THIS DOOR IS ALWAYS OPEN

At Armour Dance, the rhythmic pulse of ballet slippers and tap shoes on polished floors tells a story far greater than the dance itself

By Yulia Strokova

Photo by Greg Clark, RiseWorks

For Kristie Laplante, who first walked through the doors of the Miami Gardens Community Program Site at nine years old, dance quickly grew into more than a pastime. It shaped her identity, instilled discipline, and sparked transformation.

“When I started, I was taller than everybody else, bigger than everybody else. But it’s not about how you look physically. It’s about how hard you’re willing to work to get to where you want to be,” she says.

Today, at 22, Kristie is back in the studio, this time as a tap instructor at Armour, guiding the next generation while also pursuing a degree in biopharmaceuticals. For her that dual path feels like a natural extension of her personality: disciplined, curious, and unwilling to give up.

Her students, ages five to 17, hear her mantra often: stop giving yourself excuses. Kristie laughs, remembering how her own sense of discipline was forged on the dance floor. “Don’t say ‘I can’t’ because you’re a child. You’ll grow into a person capable of doing the things you want to do.”

Her eyes light up as she recalls The Nutcracker, Armour Dance Theatre’s annual production that brings together more than 180 performers: students from six Armour locations, advanced dancers from New World School of the Arts, and professional guest artists. Behind the curtain, a staff of more than 75, including nearly 20 professional-level teachers, ensures every child receives training of the highest caliber.

“Our Nutcracker is the most diverse in Miami,” says executive director Camila Gil. “We have children from across the community and all sorts of backgrounds. We also do sensory-friendly performances so children with sensitivities to light and sound, as well as those on the autism spectrum, can feel comfortable and enjoy the experience of a dance performance.”

Camila Gil | Photo by Greg Clark, RiseWorks

They’ve shed the petite all-white casts, the formality, and the expensive tickets, opting instead for something more inclusive, engaging, and accessible: a performance that leaves young audience members thinking, I can do ballet.

For Kristie, the 2019 season remains unforgettable.

“All my friends were there. We all had the same roles. We got ready in the same dressing room, doing shenanigans backstage. The energy was just so fun.”

In those moments, she began to understand what it meant to shine.

“One thing that was prevalent when I was dancing was, I have to stand out. How am I going to differentiate my movement from the person next to me? In turn, it became a mission for me to be the best performer I can — and that meant showing my personality.”

That belief in possibility ties directly to Armour’s mission of inclusivity, something Kristie has felt firsthand.

“When I was younger, everyone wore pink tights — that was the tradition. But pink was supposed to ‘match’ the skin tone, and of course, pink isn’t everybody’s skin tone. Now you see a full range — brown tights, different shades, alongside pink — and I think that’s beautiful.”

Kristie Laplante & Camila Gil | Photo courtesy of Armour Dance

Her gratitude extends to her teachers, who shaped both her dancing and her life. Natasha Williams, she recalls with warmth, “wasn’t only my dance teacher. She taught me life skills — not to take things too seriously, to let loose, have fun. She introduced me to music I grew up to love.”

And then there was Miss Rosario, whose rigorous ballet conditioning Kristie will never forget. “The first time I had her class, it was insane. I was in pain for weeks, but she really helped us become better dancers. She cared about us beyond dance — it felt personal.”

Photo by Greg Clark, RiseWorks

YOU BELONG HERE

Tyann Cleare, a graduate of the Little Haiti Community Program Site Miami Gardens and now a student at Armour’s South Miami Academy, echoes that same sense of belonging and inclusion.

Her journey with Armour began in fourth grade through an outreach program the Miami Gardens community Program.

“After fifth grade, Miss Ruth asked me and my mom to come downtown the main site academy to see if I’d take regular ballet classes. She gave me a scholarship, and I could take classes for free,” Tyann recalls.

Yet for Tyann, the most profound impact has been something more personal: feeling seen and valued.

“Miss Ruth Wiesen always made it clear she wanted all of us to have a chance. She would even hire drivers to get us to class. She made us feel like we mattered. And at the outreach sites, she made sure we had books that made us feel included — African American books on the shelves. She recommended titles and made sure we all felt like we belonged.”

Ruth Wiesen | Photo courtesy of Armour Dance

LAYING THE LEGACY

As Armour Dance marks 25 years of its artistic programs, its story stretches back more than 75 years.

Its founder, Thomas Armour, was a celebrated ballet dancer whose career was cut short when he left the stage to serve in World War II. After the war, he returned to South Florida and opened a small ballet school. At its inception, the school, then called the Miami Conservatory Miami Ballet, immersed aspiring dancers in full-scale productions, giving them the rare opportunity to experience the rigor and grandeur of classical ballet.

But it was Ruth Wiesen — a ballet student and trained nurse — who began teaching at the school and has since transformed Armour into the inclusive, community-focused powerhouse it is today.

“I came to take some classes at what was then the Miami Conservatory, and Mr.Armour asked if I could teach because someone had dropped out,” Ruth recalls. “I was very pregnant, but I said, ‘Let me just try this.’” 

Ruth Wiesen | Photo by Greg Clark, RiseWorks

Her arrival in Miami was almost accidental. When her husband transferred to the University of Miami for law school, she followed. “I never intended to stay in Miami, but somehow, the universe put me here. I do believe in blooming where you are planted.”

By the late 1980s, Ruth noticed a troubling gap in access to arts education. New World School of the Arts had just opened, and while the students gaining admission were talented, many came from more advantaged backgrounds. “They weren’t necessarily more talented,” she explains, “just better prepared.” She approached Thomas Armour with a simple idea: fill the empty spots in classes with students on scholarship.

“He said yes. The next year, the ninth-grade class reflected the entire community. That’s how easy it was to create accessibility. It wasn’t some brilliant plan. I just realized kids weren’t getting in because they didn’t have money. Small actions can make a difference, but they carry big consequences.”

That commitment to access became the heartbeat of Armour’s evolution. With support from government cultural grants and local foundations, the school expanded beyond the studio, building wraparound programs that offered tutoring in reading and math, social-emotional learning, nutrition, and parent engagement.

Today, Armour Dance encompasses five community sites and a main campus. Ballet remains at its core, but classes also include flamenco, hip hop, tap, contemporary, and musical theater. The impact ripples through generations. 

“We have alumni now in their 40s — artists, doctors, attorneys, professors, entrepreneurs. Current students see what’s possible. Someone from their own street is now a Yale professor,” Ruth proudly adds.

Photo by Greg Clark, RiseWorks

While financial challenges persist and arts budgets tighten at every level, Ruth remains hopeful and deeply grateful to all who have supported these programs, from major foundations to private donors.

“These programs cost millions each year. Families face immigration issues, language barriers, and economic obstacles. But the community embraces us. They know our track record and wait for their children to turn five so they can join the program.”

Armour’s reputation has grown into that of an institution that not only cultivates artistry but also advances access, equity, and opportunity for all children.

“When children engage with the arts, they gain the confidence to express themselves and the courage to dream big. The Children’s Trust is proud to have partnered with Armour Dance Theatre, marking 25 years of enriching young lives through dance,” says James R. Haj, President & CEO of The Children’s Trust.

As the organization prepares for its next chapter, Ruth Wiesen will step down from her position as artistic Director but will continue to direct the academy, leaving behind a legacy that has transformed countless young lives through the power of dance and belonging.

For Ruth, the heart of Armour’s mission has never changed.

“Once you walk through the doors, you’re part of a family. We have your back, and we don’t let go — no matter what. Even if you make a mistake, even if you walk away. When you come back, the door is always open. Once you’re a part of us, you’re part of us forever.”

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This article is sponsored by The Miami Foundation. We’re grateful to our partners who collaborate with us to bring meaningful stories to life.