minute modern class. At this point, a select few are asked to perform a solo. Between February and March, there are four on-campus undergraduate admission auditions, and in January, five regional auditions take place in Portland, L.A., Baltimore, Chicago and St. Petersburg, Florida.

Undergrads receive BFAs after completing an astounding 90 credits in dance—most BFAs require between 60 and 70—and 30 liberal arts credits that include classes in natural sciences, American history, humanities, Western civilization, arts, basic communication, critical thinking and information management. “You’re ensconced in a liberal arts college in a conservatory program, so you have a tremendous amount of facility that goes beyond the arts,” says choreographer Doug Varone, a distinguished alum of the program’s third graduating class who now holds an annual summer dance workshop at the school. “The thing that’s so great about Purchase dancers is they come out really well-rounded,” he says. Senior Jaime Rodney agrees: “The program enables you to take as many classes as you want, as long as you can balance them with your schedule. You have many opportunities to dabble in different things.”

The diverse student population provides a unique education of its own. MFA students consist of returning professionals who aim to get more involved in choreography or are interested in teaching in higher education, while the exchange program includes students from Taiwan, England, the Netherlands and Australia. Purchase also provides students from Singapore, which does not award degrees in the arts, with a unique opportunity to earn a degree. “Some of our instructors are going to Singapore and then some of the Singapore students will complete their education here,” Shiffman explains. The first class, which will consist of anywhere from four to 14 students, is expected to arrive on campus next fall as seniors.

Daily Grind
Entering the dance building is like walking into a contemporary greenhouse, with massive angled windows supported by steel beams. There are 13 studios, four of which are shared with the theater department. Students take a minimum of two technique classes per day and usually a third in partnering, improvisation or pointe. Academic classes are held either in the early morning or late evening, so students don’t have to leave the studio and come back. “You learn at Purchase what it means to be committed to an artform,” says Varone of the schedule, which includes equal emphasis on ballet and modern. The handful of students who concentrate on ballet must be recommended by the faculty.

Faculty members also determine who takes technique classes after an audition each fall. Graham technique is taught twice a week for the first three levels, accompanied by either a Cunningham-based class, a Morris-based class or a class taught by Wynn, whom Walker describes as “Limón on fast-forward.” The fourth level is a smattering of modern styles often taught by guest artists. Former New York City Ballet, American Ballet Theatre and Pittsburgh Ballet Theatre dancers teach ballet.

Purchase students also gain significant choreography experience as part of their course work. Sophomores choose between two composition tracks—one a structured, layered approach and the other, a more conceptual viewpoint. There’s a ballet choreography track, a more advanced composition class and annual required choreography projects.

Beyond performance skills, students at Purchase are taught what it means to live life as a dancer. Freshmen are required to take a survey course that covers health, wellness, nutrition, eating disorders, HIV/AIDS and recuperation, in addition to any concerns they may have about campus life. “I started the seminar because I felt like we needed a way for freshmen to come together from all these parts of the world,” Walker explains, “and to talk with each other and hear from the faculty about the expectations and values we have.”

This course also requires students to take advantage of the school’s proximity to New York City so they can begin creating relationships to help bolster their careers. Freshmen must complete a series of tasks, including taking a class, attending a concert, going to a museum and finding a dancewear store.

Performance Ops
Because training students for the professional world is the conservatory’s mission, performance opportunities are plentiful, including two major concerts, senior projects, four MFA concerts and various others in the community and in NYC. There’s a concert every weekend in the spring, making it easy to accumulate the six performance credits needed to graduate.

The student company, Purchase Dance Corps, whose members change on a project-by-project basis, has various showings in NYC and international stints every two or three years. (The Corps has toured in China, Taiwan, Japan, Germany, France and The Netherlands.) In addition, Corp members participate in two major productions: The Nutcracker and the spring concert, which increases dancers’ exposure to the works of such choreographers as Paul Taylor, Merce Cunningham, Mark Morris and George Balanchine. In fact, Purchase was the first school ever granted permission to perform both Morris’ Gloria and Bill T. Jones’ D-Man in the Water.

Students often use these experiences to fuel their senior projects, which are three-semester-long affairs during which they not only choreograph but seek permission to perform a professional piece of choreography. The projects culminate in grand performances that span the course of eight weekends. “The senior concerts are just incredible,” says Walker. “They are amazing. Better than a lot of the things you see in New York. The professional world has been so generous in working with our students, either to allow them to do work that has already been established or to create new things for them.”

Indeed, Purchase is steeped in a tradition of preparing students to succeed professionally. And in her new role, Shiffman plans to challenge herself to continue that 40-year-old legacy: “Like any good dancer, the pressure you put on yourself keeps you cutting-edge and keeps you wanting to do the very, very best with what you’re given. [I want] to ensure that the next generation of dancers takes the best of the heritage . . . so they can remember it, rebel against it and move forward.” DT

Sara Jarrett is a freelance writer based in NYC.

Originally published inDance Teacher, December 2007