Photo Credit: Lorelei Ghanizadeh

As a professional dancer for 18 years, Britt Juleen has spent most of her career as a first soloist ballerina in Europe at the Dutch National Ballet in Amsterdam, and in Germany’s Dresden SemperOper Ballet’s exquisite Opera House. She also performed with Ballet Arizona, Ballet Gamonet in Miami, Florida, and with the contemporary dance companies iMEE and Jacoby&Pronk. Britt studied at the School of American Ballet, New World School of the Arts, Pacific Northwest Ballet School, Houston Ballet Academy, as well as teacher training at American Ballet Theater.  Ms. Juleen received her M.F.A. in Dance from Hollins University and served as a full-time Professor at San Jose State University. She also served as the Artistic Director of Berkeley Ballet Theater.

Britt has been fortunate enough to perform the classical and contemporary works of some of the world’s leading choreographers such as Balanchine, Forsythe, Kylian, Ashton, Cranko, Tudor, Robbins, Graham, Neumeier, Fokine, Massine, Hans van Manen, Dwight Rhoden, Mauro Bigonzetti, Uwe Scholz, Sir Peter Wright, Paul Taylor, and Twyla Tharp. She has also had the privilege to create original works together with Wayne Eagling, Ashley Page, Michael Uthoff, Jimmy Gamonet, Ted Brandsen, Aaron Watkin, Krystof Pastor, Rudi van Danzig, Leo Mujic, Maurice Causey and notably David Dawson. She is especially grateful for the opportunity to have worked personally with William Forsythe.

Since 2012, Ms. Juleen has been teaching ballet across the San Francisco Bay Area including company class for Alonzo King LINES Ballet and ODC, as well as both of their school training programs. She has also taught at Marin Ballet, Marin Dance Theater, Contra Costa Ballet, and Roco Dance. She has choreographed for the Dutch National Ballet’s choreographic workshops and created a full evening of collaborated dance, photography, and music at Deluxe Arts Gallery in Miami.

Her approach to teaching is influenced by many facets of movement exploration, and her true love for the art form as a pure language of the soul and body. Alternate studies of somatic movement education such as The Feldenkrais Method, Body-Mind Centering, meditation, and embodied forms of psychology are of great importance to her, allowing her to enrich traditional ballet technique with an individual sense of authentic expression and kinesthetic development.