The expression “tools of the trade”, rooted in the Middle Ages, refers to the necessary equipment and skillset for a specific occupation. As a profession, dance is in equal measure both incredibly rewarding and absolutely unforgiving: in this case, when that tool breaks, the consequences are not just physical, nor can it be “simply” be replaced. For a dancer, injury can be existential. In the case of Rose Barbatan, the setback turned into a soaring comeback.
In February 2024, just as this French dancer received the long-awaited confirmation of her O-1 visa approval – a major step forward in her career – she dislocated her shoulder during a rehearsal with Caterina Rago’s dance company. Months of preparation and legal paperwork had finally paid off: she was ready to celebrate and work as hard as ever. “I finished the weekend of performances at the highest level, but my body knew it was done,” she recalls. The injury launched the soloist dancer into six months of physical therapy, and a nagging question: “Do I still want to perform?”.
While her body was healing and resting, though, her artistry was anything but idle. Those months of limitation turned into an exploration of other aspects of her profession.
She began focusing more on choreographing, working around her injury to create movement that didn’t rely on shoulder articulation. And she blossomed. What had begun years earlier as an interest slowly transformed into a practice. Working with four female dancers, Rose created ‘Love is Enough’, a piece inspired by the poem Love Is Enough by William Morris, exploring how different individuals interpret the concept of love through movement. The group rehearsed weekly over two months, culminating in a studio showing that left a lasting impression. “Working with these professionals was amazing,” she says. “They made it so easy because they understood not only the technique, but also the story behind each step.” She plans to further develop the piece, with intentions to film it and submit to festivals in the coming year.
She also began teaching regularly, connecting deeply with young students of all levels at the Jamel Gaines Creative Outlet and the Coleman School of Dance. Teaching gave her fresh perspective both in her role as a teacher, and as a student herself. Having been on the receiving end of technical corrections for years, she now grasped more fully the nuances of what her own instructors were asking of her. She started to see how teaching wasn’t just about correction or technique, but about instilling presence and purpose in young artists. “When you’re the one giving notes, you realize how much intention lies behind every small adjustment,” she reflects. “It’s made me more open and precise in my own training”. Her teaching schedule, once established, remained consistent: what began as a side role during injury recovery has since become a pillar of her artistic identity. Her educational philosophy is anchored in a belief that enjoyment must precede perfection: artistry is cultivated not only through rigorous technique but also through intention in every step. “I like that Rose holds us to high standards”, says Sydney Gorski, one of her students from the Coleman School of Dance. “She pushes each of us to be disciplined and precise. Her classes are very motivating, inspiring me to try harder and reach my potential.” “The most important moment,” Barbatan underlines, “is when they are alone on the stage. That’s when you see who they really are.”
As her injury healed, the time spent choreographing and teaching brought her the answer she was looking for: her desire to dance on stage still burned passionately within her.
In September 2024, French choreographer Richard Bonnot Saltet invited her to perform as a guest soloist in D’hier à aujourd’hui et de demain at the Théâtre Antique d’Arles in the south of France. Richard’s reimagining of Ravel’s Boléro brought over 5,000 people to the ancient Roman amphitheater. For Rose, her return to performance marked an emotional homecoming not only to the stage, but to her country. She was dancing again on French soil after building her career abroad for over a decade: the choreography, the location, the presence of friends and family in the audience marked a personally meaningful full-circle moment.
Rose Barbatan (lifted) in Boléro by Richard Bonnot Saltet, Arles Theater Antic, France © Jean Mansuy 2024
Just weeks later, she was back in the US to join SHIFT Dance Art & Media for the company’s first national tour, premiering Dark Forest, a new work by Cherri Thompson. In this occasion as well, she exceeded expectations and explored new facets of her profession: she was not only a featured performer but also a rehearsal assistant. “I chose Rose because of her artistry, discipline, and sensitivity to movement. In her role supporting my creative work, she understands my vision and translates it clearly to the dancers.” SHIFT’s Artistic Director praises Barbatan’s artistry and professionalism: “She has strong leadership qualities, allowing her to lead rehearsals, set choreography, and take an active role in production and creating shows. I’ve seen her grow into a true collaborator who brings fresh ideas and elevates the creative process. What makes her unique is her commitment to both the art and the people she works with, inspiring everyone around her.” The tour took the company to Baltimore, St. Louis, and West Palm Beach – each city offering a different flavor of audience engagement, and each show deepening Rose’s appreciation for the community-building power of live performance. “I discovered I love to be part of the ‘organizing side’ as well: logistics, costumes, props. I’m very organized so even though it was my first time, it came naturally for me. I actually found it complementary to my experience as a performer – and I love touring because of how it builds community.”
At the start of 2025, Barbatan joined Jamel Gaines Creative Outlet in performing at the International Association of Blacks in Dance gala, one of the most prestigious gatherings in the field. Later, in February, she danced at the BAM Fisher Theater as part of a week-long residency celebrating the company’s 30th anniversary. The residency included daily morning performances for over 15 schools and evening productions featuring new work by acclaimed choreographer Kevin Iega Jeff.
Rose Barbatan performs with Jamel Gaines Creative Outlet, Glover Memorial Hall, Lagos, Nigeria. © Jimisayo Opanuga 2025
This past summer, she took part in her first international tour with Jamel Gaines Creative Outlet, traveling to Nigeria for a week-long performance and educational residency, performing at Lagos Park and the historic Glover Memorial Hall. Rose’s artistic experience was deeply felt. “At Lagos Park, the energy was raw and immediate: the applause, the shouts, and the vibrancy of the crowd lifted me in every movement. Dancing in that open-air setting, immersed in the rhythm of the city, was a reminder of the universality of dance and its power to connect beyond language. At Glover Memorial Hall, the performance took on a different tone. The intimate setting, the stage, and the acoustics demanded a refined presence. I focused on transmitting grace, emotion, and tension in every gesture, letting the architecture and history of the space amplify the performance.” The educational exchange was an experience just as intense. She led workshops with KRUMP Nigeria and SPAN Nigeria, sharing contemporary dance techniques while learning from local dancers. “It shifted how I understand rhythm and movement languages,” she says. “How I breathe with a group. How I hold presence.”
Rose Barbantan has left her injury far behind her, but she always brings what she learned during that time with her. She returns to the stage and to the reason she fell in love with dancing, making it her life’s work. The return on investment with Rose Barbantan isn’t just artistic – it’s cultural, educational, and communal. She dances not just to be seen, but to give back. Invested and intentional, she reminds us that broken tools can build new futures – sometimes stronger than the original.
