Oppenheimer says the success is based on simple principles:
hard work and organization being primary. NDI-NM sticks to its budget–borne out
of Oppenheimer’s aversion to debt and a mandate to spend judiciously. Early in
her philanthropy, she received a valuable tip from a local fundraiser: Seek
support only from people you like; you will be more productive. The counsel
rings true: Oppenheimer pursued one couple for several years with whom she had
no natural draw. They never contributed. She now focuses on those with whom she
feels a personal connection.
Also, manners count. Many donors receive personal thank-you
letters from Oppenheimer, and youngsters write to the group’s 1,000 donors.
"They go from heartrending because of how much the program means to them, and
even, ‘It gives me a reason for living,’ to really funny, like, ‘Thanks for the
big pile of money, we really appreciate it,’" she says.
NDI-NM represents a radical departure from Oppenheimer’s life
as a professional dancer, both with the New York City Ballet and then with Twyla
Tharp. But by age 30, Oppenheimer, who is now 42, knew that she had to move on.
Dancing is an art for youth, "like being a professional athlete," she notes. She
tried choreography, teaching and even a bout with acting. Then she turned to
work she had begun with fellow New York City Ballet alum d’Amboise years
earlier. While still with the ballet, d’Amboise began NDI in New York City
schools. Oppenheimer worked with him there for three years, and later in a
residency program he began in Santa Fe after winning a MacArthur Genius Award.
She considered joining d’Amboise full time, but he advised her to finish her
performing career and consider NDI later. In 1995, they collaborated by
cofounding NDI of New Mexico.
Built By Balanchine
Back at the School of American Ballet, Oppenheimer pauses at a
wall of framed photographs of famous dancers and alums. She points out a shot of
Balanchine, or "Mr. B." and muses, "He inspired people to go beyond what they
thought they could do." Oppenheimer recalls rehearsing a diagonal set of jumps
for Les Sylphides that required leaping across the stage, exiting, running
upstage, then crossing the other diagonal. After her first attempt, Balanchine
stopped the music and said, "No, go higher." She tried three more times. "I’d go
back, and he’d say, ‘Go higher,’ and I was just jumping, trying harder," she
says. "So then the fifth time I stopped to go back, and he hadn’t made me stop."
Through NDI-NM, Oppenheimer shares these lessons of
persistence. Dance relies on nothing more than the body. "That’s such a powerful
lesson if you learn that you can control your body," Oppenheimer says, "and that
you have some kind of power over what you do and how you do it."
Such benefits resist quantification, but Oppenheimer is trying
nevertheless. She has begun planning a five-year academic study analyzing the
physical, academic, social and behavioral changes NDI-NM students display, in
part to help with fundraising efforts. She also intends to use the results in
evaluating programs and approaches. This will inform how NDI-NM expands, she
says.
Growth is already taking place. Oppenheimer launched a new
satellite program in Albuquerque and plans to continue adding classes throughout
the state. Some students now require advanced training, and Oppenheimer is
developing a more rigorous after-school ballet program at NDI-NM’s studios; 300
children are enrolled. "These kids never give up. They’re just making such
incredible progress," she muses. "They totally embody what we say we do."
The program’s growth, however, presents a mixed blessing for
Oppenheimer. She delights in its success and eagerly continues building NDI-NM’s
financial strength and artistic reach, but finds overseeing the expanding staff
of 30 full-time employees and 40 part-timers an increasing challenge. This year,
she wore two hats, as both the executive director and artistic director. She
will hire new people for both positions and continue working as founding
artistic director with fewer people reporting to her directly. Letting go is a
familiar experience for Oppenheimer, who already survived the difficult
transition from professional dancer. "The best thing I can do," she notes, "is
create something that goes on beyond me." Elizabeth Harris is a staff writer for Worth.
Photography by Eric Swanson/Obscura Inc.
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