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Meet the women who transformed dance education, contemporary dance in Utah

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Meet the women who transformed dance education, contemporary dance in Utah


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SALT LAKE CITY — The Ririe-Woodbury Dance Company is celebrating 60 years of inspiring people to find joy through movement.

The female-founded company was started by Shirley Ririe and Joan Woodbury in 1964, with a mission that every person deserves to dance.

Both Ririe and Woodbury left the teaching and directing worlds behind after decades of work, but their legacy is continued by the company.

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A company with a mission

Joan Woodbury didn’t know dance was going to be her career, but she did know it was the “one thing in my life that brought joy and pleasure,” she told KSL.com.

The Cedar City native, received an honorary doctorate degree and a standing ovation for her dedication to the craft at her alma mater Southern Utah University’s April commencement.

“You worked hard to get here and there’s so many wonderful unknowns in your future,” Joan Woodbury told the graduates. “Don’t judge people, but relish those differences. These are the necessary ingredients to a life full of adventure, purpose and love.”

She became the first full-time dance instructor at the University of Utah in 1951, at age 26. Because dance was part of the women’s physical education department, she taught dance technique, improvisation and composition, folk and square dance, swimming, tennis and body mechanics.

The next year Joan Woodbury met Ririe, who was her teaching counterpart at Brigham Young University. The two started working together on choreography and created the company Choreodancers, for university students.

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Joan Woodbury and Shirley Ririe created the Ririe-Woodbury Dance Company in 1964 with a mission to make dance accessible to everyone. The company is celebrating its 60th anniversary.
Joan Woodbury and Shirley Ririe created the Ririe-Woodbury Dance Company in 1964 with a mission to make dance accessible to everyone. The company is celebrating its 60th anniversary. (Photo: Ririe-Woodbury Dance Company)

Choreodancers was disbanded in 1955 because Joan Woodbury, her husband and her brand new baby moved to Berlin so she could study there as a first Fulbright Scholar in dance. Ririe stepped in for Woodbury at the U. while she was away, and once Joan Woodbury returned, the two job-shared the professor position so they could both take care of their young children.

Joan Woodbury was a professor for 47 years, and Ririe a professor for 39 years.

The women started the Ririe-Woodbury Dance Company in the hopes of creating a space for choreography, performance and dance education. According to Joan Woodbury’s daughter, Jena Woodbury, they did exactly that.

“I went to the U. of U. because of my mother and Shirley. Because as I grew up, I saw them teach — and they were both phenomenal teachers, just really spectacular teachers,” Jena Woodbury said. “I was really lucky. I’ve had great role models. As two women, I have just the utmost respect for them for what they managed to accomplish in Utah, in what was relatively a fairly new art form in America.”

Jena Woodbury said the two founders were so successful because they were teachers, dancers and choreographers who played on each other’s strengths to make a well-rounded performance company and a robust dance education and outreach department.

“They had no funding that started them,” she said. “They just started it; and through their tenacity and business smarts, they built a company.”

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Jena Woodbury grew up in dance, being born just a year before the company was started.

“It’s been part of my life experience, my entire life. I call it the other sibling,” Jena Woodbury joked, saying her brothers would agree.

She danced from age 3 to age 22 before switching to working in arts administration for companies in Portland, Oregon, and on international tours. She moved back to Utah to be the booking and touring manager for Ririe-Woodbury then took over as executive director in 2011.

The legacy of the founders

Ririe and Joan Woodbury, both now in their 90s, agree their hard work has made an impact.

“The work we did for all those years reflects in our motto: Dance is for everybody! We made dance accessible to as many people as possible,” Ririe said.

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Joan Woodbury said through the company she has been able to give back by passing on the gift of dance.

“Sometimes I look and think I haven’t accomplished much of anything,” she said. “But I’ve opened the doors for many people to come into a field and dedicate their information and their spirits and their love to something they love just as much as I do.”

Choreographer Alwin Nikolais works with dancer Joan Woodbury in 1963. Nikolais was a mentor to Woodbury, who started the Ririe-Woodbury Dance Company in Utah the next year with her friend Shirley Ririe.
Choreographer Alwin Nikolais works with dancer Joan Woodbury in 1963. Nikolais was a mentor to Woodbury, who started the Ririe-Woodbury Dance Company in Utah the next year with her friend Shirley Ririe. (Photo: Ririe-Woodbury Dance Company)

Increasing dance education has allowed people to experience human existence in a way they might not have been able to discover before, she said.

“People everywhere — children, adults, any human being who has a lifeblood of movement and enjoys participating in an activity that is so beautiful — has been affected by what Shirley and I and the rest of the dance crew have done in this state,” Joan Woodbury said.

Teaching children to dance affects their minds, bodies and souls and helps them learn to be joyful and love life, she said.

The founders were educators with a philosophy that everyone should have access to dance as an art, no matter their physical ability, race or economic background. Because of Ririe and Joan Woodbury, dance education was transformed and Utah is one of few states that has a dance instructor in every high school.

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“It really is something that is truly a human experience to dance. It is a community builder, it builds self-esteem, it builds your cultural awareness,” Jena Woodbury said. “They really believed that dance … really builds us as human beings. It also builds future dancers and future audience members and dance appreciators.”

Ririe-Woodbury Dance Company members perform a piece called Tensile Involvement that was choreographed by Alwin Nikolais in 1955. The company has performed the piece several times and will again perform it for the 60th anniversary.
Ririe-Woodbury Dance Company members perform a piece called Tensile Involvement that was choreographed by Alwin Nikolais in 1955. The company has performed the piece several times and will again perform it for the 60th anniversary. (Photo: Ririe-Woodbury Dance Company)

Jena Woodbury was the first executive director of Ririe-Woodbury Dance Company after her mother, and she was tasked with ensuring the company mission continued even though her mother and Ririe were slowly stepping out. In June, she passed the position on to Thom Dancy in preparation for the company’s 60th season.

“During my tenure, I’ve always known I wouldn’t be working like my mom did, in her 80s, but I’ve always felt it was important for my time there to prepare the company for the future when a Woodbury or Ririe wasn’t sitting at the head of the table. I was putting policies in motion, getting some stability for the company so it could continue for another 60 years,” Jena Woodbury said.

Artistic director Daniel Charon said the work Ririe and Joan Woodbury did create a reputation that enables the company to continue impacting people. He said many dancers and administrators who have worked for the company have gone on to do great things because the founders brought out the best in everyone — mentoring, nurturing and encouraging each person.

The founders have been slowly phasing out of their involvement in the company, but they still attend events and shows. And Joan Woodbury has been “a steadfast member” on the board of directors for the last 10 years, Charon said.

Charon didn’t get to see Woodbury teach too much, but he could always feel how passionate she was about dance, saying dance almost became a religion because it seemed so sacred to her.

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Artistic director Daniel Charon leads Ririe-Woodbury Company dancers in a warm up.
Artistic director Daniel Charon leads Ririe-Woodbury Company dancers in a warm up. (Photo: Ririe-Woodbury Dance Company)

“I’ve seen her light up so many times coming into the studio and being around dancers and helping with performances, giving people advice. She is so seeped with information and knowledge and is very forthcoming in expressing her ideas,” Charon said.

Charon said he has learned so much from and been inspired by Woodbury, who he says would always share her opinion with a sparkle in her eye.

“I find that often, about 99% of the time, she is actually very correct, so I really learned to listen to her because she knows what she’s talking about,” he said. “She’s just the kind of woman you never forget.”

The founders’ legacy lies in their belief that dance is crucial for a developing child as they learn creativity, cooperation, trust, relationship building and more, Charon said.

Ririe and Woodbury created curriculums for dance in schools and toured the state doing lecture demonstrations, something the company still does.

“You think about 60 years of dance and how many people will go through that company and how many kids you reach through the education, that’s a lot,” Charon said.

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The future of the company

“The lovely and brilliant thing about the company mission is that the way you fulfill it is very fluid and flexible. I would hope that it continues with a true commitment to the mission and to being an arts and humanities organization,” Jena Woodbury said.

The company has a commitment to diversity, equity and inclusion; and the education department focuses on individuals and the community to “build a better humanity,” she said. The way things are run will change, Jena Woodbury said, but that’s how the company will keep growing.

Ririe-Woodbury Dance Company members perform a piece called Tensile Involvement that was choreographed by Alwin Nikolais in 1955. The company has performed the piece several times and will again perform it for the 60th anniversary.
Ririe-Woodbury Dance Company members perform a piece called Tensile Involvement that was choreographed by Alwin Nikolais in 1955. The company has performed the piece several times and will again perform it for the 60th anniversary. (Photo: Ririe-Woodbury Dance Company)

Charon said the company is now in a place of evolution, but everything they do moving forward will be deeply embedded with the mission of dance for everybody. The company rests on the founders’ shoulders, he said.

“Our programming and what we do is a total extension of both of them. It’s hard to separate Shirley and Joan, but I think it’s just baked into the fabric of the company,” he said.

The company’s performance season will kick off the 60th anniversary with a “retrospective tribute” to Ririe and Woodbury that showcases their choreography on Sept. 21-23. Other performances of the season will include a young artist showcase, choreography from company members, and new works by Charon and the previous artistic director Charlotte Boye-Christensen.

“I hope people attend the shows, because Ririe-Woodbury plays such an important role on the national dance scene. We bring a relevant voice to the national dance scene in the creation of contemporary dance,” Jena Woodbury said. She hopes people will recognize the influence the Ririe-Woodbury Dance Company has had on the state.

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Cassidy Wixom covers Utah County communities and is the evening breaking news reporter for KSL.com.

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Utah

Should Utah's state employees return full time to the office? What Gov. Spencer Cox says about changing the work from home policy

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Should Utah's state employees return full time to the office? What Gov. Spencer Cox says about changing the work from home policy


Gov. Spencer Cox is about to overhaul Utah’s remote work policy for state employees.

But during his monthly PBS Utah news conference Thursday, the governor stopped short of saying whether he’s going to order state government workers to return to the office full time.

“We’re still working on that and we’ll have more to announce on that soon,” Cox said, adding that since the COVID-19 pandemic, the state has “been bringing more and more people back into the office. So we’ll continue to evaluate where it works and where it doesn’t.”

Approximately 40% of state government’s more than 22,400 employees are eligible to work from home but exactly how many do is not being tracked. Last year, many state workers were told they must be in the office at least two days a week.

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The state of Utah’s Taylorsville campus stands on Friday, Jan. 10, 2025. | Isaac Hale, Deseret News

“Remote work has its place. But so does being together,” the governor said. “That’s another thing that we learned during the pandemic. It’s not healthy to be isolated. We need that feedback, we need that interaction that comes not just from doing your work.”

He said it’s also important “to say ‘hi’ when you go to the water cooler or the restroom, and being able to get in a room together and just be able to talk and look at each other face-to-face. That matters. So those are the things that we’re working through right now.”

Cox, who once called himself “a televangelist for telework,” promised “there will be more to come.”

Before the pandemic, which had both private and public sector employees working from home, Utah had been encouraging what was known as telework for state employees as a way to save money on building or leasing office space.

Cox, who helmed the state’s pilot teleworking program in 2018 as lieutenant governor, said Thursday it “was very successful. It showed remote work can work if it’s done in the right ways. You don’t just send people home with a computer. It’s much more detailed than that.”

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The pilot program showed what’s needed is “incredible oversight. You have to have different training. You have to have an area of your house that is set aside specifically for work so you have an actual workspace that had to be approved and compliant,” he said.

When those criteria are met, the governor said “we see actually an increase in productivity.”

But when the pandemic struck in 2020, “we didn’t have those same things in place for the thousands of workers who were working remotely,” he said. Now when it comes to the state’s telework program, the governor said, “parts of it are working. I think parts of it aren’t.”

The prospect of cutting government costs through shared workspaces and “getting rid of some of the leases that are very expensive” remains a priority, Cox said. State agencies are currently reviewing future space needs.

“What we’re trying to do is to figure out, how do we save taxpayer money by using less space and how do we make sure that the employees that are working on behalf of the taxpayers are efficient and productive,” he said, while “giving them as many opportunities as possible.”

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Gordon Monson: The once-proud Delta Center is now haunted, plagued by the ghosts and ghouls of losing

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Gordon Monson: The once-proud Delta Center is now haunted, plagued by the ghosts and ghouls of losing


The Utah Jazz have the worst home win percentage in the NBA, with just three wins.

The Utah Hockey Club has the worst home win percentage in the NHL, with just six wins.

Well, well. How the NBA’s mighty fortress in Utah has fallen. And, as it turns out now, the NHL’s, too, not that so far it ever really had much of a chance to stand firm.

The Delta Center used to be a favored place — a palace — for the Jazz to play and a dreaded place — a pit — for opposing NBA teams to try to survive, let alone get a win.

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Visiting players hated playing there for a whole lot of reasons, foremost among them, they knew they had only a scant shot at victory. They knew it and the Jazz knew it, and the fans knew it. The cinder blocks in the walls and the steel girders in the roof, where the crowd noise of what sounded like a squadron of F-22 fighters taking off ricocheted from every hard surface in the arena, knew it.

Oh, what used to be.

A poll taken by Sports Illustrated among active players in 2008 ranked the Delta Center as “the most intimidating arena in the NBA.”

It had been that way since the early ‘90s, when Larry built the joint.

Maybe you remember, the place was a looney bin. It wasn’t just the building, although the basic structure was intended primarily for basketball, what with fans seated all snug to the floor, courtside and along the end lines, and the hovering seats ascending upward from there. Man, the fans were loud. More than loud, they were rowdy and raucous and … motivated. It was as though all Utahns had their identity wrapped up in every game’s result. If the Jazz won, people around here truly felt better about themselves, about who they were and what they were all about.

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(Francisco Kjolseth | The Salt Lake Tribune) Bear smokes out a Calgary Flames fan during an NHL hockey game against the Utah Hockey Club at the Delta Center in Salt Lake City on Wednesday, Oct. 30, 2024.

The Jazz were them, and they were the Jazz. Many of those fans still show up — out of boredom, out of sympathy, out of self-loathing, but healthy self-esteem nowadays is in the shortest of supply.

This is now, that was then. The entire experience at the Delta Center has flipped.

What once had even ultra-competitive opponents like Michael Jordan and Kobe Bryant finding themselves swamped in the environment — although for them it often stirred their best talents — for more than a few lesser players, the Delta Center’s force of personality, for lack of a better way of describing it, crushed them.

Yeah, it helped that the Jazz often had stellar teams taking the floor, teams that were, as mentioned, fairly convinced they were going to win even before they left the locker room. I once asked Antoine Carr, as he sat in front of his locker in the minutes before the opening tip what the odds were that the Jazz would triumph that night. He responded with a question of his own: “Where we playing?”

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“Right here,” I answered.

“Nuff said,” Big Dawg barked.

And, sure enough, the victorious hounds were released, same as it ever was.

Back in those years, many years, the Jazz finished with home records of 36-5, 33-8, 34-7, 37-4, 38-3. As recently as 2020-21, the Jazz were 31-5 at home. According to Statmuse, the Jazz’s all-time home record is 1,375-657, which, of course, includes some games played outside the Delta Center. But you get the idea.

It’s a place where you can bet on them winning.

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Could.

Not anymore.

The Jazz thus far this season are 3-14 at home. The sounds of those jets launching have grown if not silent, a bit quieter. It’s not even the fans’ fault, though. They’re doing what they can, trying to give the Jazz a lift. The fact that the Jazz draw as well as they do given the circumstances is remarkable. The crowd’s energy, or at least its effectiveness, more often than not surpasses what the team offers.

When the midseason juncture approaches, and the Jazz have just a few home wins to show for it, all you can say is, “Tanks,” or “No tanks,” depending on where you stand on the issue of the Jazz not really trying to win, as a means to win much more in the seasons ahead with added draft talent.

The thing is, even without a tanking effort going on, the same home-stumbling phenomenon is happening to the Utah Hockey Club. It shares the Jazz’s dubious designation, just not quite as lousy, with a home mark of 6-10-4.

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Game one at the Delta Center, between the Utah Jazz and the Chicago Bulls in the NBA finals in Salt Lake City
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You can almost see the tears rolling down out of the weeping windows of the Delta Center. The proud competitive chateau has turned into a sorry sagging shack, even as plans for more renovation are already underway.

Hockey gets a pass, considering it is new to the premises. And perhaps the Jazz do, too, since their bosses decided they were brilliant enough to disassemble a playoff team that they saw as not quite good enough — without enough financial flexibility in it — to then out-maneuver everybody else in the NBA to make an eventual move upward.

That doesn’t mean the building has to like it. I’m thinking the place is haunted now. That’s the feeling I get when I walk through the doors. The ghosts of past 50-plus-win seasons are floating hither and thither, making a racket, being chased around and off by sub-.500 spirits.

The specters and spooks of losing will do that. They’re doing it now. And the only exorcism that will save the Delta Center is …

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Ownership and management being as smart as they think and thought they were, smart enough to be worthy of the place they call home.

(Trent Nelson | The Salt Lake Tribune) Utah Jazz guard Collin Sexton (2) at the end of the third quarter, behind by 24 (100-76), as the Utah Jazz host the Denver Nuggets, NBA basketball in Salt Lake City on Wednesday, Nov. 27, 2024.



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What Utah offensive coordinator Jason Beck said about roster moves

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What Utah offensive coordinator Jason Beck said about roster moves


The Utah Utes have undergone a significant offensive overhaul this offseason, spearheaded by the arrival of new offensive coordinator Jason Beck. Following a disappointing 2024 campaign that ended with a seven-game losing streak—the longest in Kyle Whittingham’s tenure—the program made drastic changes to revitalize its offense and position itself for success in the Big 12.

Beck, who most recently served as the offensive coordinator at New Mexico, stepped into a demanding situation with the Utes. His hiring marked the first change at the position since 2019, following Andy Ludwig’s midseason resignation. Beck faced immediate challenges, including the departure of all scholarship running backs from the 2024 roster and the need to navigate the transfer portal to rebuild the offense. Among the new additions was quarterback Devon Dampier, who followed Beck from New Mexico, signaling continuity in Beck’s offensive vision.

Beck’s offensive system is designed with adaptability and simplicity in mind, making it easier for players to grasp in a single offseason. At New Mexico, his system leaned heavily on the run-pass option (RPO) and quarterback runs. Dampier thrived in this setup, recording 1,166 rushing yards and 19 touchdowns, alongside 2,768 passing yards, 12 touchdowns, and 12 interceptions in 2024. The expectation is that a similar system will be implemented in Salt Lake City, with an emphasis on playing to the strengths of the personnel.

Whittingham praised Beck’s ability to tailor his schemes to the talent on the roster. “Jason is a really good judge of talent, who to use to get the most out of each guy and tweaking things to fit the personnel,” Whittingham said. Beck echoed this sentiment, emphasizing a quarterback-centered approach. “It’s all about identifying the best players and putting them in positions to have success,” Beck explained.

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Dampier’s dual-threat abilities bring excitement to the Utes’ offense, but there is room for growth. His 57.9% completion rate at New Mexico ranked among the lowest in Division I football, and he also struggled with turnovers. Both Beck and Whittingham are confident Dampier will mature in these areas.

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“We expect to get his completion percentage bumped up a little bit this year,” Whittingham noted, attributing anticipated improvements to increased familiarity with the system. Beck highlighted Dampier’s leadership as a key asset, saying, “His example will help the other guys and show what it’s supposed to look like at a high level.”

Beck wasted no time building Utah’s roster via the transfer portal. One of the most significant additions was running back Wayshawn Parker from Washington State. Parker, who rushed for 735 yards and four touchdowns as a freshman, is expected to be a cornerstone of the new offense. “He’s a tough, physical running back with great upside,” Whittingham said.

The Utes are also working to retain wide receiver Dorian Singer, who is petitioning the NCAA for an additional year of eligibility. If successful, Singer’s return would provide a substantial boost to the receiving corps.

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While Beck’s offense at New Mexico utilized tight ends sparingly, he is prepared to adjust at Utah. “If it’s a strength, tight end play, then we’ll play with two tight ends,” Beck said, emphasizing his commitment to maximizing the team’s talent.

Urban Meyer will be inducted into College Football Hall of Fame in 2025

With spring camp on the horizon, Beck is tasked with implementing his system and finalizing the roster. Despite the challenges, Beck is optimistic about the opportunity. “What a great opportunity to be a part of such a great program,” he said, expressing enthusiasm for the Utes’ storied tradition and potential for success.

As Beck and the Utes embark on this new chapter, there is hope that the offensive overhaul will yield immediate results and set the stage for a resurgence in 2025.



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