April Deocariza

1 week ago | pointemagazine.com | April Deocariza

Like many dancers during the pandemic, New Jersey Ballet’s Denise Parungao hit a crossroads. While a principal with Ballet Philippines, her theater was forced to close due to COVID-19, so she found herself evaluating the next step in her career. Her next adventure would mean leaving her hometown and immigrating to the other side of the world in 2021. “It was time to spread my wings and go somewhere else to learn more,” Parungao recalls.

2 weeks ago | dance-teacher.com | April Deocariza

Oftentimes, people may think of dance education in the context of a studio, classroom, or university. However, there are considerable numbers of dance educators who work in-house at performing arts organizations or companies that are tasked with the impactful work of promoting the institutions’ programming and community outreach.

2 months ago | dance-teacher.com | April Deocariza

During Rachel Cantor’s performing career in musical theater, she would often teach dance at a children’s play space in between shows. She realized that teaching was not only something she enjoyed and was good at, it also provided more stability. “I thought, Instead of doing this for someone else, I could do it for myself,” Cantor tells Dance Teacher. Hence, Dance with Miss Rachel was born in 2012.

Mar 4, 2025 | pointemagazine.com | April Deocariza

To get to know Katherine Ochoa a little bit better, we asked her a series of quickfire questions. Read on to hear more about the Cincinnati Ballet first soloist’s pre-performance routine, favorite music, pointe shoe specs, and more. What’s your favorite part of class? Turns. What’s your least favorite part? Adagio. Do you have a favorite spot at the barre? In the corner, by the windows [with a view of downtown Cincinnati]. What pointe shoes do you wear? Gaynor Mindens—feather shank, box 4, medium width.

Mar 4, 2025 | pointemagazine.com | April Deocariza

In her solo for William Forsythe’s Blake Works II (The Barre Project), Katherine Ochoa moves with ease and delicacy, contorting her arms and upper body so smoothly as if floating through water. It’s a contrast to her performance in another Forsythe work, In the middle, somewhat elevated, where she matches the ballet’s sharp, electronic score with edginess and jaw-dropping extensions.