Ep. 38: Rising through rejections, with Samantha Hope Galler

Summary

Podcast Summary:

The Leadership Dance – Ep. 38: Rising Through Rejections, with Samantha Hope Galler
Host: Alissa Hsu Lynch
Guest: Samantha Hope Galler (Principal Dancer, Miami City Ballet, Arts Leader)
Release Date: March 30, 2026

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Overview

In this episode, host Alissa Hsu Lynch sits down with Samantha Hope Galler, a principal dancer at Miami City Ballet and founder of Fifth Position Path, a mentorship platform for dancers. Samantha shares her journey from a small-town dance studio to the principal ranks of major ballet companies, speaking candidly about overcoming professional setbacks, building resilience through rejection, and leveraging her experience to inspire and mentor the next generation of dancers. They also explore the vital life and leadership skills dancers develop, the importance of mentorship, and how Samantha is preparing for both motherhood and a career in arts administration.

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Key Discussion Points and Insights

Early Life and Foundation in Dance

• Early Passion and Training

  • Samantha fell in love with dance around age 5 (“I enjoyed the creativity of it… around the age of nine was when I decided, this is what I want to do.” – SHG, [03:00]).
  • Her initial training was in a small studio atop a church in Arlington, Massachusetts ([03:00-03:59]).
  • Exposure to tap and jazz contributed to her versatility, but ballet became her main focus ([04:04]).

• Family and Support

  • Artistic and analytical traits came from her father (engineer) and her mother (worked for Kodak, enjoyed tap). Her brother also entered the arts through virtual production ([04:32-05:09]).
  • “Both my brother and I are very analytical. We’re very structured, which maybe was something that I found passion in in dance, because we have to be very structured…” – SHG, [05:09]

Early Mentors and Shaping Experiences

• Strong mentorship from her first teacher, Frances Catelli, provided technical and personal growth ([06:13]).
• Benefited from exposure to diverse teaching styles at Boston Ballet School, as well as observing professional dancers ([06:13-09:25]).
• Peer inspiration and having role models set standards and provided motivation ([09:25]).

The Roller Coaster of a Ballet Career

• Facing Adversity

  • Suffered a significant injury her last year at school, struggled to secure her first job ([10:15]).
  • “All my colleagues and friends were getting jobs and I wasn’t able to get anything… that was kind of the beginning of this journey of lows and somewhat highs…” – SHG, [10:15]

• Resilience Through Rejection

  • Auditioned at over 30 companies, repeatedly faced rejections, and received critical feedback (“You’re too athletic looking or too tall or too short…” – SHG, [10:15-10:58]).
  • Perseverance paid off, as each experience provided lessons in self-advocacy, adaptability, and tenacity.

• Career Pivots & Growth

  • Trained at Cincinnati Ballet and spent five formative years at Alabama Ballet, where she developed as an artist and learned to balance both solo and ensemble work ([11:00-13:45]).
  • Ultimately landed her dream job at Miami City Ballet after being initially declined in-person, but following up with a thank-you note led to a contract:
    • “I sent a thank you note… and a couple of weeks later, I got a contract. So it was really just—I sat up and I was like, 6:30am, and I was like, I got a contract for Miami City Ballet.” – SHG, [15:13]

Gaining Confidence, Leadership, and Artistic Purpose

• Upon joining Miami, she started over as corps de ballet despite prior rank as a principal, learning humility, teamwork, and how to stand out ([17:14-18:53]).
• Grew through exposure to Balanchine and Robbins work, honing speed and musicality ([19:02]).
• Notable featured roles included Twyla Tharp’s “In the Upper Room” and the Swan Queen in Alexei Ratmansky’s “Swan Lake” ([19:02–21:22]).

Life and Leadership Lessons from Dance

• Leadership Through Presence and Vulnerability

  • “If you’re being a leader, it’s not just, oh, I’m in the highest position. That’s not necessarily it. You know, it’s not always about the title. It’s about how you come in to the room and present yourself and show up in the moments that need to be looked at in a different light…” – SHG, [21:35]

• Transferrable Skills from Dance

  • Discipline, visual learning, adaptability, quick problem-solving, planning, punctuality ([00:37], [26:27]).
  • “We’re very analytical, we like to plan. We’re never late—unless you’re in Miami, maybe you’re late.” – SHG, [00:37]/[26:27]

Education and Expanding Horizons

• Balanced college coursework with her professional dance career: earned a bachelor’s degree over five and a half years, then a Master of Science in Arts Administration and Cultural Entrepreneurship from Northeastern University ([23:15-25:30]).
• Pandemic uncertainty spurred her to upgrade her academic credentials and prepare for a post-performance career ([23:15]).

Mentoring and Giving Back

• Founded Fifth Position Path, an on-demand mentorship platform for dancers, professionals, parents, and schools ([28:06]).
  • “I want Fifth Position to be the platform that students, professionals, even schools and families go to as an on demand tool… It has to be available and easy to use.” – SHG, [28:06]
• Most common advice given:
  • How to acclimate to corps and company culture, how to stand out, evaluating when to move companies, processing criticism ([31:51]).

Navigating Motherhood and Career Transition

• Danced until five months pregnant; transitioned into arts administration at Miami City Ballet as interim development coordinator ([34:21]).
• Continues to stay active in the studio, but listens to her body’s changes—learning to rest, adapt, and give herself grace ([35:55]).

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Notable Quotes & Memorable Moments

• Resilience & Self-Belief:

  • “I learned too late to break through those walls and take risks and expose yourself to as much in the art form as you can…” – SHG, [37:05]
  • “Just knowing that everything that you do to make yourself the artist that you want to be will be seen and will eventually be acknowledged… it will pay off in the end if you really believe in yourself.” – SHG, [37:05]
  • “Don’t be afraid to advocate for yourself and don’t be afraid to take risks, which is something I always say. I think risk taking in dance is what teaches you the most about yourself…” – SHG, [37:05]

• On Rejection & Perseverance:

  • “It was not an easy journey, but… I actually think it was the best journey I could have had because every experience gave me knowledge that I can now share.” – SHG, [10:15]
  • The game-changing follow-up email after a rejected audition:
    • “I sent a thank you note…and a couple of weeks later, I got a contract.” – SHG, [15:13]

• On Mentorship:

  • “This is really to suit the needs of all of these levels and you know, you can come to the table and voice your honest opinions and we can have a real honest conversation about realistic ways to improve your training and also look at the industry…” – SHG, [28:06]

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Timestamps of Important Segments

• [03:00] Samantha’s early connection to dance and formative training
• [05:09] Family background and analytical influences
• [06:13] The importance of early mentors and experiences at Boston Ballet
• [10:15] Struggles with injury, rejection, and early career setbacks
• [15:13] Landing a contract at Miami City Ballet after initial rejection
• [17:14] Navigating a new company and starting in corps de ballet
• [19:02] Defining artistic moments and signature roles at Miami
• [21:35] Samantha’s personal definition of leadership in dance
• [23:15] Balancing higher education with a dance career
• [26:27] Transferable skills from dance to other fields
• [28:06] Founding and purpose of Fifth Position Path mentorship
• [31:51] Advice for young dancers and typical mentorship struggles
• [34:21] Pregnancy and transition to arts administration
• [37:05] Core advice to her younger self (risk-taking, research, self-worth)

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Conclusion & Takeaways

This episode offers an insightful and candid look at the realities of a dance career—its vulnerabilities, setbacks, and the daily resolve required for forward momentum. Samantha’s advice is both practical and deeply inspiring, making this essential listening for aspiring dancers, leaders in any field, and anyone navigating high-pressure, competitive environments. Her journey demonstrates that leadership is not just about reaching the top—it’s about resilience, curiosity, kindness, and giving back.

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Learn More/Connect:

• Fifth Position Path Mentorship
• Email: [e-mail]

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“Don’t be afraid to advocate for yourself and don’t be afraid to take risks… everything that you do to make yourself the artist that you want to be will be seen and will eventually be acknowledged.”
— Samantha Hope Galler [37:05]

Transcript

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[Alisa Sue Lynch]

there are so many skills that you learn from dance that translate to other parts of life or work. Can you talk about some of those?

[Samantha Hope Galler]

I think one of the biggest things is that we're disciplined. From nine years old, I was told to stand at a bar in a ballet class and learn combinations quickly and pick them up visually. I feel personally I'm a very strong visual learner. I can regurgitate material very quickly because that's part of what we need to be able to do just from one day to the next. If we're learning a new commission, we're expected to come in the next day and remember that two minutes of material without any question that in communicating with individuals in the studio to be able to problem solve. These are all like skills that are absolutely integrated into our work. I think that those are skills that we can always take to the next job no matter what it is, if it's in the industry or not. We're very analytical, we like to plan. We're never late unless you're in Miami, maybe you're late.

[Alisa Sue Lynch]

Sometimes we're hello and welcome to the Leadership Dance, where we explore the art of leadership with trailblazers in business and the arts. If you enjoy the show, please subscribe, share and leave a five star rating and if you're listening to this episode right now, also check out our YouTube channel, Heladership Dance. I'm your host, Alisa sue lynch and today I'm joined by Samantha Hope Galler. Samantha is a principal dancer at Miami City Ballet. Originally from Bedford, Massachusetts, she trained at Boston Ballet as its first part time student, studying multiple classical methods. After dancing with Cincinnati Ballet and Alabama Ballet, she joined Miami City Ballet in 2014 and rose steadily through the ranks to principal in 2023. She has performed a wide range of works by Balanchine, Jerome Robbins, Alexei Ratmansky, Twyla Tharp and Justin Peck, among others, including Odette Odile in Swan Lake. Samantha also holds a Master of Science from Northeastern University and founded Fifth Position Path, a mentorship program supporting the next generation of dancers. Welcome to the podcast, Samantha.

[Samantha Hope Galler]

Thank you so much for having me. I'm looking forward to the Conversation.

[Alisa Sue Lynch]

So let's start at the beginning. What was your childhood like? And did you always know you wanted to become a dancer?

[Samantha Hope Galler]

From a very early age, around. I think I was around five, I got into the ballet studio. It was just an activity that my parents found. I enjoyed the creativity of it. And around that time, I really engaged with it, and I was excited about movement and creativity and. And around the age of nine was when I decided, this is what I want to do. I. I was so attracted to the art form. I think just the beauty of it, the discipline of it, and it gave me purpose. And from a young age, my parents put me into a small school in Arlington, Massachusetts. There were 100 students, I think, at most, in the school. And we trained at the top of a church. The wood floor was kind of my foundation for how I learned how to do ballet. And that's really where I began building my passion for dance.

[Alisa Sue Lynch]

Did you study only ballet, or did you already start on other styles?

[Samantha Hope Galler]

I was also taking some tap and some jazz in the beginning, and that was really a great opportunity just because it exposed me to other genres. And I. I think actually looking back, if I weren't to be a ballet dancer, I would love to dance tap. I love tap. I think it's a great way of expressing yourself. But ultimately I chose ballet. That was really what pulled me in and where I went.

[Alisa Sue Lynch]

Did you grow up with any siblings?

[Samantha Hope Galler]

I have an older brother, and he actually has a very interesting career as well, is in the arts. He started by lighting the Nutcracker that I did in the winter seasons, and he took care of the spotlight, and he's now in virtual production. And so we have a connection from that. Our time when I was little, in these youth nutcrackers, we did six together. And he went into a career in the arts as well. So that was actually fascinating to watch him learn from the lighting booth.

[Alisa Sue Lynch]

Well, did that artistic bent come from your parents?

[Samantha Hope Galler]

So my dad is an engineer, so both my brother and I are very analytical. We're very structured, which maybe was something that I found passion in in dance, because we have to be very structured and processing everything. When you're learning a ballet, it's something you're analyzing constantly. And my brother, also a very similar mindset. So we. We like to get things done and prepare and have everything planned out. And I think that was the engineering side of it. And then my mom was not in dance. She worked for a branch of Kodak. So we have very different. The backgrounds are very different. But my mom did tap, and she always loved both of them, always loved the art. So I think there's something in there that we inherited.

[Alisa Sue Lynch]

Yeah, well, it sounds like you had really supportive parents, which is always encouraging.

[Samantha Hope Galler]

Very supportive, and I was very fortunate.

[Alisa Sue Lynch]

When you look back now, are there any early experiences that helped you to be successful in the ballet world?

[Samantha Hope Galler]

I think that my. My time in a smaller ballet school, I was really nurtured, and I had time to build a relationship with my teacher, who invested Frances Catelli. She invested a significant amount of time in me once I. Once I was showing that this was something I wanted to do as a profession. And at age 9, that's a pretty big undertaking to be able to say, you know, confidently, like, I'd like to. Actually would like to become a professional and become a principal dancer. That was ultimately my goal. And I think being under her care, she taught me a lot about how to build confidence within my technique. And. And she primarily taught me the Cecchetti method, which is an Italian method, the Italian method of ballet, which is not something you see as common now. But in that approach, she taught me how to present myself and how to be on stage. And not. Not that we had. We didn't have a lot of performances. We had one show a year. And I think ultimately that was why I shifted, looked at a bigger school going to Boston Ballet, and like you introduced in the beginning, you know, there. There was an opportunity for me to be part time because they school trusted my teacher and being able to have that. And then this transition to Boston Ballet School, a larger school, gave me this mix of. And this blend of experiences with different teachers and also exposed me to performing year round. So I had more opportunity to finally get myself into a class where I could look at myself and say, where do I stand now and how am I doing? Upon these other individuals that also had the same dreams. And so I think that experience when I was, you know, 11, 12, 13, helped me to figure out what I needed to prioritize in the art form, but also learn these really important skills that I needed at that young age, because that's such a crucial time for someone training. So that was kind of something that really stood out when I was a child, a young child, and it exposed me to so many faculty members that had different backgrounds. And I think that's something that I look back and I really am grateful for, because there were teachers that had danced professionally, there were teachers that hadn't danced professionally or had danced at smaller companies and larger companies all over the world and to learn from them and to understand their skill set, I think gave me an understanding that there were possibilities outside of this one option, you know, to. To go only into a major company.

[Alisa Sue Lynch]

Yeah. Sounds like you had early mentors as you were developing in your career.

[Samantha Hope Galler]

Yes.

[Alisa Sue Lynch]

Which will be a theme that comes up later.

[Samantha Hope Galler]

Yes. Theme.

[Alisa Sue Lynch]

Yeah. I actually studied at Boston Ballet summer program one year, and it was excellent training. And I just remember peeking in, watching through the window, and watching the main company because, you know, I was just taking the classes there. It was a rigorous program and really inspiring to be able to have that proximity to the professionals.

[Samantha Hope Galler]

Absolutely. I think that's a great point because this was the first time for me as well, especially in the summers, because I attended six summers because I loved it so much there that to sit at the door and watch the company. I had never really seen a major company before. And at that time, you know, even. Even now, I have idols that I still am taken aback by, because I think they're just really phenomenal artists all around. And that was eye opening for me too. And to be able to watch the company grow as it was and just be around it. Exciting.

[Alisa Sue Lynch]

Well, you made it as a principal dancer. You're now principal at Miami City Ballet. But I know from our conversation earlier, it wasn't always so easy. What did that journey look like, and what are some of the challenges you faced along the way?

[Samantha Hope Galler]

It was not an easy journey, but going from the very end, like, not the very end, but where I stand today, looking at it now, I actually think it was the best journey I could have had because every experience gave me knowledge that I can now share. I think it just stemmed from the beginning of my time. What I was just speaking about at Boston Ballet and moving through the school upon graduating, realizing I had a pretty terrible injury my last year of school, where I wasn't sure I was going to be able to continue. And I was able to get through that enough to audition that season for companies. And all my. My colleagues and friends were. Were getting jobs and I. I wasn't able to get anything. And I think that was kind of the beginning of this journey of lows and high somewhat highs and. And on and off of just trying to learn where I needed to be and what I needed to do to get. Cause I knew I could do it. I. I had this gut feeling. I was like, I just have to piece it together the right way for me. And so, you know, not having a job, I ended up repeating a trainee year. But with Cincinnati Ballet. And that taught me a lot about moving away from home. One, because it was my first time really, really moving out of the state and working in a company. We worked primarily in the company and also with the school, so we had priorities in both. And at the end of that year, I had. I found myself again. It was 2008. We were going through a recession, they had downsized, and there were a lot of us that had again to go find jobs. So now I was out auditioning again. I think anybody who has had to audition several times understands it's very demanding on somebody mentally and physically. And I think that those experiences were hard for me and completely open and honest about being in an audition and, you know, getting cut from. From that audition or being told you're too athletic looking or too tall or too short or whatnot. It was all different, you know, And. And so as I went through this process of auditioning 30 plus places around the country, my dad was designated to take me to my own audition. So we have a lot of very interesting stories, traveling around and eating at different restaurants and things like that. But, you know, it just opened my eyes to this whole industry in a different way, in a different light. It also taught me about rejection and how to process that. This experience led me to Alabama Ballet, which I had never even considered when I was looking at companies in school. I was only looking at large companies. And I think that was something that, when I look back, I say, look at all different size companies, because you never know what is. What opportunity is going to guide you in the direction that you want. So I ended up at Alabama Ballet for five seasons, and it ended up being one of the best decisions I ever made. I went from trainee to trainee to apprentice in the company, and then finally into the company. So it took me a while to get a job, and that was where I really started my career. I mean, the directors there, Roger Van Flederen and Tracy Alvey, they invested a significant amount of time in my artistic development. And this is where I learned to act and to be emotional in front of people because it was very uncomfortable for me. And I think there were some times where I. I mean, a lot of times I was like, oh, I'm ready to go to the next place. But I wasn't really ready for that. And I. I needed to kind of take a seat back. Even now, I still wish I had taken a seat back and said, oh, no, just. Just enjoy the process. You know, trying to go somewhere else. You're. You're in it you have a job now and you're dancing great ballet. So one of the things that I think shaped me there was doing a core, the soloist and the principal roles, because there are internal ranks there, not ranks that you see in a program. So you're moving through them maybe, but you also are required and obligated to do corps de valet, ensemble work and soloist work. So this taught me how to work with the group. It taught me how to stand out. It taught me how to do advanced partnering that maybe we hadn't been exposed to in school. And so that ultimately led me to say, you know what? I'm ready to audition and I'm going to go try. I did one audition because I was so over auditioning, and I said, all my eggs in one basket and I'm going to go audition for Miami City Ballet. So that led me there, and I was at the audition. And now, 12 years later, looking back, I think I shared part of the story with you that I went and at the end of the audition, in studio company class invitation, they said, well, we're only looking for men. And so I said, oh, okay, thank you. And I left. And I couldn't believe it. I was, like, never going to dance in a major company. And it was devastating because I really knew that I could still do it. I was determined. So I sent a thank you note and I was like, I'm very eager to be part of this company, and it's something that's always been on my radar. And a couple of weeks later, I got a contract. So it was really just. I sat up and I was like, 6:30am and I was like, I got a contract for Miami City Valley. So it was really amazing moment for me. And that was really the big chunk before I even started my career in Miami.

[Alisa Sue Lynch]

That takes such resilience and incredibly hard work and self motivation, as well as, you know, the people that you talked about who helped you continue to learn and grow during that time. I'm curious. You know, in the business world, networking is so important in terms of helping you get jobs. Did you know anybody at Miami City Ballet, or did you just show up cold to the audition?

[Samantha Hope Galler]

I had one friend in the company who, long story short, was my first partner. Dear friend of mine who was my first partner at Boston Ballet Summer Intensive that was in the company at Miami. And we had not spoken since we were kids. We never even, you know, we crossed paths a few times. And so I knew him. And then I also had another acquaintance that I knew. But other than that, I didn't know anybody in the company, so this was really just a go and see what, see what was going to happen and hope for the best. And it ended up part. I partnered for many years with this individual after getting into the company, which was like full circle moment for us. So we call each other our stage. Like, he's like my stage husband, you know, because we spent so much time together on the stage.

[Alisa Sue Lynch]

So what was it like for you when you first joined Miami City Ballet? How did you build your confidence as an artist there?

[Samantha Hope Galler]

So when I first joined, you know, I had worked my way up to this internal rank of principal dancer at Alabama Ballet. And so I went into Miami as a first year quarter ballet contract.

[Alisa Sue Lynch]

Oh, wow.

[Samantha Hope Galler]

So this was, you know, I was going to. Not backwards, but I was taking steps forward backwards, you know, and this was a important moment in my career because I really, you know, when you're going into the core, but you've already established, establish yourself in the industry. It was something that I had to learn to make sure I went in as a team player because I'm going to be a court of ally member, so. But also learn to stand out. So I had to do both of those things. And I think the benefit of having had those years of experience before that I could be put right into the corps of ballet and used as a member that didn't need a lot of extra time. They could just use me and put me in with the group. So it ended up being really wonderful because I worked with a group of girls in the core that are still with the company. A lot of, several of them are still with the company. You know, from the beginning, after a while, we learned to really build a nice connection dancing on the stage. And I think, confidence wise, I struggled because I think it's very challenging to move from a small company to a large company. It's a new environment. There's a lot of other individuals that you're learning about personalities. We're touring more. It's just an entirely new experience. And I think that was probably the hardest thing for me going into Miami.

[Alisa Sue Lynch]

And then as you moved up in the company, what are some of the roles that you got to perform where you felt like you could really start to stand out?

[Samantha Hope Galler]

So I was very grateful to be given many opportunities since I've joined. And I think one of the biggest, you know, we're preserving the Balanchine style here in Miami. And I think one of the crucial elements of being there was to learn to increase my speed, increase, increase My understanding of musicality, and those are things that I needed to be able to use in George Balanchine works and Jerome Robbins. And so I think once I had a real grasp and understanding more of that, because I had had exposure to several years of that at Boston before I transitioned into the professional world. But this exposure in Miami really led me to understand more of purpose, my purpose, and how I could give to that method within his ballets. And it also molds over into other modern and other neoclassical works. So some of the. Some of the best roles, some of them were in the corps de ballet, honestly, like Concerto Barrocco with the Girl with the Ladies and Theme and Variations, Piano Concerto Number Two. I mean, there were really some really beautiful moments that I came off stage and I said, oh, that's how it's supposed to feel when you dance in a group. And then as a featured artist, I mean, I've recently danced Twyla Tharp's in the Upper Room. I was chosen to dance the principal in Waltz Priggishna, which was a dream come true. You know, the epitome of a ballerina to me is. Is a ballet like that, and it's just really powerful and special. And, you know, Swan Lake, this is. I've now done it four times, which has always taught me something new. I'm always like, oh, it's always a new experience every time I've done Swan Queen, and in so many ways, I've learned a lot about myself going through that role multiple times. And the first time was with Alabama, and then the three here actually was one of the originals of the North American premiere that we did with Alexei Ratmansky. And that in itself, you know, there's always a journey with Swan Lake. It's not just straightforward. You might change corners, you may have. You don't know what's going to happen, but you go out and you do it, and it's amazing, you know?

[Alisa Sue Lynch]

Yes.

[Samantha Hope Galler]

So a lot of really beautiful opportunities and that I am grateful for.

[Alisa Sue Lynch]

So I feel like you've started to reference some of these. But what leadership lessons do you think you've learned from dance as an individual?

[Samantha Hope Galler]

Now, in the second half of her career, I think being present and really showing up when you maybe feel like you're failing or you. You don't think you're going to make it happen. I think those are the moments where I learned the most about myself and where I realized how I was going to shape myself as a role model for others. You know, if you're being a Leader. It's not just, oh, I'm in the highest position. That's not necessarily it. You know, it's not always about the title. It's about how you come in to the room and present yourself and show up in the moments that need to be looked at in a different light. And I think that's really crucial for students today, other professionals today, to see, because we all have had different experiences, but the way that you process and handle them in a room full of other artists can go miles further than you expect. If you are able to say, yeah, I did fail, that was something, or it didn't fail, but I made a mistake, and I'm going to learn from that the next time. And then you don't know how that's going to impact the person next to you. So it's all about processing it and knowing that there will be a next time. You have to give your full hundred percent to the opportunity, whether you're happy about it or not. And I think leadership wise, that's a really crucial, important thing to think about.

[Alisa Sue Lynch]

Now, you have also earned a Master of Science in Arts Administration and Cultural Entrepreneurship at Northeastern. What motivated you to do that? And first of all, did you get your undergrad while you were dancing? Can you talk a little bit more about your degrees?

[Samantha Hope Galler]

Sure. I started my undergrad when I was in Cincinnati because I had always wanted to go back to school. I wanted to pursue college, and I didn't know exactly how I was going to do it. So I started really slowly. It took me about five and a half years to get my bachelor's degree. And then I took some time off. And when the pandemic hit, I put my resume on the table and I. I think I had some. Some chips maybe next to it, because I didn't know what was going to happen and was I going to have a job at the end of it. It was just a very dark time, you know, and. And I said, well, what can this. What can I do with my resume? You know, for me, looking at it, and some other professional in the industry might say, wow, this is really amazing. Like, you know, these are real highlights, but what does that turn into? And. And there are so many skills that we have as dancers that are not necessarily written skills. So it's hard to translate that to someone when you're going to look for a job maybe outside the industry or in the industry, in the business side of things. So I said, realistically, I want to get my advanced degree. I had already chosen to do that, but I didn't know where I was going to go and what I was going to do. So I had applied to a few universities. I got into a couple options that I had applied to, but none of them are really the right thing. So I waited until 23, and that was when I said, you know, I'm going to apply for a few more in arts administration, which I think finally I realized was what I was looking for in a degree. And it was academic based, not internship, because I feel like I'm. I'm already on the ground working in the arts. So it was helpful to have more academics, understanding fundraising and development, and everything behind the business side of an arts nonprofit. So when I decided to go to apply, I never expected Northeastern to come back and say, yeah, we want you to come. So I was just so grateful for that. So that two years went by in a flash and, yeah, I can't believe I graduated in May. And it's. It was a wonderful experience for me. And to pair it while I was still dancing, I think was really helpful to be able to bring those real life experiences to my work in school.

[Alisa Sue Lynch]

Yeah. Congratulations.

[Samantha Hope Galler]

Were.

[Alisa Sue Lynch]

Did you go virtually or were you flying back and forth?

[Samantha Hope Galler]

No, I was all virtual. They offer a pretty strong online program, a few online programs through the College of Arts, Media and Design. And a lot of it was asynchronous, but several of the opportunities we had were synchronous, so we were able to meet with our classmates. I built a relationship with some of the other people in my. In my class who I were still chatting today and talking arts and kind of just having, you know, an incubator occasionally and fascinating to hear perspectives from the musical side and even someone from the army who wanted to go into arts leadership. I mean, it was just a really interesting group of individuals that were coming together.

[Alisa Sue Lynch]

I want to come back to something that you brought up, which is that there are so many skills that you learn from dance that translate to other parts of life or work, whatever it is. Can you talk about some of those?

[Samantha Hope Galler]

Sure. I mean, I think one of the biggest things is that we're disciplined. From nine years old, I was told to stand at a bar in a ballet class and learn combinations quickly and pick them up visually. I feel personally, I'm a very visual, a strong visual learner. I can regurgitate material very quickly because that's part of what we need to be able to do. I mean, even just from one day to the next, what we're learning, if we're learning a new Commission. We're expected to come in the next day and remember that two minutes of material without any question. That and communicating with individuals in the studio to be able to problem solve. These are all, like, skills that are absolutely integrated into our work. So I think that those are skills that we can always take to the next job, no matter what it is, if it's in the industry or not. We're very analytical. Like I had mentioned before, we like to plan. We're never late. Unless you're in Miami, maybe you're late sometimes because we're on a different time here. But, you know, we're always really put together. I mean, for me, it makes me feel good about myself because I know, okay, I'm prepared. You're not rushing in and reading about something now. You're already there and ready.

[Alisa Sue Lynch]

Yeah, those are great. And I love that idea of problem solving. I hadn't thought of that one myself, but you're right. We are constantly solving problems and figuring things out along with other people.

[Samantha Hope Galler]

Absolutely.

[Alisa Sue Lynch]

In the studio.

[Samantha Hope Galler]

Yeah.

[Alisa Sue Lynch]

So I want to talk about being a mentor. You have been a passionate advocate for mentorship for many years, and you recently founded something called Fifth Position Path. What is that? Tell us more about it and why it's so important to you.

[Samantha Hope Galler]

Thank you. I'm so excited about Fifth Position Path. It was an idea that I had also during the pandemic that I was going to launch. And I said, you know what? This is not the right time. And I waited, came up with a new idea in terms of title and whatnot, and launched in July of 25. And this, this is a tool. I had mentors while I was growing up, but I didn't have one person or two people that I could go to and say, I'm having this issue today and I don't know what to do. I don't understand this in how it relates to the industry. So this is very specific to dance. And I want Fifth Position to be the platform that students, professionals, even schools and families go to as an on demand tool. So it's something that a client can book right then and there. They come out of their day and they've had a lot of different communication with different teachers or other students. Or you're going into a performance, they're getting, casting. These are all elements that we're constantly navigating from the school through your professional career as a principal dancer. And so these options, this platform gives options to anyone at that moment at their fingertips. And that's what the biggest thing about Fifth Position path, that's what I hope that it can be used as and is already very much so getting. I'm getting the feedback that I hope for others. And it's also an opportunity for someone to pair mentorship with their year round plan. And this may be especially for like parents who maybe are coming from a family, they have no idea anything about dance or they've never been exposed to it and they're not sure how to communicate with their child about not just choosing a school, but how to prepare yourself for a performance or what is going through your child's head. For me, when I was a student, all I could do was think about dance. That's all I was doing. And so I think as a parent, you're not always aware of that thought process the same. And so if you can understand how to communicate with your child within their situation, which is another element of fifth position, you know, this is really to suit the needs of all of these levels and you know, you can come to the table and voice your honest opinions and we can have a real honest conversation about realistic ways to improve your training and also look at the industry and who you're engaging with faculty wise, if you're on the competition route, who's there at the competition. And so these are all elements that go into our daily basis. But it has to be available and easy to use. So fifth position is like my other little baby now, you know, that I'm so excited about.

[Alisa Sue Lynch]

So it sounds amazing. Are you basically running it yourself? Are you the main advisor? Do you envision growing it to beyond what it is today?

[Samantha Hope Galler]

I am running it by myself. I wanted to see how it was going to go grow. And I do have thoughts and ideas that I've actually collected from others as well who have chimed in on those that have wanted to help and be part of the conversation. Kind of put together just notes for the future. So if it continues to grow, it may expand and take another shape or we may offer other services.

[Alisa Sue Lynch]

And where can people learn more?

[Samantha Hope Galler]

Sure. So my website is fifthpositionpath.com and you can email [e-mail] Wonderful.

[Alisa Sue Lynch]

Can you tell us what are some of the most common struggles or questions that you've been getting from young dancers? What advice do you find yourself giving the most often?

[Samantha Hope Galler]

Well, I think in the professional setting, which is where I'm going to start, it's about understanding the normals that come with that position. If you are coming into the court of ballet, how are you acclimating to the space or if you came from a bigger studio and now you're trying to come into, you know, you're coming into a company and you're the small fish now, how are you going to learn to stand out? And what are the things that you need to know about when engaging with your colleagues? And I think that's something. That's what I touched on before about learning how to work with a group. But also if your goal is to move up, which many people don't have that goal, they have the goal of being in the core, which is our glue and just as amazing. But if you are trying to move forward and your trajectory in your mind is to move all the way through the company ranks, then how are you going to do that? And with having had that experience, there were times where I was told I wasn't going to be able to move up, or times I was told, yeah, you're doing really well, or my casting has shifted and I don't really know. And how are you reading into that? What's. What can you take personally and what can you. What can you control? And reevaluating your place in the industry, you know, is it time to move companies? You know, how are you going to transition if you do want to transition to another company? And for the student realm, I think the biggest topic is really, you know, between the ages, where you need to focus most on your training, but there's so many other things coming at you. Oh, do I say yes to this opportunity? Do I say yes to this? Or do I say no and stay at my current school and give up those opportunities because the training isn't as good or I'm losing focus on that, you know, so there's just a whole slew of other things that the student has and the professional, but they all blend together, which is really important for people to know about. And parents, again, it's, you know, the communication that you have with your other. Your partner and also with your child, and knowing that when they go into the studio, they're going to be given criticism. And how do you process that critic? How are they processing it and how are you processing it?

[Alisa Sue Lynch]

So, Samantha, you and your husband are expecting a baby.

[Samantha Hope Galler]

Congratulations. Thank you so much. We're so excited.

[Alisa Sue Lynch]

Can you tell us. Yeah, tell, tell us, what has that experience been like for you as a dancer?

[Samantha Hope Galler]

So I found out I was pregnant in early fall, and I actually danced almost till I was five months, which is pretty amazing. I was going through a lot of changes, but there was no baby bump quite yet. And Then I kind of concluded my performing at the end of Nutcracker. I've now shifted very gratefully, thanks to Miami City Ballet. I had had a few conversations about how I could stay involved and how I could benefit the company and the organization in other ways. And so I've now been shifted to interim development coordinator. So I'm having a whole inside look into the business side of what we do in a dance company. And it's been great in terms of timing because it's most of what I studied in school, and I just came off of that graduation. So it's great to be working alongside development and special events, the grant department, and I think been able to also sit in in the studio. So that's what's been keeping me busy. And I'm loving it. And I'm fortunate to be working with very hard workers, as are the artists. It's amazing to see the other wheels that are turning while we're in the studio.

[Alisa Sue Lynch]

Yeah, that's fantastic experience. If you want to get into arts administration, that's going to build your resume right here.

[Samantha Hope Galler]

And also, just to be feeling that I'm giving back to the company still is really important to me and hopefully inspiring to others that. That want to be moms in the future.

[Alisa Sue Lynch]

Are you still in the studio taking class and what's changed with your body in relation to dancing?

[Samantha Hope Galler]

I am still taking class two to three times a week, but it's modified, of course. It's what I'm familiar with. So when I am not taking class is actually really hard for me. And I have had to shift my workout routine to just finding ways to stay strong within this body. And, you know, I can't go and run ballets right now, so I have to really look at, well, what can I do? And I can do a bar. I can do bar. I can do a good amount of center. And then, you know, I have to just say, okay, that's. I did that today, you know, and accept it. And I think that's hard for me as an artist because I always have to be doing something. So when my body says, you know, it's okay today, you can't, you need to rest, I'm like, oh, I guess I really probably do. I'm growing a human. I really do need to rest, you know.

[Alisa Sue Lynch]

Well, keep listening to your body, and soon you'll be listening to that baby cry.

[Samantha Hope Galler]

Yeah. Thank you. I know it's coming, coming very quickly in May, so, yes, I wish you well. I wish you well. Thank you. Thank you so Much.

[Alisa Sue Lynch]

So. Last question. What advice would you give to your younger self or to younger dancers about navigating your career while staying true to yourself?

[Samantha Hope Galler]

I would say don't be afraid to advocate for yourself and don't be afraid to take risks, which is something I always say. I think risk taking in dance is what teaches you the most about yourself and what teaches you the most about your abilities and your barriers. And I learned too late to break through those walls and take risks and expose yourself to as much in the art form as you can learn about the art form. I have had conversations with students that don't know about Violette Verdi and don't know about George Balanchine. And I'm saying these are the people that you should read and learn about. And I did that. And that was something that I'm very grateful I did, but I could have done more of it. And those are people that shaped our industry. And if you were walking into a studio and you are not sure who's in front of the room, you should already know about them and have already researched them. And I think that's crucial today. And just knowing that everything that you do to make yourself the artist that you want to be will be seen and will eventually be acknowledged. And as much time as it takes. It's an emotional roller coaster, but it will pay off in the end if you really believe in yourself. So that is what I would have. Wish I would have known. And just be yourself. Don't let someone tell you to change. You know, I let people say, you know, you don't have the right body and you're too muscular and this and that, and you'll have to dance overseas and. And I said, no, I won't. I'm not doing that, you know, so just learning that you need to keep going.

[Alisa Sue Lynch]

Yeah, Great advice. So, Samantha, it's been wonderful to get to know you and learn about your leadership dance. Thank you so much for joining the podcast.

[Samantha Hope Galler]

Thank you so much for having me and I really appreciate it and I look forward to another conversation in the future. Thank you so much.

[Alisa Sue Lynch]

Like follow and share the Leadership Dance, where we explore how to choreograph the career of your dreams and chat with visionary leaders in business and the arts. Until next time, keep dancing.

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