Our Space

Our facilities include a 70′ x 29′ dance studio, two conference rooms, offices for our fellows and team, and an open presentation space.

The Center for Ballet
and the Arts

The Center for Ballet and the Arts is designed to accomplish two things: first, to bring to the art of ballet new ideas and the full resources of a major research university; second, to bring ballet into the university as a serious subject of study and research—to define it as a field in the history of culture. The Center is thus broadly conceived as a gathering place for the study and practice of ballet and the arts in our society.

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The Center for Ballet and the Arts
New York University

20 Cooper Square, 2nd Floor
New York, NY 10003

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Our Team

Jennifer Homans

is the Founder and Director of the Center for Ballet and the Arts at New York University, where she is also a Distinguished Scholar in Residence in History and European and Mediterranean Studies. She is the author of Apollo’s Angels: A History of Ballet (2010), named one of the ten best books of the year by The New York Times and a finalist for the National Book Critics Circle Award. Homans has written for The New York Times, The Guardian (UK), and the New York Review of Books, among others, and was the Dance Critic for The New Republic from 2001-2014. She holds a B.A. from Columbia University, and a Ph.D. in Modern European History from New York University. Before becoming a writer and scholar, Homans was a professional dancer, and performed with the Pacific Northwest Ballet and other companies. The recipient of a Guggenheim Foundation Fellowship in 2012, she is currently at work on a new book, George Balanchine: A History (Random House).

Lauren Kiel

is the Executive Director of the Center for Ballet and the Arts at New York University. Previously, Lauren was the Associate Director of Lincoln Center International where she guided global business development strategy, established new streams of earned and contributed revenue with international partners, streamlined the institution’s advisory services offering, and helped to re-imagine Lincoln Center’s thought-leadership position within the global arts landscape.

Lauren joined Lincoln Center in 2010 and was named the Special Assistant to the President in 2011. In that role, she stewarded interactions with lead benefactors of the $800 million redevelopment capital campaign, liaised between the executive office and the senior leadership of Lincoln Center’s functional departments, and supported the business development and research at the founding of Lincoln Center International.

Prior to her work at Lincoln Center, Lauren was a member of the Wreckio Ensemble theater company and a real estate broker in Manhattan where she earned recognition as the top grossing rental agent in her firm in 2009. Lauren received her BA from Middlebury College summa cum laude, is a member of Phi Beta Kappa, and graduated from Harvard Business School in 2014 with distinction.

Lauren and her husband reside in Manhattan, where they are proud parents of their joyful daughter and mischievous dog.

Tarik O'Regan

is the Center’s inaugural Senior Advisor. O’Regan, a composer and former Resident Fellow at CBA, will serve in this capacity from September 2016 through June 2017.

While in residence at the Center in fall 2015, O’Regan completed his score for the ballet Mata Hari, premiered by the Dutch National Ballet in 2016. As Senior Fellow, O’Regan will share his expertise and broad understanding of music and collaborations across the arts, begin composing a full-scale opera commissioned by Houston Grand Opera for 2019, and work with the Center to explore and expand programs that accomplish its mission.

O’Regan has composed music for a wide variety of ensembles and organizations; these include the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Australian Chamber Orchestra, BBC National Orchestra of Wales, Estonian Philharmonic Chamber Choir, Sydney Dance Company, Chamber Choir Ireland, BBC Proms at the Royal Albert Hall, and the Royal Opera House, London.

Andrea Salvatore

is the Assistant Director, Programs and Operations of the Center for Ballet and the Arts at New York University. Prior to joining the Center in 2014 she was the Associate Director at the Georgetown Center for Business and Public Policy where she was responsible for the operation of the Center including the Fellows program and several research initiatives. Andrea held a variety of arts management positions at the Brooklyn Academy of Music, The Joyce Theater and the Brooklyn Museum. She holds a B.A. from Connecticut College in Government and Dance and received her M.A. in Communication, Culture and Technology from Georgetown University.

Sabrina Yudelson

is a Program Associate at the Center for Ballet and the Arts at New York University, focusing on communications strategy, programmatic support, and development. Before joining the Center, she contributed to communications and corporate citizenship efforts at Disney|ABC Television Group. Additionally, she taught high school Spanish through Teach For America – Baltimore, and has enjoyed supporting arts and humanitarian causes through a variety of roles. Sabrina received her B.A. in Anthropology from Franklin & Marshall College magna cum laude and is a member of Phi Beta Kappa.  Sabrina enjoys exploring her Chinatown neighborhood and absorbing all the culture New York has to offer.

Allan MacLeod

is an Administrative Aide at the Center for Ballet and the Arts. Previously, Allan worked at New York University’s Office of Sponsored Programs and served four years in the U.S. Marine Corps. Allan holds a B.A. in Middle East, South Asian, and African Studies from Columbia University.

Our Advisory Council


    Vice Provost for Arts, Humanities, and Multicultural Affairs, New York University

  • Urlich Baer

    Founding Member, Diller Scofidio + Renfro

    Professor of Architecture, Princeton University

  • Elizabeth Diller

    Artistic Director, The Public Theater

    Arts Professor of Dramatic Writing and Art and Public Policy, Tisch School of the Arts, New York University

  • Oskar Eustis

    Associate Choreographer, Paris Opera Ballet

    Professor of Dance, USC, Kaufman School of Dance

  • William Forsythe


  • John Guare


  • Alma Guillermoprieto

    Director, LIVE from the New York Public Library

  • Paul Holdengräber

    Starr Emeritus Director, Research and Academic Program, Clark Art Institute

  • Michael Ann Holly


    Founder, The London Theatre Company

  • Nicholas Hytner

    Founder & Artistic Director, Alonzo King LINES Ballet

  • Alonzo King

    Former President, Lincoln Center for the Performing Arts

  • Reynold Levy

    Artistic Director, Miami City Ballet

    Former dancer, New York City Ballet

  • Lourdes Lopez


    Chancellor, University of North Carolina School of the Arts

  • John Mauceri

  • Isaac Mizrahi

    Artistic Director, Mark Morris Dance Group

  • Mark Morris

    Howard G. B. Clark ‘21 University Professor in the Humanities

    Director of the Princeton Atelier and Professor of Creative Writing, Princeton University

  • Paul Muldoon


    Co-Founder, National Dance Institute of New Mexico and New Mexico School for the Arts

    Former dancer, New York City Ballet and Twyla Tharp Dance Company

  • Catherine Oppenheimer

    Professor of German, Comparative Literature and English, New York University

  • Avital Ronell

    Professor, Art History and History, Columbia University

  • Simon Schama

    President & CEO, New York City Center

    Former dancer, The Joffrey Ballet

  • Arlene Shuler

    Director, The George Balanchine Trust

    Managing Director, The New York Choreographic Institute

  • Ellen Sorrin

    Chief Executive and Artistic Director, Sadler’s Wells Theatre

  • Alistair Spalding

    Isaiah Berlin Senior Fellow in Culture and Policy, Brookings Institution

    Former Literary Editor, The New Republic

  • Leon Wieseltier

    Documentary Filmmaker

  • Frederick Wiseman

    Director, Center for European and Mediterranean Studies, New York University

  • Larry Wolff

Our Model


CBA brings to the art of ballet and its related arts new ideas and the full resources of a major research university

CBA is the first institute of its kind in a major research university.  It exists to address the dual needs of innovation in both the study and practice of ballet, by uniting the two to further the advancement of both.


CBA brings ballet into the university as a serious subject of study and research – to define it as a field in the history of culture

CBA is the first institute of its kind in a major research university.  It exists to address the dual needs of innovation in both the study and practice of ballet, by uniting the two to further the advancement of both.

“I have never encountered an audience whose questions and comments have proved so wonderfully helpful.”

Deborah Steiner, John Jay Professor of Greek and Latin, Department of Classics, Columbia University (Spring 2016)

“My residency was a complete delight…it’s clear to me that the Center is fulfilling a real need. I hope I can continue to be a part of it.”

Scott Wheeler, composer and Professor, Department of Performing Arts, Emerson College (Spring 2015)

“The intensity of the concentrated time along with having the opportunity to take advantage of all that NYC has to offer culturally [got] our creative juices flowing in a way that was new for both of us. I think we left with a wonderful libretto and an amazing musical score that is going to partner with the dance.”

Robert Weiss, choreographer and Artistic Director of Carolina Ballet (Spring 2015)

“What a heavenly place. There seems to have been some sort of magical force at play there that really helped me to be productive. Or, rather, a force at play that was ingeniously and carefully designed and implemented!”

Marian Smith, Professor of Musicology, University of Oregon (Summer 2016)

“I’ve never enjoyed a lecture evening more, and that’s the truth.”

Helen Vendler, A. Kingsley Porter University Professor, Harvard University, and inaugural Lincoln Kirstein Lecturer

“The sense of freedom to pursue one’s individual research while at the same time benefiting from interaction with a group of experts from very different fields was stimulating and productive.”

J. David Velleman, Professor of Philosophy and Bioethics, New York University (Fall 2014)


Ballet is a system of training based on a linear and geometrically proportioned organization of the human body. It is also an ethics and an etiquette, a physical and public expression of who we are, with a long past and deep roots in religious, political, and military thinking.

Ballet is a wide-ranging performing art, bringing together the arts and sciences from music, poetry, and design to economics, physics, and technology. Across its history, dancers and choreographers have employed it to articulate a vision of society and civic culture, which was at its origins courtly and aristocratic and in the 20th century became public and democratic. Ballet is also inherently contemporary: dancers bring their ‘street’ to the stage. As an artform, ballet has become increasingly specialized and risks losing connection to people and the ways we live. Universities, for their part, have given little recognition to ballet. Its history, skills, and practices have been marginal to the study of the life of the mind. This represents a significant gap in the history of culture.

Our Supporters

The Center for Ballet and the Arts is made possible by major support from:

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