Janet Jackson, Camila Cabello, Justin Bieber, Britney Spears, Usher, Chris Brown, Miley Cyrus, Rihanna, Banks, Grimes, and John Legend.


La La Land, Austin Powers III, GI Joe: Retaliation, 17 Again, Microsoft, Adidas, Nike, The Academy Awards, So You Think You Can Dance, TED Talks, Dancing With The Stars and the Guggenheim New York.


America’s Got Talent, The Voice, Disney Channel.


Her iconic viral choreography has impacted dancers and non-dancers around the world with 100 million views combined.


SAG-AFTRA Board Member and leading Dancers’ Alliance to unionize music videos have had an indelible impact on the mindsets and real-world contractual improvements for dancers.


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NEW format, exercises, techniques, for 2019!

Galen’s classic transformative Method. All levels. All styles.

(Previously “Artist Development”)

In only 2 Days, this experience will change your entire mindset on how and why you dance.

Over 1,200 students have taken GHM Classic from around the world. The most common concerns they have coming in are:

  • I want to be more confident.
  • I have more to offer as a dancer and want it to be brought out of me.
  • How do I put “me” into my dancing?
  • I feel like there’s a wall I can’t get past.
  • I’m constantly comparing myself to others.
  • I feel invisible.
  • I’ve fallen out of love with dance/myself/my body.
  • I take class all the time but there’s just something missing from my dancing.
  • My dancing LOOKS different than it FEELS.
  • I’m terrified of freestyling.
  • When there’s a camera in front of me, I freeze.
  • I want honest feedback – tell me the things that nobody else will tell me.



If you are advanced and have a great relationship with dance (you feel focused, motivated, confident and mentally ready for intense training), read all about GHM PRO on the website below and let’s get you in top shape!

If you are advanced but still struggle with mental and emotional challenges related to dance, keep reading:

As one of the most versatile and advanced dancers in the industry, my goal with advanced dancers is to completely change how and why you dance.

Often, skilled dancers have mental roadblocks related to:

  • self criticism (after all, how do you become so skilled without being hard on yourself?  It has paid off in the sense that you are now as good as you are, but let’s see what else there is to you as an artist)
  • losing sense of self (perhaps you’re great at doing exactly what the teacher asks for, but don’t know who YOU are)
  • you’ve reached a plateau (how many more jazz funk classes can you really take? are you missing a challenge? Galen will find all of your weaknesses and force you to strengthen them)
  • you’ve forgotten what it’s like to play (nailing choreography can become repetitive- when was the last time someone encouraged you to make mistakes? to explore? to experiment? to try something different even if it doesn’t work out?)

The advanced dancers who have taken TGHM have mentally transformed and now use their bodily facility at maximum capacity.


GHM Classic is for any dancer of any skill level.

Attendees have ranged from 14-56 years old, from beginners to industry veterans, from iconic actors and musicians to scientists.

Here’s an example of different types of students who have attended!


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Scared? It’s natural! It’s difficult for us to put into words on this website what actually happens in the session, and it’s scary for you to sign up for the unknown. Over 1,200 students have signed up in the face of fear, often traveling across the world to attend. They’ve made lifelong friendships in one of the most supportive dance environments offered today. This session has a unique ability to put every dancer of every level on an even playing field, making the session 100% judgement free.







NEW FOR 2019!

The Method, made easy. Develop technique & fundamentals, retain choreography & strengthen your body in a safe environment for beginners.

If you’re intimidated by the mixed levels of GHM Classic but still want the experience, GHM Lite is for you. Slower paced, easier choreography, focus on fundamentals- no stress.

As a choreographer and director, I work with non-dancers, ex-dancers, singers and actors of all ages, shapes, sizes, and abilities, and figure out how to get them to connect with movement.

Here is a sample of non-professional dancers who have taken TGHM in the past. Some of them had only picked up dancing that month. Some hadn’t danced in 20 years. Some had never danced in heels before. No matter what you’re background, my sole goal is for you to absolutely positively LOVE dance and to reap the benefits of it in all its glory!


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Mothers have purchased this for themselves as a method of self-care.

Husbands have purchased this for their wives so they can unplug for a weekend.

Teachers and studio owners have attended as a way to become students again.

My “over 30” crowd has this on a bucket list and ticks it off with pride! Do something that scares you!

Singers and actors have attended to help understand how movement can tell a story.

No matter the reasoning, this is a chance to be selfish for a weekend, to fill your cup, to connect with your body and unplug from technology, and get a more fulfilling workout than any gym or cycle house can offer.

This is a judgement-free, therapeutic zone.

No upper age limit. No experience needed. This can be your first dance experience ever but it will NOT be your last!





NEW FOR 2019!

Advanced, more intense choreography and instruction for professional level dancers.

The GHM PRO session is the place for advanced dancers who have no problem with self confidence but who want intense, direct training so they can become elite, in demand, incredible dancers.

The missing link for so many aspiring dancers these days is harsh but true- you just need to be a better dancer. The current lack of real training in classes makes it extremely difficult for me to hire dancers myself and to recommend dancers to my colleagues who are hiring.

For GHM PRO, you can be:

  • a signed dancer who wants to be a repeat booker, have “lead guy” or “lead girl” moments, work across TV/Film/Music Videos/Tours/Commercials seamlessly, be versatile, and be the smartest dancer on a job (which, incidentally, often leads to assisting, which leads to associate choreography, which leads to choreography, creative directing, etc!)
  • an unsigned dancer who needs an agent and is “job ready”- you are professional-level and just need representation
  • a dancer who wants to raise the bar but can’t find someone to push them enough

My skill and versatility was invaluable in making me one of the top professional dancers of my generation- in my opinion, the bar is far too low for dancers who are currently training. I want to raise the bar and get advanced dancers as close to perfection as they can get.

This doesn’t just mean choreographically, but also by being the “smart dancer” that everyone talks about- but what does being a “smart dancer” mean and where can we ever get real training in being “smart”? I will teach you beyond making the choreography perfect to how to work with a camera, an artist, on tour, in a closeup- these are all different skillsets that need to be practiced.

Raising this bar means not only will you work more, but the industry as a whole will benefit- choreographers’ work will be represented better, artists will look better, productions will be safer, rehearsals will run faster, all because we have smarter, more efficient, more skilled dancers.

In this session, we will:

  • drill choreography- I will bring my expertise from both sides of the camera to drill you in a way that both makes sense for you as the dancer and for us as the creative team. Sometimes when we’re drilled by choreographers who haven’t been dancers, the choreographer is asking us to do something that doesn’t make sense from the dancer’s perspective. I’m taking everything I learned having worked on the top jobs with the top choreographers since I was 7 years old and am going to share all the tips and tricks to get things to read how they need to so that the choreographer is happy.
  • rehearse and shoot a piece. As the rehearsal is taking place, I will be teaching fast, making changes, nitpicking, cleaning, and giving you feedback along the way. By the end of the second day, you’ll feel like you were a beginner the first day.
  • assess what’s holding you back individually. In IMMERSION, we call this “hired or fired”:
    • HIRED: Based off of what I’ve seen in the 2 days, what are you doing right? What assets are you bringing to the table that would make a choreographer want to hire you?
    • FIRED:  What’s holding you back? It could be as simple as what you wore, or it could be that you give off an attitude like you don’t want to be there, when inside you’re thinking “I want this SO BAD!”. Or, you just need to be a better dancer but now you know EXACTLY what to work on.
  • perform for invited choreographers and agents, leaving them with headshots and resumes. They will observe the final run through. Students from past intensives have gotten repeat work with choreographers and have been signed to agencies directly following their sessions. Past guests of GHM Pro include: Michael Rooney, Charm La’Donna, Tyce, Kathryn Burns, Aakomon AJ Jones, Lindsey B.






To attend GHM Pro, a submission is required:

  • send a video of you dancing commercial dance choreography (jazz funk/hip hop) to and we will assess your placement.
  • video must be a link. If you email an attached file that needs to be downloaded, the submission will be ignored.
  • this footage can be pre-existing, or something you put together specifically for this submission. The goal is to show how great you are! Examples can be a routine from a class, a concept video, an audition routine you’ve learned, etc. You may link to pre-existing Instagram posts.
  • do not send dance reels. Any reels sent over will be ignored.
  • dance style must be commercial dance. Do not submit contemporary, heels, freestyle or anything other than advanced commercial dance that you would do on a job or at an audition for an artist. If you have a specialty in other styles, you will utilize that in the session, but commercial choreography is necessary regardless.


15-Student Limit

$650.00. Payment plans available.

If you are accepted, you will be referred to the registration page where you may secure your spot.



This week-long experience is now the ONLY place you can get in-depth audition tips, on-set advice, and business information in addition to artist development (the BEHIND THE AUDITION and ON SET intensives are no longer offered as individual intensives!).  It is the most practical and game-changing experience for those who want to become professional dancers.

Past participants have been signed to agencies directly following IMMERSION after having performed for them on Day 2. Signed students have booked the very next audition they’ve gone on- one student booked an audition between days 3 and 4 using the information from IMMERSION!

Here are explanations of each segment we will cover:


    ARTIST DEVELOPMENT:  “Finding Your Voice”

    This day answers the question, “WHO AM I AS AN ARTIST?”

    We explore THE GALEN HOOKS METHOD “ARTIST DEVELOPMENT” concepts.  This day is about bringing out your best qualities as an artist.

    As much as I want you to work as dancers, I also want you to know who you are. There are so many dancers who work non-stop for years as dancers but lose a sense of self, feel like robots, or don’t feel like they get to express themselves artistically on jobs.

    So for the first day of IMMERSION, I help you discover who you are so that you have LONGEVITY in this industry.

    We’ll address concerns you may have including:

    • I have more to offer as a dancer and want it to be brought out of me
    • I want honest feedback – tell me the things that nobody else will tell me
    • How do I put “me” into my dancing?
    • I feel like there’s a wall I can’t get past.
    • I feel stuck.
    • I take class all the time but there’s just something missing from my dancing.
    • My dancing LOOKS different than it FEELS.
    • I’m terrified of freestyling.
    • When there’s a camera in front of me, I freeze.
    • I want to be more confident.


    BEHIND THE AUDITION:  Industry Insight

    This day answers the question, “WHY AM I NOT BOOKING?”

    Building on what we discovered about you as artists on Day 1, I now figure out how to make your authentic artistic self BOOKABLE.

    • I run a mock audition
    • I give honest, direct feedback to each participant about their headshots, resumes, wardrobe, hair, makeup, execution of the choreography and freestyle
    • I give exclusive industry insight into the casting process from the production end
    • I give you all the tips and tricks I wish I would have known in my 20 years of auditioning
    • We test out, in the room, different wardrobe, hair and makeup until we figure out what direction you should go in
    • Guest speakers (agents, top choreographers, etc) may come observe and give you feedback as well
    • We discover why you may or may not be booking

    No dancer wants to feel like their bad hairstyle lost them a job.

    The good news is, you can learn what to fix and how to fix it.

    In the BEHIND THE AUDITION experience, I tell you everything that NOBODY tells you.

    And it is working!

    After attending BEHIND THE AUDITION, several alumni booked their very next audition.

    If they are not booking, they are making it to the end. If they are not making it to the end, they are being kept. If they are not being kept, they are not depressed when they are getting cut. If they are getting cut repeatedly, they don’t hate themselves as dancers and human beings and move back home.

    These are my goals for you in this session:

    • How do we make you different than every other blonde? Than every other Asian?  Than every other dancer who picks up the choreography well enough to do the job?
    • If you’re not strong in choreography, how do we compensate?
    • If you’re great at choreography but aren’t booking, what is the missing piece?
    • If you make it to the end of auditions but aren’t booking, what will tip you over the final hump?
    • How can we package you into a “look” that is bookable but still authentic to you?
    • If you get nervous, what specifically for you will ease the nerves?

    Let’s develop a plan for you that allows you to walk into an audition of hundreds of people, be completely focused on what you need to accomplish, and deliver your love of dance in a bookable package.




    Ah, the dreaded headshot shoot!  Building off what we discovered on DAY 2 with your audition assessment of HAIR, MAKEUP and WARDROBE (and yes this is equally as important for men!), I coach you on your headshots.

    You bring clothing and I help style you, guide you on how to pose, take photos and assess and reassess, and teach you how to be IN CONTROL OF YOUR HEADSHOTS!

    If you love your headshots and feel great about them, we help you decide on 3 great audition or rehearsal looks so you are nailing the translation of your headshots when you walk into the room in the flesh.


    ON SET: “Become Irreplaceable”


    This day answers the question, “What do I do once I book a job?”

    This is twofold:

    • Either you’re a working dancer already and you are totally winging it when you show up to rehearsal or on set
    • Or you haven’t booked a job yet and you don’t want to wing it once you do

    I’ve been working as a dancer since I was 7 years old. And, for over 10 years I have been a champion for dancers’ rights. (For more info on dancers’ rights, click here.)

    I want to share my knowledge of contracts, negotiations, unions, dancers’ rights, agents, and the rest of the “business” side of “show business” that we aren’t taught.

    I hope by educating and instilling professionalism in “ON SET”, we can better the industry as a whole.

    Here are examples of what we will address that you would typically only learn from experience:

    • How do you make your mark on the job and not be in the back corner of the formation?
    • How do you get re-hired?
    • What do you do when a waiver is pushed in front of your face and you are pressured to sign it?
    • What the heck is fi-core?
    • If you have an issue, how and when do you speak to your agent? The Union? Production?

    Let’s make you a “smart” dancer.

    Let’s get you to read the choreographer’s mind.

    Let’s get you to problem solve.

    Let’s make you someone whom every choreographer wants to have on their team.



    This is the most important day.

    On DAY 1, we discovered who you are.  DAY 2, we pinpointed how to turn that version of who you are into a bookable package.  DAY 3, how to make you irreplaceable once you’re working.

    DAY 4 is about reconnecting with yourself as an artist even after you’ve been analyzed based off of your looks and skills the previous days. It’s about loving to dance even after being drilled on professionalism and paperwork and unions and hitting your mark and the pressures of a set.

    This constant re-prioritizing of your relationship with dance is what will keep you in this industry for the long haul.


    Each participant films a solo on Day 4.  If this sounds scary to you, just know that for the 800 people who have done TGHM so far, it was terrifying for the overwhelming majority of them to freestyle or dance alone in front of a camera on DAY 1, and by the end of the session they actually had FUN doing it!  Imagine something that typically terrifies you becoming something you actually look forward to!

    I cannot stress enough that my goal is for you to love dance with all your heart for as long as you want to love it, and that making a living doing it is icing on the cake.

    After we’ve figured out what your “look” needs to be in order for you to book jobs, and how to understand the “business” side of show business, we all exhale, smile, and say, “But it does not define me.”






NEW FOR 2019!



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We develop quite a bond in the GHM sessions, and countless Alumni have expressed a desire to transition into being “behind the scenes” as a Creative.


Galen began assisting the most prolific choreographers in the industry at age 14. She was working on high level projects like That 70’s Show, Donnie Darko, The Looney Tunes Movie, The Hughleys, and Cedric the Entertainer while still in high school.

She has since transitioned through every role on a Creative Team, with varied leaders to learn under, from Marguerite Derricks to Fatima Robinson to Jamie King, and wants share her knowledge of an opaque industry with aspiring Creatives.

Galen is a VMA-nominated choreographer for Camila Cabello’s “Havana” music video and has choreographed every genre of artist, from Usher to Banks, and from comedy television to the Guggenheim.

Because there is no traditional training for Creatives, even the most experienced Choreographers and Creative Directors (much more experienced than Galen) have their own unique ways of approaching the job and are still learning as they go- this session is not about espousing Galen’s way of doing things, but is about giving everyone the pertinent information that is common across all creative teams, and allowing the student to develop his or her own leadership style.

The instagram video above lists sample specifics of the types of topics that will be covered.


In this session you will get experience and exposure to the following roles on a Creative Team:

  • Creative Director
  • Assistant / Associate Creative Director
  • Choreographer
  • Assistant / Associate Choreographer

You will work as a creative team choreographing, rehearsing, staging, cleaning, and overseeing a piece that will be filmed on the final day.

The final product is NOT the focus. In creating the final product, the process of learning how to run a room, how to communicate with dancers and production, how to problem solve, develop people skills, manage high stress and high pressure demands of higher ups, make changes QUICKLY, think ahead, pitch ideas, be creative within production limitations, and manage both those working for you and those who you work for, is the most valuable take away from this intensive.

You will be told proper rates, working conditions, agent information, technical/industry terminology, how to get work, what to expect when you book a job, the ACTUAL responsibilities for each of these roles that exist far beyond creating movement and concepts (for example, casting), and we pull back the curtain on what is truly like to live the life of these professions.

All of this will be done while you run the rehearsal and shoot as if you were hired.

Galen recreates the exact energy, flow, tension, pressure, and expectations of a real job.

If you want to be a Choreographer or Creative Director, there is nothing like this that exists, and you will learn in 4 days what it traditionally takes years of real life projects to learn.






Day 1: pre-production

5 hours

You will be collectively creating the material  (choreographers will be choreographing, assistants will be assisting, Galen will be creative directing, etc) based off a treatment given by Galen.

Day 2: music video rehearsal day

5 hours

You set the piece on your dancers and the artist. This rehearsal is run by Galen as if it is a real job for a music video with a director.

Day 3: Mock “shoot day”

5 hours

Each student fills the role they would on a music video shoot, which is much different than a live performance.

Day 4: awards show rehearsal day

5 hours

This rehearsal includes “live show” elements- for example, the artist needs to sing live, have a microphone, set pieces must be accounted for, the students who are aspiring Creative Directors must come up with a full pitch and oversee rehearsal.

At the end of each day, Galen does an evaluation of each participant, giving 1-on-1 feedback and advice based on your performance. 



Galen will guide each participant in protocol, will give notes on your work as a creative director would on a set, and will run this session as if you were hired for the job

4 days

5 hours per day

15 student limit

First come first serve basis

Note: As part of your registration process, you will be asked to provide

  1. a statement of what interests you in being part of a Creative Team and
  2. (optional) any credits/links to work you have done behind the camera if you have it. No experience is required.

TO REGISTER: Email and ask for the code. This code must be entered on the registration page to access payment.


If you are NOT Alumni but Galen knows you, she will make very few exceptions on a case by case basis. Email

If you are Alumni and you want to be a body to be workshopped on, email

Alumni only, register here for the brand new GHM CHECKUP session.

Access to exclusive global community of GHM ALUMNI.

Members from Los Angeles, New York, Toronto, Vancouver, London, Houston, Australia, Mexico, Atlanta, Italy, Germany, Amsterdam, Japan, China, and dozens more cities can all stay in contact with each other.

Business networking with Galen and fellow alumni- share your side hustles, seek and provide services within the GHM Family.

Early registration, discounts, exclusive tips and tricks from Galen, giveaways, and opportunity for mentoring.

Previous students have built long-lasting relationships, going over 2 years strong from Galen’s first intensives.

On-set opportunities: past students have been hired both on camera and on creative teams for projects in LA and New York.

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Which city (or cities) are you interested in?

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When will you be coming to London, Amsterdam, Texas, Vancouver, *insert your city here*?

I am a beginner- can I take TGHM?

Scroll UP to the top of the page to register and read about GHM LITE!

Help! I'm scared!

Every single person who has attended has made the decision to join us in the face of fear! The intensive is built to focus on overcoming big obstacles in your dancing (some you may not even be aware of) and that is naturally going to be a scary thing. Galen’s only objective is for you to WIN- take advantage of this very unique space where you are encouraged to make mistakes and have someone with decades of experience tailor-making feedback just for you.

I'm already confident and advanced- what else can I get out of these sessions?

Scroll UP to the GHM PRO section to read and register!

What are the exact times / locations of the sessions?

We send out the exact time and location in the week or two leading up to each session.  This is because it is dependent on the studio we book.

Is there an age limit?

The Galen Hooks Method is currently offered for those 16 years of age or older.  We accept video submissions for those younger than 16 years of age with advanced experience.  Please send a link to showcasing your dance ability and we will assess your placement!


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