Freelancing from a Woman's Perspective

Alright, let’s be honest here. Nearly everything in the dance world is easier if you are a man. Not to say that those of us at the top of our professional game haven’t worked our butts off to get to where we are. But it is easier for boys to get scholarships, there are fewer guys at most auditions, and males are often given a bit more leeway in a professional work environment. Although this is a grand generalization, women definitely have more difficulty finding work due to a larger pool of competition. The challenge of finding work as a female dancer can be magnified when starting up a career as a freelance dancer.

Since all of my posts clearly come from my experience as a man in the freelancing world, I want to offer my viewers a chance to hear what it is like from a female perspective. I reached out to my friends Kathryn Morgan, Allynne Noelle, and Miriam Ernest to offer their experiences, thoughts, and advice for any woman trying to break into or sustain a freelance career. Enjoy!

The Freelance Artists:

Kathryn Morgan (New York-based): Former Soloist w/New York City Ballet. Youtuber. Writer of popular monthly advice column, Dear Katie, in Dance Spirit.

Allynne Noelle (Los Angeles-based):  Former Principal w/Los Angeles Ballet & Soloist w/Miami City Ballet.

Miriam Ernest (New York-based): Former dancer w/Grand Rapids Ballet.

The Interviews:

What type of freelance work have you performed?

Kathryn Morgan in Sleeping Beauty w/Tyler Angle (Photo: Paul Kolnik)

KM: Freelancing has been quite a new experience for me. At first I was just trying to get well from my illness, so performing wasn’t the main focus. But it actually helped me heal, and I rediscovered my love for ballet. Since leaving NYCB, I have gotten to do some really great performances. I have danced Odette/Odile in Swan Lake, guested in various Nutcrackers as the Sugarplum Plum Fairy, and performed in the world premiere of Snow White in the ballet's title role with Mobile Ballet. I also put on An Evening with Kathryn Morgan in Cleveland, where I shared my most personal experiences in an intimate performance.

AN: I currently dance with The Suzanne Farrell Ballet. Suzanne and her company are everything I have ever wanted in my professional life. Being a part of her company led me to make the decision to leave Los Angeles Ballet and supplement the rest of my year with freelancing. In the past, I have worked as a principal guest artist with Sacramento Ballet, State Street Ballet, and Inland Pacific Ballet. I have also guested for numerous schools and pre-professional companies.

ME: I have danced with The Suzanne Farrell Ballet for four seasons. In addition to this, I have freelanced with Emery LeCrone Dance, New Chamber Ballet, Ballet NY, Kathryn Posin Dance Company, Les Grands Ballets Canadiens de Montréal, and Texture Contemporary Ballet.

How did you get into freelancing?

Photo shoot (Photo: Rachel Neville)

ME: Each season with The Suzanne Farrell Ballet is short, usually about a month or so per year. My first season with Ms. Farrell was so wonderful and inspiring that I knew I wanted to keep returning. I realized I needed to find a place to continue growing as an artist, generate income, and stay in shape while TSFB was out of season. Freelancing was the natural choice.

Being new to freelancing, what have been your biggest challenges?

AN: The idea of freelancing sounds relatively simple when you think about it with the security of a full year contract. During my time under contract with Los Angeles Ballet, I was approached to guest with Sacramento Ballet, Inland Pacific Ballet, and Imagine Ballet Theatre (plus various Nutcrackers). I had to request time off during rehearsal weeks in order to accept outside work. I performed at the annual Dizzy Feet Gala performance one summer in LA, which fell conveniently during a layoff period. It all seemed simple and fluid. It's very different when you look at freelance work as a full-time job, requiring a full income to live, as opposed to when you see it as bonus or supplement to an already existing contract and income. I'm a planner and I like to know things far in advance. That really isn't something that comes with the freelance/guest artist life. I think when you're in a company, especially at the top end of the ranks, you're naturally relevant. When you no longer have that company affiliation to your name, unless you're working and performing you aren't really relevant at all. You're only on the radar when you're busy. It's like you disappear in between work. I was never big on social media, but I have found that it is an essential tool to keep people apprised of what I'm doing currently, my past contributions I have made to the art form, what lies ahead, etc.

Do you think that company credentials are necessary or helpful to work as a freelance artist?

ME: Yes and no. I think company credentials help a lot. I also think staying in shape and being your best self in class and interactions with choreographers/directors are just as important. I’ve seen men and women with impressive company credentials get fired because they were unpleasant to work with in the studio.

 

Allynne Noelle (Photo: J. McMerty)

AN: I don't think more or less marketable would be how I would look at it, so much as the degree of ease I previously thought I would experience marketing myself. I know my value set, my work ethic, and my talent. When you're in a full-time company, all that information is known and speaks for itself. When you freelance, you have to remind the ballet world of all you are as a dancer and person, and advocate for the strengths you can offer any institution.

 

Have you had any difficulty finding freelance work?

 

KM: Thankfully, most of my work has been offered to me at this point. I have been very fortunate in that. And when I was ill. I wasn’t interested in doing a ton of guesting anyway. So up until now, it has been a perfect amount. 

 

ME: I don’t necessarily find it difficult to find work. I do find it more difficult to find work that I am genuinely interested in and that pays well. While I am appreciative of every offer, I have learned to be selective to ensure safe working conditions and adequate pay. I babysit on the side to supplement income. It is something I love doing that isn’t too strenuous for my body.

 

How has your perspective changed since you started freelancing?

 

AN: I definitely realize now that the act of obtaining freelance work is very much a job in itself. Under a full season contract, freelance offers came occasionally and were always a bonus. I assumed that simply having an open calendar and being more readily available for freelance work would directly boost the number of offers I received. You absolutely need to seek the work for it to come to you. People show interest in me and seek me out based on my resume. Also, previous relationships and connections work in my favor. But, I still have to remind others of my availability. 

 

How do you promote yourself/find work?

 

Kathryn Morgan in Balanchine's Nutcracker (Photo: Paul Kolnik)

KM: I promote myself through social media, my website, and YouTube. I actually probably need to do a better job promoting myself to actual employers. I do find it difficult posting about myself all the time or reaching out to people basically saying “Hire me!” I have never been good at that, but I am working on it. While I was still sick, I started watching YouTube videos as a distraction. It suddenly occurred to me that for the thousands of beauty gurus online, there were no ballet dancers on YouTube. I wasn’t under a company contract at the time, so I thought I would make a few videos and see what happened. I never expected it to turn into what it has!

 

AN: I quickly realized that I wasn't very accessible or search-able to those I don't already know. I was never much for social media. I quickly realized the importance of branding myself and creating a solid social media presence. So, I have been working on that, as well as my website (which will launch very soon). I signed with a ballet agent based in New York City, and hopefully he will bring work that I wouldn't otherwise find for myself. A lot of this career is networking. I am a believer in cold-emails; introducing myself to companies who might need a principal female. I think it's hard for most dancers to become their own agent and advocate for themselves. We are trained from such a young age to do as we are told and deliver what's asked of us. My dancing has always spoken for itself. All I have ever had to do is dance in front of someone to get the job, the role, etc. Now, as a freelance ballerina, I have to speak out! I have learned to advocate for myself.

Tell me about freelancing in New York City.

Miriam Ernest (Photo: Joerg Didlap)

ME: I knew New York had a huge dance scene and several of my friends were already freelancing there. New York has plenty of places to take quality dance classes during and in between gigs, which can be difficult to find elsewhere. Most of my work is in the city, although I do travel to and from Washington, DC at least once a year to dance with TSFB.

 

What is your ideal job?

 

AN: My ideal jobs are mostly those I have been fortunate enough to do thus far. Short stints with professional companies in need of a principal female. My hope is to build a lasting relationship with these companies and return for future programs. I love the nature of guesting/freelance work. It's exciting, and also extremely beneficial as an artist to be constantly exposed to different dancers, new partners, and fresh eyes for coaching. I also really enjoy guesting for youth and pre-professional companies. I find it extremely gratifying to interact with dancers approaching that time where they may potentially make this art form a career. I can inspire them and offer any helpful insight I can!

ME: For me, an ideal gig is dancing for someone who believes in me and trusts me as an artist, and whom I respect in return. It includes getting paid an appropriate amount and provision of or reimbursement for pointe shoes and physical therapy.

What are the best/worst things about freelancing?

ME: The best thing is the freedom to pursue whatever movement and choreographers interest me. The worst thing is not having a constant income and having to pay for physical therapy, daily ballet classes, and pointe shoes on my own.

 

Do you have any advice for women that are interested in freelancing?

 

KM: I think the advice I would give to women who are freelancing is the same advice I need to hear. Don’t be afraid to put yourself out there! People need to be able to find you and see your work. You can still be kind and not pushy, so go for it!

 

Allynne Noelle in Agon w/Ulrik Birkkjaer (Photo: Reed Hutchinson)

AN: I'm still learning myself! But thus far,  I would say a most important piece of advice is to always be prepared. Work can come when you least expect it, and you want to be ready. You want to feel good about yourself and your dancing and put your best self forward. First impressions are important in any career, especially ballet. Stay in class and stay focused, even if you're frustrated. I like to spend my downtime taking class and supplementing it with barre, Pilates, or yoga and time at the gym.

 

ME: Don’t be afraid to inquire about pay and politely decline offers if gigs don’t make sense for you financially or interest you artistically. Use time between projects to cross-train, network, and market yourself. Be kind to everyone you meet. You never know who someone is, especially in an open class. Freelancing is challenging, but can be artistically and personally rewarding.

 

What upcoming gigs are you looking forward to?

 

KM: An organization called Ballet in the City is presenting me at the Kennedy Center in Washington, DC, sponsored by Bloch dancewear. It is an entire evening about my life and career. I will be dancing a wide variety of pieces; some classical, some Balanchine, and a few new things. Performances are on March 29 & 30th at 7pm. I will also be teaching master classes at Washington Ballet on March 31. Here is the link for tickets: https://www.kennedy-center.org/calendar/event/RQXBN 

 

AN: I will be performing with Sacramento Ballet all month in their Bach to Now and Beyond program (March 17-April 2). I will be featured in a workshop performance, premiering excerpts of a new ballet by Melissa Barak, in New York City (May 2) and then working with Barak Ballet after that in Los Angeles. 

 

ME: Currently, I am looking forward to performing with Emery LeCrone Dance at Jacob's Pillow on June 23.

If you would like to check out more information about these lovely freelancing women or contact them for work, check out their information below.

Kathryn Morgan: 
Website: http://kathrynmorganonline.com/
Youtube Channel: https://www.youtube.com/user/Tutugirlkem
Instagram: https://www.instagram.com/kathryn_morgan/
Twitter: https://twitter.com/Kathryn_EMorgan

Allynne Noelle:
Website: www.allynnenoelle.com (coming soon)
Email: Allynne.noelle@gmail.com
Instagram: https://www.instagram.com/allynnenoelle/

Miriam Ernest:
Website: www.miriamernest.com
Instagram: https://www.instagram.com/miriamernest/

Staying in the loop

Once you stake a claim on your own little part of the dance world by becoming a freelancer, you will come to realize that, at times, you will feel more connected to the dance world than ever. On the flip-side, you will find that there are times when you feel more disconnected from dance-happenings than ever. I pass from extreme to extreme. Throwing my Contact event back in October gave me an opportunity to feel closely connected to many artists. But spending three months in Alaska, for instance, watching friend's Facebook and Twitter feeds filled with performance photos and merde wishes can make me feel that all of the excitement of the dance world is flying by thousands of miles from the epicenter of my career. I don't want to fall behind the mark. I don't want to walk into a conversation without an understanding of what is current. I don't want to stop expanding my experience as a dancer. So, I find ways to stay up-to-date on happenings in the dance world.

The art of dance is always evolving. Even when companies are putting masterful classics on their stages, the dancers who dance these works have different training, personalities, and styles that keep even the oldest of works fresh and exciting. One important aspect of the work a freelance dancer must commit to is keeping up with current happenings in their art. The dance world is wildly interconnected and people are more compelled to develop a relationship with you if they can relate to you through common bonds and interests. Dance is already a common bond, so it just needs to be cultivated. The other reason to stay up-to-date is because it improves your ability to market yourself and to search for work.

Important pieces of information to seek in your research include companies and their current programming, who is dancing where, and how companies are being perceived by the public. I find that I spend much of the summer scanning company websites to see which works they have chosen to put on during their coming season. It is always interesting to see trends and to analyze why they are happening. For instance, my first season as a professional with Houston Ballet, everybody was performing Balanchine works. If you weren't in the know, you could easily deduce that there was a reason that so many companies were performing his choreography. The reasoning? If Balanchine were still alive, it would have been his 100th birthday. This was the perfect reason to celebrate the choreographer and put his work on nearly every major and minor ballet company's stage. This season I have been quite intrigued by the multitude of companies that have restaged or premiered a new version of Stravinsky's Rite of Spring (one of my favorite pieces of music EVER!). I am not

Freshly painted for Tetley's "Rite of Spring" with PNB

aware of the reasoning behind this trend and maybe it will show its' face in the years to come. But it is likely that one company performed this work last season and the company had great ticket sales. Perhaps, a combination of one director's love for this work and the hype of one company's good fortune in the past year or so caught the attention of directors across the country. Or in the case of current up-and-coming New York City Ballet choreographer and newly-promoted soloist, Justin Peck, who recently created a piece for NYCB to rave reviews. He had one successful piece with a handful of promising write-ups and now everybody wants a piece of the pie. Miami City Ballet has already tagged their name onto his fresh success and mentioned that he was working with the company on social media. A few days after posting, they mentioned that he was working on a collaboration with only two dancers from the company. Nonetheless, they wanted to ride on this young choreographer's coat tails. But this is the beginning of a trend and I would put money down that he will be working with multiple companies over the next few years.

My reasoning for constantly checking rosters of dancers hired by companies is three-quarters professional and one-quarter personal. As I mentioned earlier, the dance world is quite small. It is easy to lose touch with friends and former peers. It is not uncommon for dancers to transition between a handful of companies as their careers evolve. I like to keep up with the whereabouts of my friends and to see how successful they have become. But on the professional side of things, it is interesting and helpful to see what kind of dancers directors are looking to hire. Rosters are usually updated somewhere between August and October prior to season opening performances. Scouting out information on dancers, their training, and their experience can help me gauge where I am in my career, where I want to go, where I should seek out work, where I shouldn't waste energy, and much more. You can also see whether a company is entering a transitional period, which may mean that they are more likely to hire freelancers as they regroup. Aside from company websites, I feel it is important to check out features in Pointe Magazine, Dance Magazine, Dance International, and Dance Spirit to see which dancers are being pushed into the spotlight. It is not uncommon for me to perform a Youtube search on these dancers to see how they dance. If I am isolated for a handful of months on a freelancing gig, this is the perfect way to inspire myself. I can look for qualities that I appreciate and take them on as corrections or goals in my everyday class and rehearsals. As dancers, I feel that we are most inspired by other dancers. I don't know one professional that began dancing because they saw a choreographer working. They were inspired by a dancer, who happened to be compelling dancing the work of a choreographer.

Performing my own work - Philly Fringe Fest(Photo:Bill Hebert)

One of the biggest challenges for me throughout my career has been to put less focus on a review/opinion and worry more about how I felt during a performance. This can be a challenge because most dancers want to see their name with stars around it. This is also harder because I have become good friends with a few reviewers for major dance publications with whom I love having lively discussions about performances we have seen. All of that aside, I find it extremely important to see how an educated audience is perceiving the growth or decline of companies. Of course, any review I read is viewed with a grain of salt and with the understanding that it is one individual's (or their small circle's) opinion. But reading multiple reviews of companies and their dancers can give me important information pertaining to what is intriguing, current, off-kilter, compelling, and beyond. Also, the more interest there is in a rising company, the more likely they are to have a multitude of reviews. I know that a performance is being given great weight if New York reviewers are sent away from their hometown to review a company's performance.

Now that I have explained all of the reasons one should stay up-to-date on all things dance, what are the best ways to stay current. First and foremost, staying in touch with your dancing friends. I find a ton of information through phone calls, Facebook/Twitter feeds, and messaging back and forth. If you don't have many friends that are involved in the professional dance world, you can follow dancers that you look up to on Twitter. Beyond that, I regularly check company websites. As I stated above, dancer rosters are typically updated between August and October. Most companies make announcements for their upcoming seasons between March and May. Many also have a press section on their website, where recent reviews and press releases are listed. I frequent the links section of Ballettalk. Each day, this site's administrators post links to reviews and stories in publications about companies large and small. Reviews and features are also posted in Pointe magazine, Dance Magazine, Dance International, Dance Spirit, and other respectable publications. If you know exactly what you are looking for, go to Google and type directly into the search box.

It is easy to fall out of touch with happenings in the dance world. If you don't put in the work to stay up-to-date, you may get behind and fall out of the loop. I always tell people that freelancing is a lot of work. Aside from dancing, teaching, marketing myself, and writing this blog, I put forth great effort in keeping up with current events. Although I am genuinely curious about what is happening out there, the time spent researching these items is work. I consider it a part of my job to put in a great deal of time doing this research. And to be completely honest, it really pays off.