Deborah Bailay is Founder/Director of In Grandma’s Attic, a longstanding dance program in NYC, offering classes, workshops, and original children’s story ballets. She is the author of The Ballet Vignette Curriculum and Story Ballet Libretti For Youth. Her greatest joy is guiding the growth of each and every student in her dance classes.

Ms. Bailay received a B.A. degree in Biological Sciences from Indiana University while studying ballet in the Ballet Dept. at IU School of Music. At one point in her science career, she seized the potent moment for a full transition to dance. She has since embarked on a lifelong path that embraces her passion for teaching, mentoring, creativity, and community through the art form.

Ms. Bailay was on the faculty of The Washington School of Ballet under Director Mary Day intermittently for 17 years, and directed Central Maryland School of Ballet for a decade. In New York City, her teaching credits include faculty positions at Steps on Broadway and Chen Dance Center.

As a seasoned arts leader, she has held diverse management and administrative roles within the nonprofit sector. Her background includes supporting the Smithsonian Institution as a Performing Arts Program Assistant, and serving in leadership capacities as Secretary for the Maryland Council for Dance and Company Manager of Central Maryland Ballet Theater. With experience in strategy and development, she provided directorial and fundraising support to Inner Landscapes Dance Theater. Reflecting her commitment to arts education and working with underserved youth, she also served as Interim Dance Instructor for the “Say Yes” program at Columbia University.

As a performer, Ms. Bailay was a lead dancer and company member of Greg Reynolds Dance Quintet under Founder/Director Greg Reynolds (the first African American male dancer with Paul Taylor Dance Company). She was also a company member of Indiana University Ballet Theater, Diane Jacobowitz Dance Theater, Joan Miller’s Dance Players, and Momentum Dance Theatre. Notably, she performed in the original cast of Dianne McIntyre’s reconstruction of Helen Tamiris’ modern dance, “How Long Brethren” at George Mason University.

Ms. Bailay has been privileged to work with guest artists from such prominent ballet companies like Dance Theatre of Harlem, New York City Opera Ballet, The Washington Ballet, Basel Ballet, and Royal Swedish Ballet in her independent choreography projects. She often featured these artists in soloist and principal roles garnering favorable reviews from audiences and critics.

Her students have gone on to presitigous institutions such as Fiorello H. LaGuardia HIgh School of Music & Art and Performing Arts, The Juilliard School of Dance (two students), Fordham University Dance Program, and The Washington School of Ballet. Former students have also joined NYC ballet and modern dance companies, including the Metropolitan Opera Ballet, Ballet Hispanico, Joffrey II, Ballet Tech, and the Isadora Duncan Dance Company, along with companies around the country like Aspen Santa Fe Ballet, Atlanta Ballet, and Nashville Ballet.

Her alumni have carved out diverse careers ranging from ballroom instructors and Broadway dancers to founders, choreographers, and artistic directors. Keeping an eye on the next generation, she is thrilled to follow the artistic journeys of her former students’ children, who are not only dancing and teaching, but also expanding their creative expression in costume design, visual art, writing, fencing, and ice skating.

Ms. Bailay is honored to join the Executive Board of Alison Cook Beatty Dance Company Inc. She has known Ms. Alison Cook-Beatty over 20 years initially collaborating while teaching young dancers in Ms. Bailay’s dance program, In Grandma’s Attic. She is delighted to unite with her again in collaboration and community. The impressive rise of the company presents a unique opportunity to impact the organization’s success and contribute futher to the art form.

When she is not teaching, consulting, or mentoring, Deborah can be found attending performances of American Ballet Theatre, watching shoveler ducks and other waterfowl in Central Park, or writing her books, poetry, and memoirs.