When Deidre Sears stood center stage at the Alvin Ailey Citigroup Theater, watching her students take their bows to a roaring audience, it wasn’t just a career milestone—it was a full-circle moment. From humble beginnings in Pennsylvania with just five students, Sears has grown Elevé Dance Theater into a movement, a safe haven and a beacon of possibility for Black and brown dancers in places where opportunity once felt out of reach.
“I took a chance and bet on myself,” says Sears, Elevé’s founder and artistic director. “And now, these kids are not just dancing. They’re making history—and adding to it.”
Founded in 2013, Elevé (pronounced “el-uh-vay”) emerged out of a personal and community need. As parents at her church voiced frustrations about exclusion and lack of representation in traditional studios, Sears realized she could be the answer. “It became a staple for us in the Black community,” she recalls. “People were finally seeing teachers and dancers who looked like them.”
Crowned in Culture
Elevé’s most recent triumph—CROWN, a powerful dance production series that has traveled from the Poconos to New York City—captures the essence of what Sears has built: a celebration of heritage, identity and excellence. “We don’t drop our crown,” she tells her students, and it’s more than a motto—it’s a mission.
CROWN, which stands for Creators Run the World Now, blends dance with Black history, music and storytelling in a way that educates as much as it entertains. Ahead of their debut at Ailey in February, students were tasked with researching dance legends Alvin Ailey and Judith Jamison, grounding their performance in legacy. For many, it was their first time seeing themselves reflected in dance history—and on a major stage.
The response? Overwhelming. “Miss Deidre,” one student told her, “I don’t think I would’ve ever had this opportunity anywhere else.”
A Generation on the Rise
With about 50 students in the main school and a pre-professional program of 10-11 dancers, Sears has created a tight-knit yet fiercely ambitious company. The alum company, which is made up of former students now working professionally, speaks to Élevé’s lasting impact.
Brook Brookshire, one of Elevé’s original dancers, choreographed and performed at the Ailey show. “I get it now,” Sears says she told her. “Everything you pushed us to do—it’s all manifesting.”
Sears doesn’t just train dancers—she nurtures artists and leaders. Through the newly launched Fly Girl Initiative—an empowerment and mentorship program for preteen and teen girls—she’s tackling mental health, self-worth and body image, particularly in a world where social media often sends damaging messages. “You are FLY,” she says, “First. Love. Yourself. Fearlessly.”
Beyond the Barre
What sets Elevé apart is its holistic vision. Yes, ballet, jazz, hip hop, African and tap are on the syllabus—but so is purpose. “You need to know your roots,” Sears emphasizes. Ballet builds strength and alignment, but African dance grounds students in rhythm and culture. This duality shapes versatile dancers ready for any stage—and any challenge.
Sears also prioritizes accessibility, ensuring that finances don’t block talent. “We give our kids the exposure and the stage time they deserve,” she says. “And their parents don’t have to break the bank for them to shine.”
With roots in Pennsylvania, New Jersey and New York, Sears is now eyeing the Caribbean. A proud Guyanese American, she dreams of returning there to teach, choreograph and exchange knowledge across cultures. “The story is the same,” she says. “It’s the African diaspora experience and dance is how we tell it.”
At a time when Black stories and history are being suppressed or erased, Sears is making sure they’re not just preserved—they’re spotlighted and passed on. Representation, she says, isn’t optional—it’s foundational. “These kids aren’t invisible,” she says. “They’re invincible.”
With Elevé Dance Theater, Sears isn’t just teaching dance. She’s building a legacy: one plié, one crown, one stage at a time.