Shirley is on extended leave from Pilates Seattle International and is not currently teaching.

Shirley comes to Pilates after a long career in the dance world. In 1975, after receiving her BFA from the University of Utah as a Modern Dance Major, she was asked to be a founding member of the celebrated Bill Evans Dance Company. She toured nationally with that company as a principal dancer and master teacher. She eventually formed her own company, Strong Wind Wild Horses, and added to her resume soloist, choreographer and artistic director.

Ms. Jenkins founded a nonprofit organization, Dance On Capitol Hill, for the Seattle community, which was a dance school, performance space and home for her dance company. Shirley was an Artist-In-Residence at scores of universities and dance communities throughout the U.S., as well as internationally. Her residencies included the University of Washington, Cornish College of the Arts, American Dance Festival, Bill Evans Summer Institutes of Dance, Alaskan communities via The Alaskan Arts Council and international festivals in Bonn, Germany and Taipei, Taiwan.

In 1997 everything changed… Shirley sustained a severe spinal injury while dancing followed by a cancer illness. As part of the prescribed rehabilitation from her surgeries, the work of Joseph Pilates, via her instructor, Lori Coleman-Brown PT, proved to be a monumental tool in restoring the useful function and classical form of her body. Shirley received her certification in authentic Pilates in New York City in April of 2001 under the direction of Romana Kryzanowska and Sari Mejia Santo. She has been a Pilates Instructor at Pilates Seattle International from the onset of her certification.

Ms. Jenkins continues to choreograph works for dance companies in the Pacific Northwest, teaches Rhythm Tap at Cornish College of the Arts and offers a Modern Dance technique class for the Seattle community. Shirley’s extensive work with Physical Therapists and life experience with professional athletic injuries has geared her teaching style toward prevention and rehabilitation of injury. She uses her voice to encourage rhythm and flow. She uses visual imagery and tactile cueing to enhance kinesthetic awareness, and levity to promote perseverance.