Alumni Spotlight: Duane Cyrus
SAB alumnus Duane Cyrus is the Director of Dance at the University of Arizona. A graduate of SAB and The Juilliard School, Cyrus danced professionally with Alvin Ailey American Dance Theater and Martha Graham Dance Company, and he was a part of the original London cast of The Lion King. He is a recipient of the Princess Grace Foundation Award and a two-time recipient of the North Carolina Arts Council Choreography Fellowship. Cyrus obtained an MFA from the University of Illinois before going on to teach at the collegiate level at the University of North Carolina Greensboro, in addition to teaching at prestigious training institutions across the country. Cyrus spoke to SAB about his dance journey, his experience in the dance academia world, and his exciting new role as the second Director of Dance in the University of Arizona’s history.
SAB: How were you first introduced to ballet, and how did it lead you to SAB?
DC: One of my strongest mentors is Alfred Gallman. Alfred studied with Karel Shook at the Dance Theatre of Harlem. One thing that Alfred instilled in me as a young dancer was the importance of knowing a wide range of dance techniques including ballet. Having the ability to move effectively in different styles is an ever-increasing asset in the dance world, and that skill helped me stay employed throughout my career. One of the first ballet teachers that Alfred brought to his school in Newark, New Jersey, was Sheila Rohan—one of Arthur Mitchell’s first prima ballerinas. That was how I was first exposed to ballet.
The Balanchine lineage has always been a part of my understanding and work in ballet. As I progressed in my studies and later went to The Juilliard School, I would always hang out with some of the SAB dancers – Andrea Long, Cedric Rouse, Albert Evans, and several others. I admired the ways that they trained with that specific focus in ballet. The dancers at SAB always seemed so intentional and specific with their interest in the Balanchine aesthetic, and that resonated with me.
“The dancers at SAB always seemed so intentional and specific with their interest in the Balanchine aesthetic, and that resonated with me.”
SAB: What were some of your favorite memories at SAB, both in and out of the studio?
DC: My favorite memories would be taking class with Andrei Kramarevsky. The intense focus, drive, and healthy competition that existed in the studio with the men’s class was exciting. I can still hear dear “Krammy” saying “…In…In…In!”
Seeing Alexandra Danilova walking the halls so gracefully in her ballet skirt and the reverence she inspired from all the students was memorable. I remember seeing Albert Evans and Andrea Long dance a student performance of The Four Temperaments. This was significant for me to see two incredible Black dancers command the stage in the way they did.
SAB: What was your transition like from student to professional dancer?
DC: I had already been dancing with Alfred Gallman’s Newark Dance Theater while I was at Juilliard. It was a professional company, and we performed regionally as well as at places like Brooklyn Academy of Music, Joyce Theater, and American Dance Festival. So, my transition happened over the course of several years. The rigorous and diverse training I received at SAB and Juilliard coupled with early professional experiences like Gallman’s company helped shape me into an extremely versatile artist.
I remember auditioning for Alvin Ailey American Dance Theater several times, but it wasn’t until one year after I’d graduated from Juilliard and had left SAB that I entered the “big league!” I was assisting choreographer Talley Beatty as he set a work on the Ailey company – this was a huge opportunity in itself. It was during that process that Alvin Ailey personally invited me to join the first company – it was like winning the biggest lottery jackpot ever! That moment changed my life, and I will never forget Mr. Ailey’s kindness and generosity as a leader.
“Alvin Ailey personally invited me to join the first company – it was like winning the biggest lottery jackpot ever! That moment changed my life, and I will never forget Mr. Ailey’s kindness and generosity as a leader.”
I grew up fast in Ailey and learned a great deal by dancing with people I’d admired from the audience for years. They were all incredible artists and personalities.
SAB: How did your time at SAB prepare you to dance professionally?
DC: My experience at SAB prepared me for dancing in professional companies because I always experienced the classes as a place where each dancer was solely responsible for the depth and focus of their learning.
“I always experienced the classes as a place where each dancer was solely responsible for the depth and focus of their learning.”
It was not a place for the faint-hearted! I learned to maintain focus and be observant and self-correct without having my hand held.
SAB: You currently serve on SAB’s Alumni Advisory Committee on Diversity and Inclusion. What has that experience been like, and how have you seen SAB change since you were a student?
DC: Serving on the SAB Alumni Advisory Committee has been personally inspiring, to know that my actions are helping to shape the direction of inclusion and equity for the School. I see the School as a bit more expansive in its initiatives toward diversity.
SAB: What inspired you to study dance in an academic setting? Can you explain how a dance BFA is structured in comparison to an MFA program?
DC: I pursued a BFA at The Juilliard School primarily because of the excellent conservatory training. At the time, a degree felt like a natural progression. I knew I needed to think about my future after dance but also be in a program with a strong technical and performance focus. After many years in academe—as a student, professor, and now a director of program—I would say that in an undergraduate degree is where a student finds a path, and a graduate degree is where a student investigates and creates new pathways.
“In an undergraduate degree is where a student finds a path, and a graduate degree is where a student investigates and creates new pathways.”
Graduate students often have teaching responsibilities and are expected to define, research, and defend a thesis. Undergraduates usually have a more defined plan of study.
SAB: What first sparked your interest in teaching at a university? What kinds of classes do you teach?
DC: I wanted to have more financial security after working as an independent artist for several years. Health insurance, regular salary, and time off were all attractive to me. Most recently, I have taught Choreography, Improvisation, and a course I developed called Career Strategies for Artists. This course is about building the sustainable practices needed to launch and maintain a career.
“Most recently, I have taught Choreography, Improvisation, and A course I developed called Career Strategies for Artists. This course is about building the sustainable practices needed to launch and maintain a career.”
SAB: What is your new role at the University of Arizona, and how does it differ from roles you’ve held previously?
DC: I am now the Director of the School of Dance at the University of Arizona. The program is a strong program that reminds me a great deal of Juilliard. I am only the second director and the first Caribbean-American director in the school’s nearly forty-year history. It’s been an awesome experience to join this community and lead in the ways that reflect and honor all the high-quality dance experiences I’ve had in my life.
“It’s been an awesome experience to join this community and lead in the ways that reflect and honor all the high-quality dance experiences I’ve had in my life.”
The difference in this new position is that I don’t have to teach classes, but I now get to be the steward and mentor for 175 students and about 20 faculty and staff. It is humbling and every day I am thankful to my teachers and so glad they shared their knowledge and that I get to pass that forward to others. (It’s also much warmer in Arizona than the east coast!)
SAB: What advice do you have for current SAB students who are interested in studying dance or teaching in a university context?
DC: My advice is to remember to be broad as well as deep in your study and preparation. SAB provides a depth of study that will help you in being able to hone in on your goals. A university context can help provide the breadth, or broad scope, of study that will make you a versatile practitioner. Just know that you are the one to chart and manifest your course. No one will do it for you. Your teachers are like guides along the way – try to listen to them beyond just expecting them to tell you what to do. Also know that a teacher can be found in many places in and out of the classroom. Choose your teachers with discretion.
“Your teachers are like guides along the way – try to listen to them beyond just expecting them to tell you what to do. Also know that a teacher can be found in many places in and out of the classroom. Choose your teachers with discretion.”