Career As a Dancer

CAREER AS A

DANCER

Institute Research Number 356 ISBN 1-58511-356-5 DOT Number 151.047010 O*Net SOC Code27-2031.00

CAREER AS A

DANCER THROUGHOUT THE HISTORY OF MANKIND, DANCERS HAVE USED BODY

movements to express ideas, convey emotions, tell stories, and to entertain. There is a wide variety of dance forms and styles including classical ballet, modern dance, jazz, tap, and culturally specific dance styles such as Afro-jazz or Latin. Most dancers specialize in one style or group of similar styles. For example, those trained in ballet may also be skilled in jazz because the basic movements are similar. Typically, dancers do not come up with their own routines. They work with choreographers, who create original dances and then instruct performers through a series of rehearsals until the desired outcome is achieved. It is also the choreographer who typically conducts auditions for new shows.

2

Dancers work in a variety of settings. Performers dance in musical productions such as opera, musical theater, television, movies, music videos, and commercials. In some cases, performing dancers also sing or act. Few dancers perform solo; most work in groups such as regional dance troupes, national dance companies, or touring groups. Settings include studios, opera houses, Broadway theaters, cruise ships, casinos, theme parks, cabarets, and schools. There are no educational requirements to enter this career, but years of training are typical. Most professional dancers started taking lessons before they knew how to read. By the time they are in their teens, they are going to auditions. Those pursuing classical dance usually attend conservatories or take classes with dance companies that might eventually hire them. There are also many colleges that offer bachelor’s and master’s degrees in dance, through departments of music, theater, or fine arts. Ongoing training is essential. Professional dancers continue to take classes and workshops to learn new styles, develop new techniques, or practice and refine existing ones. Most dancers stop performing in their mid-30s because their bodies can no longer keep up with the strain. Dancing is extremely hard on the body. It requires excellent physical condition and self-discipline to put in the long hours of practice every day. Injuries are common and can only be avoided by staying in tip-top shape. An injury can put an end to working temporarily or permanently depending on the severity. When performing is no longer possible, many dancers continue working in the field as choreographers, dance teachers, or artistic directors. This is a very competitive profession. Only the most talented and determined rise to the top and stay employed on a regular basis. Most dance jobs are temporary, lasting from one day to several months at most. To find the next job, dancers attend audition after audition. It takes hard work and staying power to become a successful dancer. But those who love it insist it is worth all the time, sweat, and tears. For the talented professional who derives joy from dancing everyday, there is no other career choice.

3

WHAT YOU CAN DO NOW GET A GOOD EDUCATION WHILE YOU’RE STILL IN HIGH SCHOOL. CONCENTRATE

on courses in communications and performing arts such as speech, drama, and music. Join the drama club. Even if there are no dancing parts, any performing role will provide you with useful experience. Start taking lessons as soon as possible. Continue your dance studies during the summer. These days there are many excellent summer camps that focus on the performing arts or even exclusively on dance. In big city schools, there are usually summer dance classes available. When you’ve got a good foundation in one style, start work on another. Attend as many dance performances as you can. Go to see ballets, musicals, cabaret shows, and dance contests. If that’s not feasible, then watch dance movies and videos in every style, over and over. You will learn something new each time. It’s a way to pick up on new trends and techniques. Contact and visit dance education programs and conservatories. Find out how you can enroll and start preparing right away. Get in shape. Learn how to eat properly and exercise to increase your strength, agility, and stamina.

HISTORY OF THE CAREER DANCING IS AMONG THE OLDEST OF THE PERFORMING ARTS. IN EARLY

societies, throughout the Middle East and India and among the indigenous people of the Americas, Australia, and Africa, tribal leaders utilized dance in all kinds of rituals. Some, such as war dances or mating rituals, were meant to stir up emotions. Others were methods of communicating with the gods to ask for protection, rain, or abundant harvests. The oldest recorded dancing appeared in India around 6000 BC. The Hindu god Shiva, the Lord of the Dance, was portrayed as a multi-armed being balanced on a single leg. Archaeological remnants have been found in Egypt dating back to 3000 BC. These stone carvings from the First Dynasty depict a kind of dance used as a form of communication. Later paintings showed Egyptian dancers and musicians. 4

Around 1400 BC, dance arrived in Greece. The ancient Greeks are not known for specifically contributing to the evolution of dance; they were more interested in drama. However, within the theater, they provided round dance floors for the chorus to dance. The dance floors were built on raised platforms between the stage where the actors stood and the main theater floor. This layout formed the foundation for the construction of the proscenium theater, where ballet later took form. Although people have danced for thousands of years, as a profession dancing didn’t start until the 15th century, with the birth of ballet. Ballet originated in Italy in the 1400s. It was known as the balletto, a form of entertainment that combined dance, poetry, song, and scenery. A balletto could be quite elaborate, lasting anywhere from a few hours to several days. During the 1400s, Italian balletto masters started to write down their work. One of the most famous of these masters was Domenico de Piacenza. Domenico was well known throughout Europe as a dance instructor and choreographer because he wrote down nearly everything he did. Domenico is also responsible for the word “balletto,” which later became “ballet.” There were two words in the Italian language that meant dance – ballo and danza. In his book, De Arte Saltandi ed Choreas Ducendi (On the Art of Dancing and Conducting Dances), he used the word ballo, and his choreographed dances became known as baletti. Balletti performed before the court were nothing short of spectacular productions. Some had casts of hundreds. Scenery and stage machinery were designed by none other than Leonardo da Vinci. Some were performed at banquets; a dance called an entrée preceded each course of the meal. The balletto migrated to France in 1533 when Catherine de Medici married the French king, Henry II. The dance was renamed the ballet and it became widely used to illustrate celebratory events. The first professional organization for dance masters was the Academie Royale de Danse. It was a dance school established by Louis XIV in 1661 in a room of the Louvre. It was here that the classical five foot positions of ballet were first codified by Pierre Beauchamps, a master who was eventually named “superintendent of the king’s ballets.” Later, in 1700, Beauchamps’ dance vocabulary was recorded by Raoul Feuillet in his book Choragraphie. Many of the steps and positions are still in use today. 5

Dancing was finally considered a real profession by the late 17th century. The first professional dance company was established by Lully in 1672 within the Academie Royale de Musique. It is now known as the Paris Opera and is the world’s oldest continuously running ballet company. Just as it was in theater, the first professional dancers were all men. Female roles were danced by men in masks. Unlike in dramatic theater, women joined the dance profession quickly. The first ballet to feature female dancers was called Le Triomphe de l’Amour (The Triumph of Love), which debuted in 1681. One of four ballerinas in the ballet, Mademoiselle de Lafontaine, was forever known as the “Queen of Dance.” Ballet moved into England in the 18th century. It was English dance master John Weaver who created ballet d’action (ballet with no spoken words). For the first time, a ballet was performed solely through movement and pantomime. As the profession of dance grew, choreographers and dancers developed new ideas, and movements. Composers began creating music specially for ballet. Some of the ballets choreographed in the late 18th and early 19th centuries are still performed today, such as The Nutcracker and Swan Lake. Most dance movements of this era were based on classical ballet movements, but there were a few notable developments. For example, in the mid-1800s, dancing on the toes in pointe shoes (soft silk shoes with wooden block platforms in the toes) was introduced. Although Russia is well known for producing some of the best dancers in history, this country was actually fairly late to the party. It wasn’t until the Romantic Era of the 19th century that Russia embraced ballet. At first, dancers were imported from France. Late in the 1800s, native Russians were first given major roles. It wasn’t until the 20th century that other forms of dance were performed professionally. Tap dancing, which originated from early Irish and English folk dances, was developed and performed in vaudeville shows. Later, tap dancing became a popular form of dance in musicals and film. In 1900, the Floradora Sextet performed the first professionally choreographed tap dance routines. Tap dancing was popularized throughout the 20th century by Bill “Bojangles” Robinson, Fred Astaire, Ruby Keeler, Gene Kelly, and Gregory Hines. 6

The most distinct dance form of the 20th century was modern dance, introduced by Isadora Duncan around 1900. In many ways, it was the opposite of ballet because it had no set forms or techniques. Instead of dancers being forced to follow the choreographer’s every direction, modern dance encouraged individual expression. And unlike ballet, modern dance did not tell a story with a beginning, middle, and end. Instead, modern dance dealt with abstract concepts such as time, space, and pure emotion. The modern dance movement was officially launched with the founding of the Denishawn School in Los Angeles in 1915. The school trained some of the most celebrated dancers of the 20th century including Martha Graham, Doris Humphrey, and Charles Weidman. Today, there are many forms of professional dancing, from ballet to jazz, ballroom to Latin, tap to hip-hop.

WHERE YOU WILL WORK NEW YORK CITY IS THE CENTER OF THE DANCING UNIVERSE IN THE US. THE

majority of jobs are found there and in other large cities that serve as home to major dance companies. The largest full-time dance companies are located in San Francisco, Chicago, Philadelphia, Miami, Boston, and Washington, DC. However, dancers can be found working in communities all across the country. Many smaller regions have resident dance and theater companies and even the smallest towns often support professional dance companies and studios where people can go to learn to dance. Although it is quite possible to work in your own hometown, many dancers find it necessary to relocate in order to get the kind of professional opportunities they want. Dancers mostly work indoors, but during the warm weather months, outdoor performances for special events are common. Dancers work in a variety of venues, most of which are modern and air-conditioned. The most common are studios, schools, halls, hotels, cabarets, theaters, performing arts centers, and film and TV studios. Not all facilities are so comfortable. Older studios and nightclubs may be cramped and stuffy. For those who want to travel, the prospects are good. Dance companies that offer musical productions and family entertainment, often take their shows on tour for a few months 7

out of the year. Dancers who do not belong to a dance company can also contract with touring companies to supplement limited performance opportunities at home. Some dancers see the world by performing on cruise ships. Others travel abroad to teach or perform. Dancers work in more industries and venues than you might imagine. Employers include: Public and private educational services such as dance schools, dance studios, the YMCA, high schools, colleges, and senior citizen centers Performing arts companies including dance troupes, musical theater, touring companies, and opera companies Entertainment facilities such as casinos, nightclubs, cruise ships, local park districts, and theme parks Television networks, film producers, and music video producers Advertising agencies Dancers usually work for short periods of time. They hire on for individual shows or performances that may last a single day (or night) or, if they are among the fortunate few, continue on for several years. Over 20 percent of dancers are self-employed; the most experienced and successful open their own studios or start up new dance companies. Periods of unemployment are common in this profession. When work is available, the hours can be long and tiring. Most performances are in the evening and on weekends. During the day, rehearsals and practice might go on for hours. Union contracts limit the number of hours dancers are allowed to work. The typical union contract calls for no more than six hours a day, which usually adds up to a total of 30 hours a week.

8

THE WORK YOU WILL DO THE ARRAY OF DANCE STYLES IS WIDE AND GROWING ALL THE TIME,

especially if you include ethnic, social, and street dance. But in the professional arena, there are three basic types: classical ballet, contemporary dance, and stage dance (which includes musical theater). Usually, professional dancers specialize in one of these three areas. In the last category, stage dance, dancers often sing and act in addition to dancing. A performance may be live, but many dancers also appear on TV, in movies, or in music videos. A very small number of dancers perform solo. Professional dancing is almost always a group effort. Some may have dance partners while others are part of an ensemble. All dancers work closely with choreographers, whose job is to lay out the entire routine step by step. In some cases improvisation is also part of the routine. Long before a performance, a dancer spends years in training and practice. On their own, they study and practice dance moves for a given role. They also practice to maintain their skills and fitness. With dance partners, they practice coordinating moves.

Getting the Job The way dancers get hired is by auditioning. Auditions are run by choreographers. Directors and producers may be in attendance, but the choreographer has the last word on who will be chosen to interpret his/her work. Each choreographer works a little differently. In some cases, the choreographer might teach a short routine on the spot. It’s a lot like a pop quiz, where the quickest learners get the highest marks – and the jobs. In other cases, dancers are required to come prepared with their own routines to show what they can do. Dancers don’t usually get to find out if they made the cut immediately after an audition. It can be days or even months before dancers are notified that they have been selected and what role they will be playing or whether they will be part of the group ensemble. Those who don’t make the cut are left in the dark. There is no notification for those who lost out or any explanation why. This can be very discouraging. It’s hard to continue going to audition after audition without getting feedback that might help you figure out where you need improvement. Many times, it’s not even a matter of talent and skill. Like actors, dancers are often selected based on physical characteristics such as height similar to other dancers. 9

In classical dance, an audition is much more involved than appearing at a studio or theater for an hour. Professional ballet dancers, for example, work under contract. To get a contract, they usually start by taking classes with the ballet company where they want to work. These classes become the audition. At some point, the company director and choreographers will offer positions with the company (contracts) to the dancers they want to hire. Contracts run for a specified period of time, usually a few months, and stipulate the salary and benefits to be paid. An established company may offer a permanent position, which can continue from season to season. Even though there is considerably more investment in terms of time and effort to go through this kind of audition process, those who are not hired still gain from the experience of training with top professionals.

Planning the Show Before a single dancer sets foot on a stage, there is much to do in preparation for any dance production. It all starts with an idea in the mind of a choreographer. It is the choreographer who will flesh out the idea by drawing scenes on storyboards, making notes about movements, costumes, and sets along the way. The producer, meanwhile, is organizing a group of people to work in all the various support positions. This may include directors, conductors, composers, set designers, costume designers, makeup artists, sound engineers, and stagehands. The producer also handles the administrative tasks such as booking the theater, advertising, and overseeing ticket sales, budgeting, and paying salaries. When the plan is in place, it is time to notify the dancers, find out who is available, and assign roles.

Rehearsals When the dancers show up for the first rehearsal, there is little evidence of all the planning that has taken place. There will be a dance floor and some lights, but that’s about it. The choreographer has a basic idea of what he/she wants, but the details have yet to be refined. The first rehearsals are called blocking rehearsals. During this time, the dancers only work on parts of the production, basically learning where they will be in relation to the stage, props, and other dancers. The choreographer uses this time to finish designing the routines and starts teaching the parts to the dancers. 10

Depending on the size and scope of the production, rehearsals can go on for weeks or even months. The dancers will go over their parts hundreds of times, on their own and with the rest of the group. Corrections are made and when the movements are perfected to the satisfaction of the choreographer, the director steps into coach the dancers on finding the right dramatic expression. During this time, music is either recorded or played by a single pianist. Normally, the first set of rehearsals takes place in a studio rather than the theater where the performance will be. The rent on a theater is much too expensive to squander on practice time. The second set of rehearsals takes place on stage in the theater. These are sometimes called technical rehearsals. The dancers must get used to the new location, which usually means a different sized dance floor and completely different lighting. For the first time, the show is rehearsed from start to finish with all of the staging in place. A day or two before the show opens, there is the dress rehearsal. The dancers wear full costumes and makeup, and the orchestra or band plays the music. Everything is rehearsed in front of empty seats, but the performance is full out as if there were an audience. The purpose of a dress rehearsal is to uncover any problems that could be avoided. Before the show opens, long hours go into rehearsing. Once the show starts, rehearsals will continue in the daytime. With performances going on in the evenings, that can make for some very long days.

The Performance Opening night. Dancers warm up backstage. Wardrobe is waiting for them in shared dressing rooms. They put on makeup before lighted mirrors. The musicians tune up in the pit as audience members take their seats. A stagehand pops in to say, “five minutes” and then “places everyone.” Nerves are tested as emotions run high. The house lights go down, and it’s time to prove that the hundreds of rehearsal hours were worth it. Most dancers say the nerves disappear within a few short minutes. Once the music plays and the first steps are taken, the joy of dance takes over, and with so much preparation, the routines are firmly implanted in the body’s memory.

11

Still, it is always a relief when the first show ends and the paying audience applauds in appreciation. If the show is successful, it is just the beginning. When a performance goes well once, it will have to run well again – hopefully, many times. A Broadway style musical show will be repeated identically usually eight times every week. Different dances and ballets which are part of a company’s repertory will alternate on different nights, with the same piece repeated every few days during an engagement or season.

Advancement Dancers are normally members of a team. Sometimes a solo performance is offered to the best in the group. On rare occasions, a dancer is so exceptional, a star goes on a private dressing room along with his/her name. For most, advancement takes the form of a growing reputation, more frequent work or contracts for longer runs, bigger and better roles, and higher pay. Those with leadership skills might take on the role of dance captain in musical theater or dancer master/mistress in a concert dance or ballet company. These are people who lead rehearsals and coach the less experienced dancers in the absence of the choreographer. They also teach movements to replacements and new company members. Very experienced dancers with creative abilities can advance into choreography. This is one of the most difficult and responsible jobs in dancing. It also pays the most. The most common way for accomplished dancers to advance is to go into teaching, either at established schools or by opening their own studios.

12

PROFESSIONAL DANCERS TELL ABOUT THEIR CAREERS I Work for a Broadway Production Company “I truly believe that I have the best job in the world. Some might describe me as a workaholic because it seems like I am dancing all the time. But when you truly love to dance (like I do), it becomes your job, your recreation, and your passion. The lines are very blurred between work and fun. I don’t think there are many professions where one can say that. I have been dancing for as long as I can remember. Even as a child, my sisters and I would ‘perform’ at family gatherings, talent shows, and anywhere else we could find an audience. By the time I turned 13, I knew what I wanted to be when I grew up – a dancer. I know a lot of parents resist the idea of their kids choosing dance as a career and in a way, that’s smart advice. Anyone thinking of becoming a professional dancer should know the hard, cold facts. Of course dancing is nothing but pure joy when you do it just for fun. But when you try to do it as a professional, it’s a whole different thing. There is no guarantee that you will manage to earn a living at it the way you would if you chose something like teaching or nursing. A tremendous amount of hard work goes into dancing professionally. At the end of the day, your body will be wracked with pain even if you do everything you can to stay in peak condition all the time. Dealing with rejection is tough, too. When you go to audition after audition and dance your heart out and still don’t get into a good dance company, it’s hard to keep going after a while. And all the while, you have to keep in mind that no matter how successful you are as a dancer, your time on stage is going to come to an end by the time you turn 35 or 40 tops. So you have to make preparations to transition out of dance into something else, like teaching or choreography, or change careers completely.

13

My parents agreed to support my dreams of becoming a dancer, but there was a catch. They insisted I get an education. At first I resisted, but only because I didn’t realize that I could go to college and actually study to be a dancer. Now I know that they were right: the best way to make sure you survive as a dancer is to get a good education. I still think it’s fantastic that you can get a college degree in dance, but let me warn you: a university dance program is not easy. The professors are much, much tougher than any private dance teacher you will ever meet. Mine were so demanding, I often griped to my parents that they didn’t like me. That wasn’t the case, of course. There was just so much to learn and they weren’t there to stroke my ego or make me look good in front of my parents. Every day for four years, I danced either ballet, modern, or jazz. I learned the styles and performance techniques of Graham, Limon, and Vaganova. I studied music theory, dance history, dance notation, movement therapy (Laban), and dance teaching methods. And all that came in addition to my core academic courses required for a bachelor’s degree. I learned a lot, but I think most importantly I learned discipline and perseverance – without which no one will succeed as a dancer. I am now 32 and at the height of my dance career. I have begun to teach privately. Within a few years, I will move into teaching full time. I have been very fortunate to have earned a regular paycheck for quite a few years, and I have managed my money well enough to be able to open my own dance studio when the time comes. I will miss being on stage, but I know running a dance studio will have its own rewards. I look forward to passing on my experience and knowledge to others who share my passion for dance.”

I Dance in Music Videos “Watching some of the videos I’ve been in, you would never guess that I come from a background in classical ballet or that I have a college degree in dance. Most music videos involve jazz or hip-hop or some combination of both. It would appear to the casual viewer that the dancers are talented street dancers, 14

discovered perhaps, by a producer who happened upon a local hip-hop battle. I suppose that might have happened to somebody, somewhere, but that’s not the way it usually works. Landing a job in a music video is like any other gig – you have to audition for it. Once you land the first gig, you add that to your résumé, network to find new opportunities, and audition again. There is no question that dance is an extremely competitive field. Anyone considering dance as a career has every reason to worry about the future. The key, I have found, is to be open-minded. There are plenty of what I call ‘dance snobs’ out there. You can’t afford to be one of them. Dance snobs are people who have trained seriously in a certain form of dance such as ballet, for example, and reject the notion of other dance styles being just as viable. If you only dance one style, you severely limit your prospects. Taking ballet as an example, there are a limited number of dance companies and there are far more ballet dancers than there are slots for new members. On the other hand, ballet is the basis for most modern dance styles and the techniques can be incorporated into almost anything. I discovered that it was actually a perfect background for the jazz and hip-hop found in music videos. To support yourself as a dancer, I would strongly advise learning as many styles as possible while perfecting your core interest. You can never have too much training or education either. The stronger your foundation, the more able you will be to switch into a different style should an opportunity arise. I guarantee you I can out-dance any hip-hop crew. They might know more about the culture of hip-hop, but I understand the elements of dance and have a much broader repertoire of movements to draw from. It’s okay to focus on your goals based on your personal passion and preferences. But if you pursue your career broadly and with an open mind, you will find all sorts of pathways opening up for you. You can always find venues in which to perform your personal favorite. Every summer, I dance with a small community ballet company that performs outdoors for free. The company survives off of small grants from the county and state and there’s no money for 15

salaries, so I don’t get paid. It doesn’t matter. For three months of the year, I get to do what I love most. For those three months, I am a ballet dancer. Ultimately, a passion for dance is the only reason to choose dance as a career. Look around and you’ll see that there is more than one way to feed that passion – and feed yourself, too. Music videos is just one possibility; there are literally dozens of others.”

I Am a Choreographer “My job is to compose dances by deciding which movements will be used, in what sequence, and how they will be expressed. I design the movement and the dancers bring the movement to life. The word choreography literally means ‘dance writing.’ In some ways, my work is similar to that of a composer, but the composer uses musical notes while I use movements. A choreographer has a movement vocabulary from which to draw. I add to that my own life experience and self-expression to produce a story or statement in motion. Choreography is used in every style of dance. I have worked under contract with the New York City Ballet and the Royal Ballet, choreographing entire ballets. But like many choreographers who are in demand, I am able to work in a variety of styles. I have formal training in jazz, tap, and ballet. I am also well versed in the Latin dances Flamenco, Salsa, Tango, Mambo, and Rumba. As a dancer, I performed in theater, nightclubs, and on television. Now that I own my own studio, I work mostly with contemporary dance. It gives me a chance to break away from the traditional structures of ballet and jazz. No one style is necessarily better than another. In fact, I find that each generates ideas for the others. Creatively speaking, it is very stimulating to find new ways to move the body. And being able to work in a variety of styles presents limitless possibilities in terms of what kind of projects I can work on. My versatility has kept me employed in several different markets. I am now doing a lot of work in film and television. 16

Sometimes the projects are small, maybe just a fight scene in a television show or a short sequence for a commercial. Lately I’ve been focused on integrating dance with new media. I find all the new technology fascinating – 3D animation, computer graphics, and virtual choreography. I don’t think there has ever been a better time to get into choreography. I would advise anyone interested in breaking into this career to study the work of other choreographers. Some of my favorites are Martha Graham, Isadora Duncan, Elizabeth Streb, Min Tanaka, and Mark Morris. But there are plenty of others. You have to understand music, too. I think it’s great fun to improvise with musicians. When the synergy is just right, it’s a collaborative effort that goes back and forth between suggesting dance for the music and music for the dance. Choreography is a huge amount of work, but at the same time, it’s very exciting. It can be a great career if you have a passion for dance and ambitions beyond performing as a dancer.”

PERSONAL QUALIFICATIONS ANYONE CAN DANCE. IT’S A SIMPLE MATTER OF LEARNING THE STEPS AND

movements and putting them together with music. Pursuing a career as a dancer is not so simple. There are numerous qualities that you must possess if you are to succeed as a professional dancer. Natural ability Professional dancers are talented. They have a good sense of rhythm and timing. If you have agility, coordination, and grace, you are off to a good start. But dancing is also very creative. Good dancers have a special ability to feel the music and know how to communicate and express emotions through movement. Good health and physical stamina Professional dancers must be in top physical form at all times. Getting into this level of fitness is a constant struggle. You must have the natural physical attributes first: coordination, strength, 17

resilience, balance, and flexibility. But maintaining the superb physical condition necessary to do the job well day after day is a balancing act between working hard without pushing to the point of injury. A serious injury can set you back weeks or months. It could cost you a job or perhaps even your entire career. A willingness to work hard is important; knowing when to stop pushing is vital. Determination Dancing is not a career for the weak willed. It can be a long hard road. Only the most highly motivated make it to the top. The competition can be fierce, but you can’t let rejection slow you down. If you truly love to dance, you should remain enthusiastic and be prepared to work extremely hard in rigorous practice schedules. You will need to be flexible, too. Many unexpected changes will be thrown at you, from cast changes to program changes to venue changes. Keep your composure and don’t let anything get to you. Your ability to stick with it despite the ups and downs will be a big advantage, and it will be noticed by your fellow dancers and directors. Focus Dancing is not just a physical endeavor. It is actually a combination of equal parts: physical, emotional, and intellectual. You must be able to memorize complicated routines. In order to do so, you will need intense concentration, keen observation skills, patience, and perseverance. You can’t take your own time learning the routines either. There are always deadlines to be met, and that creates pressure. A successful dancer has the ability to master any routine through focus and self-discipline. Good Interpersonal Skills Dancers must be able to work independently in order to master their roles. However, dancers rarely work alone. There is a high level of social contact. You will be working closely with dance partners, directors, producers, musicians, and choreographers. And of course, there is the audience. Professional dancing is almost always a team effort. Being a good team member means collaborating to develop the production while giving and taking criticism with grace. This isn’t always as easy as it sounds. You will be dealing with creative people and artistic temperaments tend to flare from time to time. It helps to keep in mind that everyone on the team has the same goal: to produce the best dance routine possible. 18

Devotion to Dance Above all, a devotion to dance is essential. Professional dancers continue to dance for the pure joy of it. In the face of uncertain employment and unsuccessful auditions, professional dancers don’t even consider giving up what they love most. They keep right on dancing.

ATTRACTIVE FEATURES DANCING IS A JOY, WHETHER IT’S DANCING IN FRONT OF AN AUDIENCE OF

thousands of paying patrons or dancing alone, watching your body move in front of the studio mirrors. Could there be a better way to make a living? Sure, you’re going to put in some long, sometimes hard, bone-weary hours rehearsing until you can’t dance another step. But when you love dancing, can you really call that work? A lot of professional dancers agree that the ultimate reward is the performance. After months of practice and rehearsal, it feels great to finally perform in front of a live audience. Sure, the cheering and applause at the end of the performance are good for the ego. But that’s not the best part. Rehearsals and practice get boring after a while. When you start to perform though, something happens. There is an infusion of energy that seemingly comes out of nowhere, giving birth to new ideas and creative expression. It can be absolutely exhilarating. Dancers socialize and constantly meet new people. The people you will meet and work with will be a lot like you. They will be talented and creative, and they will speak your language. They will give you respect and gratitude for sharing your talent, knowledge, and skills. They will understand and appreciate the tremendous amount of work that has gone into every performance – the thousands of hours of practicing every movement in front of the mirror. They will take you seriously. The contacts you will make and the relationships you will forge will last a long time because there will always be a common bond. If you want to see the world, is there a better way than getting paid to do what you love? You can find work as a dancer just about anywhere and maybe you want to stay in your home town. At some point though, most dancers relocate to exciting 19

cities like New York, Chicago, and San Francisco to seek out opportunities with world famous dance companies or just to get fresh ideas. Visiting new places and meeting other professionals are good ways to feed your creativity and that’s really what your work is all about. You can also choose to join a touring company and travel throughout the region, across the nation, or even around the world. Many people work in thankless jobs, struggling to get a little credit, hoping somebody will notice. But you will hear applause every time you perform. Even if it’s only a small crowd at a community theater, that feeling you get when an audience shows their appreciation is priceless. Some say it’s addictive. Performing isn’t the only way to garner admiration. Students of dance are usually in awe of their teachers. Nothing causes people to appreciate the skill of an experienced dancer quite like trying it for themselves. Anyone who is passionate about dancing knows what it means to be able to make a career of it. It is a very unique opportunity to be creative, express deep emotions, and communicate in the language of movement.

UNATTRACTIVE FEATURES THE MOST DIFFICULT ASPECT OF THIS PROFESSION IS THE JOB INSECURITY. YOU

will never know for certain where or when you will be employed or for how long. There is no such thing as a dancing job that is guaranteed to last more than six months to a year. The best dancing jobs are arguably on Broadway stage shows. Even there, the show may last 20 weeks (if it doesn’t fold within the first few days), or as long as a few years. There is simply no way to know if the months you’re putting into rehearsals will result in long-term employment. The actual paying work must be considered temporary and therefore, dry periods with stretches of unemployment are to be expected. Those who only dance in one style or aren’t willing to look for different venues are the most at risk. You can substantially increase your chances of sustaining yourself just by learning more skills.

20

Dancers don’t always know what the conditions of employment will be. Even after passing auditions, it can take weeks to get a contract. The offer may involve travel, late night hours, extra performances on weekends, plus daytime rehearsals. This is a highly competitive field. You will be competing every step of the way against other talented dancers who are just as hardworking and determined to get the job as you are. You have to be able to face rejection and keep on going. Being in such an unstable profession can be very stressful. The stress is more than most people can handle. Dancers often have to take day jobs to make ends meet. You may be in a big city where the cost of living is high. Keeping yourself motivated and in prime physical condition is a challenge when there’s no guarantee you will get a job right away. When you do land a job, the stress continues as you work hard every day to learn routines and remember all the little details the choreographer expects to see. Dancing is physically demanding. Injuries are a problem, especially for dancers who do not stay in shape. A serious injury can even end a career. Most dancers stop performing by their mid thirties because of the wear and tear on the body. It is not unheard of for a celebrated dancer to continue performing beyond the age of 50, but that is the exception. Smart dancers are aware of the limitations going in. They start preparing early to continue work in the field as choreographers, dance teachers and coaches, or artistic directors, when performing becomes too strenuous. Dancing requires considerable personal sacrifices. Families and friends are often left behind as a dancer goes off in pursuit of a career. Training, rehearsing and performing becomes the totality of a dancer’s life. It requires so much time and dedication that there is literally no time for anything else. This is not a career where one is in service to others. It is by nature and necessity a self-centered pursuit. A professional dancer is constantly practicing, taking lessons, and learning new routines. There is rarely time left over for recreational and social activities.

21

EDUCATION AND TRAINING DANCERS ARE NOT REQUIRED TO HAVE COMPLETED ANY SPECIFIC FORMAL

education. A proven ability to dance is the most important requirement. Training, however, is a different matter. Rigorous training is a fact of life for professional dancers. It starts early and never stops. The type of training may vary depending on dance styles and types of performance, but it is a common belief that a good foundation in classical dance is the best place to start. Women usually begin ballet training between the ages of five and eight. Men often start later, usually around the age of ten. Modern dancers don’t need to start so young. Dancers typically start out training with a private teacher or through an independent ballet school. Classes are usually several times a week with additional hours spent in individual practice. For those who demonstrate potential, training starts to get serious between the ages of 10 and 12. By the time a dancer reaches the early teens, it is apparent whether the talent is sufficient to continue. If it is, then more intensive, advanced professional training is in order. About this time, students usually decide which dance style they want to pursue. Students in their teens are encouraged to focus on a particular style and seek out training at the appropriate dance school. By age 17 or 18, most professional dancers have begun auditioning. Advanced training is available at professional dance schools, conservatories, and some colleges and universities. Most professional dancers continue to take daily classes. Classes, workshops and summer schools are available at dance schools throughout the country. Lessons may include learning new movements and refining techniques, or it may involve learning an entirely new dance style in order to be more competitive. Altogether, professional dancers typically spend about eight hours a day in class, at rehearsals, learning new choreography, or practicing on their own. That includes working out to stay in shape, plus warm up and cool down periods. Few careers require so much training time – and on a career-long basis!

22

Formal Education Because dancing is strenuous and time-consuming, many dancers do not view formal education as a priority. While it is true that most dance companies hire on the basis of talent and experience rather than a college degree, a broad educational foundation can be very helpful. There are elements of literature, history, and the visual arts that will help more effectively express ideas and emotions. Plus, courses in other performing arts such as drama or music can be helpful in the interpretation of dramatic episodes. Such courses are essential if you want to cross over to acting at some point. Perhaps the best reason for pursuing a college education is preparation for the time when performing is no longer an option. Dancers tend to have short careers. The smart ones are well-rounded individuals who are prepared to switch into a second career when the time comes. Teaching is a favorite second career for dancers; many conservatories and colleges require degrees for teachers of dance. Studying dance in college has other advantages over training through dance schools. College dance programs provide classes that most independent dance schools do not. These include dance notation, stagecraft, improvisation, teaching methodology, anatomy, and cultural studies. Plus, there are other subjects not related to dance that may open up different areas of dance that students may build into lasting careers. For example, a college degree in dance might qualify you to become an arts administrator, a critic, a dance therapist, or a researcher. There are 60 dance programs accredited by the National Association of Schools of Dance available through colleges and universities. Students can obtain a bachelor’s or master’s degree, usually through a department of dance, theater, or fine arts. Program curriculums vary, but most include courses in jazz, modern dance, culturally specific dance, musical theater, ballet and other classical techniques, dance composition, dance history, and movement analysis. There are two types of graduate degrees: the Master of Fine Arts (MFA) and the Master of Arts (MA). The MFA is more performance based. Areas of study include choreography, performance, and arts management. It takes two to three years to complete the MFA degree program. The MA in dance is more 23

scholarly. Courses focus more on dance aesthetics, theory, criticism, history, and cultural studies. Completion also takes about two to three years, and a final thesis is required. A college degree does not guarantee a position within a company, but talent is essential. Unfortunately, talent cannot be taught; it is an inborn quality that is improved through technique classes. An individual with a dance degree is not necessarily the more talented performer. Regardless of whether you want to prepare for college or choose to forego college at least for the immediate future, you should take advantage of what your high school has to offer. There are many courses that will help you prepare for a career in dancing. Naturally, any courses in the performing arts will be beneficial, including dance, drama, stagecraft, music theory, music history and appreciation, literature of the theater, chorus, and instrumental music. Courses in the visual arts are also good choices. Dancing is about creativity and self-expression. You can learn about self-expression from studying other arts such as painting, drawing, design, and sculpture. Good communications skills are essential in this career. Take as many English language and literature courses as possible. Public speaking, psychology, a second language, and social sciences courses are also good bets.

EARNINGS INCOME FOR DANCERS CAN VARY GREATLY BY DANCE STYLE, LEVELS OF

experience, and area of the country where you work. It varies most by how many jobs a dancer manages to land throughout the year. Unemployment is a fact of life for most dancers. Even the most successful dancers face extended periods of time between jobs during which they must find ways to supplement their income. The ones with the most experience might sign on as guests artists with other dance companies or teach in private studios. Dancers with less experience often have to take jobs outside of dance in order to support themselves. It is rare for a dancer to be a full-time salaried employee. Most dancing jobs are short-term, lasting anywhere from a single day to a few weeks. It is the fortunate dancer who lands a job 24

lasting more than three months. Typically, dancers work under contract. The contract would specify the wages to be paid for the term of that job only. The pay rates can change from contract to contract, even for the same dancer. This makes it very difficult to determine how much any individual dancer can expect to earn over the course of a year, but the median annual income for dancers is about $25,000. Only 10 percent earn more than $50,000. Dancers who travel on tour are paid extra to cover the expenses of room, board, and travel. They tend to earn more overall when on the road because there is overtime for which they are compensated. Choreographers earn more than dancers. This is partly because they are highly skilled and experienced. It is also because, unlike dancers, choreographers are likely to be salaried. The median annual salary for choreographers is about $35,000. A small number of choreographers who are in demand earn more than $75,000. Dancers who belong to unions fare far better than those who do not. There are several different unions for dancers. A dancer may belong to one or more, depending on the type of performance. Dancers who perform live for major classical ballet companies, operatic ballet, and modern dance corps are members of the American Guild of Musical Artists, which is under the umbrella of the AFL-CIO. Actors’ Equity Association is for those who specifically perform in musical theater including Broadway musicals. The American Federation of Television and Radio Artists is for dancers who will appear on television, either live or on tape. The Screen Actors Guild is for dancers who perform on television and/or in films. The role of the union is to negotiate contracts between the dancers and the employer (who is typically a show producer or company management). Each union has basic contracts that specify minimum wage rates and conditions of employment such as number of hours to be worked and how often breaks must occur. But each individual dancer’s contract can be negotiated for more favorable terms. With experience comes bargaining power. The more experience a dancer has, the more likely he/she will be able to demand – and receive – pay rates and other conditions better than the basic agreement. 25

Union contracts also provide dancers and choreographers with employer-paid benefits. Benefits could include paid sick leave, health insurance, paid vacations, family leave, extended sick pay, and pension plans. Those not working under union contracts typically do not receive any benefits at all.

OPPORTUNITIES WHILE IT’S TRUE THAT IT’S NOT EASY TO MAKE IT AS A PROFESSIONAL DANCER,

it is equally true that there are plenty of opportunities. There are thousands of jobs for dancers and choreographers, many in places you might not expect. It may seem like it’s tough and getting tougher, but actually the rate of job growth in the field of dance is about the same as for all other occupations on average. The bulk of the full-time jobs are concentrated in big cities, with New York being the epicenter of the dance world. If you’re serious about becoming a professional career dancer, you’ll want to head to one of those cities. That’s where you will find the major national dance production companies, ballet companies, operas, and musical theaters. It is also where film, television, and video production companies are located. But there may be opportunities right in your back yard. Advertising agencies are producing commercials for radio and television everywhere. Independent film producers in need of talent are all over the map. Musical stock companies are providing jobs for dancers in every region of the country. Many of these companies operate the same way as Broadway – only they are usually seasonal. Also during the summer months, dance acts are needed for exhibitions, parades, fairs, and festivals. Dance groups are often affiliated with colleges and universities, providing opportunities for employment on a local level. When you think of life as a professional dancer, you are probably visualizing performing on a stage in front of an audience. But performing is not the only option available to dancers. There are opportunities in education, community work, recreation and fitness, management, and production. Each of these areas makes full use of your skills and experience as a dancer. In some cases, additional training or education may be necessary, but dancing itself is the foundation upon which they are all based. 26

Choreography Those who can create dances will find choreography jobs in every dance style. Wherever there are dancers, there must be at least one choreographer, whether it’s at a Vegas casino or national opera house.

Dance Therapy Dance is playing a growing role in medical treatment and rehabilitation. It is especially useful for treating stress and preventing physical and mental health problems. Dance therapists work with people of all ages in a wide variety of settings including psychiatric and rehabilitation facilities, schools, nursing homes, drug treatment centers, counseling centers, medical facilities, crisis centers, and wellness and alternative healthcare centers.

Recreation and Fitness Thanks to movies and television shows like Dancing With the Stars and Take the Lead, dance has never been more popular. This has created more opportunities to teach dance to the public in independent studios around the country. Often, community centers, the YMCA, and adult education programs provide dance classes. Someone has to be the teacher. Dancing is also commonly being used as a form of physical exercise. Gyms and workout centers hire dance teachers to lead dance/exercise classes such as Salsa or Nia (an exercise system designed by dancers for dancers).

Arts Management Not-for-profit companies and organizations hire dancers with administrative skills for a variety of positions. These are jobs that require creativity, a passion for the arts, and business acumen. Regional arts agencies, for example, hire experienced dancers with these skills to set up and manage seasonal festivals and community dance projects. In recent years, arts management has become a growing field with increasing specialization and training. There are even a number of graduate training and certification programs now.

Dance Instruction There is a growing range of opportunities to teach people of all ages for many different purposes. There are jobs in every area within private schools, public schools and colleges, independent dance schools, and the community.

27

Dance Notation This is a specialized area for dancers. Dance notation is the method of using symbols to record movement. Most employers are major dance companies who need to have their repertoire preserved for future use. Dance notation requires special training within one of the two main systems in common use: Benesh and Laban Notation.

GETTING STARTED THE ONLY WAY TO MAKE SURE YOU HAVE A SHOT AT A DANCING CAREER IS TO

dance. Take advantage of every opportunity that comes your way and don’t be too choosy. Experience is the key to your future. Dance whenever and wherever you can. Even small local groups and community organizations are often in the market for entertainment at meetings and get-togethers. They probably won’t pay much, if anything, but you should view every performance as an opportunity to polish your skills and plump your résumé. Continue to learn as much as you can. Start early and don’t stop. Take classes, go to workshops, and learn new styles. Find a mentor. If you see a local performer whose technique you really like, ask for lessons. Even if that person doesn’t normally teach, there’s a good chance you can at least get some tips and advice. Audition every chance you get. Ask your dance instructor to let you know of any auditions coming up. Look for the announcements in the trade magazines. Once you’ve auditioned, don’t sit around waiting to hear if you got the job. Keep going to more auditions until somebody hires you. Network to find more opportunities. Circulate among other dancers. Go to shows and try to meet anyone who might be in a position to help you find a job. Register with recognized booking agencies. Enter contests. You’ll find them advertised in trade magazines. There usually isn’t much money for the winner, but there are other benefits. It looks great on a résumé, it’ll boost your self-confidence, and it can get you the attention you need from directors and producers on the lookout for fresh, new talent. 28

Join dance organizations. It’s a good way to get the scoop on what’s going on in the industry. You will learn about workshops to improve your skills and make contacts that will keep you moving forward in your career.

ASSOCIATIONS O Dance USA

www.danceusa.org O Dance Educators of America

http://www.deadance.com/ O American Dance Therapy Association

http://www.adta.org O The American Dance Guild

www.americandanceguild.org/ O National Dance Association

http://www.aahperd.org/nda/ O National Association of Schools of Dance

http://nasd.arts-accredit.org/ O American Guild of Variety Artists americanguildofvarietyartistsagva.visualnet.com O American Guild of Musical Artists

http://www.musicalartists.org/

PERIODICALS O Dance Magazine

www.dancemagazine.com O Dance Teacher Magazine

http://www.dance-teacher.com/ O Dance Spirit

http://www.dancespirit.com/

29

WEBSITES O Dance Europe’s Job List

http://danceeurope.net/site/jobs.shtml O Loyola Marymount University

www.lmu.edu/Page10045.aspx O Dancer.com

http://www.dancer.com O Young Dancers

www.young-dancers.org/careers/careers.html O Answers 4 Dancers

http://www.answers4dancers.com/ O American Dance Guild Job Listings

http://www.americandanceguild.org/jobs.html O Dance Art

http://www.danceart.com O Alliance of Artist Communities

http://www.artistcommunities.org O SF Bay Dance Auditions

www.baydance.com/Auditions.htm O Actor’s Fund

http://www.actorsfund.org O Art Job

http://www.artjob.org O The Julliard School

http://www.juilliard.edu/ O Tisch School of the Arts

www.tisch.nyu.edu/page/home

COPYRIGHT INSTITUTE FOR CAREER RESEARCH 2010 CAREERS INTERNET DATABASE www.careers-internet.org

30