UNCSA Summer Dance

✨ Ballet Faculty
Originally from Miami, Florida, Britt Juleen spent most of her 20-year performance career in Europe at the Dutch National Ballet in Amsterdam and as a first soloist in Germany’s SemperOper Ballet’s exquisite Opera House. She has taught extensively across the San Francisco Bay Area including the company and schools associated with Alonzo King LINES Ballet, Oakland Ballet Company and ODC Dance Company.
Juleen’s approach to teaching and choreography is greatly influenced by alternative studies of experiential anatomy. Somatic approaches to movement exploration allow her to enrich her teaching of traditional ballet technique with a contemporary sense of authentic expression and kinesthetic development.

✨ Ballet faculty
Pamela Kozadayev received her initial dance training at Mohawk Valley Ballet under the direction of Delia Foley in Utica, New York. She continued her training on full scholarship at the School of American Ballet in New York City for four years. At the age of 15, Mrs. Kozadayev spent one summer studying at the Summer Dance Experience in Columbia, South Carolina. While there, Columbia City Ballet Artistic Director William Starrett asked her to join the company. As a principal/soloist with Columbia City Ballet for six years, Mrs. Kozadayev was featured in many full- length and one-act ballets. In 2001, Mrs. Kozadayev joined Columbia Classical Ballet as a principal dancer under the direction of Radenko Pavlovich. She was named ‘best female dancer in Columbia’ by the Free Times. Mrs. Kozadayev joined Houston Ballet as a member of the corps de ballet in July of 2003 and held the position until her retirement in 2010. During her tenure with the Houston Ballet Mrs. Kozadayev performed works by such choreographers as George Balanchine, Ben Stevenson, Stanton Welch, Jiri Kylian, Serge Lifar, Fredrick Ashton, Kenneth McMillan, John Cranko, August Bournonville, Christopher Wheeldon, James Kudelka, Antony Tudor, Lila York and many others.

Mrs. Kozadayev was a ballet instructor and Youth Ballet company director for The Timmerman School in South Carolina, and was a ballet teacher for Uptown Dance Houston, Premiere Dance in Oklahoma, Columbia Conservatory of Dance, University of Oklahoma Summer Youth Ballet program, as well as multiple regional companies in upstate New York and Massachusetts.
Currently Mrs. Kozadayev serves as an adjunct ballet instructor at UNCSA, and also teaches in their Preparatory School. She is an ABT certified ballet teacher and recently became certified in Progressing Ballet Technique as well.

Ballet Faculty ✨
Phillip Broomhead joined the School of Dance in 2024. He was born in London, England, and trained at The Royal Ballet School. In 1981, he joined The Royal Ballet and was promoted to soloist in 1983 and to principal in 1986, performing numerous times in the presence of Queen Elizabeth II, Queen Elizabeth the Queen Mother and at many other royal galas. Broomhead joined Houston Ballet as a principal dancer in 1991 and made his debut in Ben Stevenson’s “Cinderella.” He was featured in all of Stevenson’s ballets and in many other works. After 13 years of dancing with the Houston Ballet, he retired in 2004 and began working freelance, judging for the Youth America Grand Prix, staging “Sleeping Beauty Act III” for Chamberlain Ballet in Plano, Texas, and teaching and coaching at prestigious schools, companies and universities.

✨Ballet Faculty: Jennet Zerbe
- Central Pennsylvania Youth Ballet Teachers Workshop
- Maestro Enrico Cecchetti Diploma awarded, England
- Nancy and Murray Kilgour Teacher Training
- ABT certified teacher in all levels of the National Training Curriculum, developed and endorsed by the Jacqueline Kennedy Onassis School of Ballet at ABT

✨Ballet Faculty: Angelina Sansone
Certified ABT National Training Curriculum Instructor Angelina Sansone joined the School of Dance faculty in 2018 after 13 seasons with the Kansas City Ballet. With an extensive background in both performing and teaching, Angelina brings a wealth of knowledge to the ballet program. I place a large emphasis on purposeful footwork, economical alignment and dynamics in movement quality and musicality. Beyond technique, I strongly encourage my students to be adaptable, curious and well-rounded artists. I have found that dancers with these traits stand out among their peers and are more readily usable by choreographers.

✨Contemporary Faculty: Wesley Williams
Wesley L. Williams Jr. is a dancer, choreogrpaher, entrepreneur and teacher of West African music and dance and African contemporary dance styles. He is the founder and artistic director of the Suah African Dance Theatre based in Greensboro, North Carolina.
Williams has performed with the Jan Van D**e Dance Company, the Ballethnic Dance Company of Atlanta, Georgia, and the North Carolina Black Repertory Company. He was also a member of the Chuck Davis African American Dance Ensemble. Williams has worked alongside master teachers such as Chuck Davis, Mabel Robinson, Maya Angelou, Sherone Price, Jan Van D**e, Rod Rogers, Ava Vinesett and Thaddeus Bennett; he is humbled to have worked with and been taught by so many legends.
Williams has been in residency at several colleges and universities, including Duke University, UNC Greensboro, Stevens College, Lincoln University and Winston-Salem State University. He has also been featured in issues of “Dance Magazine” and “Teacher Magazine.” He is a native of Balitmore, Maryland, and studied psychology at North Carolina Central University.

✨CHOREOGRAPHIC INSTITUTE CHOREOGRAPHER: Alana Jones

Register for DANCE | CONNECTION NOW to dive into creative process with Alana!

✨Ballet Faculty: Dayna Fox
UNCSA alumna and School of Dance ballet faculty member Dayna Fox has spent more than 30 years teaching in UNCSA’s high school and undergraduate ballet programs, and has served as director for the Preparatory Dance program for young children. She had many experiences in her life that have and continue to shape her journey as a teacher.
Fox’s early training in the Vaganova technique, combined with 25 years of teaching children, has made her a stickler for correct placement and alignment; developing core strength; understanding the concept, development and application of rotation; and emphasizing the importance of classical line, positions and aesthetics. As a teacher, Fox tries to instill a feeling of “self” in her students, helping them realize how each of them has something unique to offer. Fox believes her job as a teacher is to provide students with all the tools and inspiration they will need to ultimately achieve their goals as confident young adults and artists.