DTI’s Classical Ballet Program, under the mentorship of Maggie Parungao-Ferla and Xavier Ferla, honestly takes each student’s individual goals in mind and optimizes ballet schedules in conjunction with their academic studies. DTI’s Classical Ballet Program is the best year-round training from age 6 to pre-professional levels during the school year, summer intensives, competition opportunities, and professional performance experiences. DTI offers a separate year-round advanced pre-professional intensive training program for professional career minded students from ages 10 and older in San Jose, California. In 2019, DTI partnered with the European School of Ballet (ESB) located in Amsterdam, The Netherlands, directed by Jean-Yves Esquerre. The partnership is a collaboration with the intention to meet professional career results for its professional career bound students. DTI is the only California school with direct access to ESB’s Trainee Program, another stepping stone to launch professional careers in the international work field. Additionally, DTI selects students from its pre-professional program to experience scholarship opportunities in ESB’s Winter, Summer, one-week, and 3-6 month internships to serve as DTI’s supplemental training opportunity. 

Partial curriculum options are available for DTI’s university-bound students.

The full curriculum includes technique, pointe, Character Dance, Contemporary, Modern, Variations, and Pas de deux.

Dance Theatre International Classical Ballet Program Accolades: Outstanding Teachers Youth America Grand Prix, Coveted Youth America Grand Prix Student Award, World Ballet Competition Medalists, Outstanding Contemporary Choreography, Prix de Lausanne Judge

Dance Theatre International Classical Ballet Program Alumni since 1994: Bayerische Staatsoper Ballet principal, ABT Jacqueline Kennedy Onassis scholar, Juilliard School graduate, Clara in the NYC Rockettes, Stanford University graduate, Olympic Ice Skater, Oregon Ballet Theatre soloist, Bolshoi Ballet scholar, Dutch National Ballet soloist, Harvard University, and many more.

Classical Ballet audition attire requirement: Ladies hair should be up neatly in a ballet bun using a ponytail holder (not a scrunchie), hair pins, and hair net. Students wear a simple one-color camisole leotard (black preferred), pink tights, pink ballet shoes, and pointe shoes if currently training en pointe. Attire should be clean and without holes. Class leotard and attire is provided at DTI upon acceptance.

DTI Classical Ballet Program and ESB scholarship applicants create an account to complete their audition request by using this REGISTRATION link. 


Go to our home page to view the April Online Course schedule.

The schedule below is for our regular school year.

Level 1: (age 6+) One or more classes per week
Thursday 4:30-6:30pm
Friday 4:30-6:30pm

Level 2: One or more classes per week
Thursday 5:30-7:30pm
Saturday 8:30-10:30am

Level 3: Pre-pointe preparation
Tuesday 5:30-8:00pm
Thursday 4:00-6:30pm Advanced by invitation
Saturday 9:00-11:30am

Level 4: Pre and Beginning pointe
Monday 5:00-7:30pm
Thursday 4:00-6:30pm
Friday 4:30-7:00pm Advanced by invitation
Saturday 1:15-3:45pm

Level 5: Beginning pointe
Monday 5:00-7:30pm
Tuesday 5:00-7:30pm Advanced by invitation
Thursday 5:30-8:00pm
Friday 4:30-7:00pm
Saturday 10:45-1:15pm

Level 6 and 7: Intermediate – Advanced Pointe
Monday 4:30-7:00pm
Tuesday 5:00-7:30pm
Friday 6:00-8:30pm
Saturday 10:45-1:15pm

Parent and Ballet Student’s Helpful Guide to Going “On Pointe”

Many young ballerinas dream of dancing en pointe. In most cases, a young beginning pointe dancer age 11 to 13 must have several years of good dance and strength training to ensure that her feet, ankles and legs are strong enough to handle dancing on her toes.

Pointe training is a ballet dancer’s rite of passage to advanced levels. The decision is one that can only be made on the basis of skill and knowledge and should not be subject to student or parent pressure. Teachers must protect their students from the risk of permanently damaging the bone and muscle structure of their bodies and feet. Such risks far outweigh the temporary disappointment a student may experience when told she is not ready or physically designed for pointe work. It is entirely possible that some students may never “be ready” to go on pointe.

It is also important to know that dancing on pointe is not the main key to studying ballet. If a student has been incorrectly placed on pointe at another school, she may be taken off pointe until she is safely ready. “Taking pointe” is not undertaking the study of a new technique. The principles of classical ballet movement are the principles of pointe work as well. Once a student has excellent placement, she can approach pointe work as a series of adjustments in weight distribution, areas of stress, and timing, not a new form of dance.