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“I know there are so many different things in dance that I could try to do: I could take up ballroom, salsa, teach at a high school in Japan. There’s so much variety in dance, and most people don’t really know that. But when you’re in college, they open those doors for you.”

“The dance program at UL Lafayette showed me there are a million opportunities for work in the field of dance outside of the realm of performance, including teaching, choreographing, arts administration, dance history, lighting, and costuming. UL Lafayette showed me how to find these opportunities, network, and market myself as a working professional in the field of dance no matter which avenue I decide on.”

“Having not had much formal dance training prior to college — I was more of a musical theatre dancer — the smaller, more concentrated classes at UL Lafayette were beyond beneficial to me. Our teachers focused on clean/classic technique giving me a strong foundation for a career across styles.”

“Anybody that wants a solid foundation in the music industry and is interested in it, I would definitely suggest looking at the music business program.”

“I’m learning a lot. I already feel like I’m more comfortable in the classroom, and I’m finding my teaching style. I’m very happy that I get full-year ������ο��Ƶ-teaching experience — you get to know the ������ο��Ƶs better, and now they know me, they trust me. They understand that I’m also learning, and they want to help me run the class as best I can.”

“I love being a theatre major because I’m constantly faced with creative problem-solving and hands-on learning. Focusing on design and tech allows me to fulfill my passion of combining aesthetic sensibilities with very technical skills.”

“Fortune 500 companies hire theatre majors because of their ability to think creatively and come up with creative solutions to problems. No matter what you end up doing, being a theatre major gives you a leg up because it teaches you how to think creatively.”

“The good thing about the small theatre program is they allowed you to do whatever you wanted — it wasn’t a free-for-all, but I’d say like, ‘I want to direct a play,’ and they’d say, OK, how can we support you?’”