Catch Up on LOFD (Vol. 3) - Previous Blog Posts

My instep in Steps on Broadway - I'll be teaching Contemporary classes 12/19-12/22

Life of a Freelance Dancer has become so much more than a blog. With over 175 posts, 200,000 views, and readers in more than 70 countries, we have become a great influencer in the world of dance and independent contracting work. It has become a major part of my life and career, a tool for dancers around the world, and has influenced a great many artists as they embark on their professional careers as freelance artists. I've always been a fan of Blogger and enjoy keeping my blog in a simple, old-school format. But one issue that this poses is that there is no easy way to look back into the archive of blogs that I have curated. So, every few dozen posts, I do my best to list every blog that I have ever written for easy access for all of my readers. So, welcome to your semi-regular list post. When you look below, you will find every post I have ever written. And if you want to dig deeper into our archives, you can click on the first and second volumes of Catch Up on LOFD. Enjoy and Happy Holidays!!!!!!

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See Blogs 1-123 here - Catch Up on LOFD (Vol. 1) - Previous Blog Posts

148. See Blogs 124-147 here - Catch Up on LOFD (Vol. 2) - Previous Blog Posts

149. New York Called

150. Money Talks - Determining Your Value

151. How to Write a Freelancer's Resume or CV

152. LOFD receives significant mention in Dance Magazine

153. Good & Bad Ways to Deal with Freelancing Anxiety

154. How to Come Back After an Injury

155. Freelancing from a Woman's Perspective

156. I'm a Modern Day Gypsy

157. "Pas de Chat: Talking Dance" launches on Itunes

158. Over-Promoting on Social Media

159. The Freelance Instructor & Ballet Master - Matthew Powell

160. Developing Your Networking Skills

161. Life of a Dance Podcast Host

162. Adapting to Differing Company Practices

163. Determining Rates for Teaching

164. The Freelance Choreographer - Outside Perspectives

165. Respectful Ways to Respond to Issues

166. The Art of Putting Yourself Out There

167. A Candid Perspective - Curate This

168. The "R" Word - Retirement

169. Sharing LOFD on Popular Podcasts

170. How to Reach Out to Somebody You Don't Know

171. Get Out of Your Comfort Zone - Honeymoon Edition

172. Acting Professionally in a Rehearsal Studio

173. Halloween Edition - 11 Scary Thoughts Dancers Have

174. Healing Divides through the Arts

175. *EVENT ALERT* - Managing the Freelance Life - Monday, Dec. 5th

176. Who to Thank & How to Do It

177. Accepting Payment at the End of a Gig

"Pas de Chat: Talking Dance" launches on Itunes

It is with incredible excitement that I share this news with you. Over the past few months, I have been working with a producer to create my very own podcast as a part of a new and first-of-its-kind network featuring dance. Pas de Chat: Talking Dance launches TODAY on itunes as a part of the Premier Dance Network. Listen in every Friday for a weekly conversation on all aspects of the professional dance world. We will be releasing 6 episodes over the next week or so as a part of our launch here (http://balancing-pointe.com/pas-de-chat-podcast/). Also, be sure to Subscribe on iTunes, rate, comment, and download our episodes by clicking here!

As host of this podcast, I will candidly share my experiences and thoughts on the workings of the dance world as I travel the globe creating ballets, teaching future generations of dancers, and performing for audiences. This podcast will premiere alongside Kimberly Falker's Balancing Pointe, Megan Fairchild's Ask Megan, and the young aspirant dancer's Becoming Ballet (currently listed as New & Noteworthy on Itunes) podcasts on the Premier Dance Network.

I just want to take a moment to give all of you, my readers, a special SHOUT OUT and a huge thank you for supporting me and reading Life of a Freelance Dancer over the past 4 years as I have shared my experiences, knowledge, and insight that I have gained throughout my dance career. Through your interest, viewership, and support, I was featured in Dance Magazine this past February alongside New York City Ballet Principal Megan Fairchild and her podcast. After reading this article, Premier Dance Network producer Kimberly Falker reached out to me seeking my insight and voice for a new show on her channel. From there, we started the process of producing Pas de Chat: Talking Dance. This podcast will not be replacing my work here at Life of a Freelance Dancer. Instead, it offers me a new platform to talk about a broader set of topics relating to dance and to gain greater exposure for myself, this blog, and the art form of dance. You will still have plenty to read on here!

Now, after months of preparation, this podcast is available for free on iTunes and on the Premier Dance Networks website (official site to come soon). You can listen to the first episode NOW by clicking on this link here! Enjoy!

Presenting Core-ography: "A Global Dance Storytelling Project"

Core-Artist Lauren Fadeley (Photo: Alexander Izaliev)

Happy World Ballet Day! Nearly six months ago, I was taking the train back from teaching in the suburbs of Philadelphia. I had been sending my choreography out to companies to share my work in hopes of being hired for commissions. And while many of them expressed interest in my work, I hadn't realized that most companies have their seasons planned 2-3 years in advance. While listening to the sleepy drone of the train chugging along the tracks, I thought to myself, "How do I continue to fine-tune my craft, while staying true to myself throughout the process and product?" At that moment, I thought of you, my readers of Life of a Freelance Dancer.


For years, you have gotten to share in my career wins and hear about my losses and darker experiences. At times, people have vocalized their discomfort that they felt I had crossed the line in sharing my personal life. But what has kept me writing over the years have been those people who reach out to me and says "Thank you for sharing your story. It helped me through a difficult time and let me know that I wasn't alone in my situation." From all of this, Core-ography was born.

My hope for this project is that our incredible artists will share deeply personal experiences to help viewers worldwide understand that we all share in life's challenges. And in response it will help inspire people to express themselves more freely.

Please enjoy the premiere of our first mini-documentary in my Core-ography web series. Listen to Pennsylvania Ballet Principal & Capezio Athlete Ambassador Lauren Fadeley share her journey in joining New York City Ballet at the young age of 16, quitting the company 2 years later after suffering an injury, attending college, fighting through clinical depression, and finding her way back to her art form. Be sure to watch through the entire interview to see her dance a beautiful choreographic expression of her life-defining experience.

We have already received attention from Pointe magazine and on the Balancing Pointe podcast. I am so excited to see where this project goes. Enjoy and be sure to subscribe to our channel to receive updates as we tell 11 more incredible artist's stories!

Video Break - My New Choreography Reel

I spend a lot of time working on so many projects that it can sometimes be hard to keep track of where I am going and what I am doing. Well, amongst the craziness of my first few weeks in my new job position, I have still somehow found a way to keep freelancing at the forefront of my attention. One of my favorite things is when I receive new footage of a piece that I have danced in or created. Well, I received footage of Distinct Perceptions, the piece that I choreographed for the National Choreographers Initiative a few weeks ago, and have finally managed to update my choreography reel to start sending out. I am really excited to start pushing my freelance choreography career as much as I have with my freelance dancing. Here is the new reel. I certainly hope you enjoy!

Things I've learned while freelancing thus far

I'm in a weird mood today and have really been itching to get some content out for my readers. Per my odd mood, instead of writing a regular run-of-the-mill blog, I am going to change it up and serve you with a BList, or Blog List (aren't I ingenious?). Today, I offer you a list of things I've learned while freelancing thus far. Ya know, since I still have so much more to learn and experience. Enjoy!

- Since I don't dance for any company full-time, I don't have the option of company class every morning. If I don't take class every day of the week, I am not going to get out of shape, lose all of the technique I've been working on since I was 2, or get fat.

- If I don't take class multiple times a week, I will get out of shape, find certain areas of my technique are faltering, lose strength, and possibly get fat.

- Just because you are offered to travel somewhere exotic, doesn't mean it is a great offer. For instance, I was offered to go to Hawaii to perform Nutcracker. I would fly the day before the shows and go straight from the airport to rehearsal. And I would fly out the day after the shows. Nothing like a half-day of travel into rehearsal, 6 shows, and then another half-day of travel without getting the glory of seeing this paradise.

- Sometimes it seems you are approaching an agreement with an employer. This doesn't mean you should get excited. It is not uncommon for all communication to suddenly cease and to never hear from said employer ever again.

- Getting to travel to dance around the world is exciting and really cool. Most people you interact with will think it is the most glorious thing ever. Though, sometimes you just want to sleep in your own bed, pet your cats, and spend time with your partner/lover/close friends/family/etc.

- It doesn't matter how small or under the radar most companies are, there are amazing dancers EVERYWHERE! Not just in the largest companies that receive the most press.

- Nobody should EVER be placed with a host family that doesn't have wireless internet. Just saying.

- Usually, at least half of the people that take advanced open classes probably belong in beginner open classes. Also, they have absolutely no spatial awareness. This can present a challenge when you are trying to keep in shape and challenge yourself as your own teacher.

- NEVER negotiate via skype or phone. Get it in writing (usually via email). Also, don't be afraid to make requests that you may feel are out of reach. If they are and the employer is in this negotiation in good faith, they will compromise or explain why they can't agree to certain terms.

10 degrees in Anchorage - I left coat in car to go clubbing

- Alaska isn't a scary place.  (I will be returning to dance with Alaska Dance Theatre for their Winter season this January - April).

- Leaving for a gig that is more than a month is a great reason to throw a party! Which means you get multiple going away parties a year!

-  It is alright if I take a contemporary class for my warm-up/technique class. I won't lose my ballet technique by supplementing other styles and I will expand my reach as an artist.

- Some people will ask you to do things for free. But others will compensate you like a rockstar. Show your appreciation when due. And be prepared to perform like said rockstar!

- You will have better access to footage/pictures of your career than you would ever have dancing for a unionized company.

- If you need something, you have to ask for it.

- New York is the easiest and hardest place to freelance. There are more gigs per capita, which are easily accessible, but most freelancers can't afford to live comfortably on dancing itself in Manhattan, let alone any other safe neighborhood in a different borough

- Some gigs will be horribly unprofessional. Try your best to complete your duties, but don't forget to respect and protect yourself. If you feel like conditions are unsafe, speak up. If you are not getting paid on time/correctly, make the employer very aware that this practice is not acceptable. Be sure to document all of these activities to protect yourself.

- Integrity is everything.

- The internet is your best friend. Along with Google. Go on the search engine, think of a place you want to visit, add the word ballet at the end, and unabashedly email. (I want to visit Atlanta and I love to dance. Google: Atlanta Ballet. Obviously, you will get Atlanta Ballet, but keep searching. Then, email these companies that you are available for work. Before you know it, you could be traveling to Atlanta to work).

- One of the most important tools of the trade are your freelancing friends. Not only can these friends pass work along to you if they are unavailable, but they know exactly what it is like to be a freelance dancer. Nothing beats the support and advice of a friend that has been through exactly what you may be going through.

- Most professional dancers are the same around the world. Amazingly talented and slightly insecure. No matter the front they put up, they really just want to be accepted. Also, nearly all pros really know how to have a good time.

A home-base experience - Dance Fusion

Myself & Gwendolyn Bye in Threnody - by Mary Anthony

One of my very first freelancing gigs took place in Philadelphia. I had finished the Summer series with the company that I had been dancing with regularly and I was pretty green when it came to looking for work outside of my company life. My boss at the time had mentioned that a local modern company needed a few men to be a part of their reconstruction of a modern work by Mary Anthony that had been choreographed in the 1950's. I wasn't sure if I was up to the task of dancing with a modern company and was also reluctant to commit to dancing a "modern" piece, especially of that era and which I hadn't heard of or seen before. I needed work for the rest of the summer and I didn't know how to look for other work at the time. So, I agreed to dance in the Philadelphia Fringe Festival as a guest artist with Dance Fusion.

EWWWWW!!!!! CENTIPEDES!!!!

I had only been living in my apartment in Philly for about a week at the time. And to be completely honest, it was a disaster. Although our time there was short-lived, my partner and I had to deal with issues ranging from a centipede infestation to the ceiling collapsing to rain pouring on us as we slept through a poorly installed window A/C unit. To top all of this off, one of our cats nearly died of a urinary blockage and was still quite ill after we had brought him into our new home. It was hot outside and I was exhausted after finishing out my final season with PNB, moving across the country, and beginning work with the new company a day after I moved. I remember the first day that I had rehearsal with Dance Fusion, I had been running around in 100 degree heat like a chicken with its head cut off and I was at my wits end. Nonetheless, I jumped on the subway and headed to West Philly for my first day as a "modern" dancer since I was 16.

My first rehearsal started with a Mary Anthony modern class directed by Gwendolyn Bye, the director of Dance Fusion. It wasn't a hard class, but it was way out of my comfort zone. Luckily, Gwen isn't a nasty, aggressive work-horse. She is a very open-minded, thoughtful person who prefers to suggest an idea versus forcing you into her preferred method of dancing. After taking class, I started to feel that I could handle being a "modern" dancer for 5 weeks.

We moved on to rehearsal and I was thrown into the piece, Threnody, which the other company members had already been rehearsing for a handful of weeks. The process of learning this work was slower than the fast-paced world that I had come from while dancing with PNB, where we would put together a work in 2-3 weeks before it was put on stage. I definitely didn't mind this less stressful approach. It was now late July and we had until the beginning of September to perform the piece. Granted, we did only hold rehearsals twice a week in the evenings for about 2-3 hours. Nonetheless, this process was low stress. I was given more time to adjust to the foreign style. This was a godsend, as I was also adjusting to a new city, a new life, and all of the stresses that go along with that.

It was nice to develop a summer routine around my rehearsals with the company. If I wanted to experience a bit of a summer break, I could sleep in and take an open ballet or contemporary class at Koresh Dance School. If I wanted to feel more regimented, I could wake up early and take a ballet class, too. Having just moved, there were a lot of odds and ends that needed to be taken care of, as well as handling all of the disasters that were happening in our "slumlord" apartment. On top of all of that, there was a rare east coast earthquake and hurricane. The dancers of Dance Fusion quickly became family and helped me calm down when I felt like my apartment was going to fall down on top of me. What I really realized was that this opportunity was a blessing. One thing that I felt dancing for a major ballet company outside of NYC was disconnected. We didn't really associate with many in our community when our ballet company was already a huge one in itself. In Philadelphia, there are many small companies and projects happening that are under the radar due to its close proximity to NYC. Once you meet one person, you are suddenly connected to an entire community in this big-little city. I remember thinking to myself that one of the reasons I had left my previous job was because I felt so isolated. This experience helped me realize that I am not just part of one institution, but I am a smaller part of a greater whole.

Back to the experience, rehearsals continued through August and we even took a trip to NYC to hold an open rehearsal at the Mary Anthony Studios. This was, perhaps, one of the most interesting experiences I have EVER had in my dance career. Mary Anthony is in her mid-90's and still kicking. Not only that, she doesn't just own her own dance studio. She lives in it. Mary Anthony is one of the last living artists that I know of who continues to live a wild Bohemian artist lifestyle. She barely spoke, but I will tell you that she instilled great fear in me when she opened her mouth and aggressively shouted, "You are too PRETTY! You're a SAILOR...You've lived a HARD life." She was referring to the ballet technique that I still to this day am working on releasing when I am dancing extremely modern works. She sat very quietly through most of the day, but was very gracious to her entire cult following that joined us that evening.

The week of performances went by quite quickly. We performed at Drexel University's Mandell Theatre. By the time that we had moved to the stage, I was quite surprised to find that I was really enjoying myself and my fellow dancers. I was given a character to portray that was far outside of my personality and far away from anybody I have ever known. I started to feel my inner artist come out. Suddenly, I stopped worrying about how easy or hard or awkward or out of my style the steps were and I became a young, rebellious sailor that was taken from his mother by the sea.

Jesse Sani, Sean Rosswell-Dubbs, and myself performing Threnody - by Mary Anthony

From the beginning, I was slightly skeptical about diving into this experience. But in the end, I was greatly rewarded by this opportunity. Not only that, the people that I got to work with were wonderful and I continue my friendships with them today. This experience was the first thing that opened my eyes to dancing in styles outside of classical and contemporary ballet. Maybe it didn't improve my ballet technique, but it stretched me as an artist. In fact, Im looking forward to it stretching my artistry again, as I will be performing with Dance Fusion again in the Philly Fringe Festival this coming September. And this time, Im looking forward to it!

Dancing in the last frontier

Today, I'm going to offer a little glimpse into my life. Back in June, when I first left my "big company" life, a colleague I had been dancing with mentioned that her close friends had been appointed to lead Alaska Dance Theatre in Anchorage. They asked her if she knew of any male dancers that would be available to dance in what was to be the company's first residential production. This was a big step for the organization, which is restricted by its isolated location. I was excited by this news, as this was the first time anybody had shown interest in having me freelance.

In June, ADT and I had an initial conversation where we expressed our mutual desire to work together. After months of discussion, I was offered to dance in the company's world premiere production of Othello. I spent much of my career praying that the big company I danced with would show me the world on tour. The funny thing is that it took me leaving for that to finally happen.

As quickly as I became excited for this opportunity is as quickly as my excitement turned into fear. What had I done? I just committed to 5 weeks in Alaska...in the winter! Not only was it going to be freezing cold, but it was going to be dark. And there was going to be a lot of snow. And isn't Alaska a really conservative place for a liberal dancer that lives a more alternative lifestyle. Also, what about my partner? We've been together for 6 years and we have never spent more than 2 weeks apart from each other. How could I have not taken all of these things into consideration?

As the days got closer, I became more and more nervous. I was stepping way out of my comfort zone. I was going to stay with a host family. I would be dancing in a company with a brand new artistic director in a style that I wasn't familiar with. But, being the person that I am, I always calm my fears by being very open and honest about my concerns. This can sometimes be uncomfortable, but there are some things that you must ask if they are important to you. Luckily, ADT's ballet mistress, Dubraskha Arrivillaga, was very helpful in addressing my concerns.

On January 30th, I embarked on my 15ish hour trip to the "Last Frontier." I arrived late in the evening. This was the first time that I had ever been greeted at an airport with my name on a sign. As we drove to my host family's house, I watched smoke and steam rising out of houses at a glacial pace through the bitterly cold air. It was -15 degrees. All of the roads were snow covered and the city felt a bit more suburb than city.

Welcome to Alaska Dance Theatre

I moved in with my host family and had a day to acclimate myself to the time and culture change. Living with a host family can be a great experience. I grew to feel at home with them. After a day off to adjust, a brand new group of dancers converged at the ADT studios to create art and to offer dance to a community that has never had a high-quality, fully professional residential dance company. It was a risk for all involved, but sometimes in the greatest risks come the grandest rewards.

We spent the next 5 weeks with Artistic Director, Gillmer Duran, creating his new production of Othello. We took class every day at 9:30 am and rehearsed until about 4 pm, when the school began classes for the day. One aspect of rehearsals that I really enjoyed was that the choreographic process tended to be equal part choreography being set and equal part collaboration. This production felt like it belonged to both the choreographer and dancers. After rehearsal ended for the day, company dancers were also given the opportunity to share their knowledge by teaching in the school.

Matanuska Glacier

When our work days ended, if we weren't too exhausted, we would hang out with one another. The atmosphere was quite familial and very supportive. I was even able to convince my partner to visit for a week to experience Alaska with me and to make sure that we didn't go 5 weeks without seeing each other. During the weekends, we had time to explore the wondrous beauty that Alaska has to offer. We were lucky enough to have associate artistic director, company dancer, and school coordinator, Sarah Grundwalt, to show us the ways of the biggest state in the U.S. Sarah is a native Anchoragite and she was a tour guide for her brother's Alaskan sightseeing bus company as a young adult. On any given weekend, Sarah would call me up and say, "What do you want to see today." Whether she could partake in the activity or not, she made sure that it happened. Mountains, glaciers, lakes, restaurants, snowshoeing, culture...you think of it, Sarah helped coordinate it.

All in all, the performances went very well. The local audience, which tends to have the attitude of "if it's home-grown, it's not high-quality," was pleasantly surprised. Both shows were extremely well received and very well attended. As a dancer in the production, I was very proud to have the opportunity to share my passion for dance with a maturing arts community. I would not have had this experience had I been tied down to a full-time company. One of the joys of freelancing is that you get to share your art with multiple audiences. Sometimes the audiences are small and uneducated, while at other time they can be large and experienced. In Anchorage, we were teaching a young audience that great dance can happen anywhere in the world, even in the "Last Frontier." This was the most rewarding part of the experience.

Moose in the ADT parking lot

Upon leaving, I was able to reflect on the amazing experience that freelancing brought me. I was pulled out of my comfort zone and Alaska proved me wrong. There were cold days, but there were also warmer days. It snowed a lot and it was dark at times, but Anchorage gained 5 minutes of sunlight everyday that we were there. Even in a state that can be more conservative, people can be liberal, open-minded, and appreciate the arts. I can go to work and there can be a moose in the parking lot. I watched 10 reindeer chase hundreds of people down a city street. I can go downtown and share a cocktail with a political figure, a counselor, a dogsled musher, and a woman with a half dozen roses and baby's breath woven into her hair. And I can be the artist that I am meant to be. My experience with Alaska Dance Theatre really caught me off guard and in the most positive way. I hope that one day I will have the opportunity to return.

Beluga Point, AK (photo credit: Shalem Photography)

   For more information about Alaska Dance Theatre click here