Laura Hood Babcock

Artistic Associate

Babcock HeadshotLaura Hood Babcock is Ballet Arkansas’ Artistic Associate, and a former professional ballet dancer who enjoyed a diverse career dancing principal, soloist and corps de ballet roles with: American Ballet Theatre, under the direction of Mikhail Baryshnikov, The Pennsylvania Ballet (aka Pennsylvania/Milwaukee Ballet), The Cleveland Ballet, The Eglevsky Ballet, The Santa Barbara Ballet and The San Diego Ballet. She has worked with renown directors and choreographers such as: George Balanchine, Twyla Tharp, Kenneth MacMillian, Agnes deMille, Anthony Tudor, Martha Graham, Edward Villella, Rudolph Nuryev, Dennis Nahat, Trey McIntyre, Richard Tanner and Michael Vernon. Early on, Laura was trained in Vaganova, RAD and Cecchetti methods with a strong Balanchine influence by her first teachers at San Diego Ballet, including: Jillana, Robert Rodham and Christine Schenk. Her later training was at the School of American Ballet, and with Melissa Hayden and Wilhelm Burmann in New York City. Laura began her professional ballet career at the age of 15.
Laura is a national award winner of the National Society of Arts and Letters in Ballet and a recipient of the Pennsylvania Arts Council Artist in Transition Grant. She has coached and taught students and professional dancers around the country including: American Ballet Theatre, The Central Pennsylvania Youth Ballet, Oklahoma City Ballet School, San Diego Dance Academy, Arkansas Festival Ballet and UALR. She was a staff member and dancer at The Carlisle Project Choreographer’s Workshop and is a graduate of Dickinson College where she received her B.A. in American Studies and Women’s Studies, magna cum laude, Phi Beta Kappa. She was also a guest dancer, instructor, choreographer and lecturer in the Dickinson College Dance Department.
Laura thrives in a coaching or teaching environment with committed dancers desirous of improving their technique and finding new ways to demonstrate their artistry. Her classes are musical, quick-paced and focused first on proper foot-work so the rest of the body can follow with confidence. Laura’s approach helps her dancers apply corrections in unique, intelligent ways to elevate their skills to the highest level both physically and mentally.