Should Artists be Shamed into Taking "Normal" Jobs?

At the beginning of 2014, I posted an article on Facebook about the hotly debated emergency extension of unemployment benefits. My intention was to use this platform to put a face to a statistic for people who are connected to me through this social media site. Instead of getting the chance to inform some of my friends, an acquaintance I had met only a few times nastily and judgmentally brought an unexpected wave of wrath onto my page. This person, who barely knew me, was judging my use of unemployment without even hearing how I ended up on the assistance program or how I had been desperately searching for a full-time job in my field. I had spent a great deal of time trying to find solid employment in the dance world. But instead of asking for facts, she berated me by stating that I was abusing the system and should just go ahead and get a restaurant job or work as a barista. She felt that it was my duty to take whatever menial job necessary to get off of unemployment. After spending months and months executing well beyond the 3 required weekly work searches (3 being the minimum), I was being reprimanded by someone who wasn't informed in the least about my situation. Little did she know that I was barely collecting benefits as it was because of my freelance work and part-time teaching job with Koresh Dance Company. While it was uncomfortable having this woman awkwardly attack me on a public forum, she also got me thinking about what was considered an appropriate job for not just myself, but all professional dancers and artists.

I wouldn't necessarily say I've ever had a normal job. When I was 14, I would help my mom out at her Dollar Store. But I was so young and dedicated to dance that it didn't last long before I was at the studio daily. In fact, I can't even remember if she paid me. My first full-time job was working as an apprentice with Houston Ballet at the ripe age of 19. I have spent 12 years cultivating my career as a dancer, a choreographer, a teacher, and an advocate for the arts. When I found out that the benefit of unemployment (my safety net and right after being unrightfully fired for an on the job injury) wouldn't be extended, I panicked. I was already employed part-time and collecting a small amount of salary each week teaching at Koresh. I had also obtained about 12 weeks of dance work through the end of Spring. I wouldn't end up receiving unemployment during those weeks that I was dancing and received a reduced rate when I was off due to my part-time compensation. Unemployment was just a safety net for me until I could find a regular place to dance and call home. But all of a sudden, I found myself questioning if I was a bad citizen and whether or not I should desperately take any minimum wage job I could find, which I would have had no experience in and probably wouldn't provide anything sufficient enough to pay all of my bills.

I have many freelancing friends that take restaurant, barista, and other random jobs just to make ends meet. They often miss class and stand on their feet for hours before and after working those very feet in a rehearsal studio. Not only is this exhausting, but it can heighten one's chance of injury and accelerate the process of burnout. When I started looking into getting a normal non-dance related job, I found myself living in fear and anxiety. Will I have to give up my dance career? Will I suffer from depression? Will the quality of my dancing go downhill? How can I go from making $1000 per show to minimum wage plus tips? Beyond that, can my eccentric artist personality coexist in a non-artistic workspace? I had so many questions that came up when I considered this as an option.

The woman that chose to publicly criticize me stated that she had to get a restaurant job while trying to make ends meet while striving to make a career for herself as a ballet student going through finishing school. She, unfortunately, never made a professional career as a dancer and moved on to other work. When I read this information, it made a little more sense. At one point in this person's time as a dance student, she had to step outside of her art to make ends meet in order to keep reaching for her goal of dancing professionally. While she had the heart of an artist, it wasn't her career. Since then, she has cultivated a successful career beyond her dancing years. Without experiencing our career, people often assume that a professional artist's art isn't actually a career. When she argued that unemployment wasn't an end to a means for me to continue practicing my art, it all began to make sense to me. It also made me very sad about the way that most people, including a former hopeful dancer, looked at artists. It is so very often that people forget that art is a legitimate job. If you work in marketing, you should look for jobs in the marketing field. Not McDonalds. But if you are an artist, you are expected to look for a job in the field of "what-the-fuck-ever-I-can-get." It is greatly unfortunate that this double-standard exists. But a great percentage of our society feels this way, even those that once aspired to be just like me and my artist friends.

So, the question is, should I have just taken any menial job outside of my profession that seemed below my standards because I am a professional artist? I don't know. But even without one of those jobs, I have found ways to make ends meet (even if, at times, tightly so). And because I held out and resisted the temptation of this localized socio-cultural bullying, I was able to obtain a full-time job in my field that appropriately represents the professional artist that I am and rewards me as such. Yes, sometimes desperate times call for desperate measures. But professional artists need to remember that art is their job. Not some fun, child-like hobby that we are too stubborn to let go of.

A desperate moment in my new work, Distinct Perceptions (Dancers: Shira Lanyi & Allen Abrams - Photo: Dave Friedman)

Guest Blogger - Boston Ballet Principal Lia Cirio - World Ballet Competition Gala

Lia in Slice to Sharp by Jorma Elo (photo: Gene Schiavone)

Please let me introduce you to my friend, Lia Cirio. Lia is a Principal dancer with Boston Ballet who also works as a freelance dancer when she isn't commanding the stage at the Boston Opera House. Although I had known Lia through other friends for years, we officially met while freelancing back in September for the Guggenheim's Work's & Process program with Avi Scher & Dancers. Lia has graciously written a post for us about one of her recent freelancing jobs. Continue reading below to hear about Lia's experience as a part-time freelance dancer:

Lia & Paul at the World Ballet Competition gala

My most recent "gig" was performing at the World Ballet Competition gala in Orlando, Fl. This is the second time I have performed in this gala. Last year, my brother, Jeffrey, asked me to go with him. We performed the Le Corsaire pas de deux, along with a Viktor Plotnikov piece (Jeffrey had been a competitor in 2009, where he met Vasile Petrutiu, director of the World Ballet Competition). This year, Jeff was unable to attend, so I took Paul Craig who is also a member of Boston Ballet. We performed the Coppelia wedding pas and a piece by Viktor Plotnikov.

Summer layoff can be a strange time for dancers. Some dancers just like to have down time and others like to stay extremely busy. I probably tend toward the latter, the busy one. Galas can give dancers something to do in their down time, like provide a paycheck, opportunities to perform something they may not get to with their home company, and last but not least, a chance to travel. In addition, it's a lot of fun meeting other dancers and seeing old friends. After all, the ballet world is very small. 

This time around was not quite as stressful, as I had already danced the Coppelia wedding pas in a couple of other galas. It's also so much fun to see what Viktor Plotnikov will come up with. The partnering in his ballets is always a challenge, but in the end fulfilling. I enjoy working with him and feel that I grow each time I am in one of his pieces.

Dancing in Orlando is something I'm a little bit familiar with because I have danced there several times already. I have friends in Orlando Ballet and I love the Orlando audience. Everyone is always so welcoming and excited about ballet. This year I got to see some people I knew, like Rolando Sarabia, Joan Boada, Jonathan Jordan, and Maki Onuki. I finally got to meet someone I have been wanting to for awhile - the beautiful Maria Kotchetkova. I was so thrilled to find out that she follows me on Twitter and Instagram...haha! 

Lia enjoying Disney World

I felt as though my performances went well. We ended the night with a barbecue for all of the "stars" at Vasile's home, hanging out and sharing stories.  Hearing what other dancers go through is healthy and knowing we share the same issues is comforting. 

As if all of this was not enough of a reward, dancing in Orlando brings one extra benefit.  A dear friend of Orlando Ballet and huge supporter of the arts, Wally Harper, was able to offer us some free passes to Disney World. A few of us ended our trip visiting one of the most magical places on earth:)

That was the first stop of my summer. Now, I'm onto some teaching, coaching, learning a new pas for a gala in August, and rehearsing Don Quixote for a gala in July. Definitely a busy one!

Lia w/ Sabi Varga in Tsukiyo by Helen Pickett (Photo: Gene Schiavone)

Follow Lia on twitter or Instagram: @MsLiaC