The "R" Word - Retirement

The Nutcracker (Photo: Ruth Judson)

There really are few careers out there that are as strikingly unique as a performance career in dance. Those of us lucky enough to dance for a living chose our career path somewhere between the age of teen and tween. Plenty of my peers and colleagues left middle or high school early to attend a boarding school or finished their academics online. From the lifestyle required to maintain the elite level of an athletic artist to the odd set of job requirements, there is nothing normal about the life of a dance artist. One of the most defining aspects of our careers is a word that begins with the letter "R" and is a word almost as dangerous as the name Voldemort. Like many of the most beautiful things in our world, a dance career shines brightly and quickly, then usually fades as fast as a falling star. Like putting together a last will and testament, talking about retirement feels like a daunting task. But at some point, every successful dancer will retire. And only in the rarest instances will this retirement lead one into the sunset of their lives.

Martha Graham was once quoted as saying, "A dancer dies twice." I can tell you from experience that this is one of the most credible statements that has ever been spoken about the pathway a dancer takes as they end their performance career and transition forward into the next stage of their lives. I have been told that one of my most defining attributes as a writer is my level of candor in talking about the realities of our wonderful dance world. But I don't feel that I have been completely candid about where I am as an artist today. And I finally feel that I am ready to change that.

If you have shared the journey of Life of a Freelance Dancer, you have walked hand-in-hand with me from the commencement of my career as a freelance artist. If you look back to 2014, where I posted about dealing with injury and working my way back from burn out, it was quite clear that I was working through a difficult period of my performance career. I had been traveling non-stop for 4 seasons and felt that I was beginning to forget who I was at my core. While I recovered from injury and worked to figure out how I ended up so emotionally lost, I took a job with Alaska Dance Theatre, created my own choreography project, and began working to transition my career to New York City. While I spent a great amount of time giving myself technique class at the gym and dropping in to take classes from other instructors, my performance career remained on hiatus. And, for the longest time, I didn't even know why.

Throughout this period, there were a handful of times that I found myself giving awkward explanations about the state of my career. I've been lucky enough that this blog has given me a great deal of credibility and has offered me visibility to other artists in my field. I've been approached a handful of times for work through this blog or in person from those who have read it. I felt awkward turning down these kind offers, as my persona has become understood as that of a highly sought, successful performer.

But more difficult than turning down the work was trying to find the words to explain why I was turning it down. More often than not, I would offer to pass jobs on to my peers because I didn't feel I was in appropriate shape to take on a performance at that moment. But in all honestly, I just wasn't able to bring myself to get back into a rehearsal studio.

Often, I would find myself at social events and people would ask me what I did for a living. My natural response was that I was a dancer. But as my choreography, teaching, and media career started to take off, I found myself in an awkward situation where a friend corrected me mid-conversation about my position. Sipping a glass of wine after telling a party-goer that I was a dancer, this friend interrupted me and stated, "Actually, he is a choreographer. He isn't performing anymore." I sheepishly smiled at this person and nodded my head, but what they couldn't recognize was the rush of adrenaline flooding my body. That rushing of natural chemicals flowing through my veins mimicked the feeling you might get when you receive extremely bad news; like finding out about an illness or a death. In that very moment, I was forced to come to terms with the creeping, slow death of my performance career. My body's reaction reinforced the statement I posted earlier about the death of a dancer. A dancer dies once when their career is over and again when the person passes on.

Now, I know that I was deeply affected by this experience. But like many occasions when you receive bad news, you go into denial or silently acknowledge the issue while maintaining a certain level of public mum surrounding the item. After toying around with the idea that I may be officially retiring from my performance career for many months, I finally decided to work on transitioning my career base to New York City. This transition has finally allowed me to come to terms with what I am trying to tell you. Once I finally started getting into Nancy Bielski's class on a regular basis, I began to feel my body returning to it's normal ballet shape. While I still had aches and pains from the devastating injury I experienced dancing with Oakland Ballet, I was able to maintain my body and return to class daily. A few more offers for work came to me and I graciously turned those offers down. As you also know, I've been given a handful of teaching opportunities during this time, as well. Whether at Steps on Broadway, Broadway Dance Center, or teaching master classes across the country, I have found a great deal of excitement and growth in this facet of my career. With the addition of having my choreography sought out more and seeing my media work from my blog and podcast explode, things started to become clearer and clearer.

I don't know exactly when it happened and I don't know how it happened, but in the past few months I have finally been able to say it. And maybe the reason I hadn't been able to say it was because I didn't want to admit to myself that I had already moved on. Or maybe it was because it is the only thing I have ever known since I was a young child. And while I have finally admitted it to myself and in private conversation, I still feel slightly choked up writing this post to share what this experience is like for me and may be like for you. And I promise you it's coming. And it's coming right now. I am officially retired from my performance career (and my heart is racing just typing this).

The Nutcracker (Photo: J-Ro)

Alrighty. Now that those words are out there, I'd like to elaborate a little more before signing off from this post. I have not been retired from my performance career since 2014. I really only started toying around with the idea at the beginning of 2016. I had dreams of making this big comeback. I had dreams of maybe joining a Broadway show. I had dreams of performing with Suzanne Farrell Ballet and getting to dance a Balanchine work one more time. I continued to dream of sharing my love of dance from the stage. But with the growth of my media work, the greatly positive feedback for my teaching, and the interest in my choreography, I had to give myself a bit of a reality check. I have accomplished most of what I wanted to accomplish in my performance career. I danced with two of the best ballet companies in the country in some of the greatest works by the greatest choreographers with live music in every production. Then, I self-managed a traveling career across the country performing on stages large and small. I received some level of recognition and notoriety and I feel pleased with all of that. While I feel that I could push through for another year or two, I feel that I reached my peak and will only be maintaining the same level of work that I had been doing when I became injured in 2014. At the young age of 32, I feel that if I focus my work on choreographing, teaching, and sharing my voice with the world that I can do much, much greater things and with a head start. I may perform here and there on occasions that really inspire me (coming out of retirement a la Barbara Streisand). But for the most part, I'm looking forward to focusing on my growing work and continuing to offer my advice and experiences as a freelance choreographer, educator, and dancer here on this blog. As, even in retirement, I will continue to take class and maintain being a dancer off the stage.

Going through the process of finding the strength to use the "R" word, I feel that I did go through a grieving process. I didn't have a big retirement performance to let fans fawn all over me or to gain closure. There was no exact day I can look back to for the rest of my life to call the anniversary of my retirement. But over the last few months, I suddenly became comfortable with responding to my peers and curious acquaintances questions by proudly stating, "I am a choreographer, dance educator, and advocate for the dance world through my media work." I feel that any dancer working towards or going through retirement can benefit from having something to look forward to, no matter how exciting or mundane. So, when you find yourself approaching this new life of yours, remember this. While we may no longer be on the stage to share our gifts with audiences small and large, we will always be dancers. A dancer may die two deaths, but that doesn't mean they live two lives.

(As I enter this new stage of my career, if any readers are ever interested in booking me for choreography, master classes in ballet or contemporary technique, or for speaking engagements, you are always welcome to reach me on my contact page by clicking here. I am available for local, national, and international work).

The Freelance Choreographer - Outside Perspectives

Opposing midnight views as I left Alaska (Top: Moon rising over Chugach Range, Bottom: Denali basking in the midnight sun)

I know it's been awhile since I've posted, but I've just got so many wonderful things going on that I wanted to wait for the 4th of July to pass. Since leaving the eternally sunny days and nights of Alaska a few weeks ago, I was finally asked to teach a Contemporary Technique class as a guest at Broadway Dance Center. This has been a childhood dream of mine since I first took class at this school as a teenager. I'm hoping to make this a regular gig, but as with all things I need to practice perseverance and patience! Beyond this, I am developing a program (that I will announce at some point), have been planning my hubby and my honeymoon to South America this September, and am prepping to teach my first gig at Steps on Broadway (Advanced Intermediate Ballet at 2:30 pm on Mondays, Wednesdays, & Fridays from 7/18 - 7/29, as well as Intermediate Ballet at 10 am on 7/18). For once, I finally decided to take two complete days off over the holiday weekend. No work, no email, no media. It was actually more challenging to rest than it is for me to continue working. But I accomplished my mission and feel refreshed and ready to tackle my summer work!

With all of this talk about my work and travel done, I'd like to turn the focus off of myself for the rest of this post and share some information about some of my friends. One of my biggest goals with creating this blog has been to not only get information out about freelancing and to share my experiences. I always hoped that my friends and colleagues would have a chance to share their experiences here, as well. I recently reached out to two amazing freelance choreographers, the recently commissioned to create at the Bolshoi Ballet Garrett Smith, who is returning to dance with Norwegian National Ballet after a long hiatus, and Princess Grace Award winner and former Les Grand Ballet Canadiens Soloist Gabrielle Lamb. I asked these beauties a few questions about their careers as freelance choreographers and I am so excited to share what they had to say here. Enjoy! 



What is their performance background?


Gabrielle Lamb: Winner of a 2014-15 Princess Grace Award for Choreography, was a longtime soloist at Les Grands Ballets Canadiens and in 2009 was invited by Christopher Wheeldon to join his company Morphoses in New York. 

Gabrielle Lamb creating at the National Choreographers Initiative (Photo: Ty Parmenter)

Garrett Smith: Currently dancing with Norwegian National Ballet. Former dancer with Houston Ballet.

Garrett Smith in the studio with Houston Ballet (Photo: Amitava Sarkar)

How did you get into choreography?

GL: I first started choreographing when I was a little kid. I was around 10 and would create and direct shows for the other kids in my Montessori school to perform. When ballet training and professional life got more intense, I stopped. I restarted when I was dancing for Les Grands Ballets Canadiens de Montreal because we had the opportunity to create work on our fellow dancers for annual choreographic workshops. I started out creating solo material for myself, but once I got a taste of creating on other people I just wanted to do more and more.

GS: I started creating solos on myself for competitions when I was 11 years old. As time passed, I developed a big interest for it later and pursued every choreographic opportunity I had from 13 on; whether it was at summer programs at Houston Ballet or choreographic workshops.



Where have you choreographed?

Gabrielle Lamb's Moult - Ballet Memphis

GL: My choreography and dance films have been presented by the Royal Winnipeg Ballet, Ballet Austin, Milwaukee Ballet, The Joffrey Concert Group, BalletX, Ballet Memphis, Jacob’s Pillow, Sacramento Ballet, Dance Theatre of Harlem, Dance on Camera at Lincoln Center, and the American Dance Festival. I won choreographic competitions at Hubbard Street Dance Chicago, Milwaukee Ballet, and Western Michigan University, as well as, in 2014, the Banff Centre's Clifford E. Lee Award and a New York City Center Choreography Fellowship.

GS: I have choreographed in Europe and America. The companies I have worked with as a freelance choreographer have been New York City Ballet, Houston Ballet, Norwegian National Ballet, Ballet West, and Milwaukee Ballet.



Who/What has been your choreographic inspiration?

GL: I get very inspired when I have the time and energy to walk around and visit galleries. Visual art is a big source of inspiration for me, but nowadays it's hard to make the time to meander and discover art by chance. I also get inspired through writing. I try to make the "morning pages" a habit, and journalling is a big part of my process. I'm also writing my own blog, which helps me clarify my thoughts.  

GS: My inspiration comes from music that I find, my personal life experiences, and also the excitement I have in developing a concept or idea specifically for bodies in movement with music.



You took a hiatus from Norwegian National Ballet to focus on choreography, what drove you to make this decision?

Garrett Smith's Reveal - Houston Ballet (Photo: Amitava Sarkar)

GS: During my 2nd year in Oslo, I was missing home a bit and I already had a commission with Ballet West lined up. So, I asked our Artistic Director, Ingrid Lorentzen, if I could take permission as we are allowed in the company. This allowed me a year to focus on my my work as a freelance choreographer.



How have you found choreography work? Do you have an agent? Do you book yourself?

GL: I do not have an agent, though I would be open to it under the right conditions. I started finding work by submitting work samples and proposals to various open calls and competitions. Although I don't believe in choreography as a blood sport, competitions have been a way for me to get great experience with companies that might not otherwise be able to take risks on emerging choreographers. Having gone through that process many times, I feel it's time for me to move from emerging to established territory, but it is harder than I imagined. I have to rely more on connections and networking. As a shy person averse to self-promotion, I'm having to leave my comfort zone all the time to look for work. My advice to aspiring choreographers would be, obviously, to submit work all over the place. But also, to invest in great-quality video of their choreography. It makes a difference. Also don't burn bridges at any stage of a career, no matter how tempting it may be. You never know who will resurface later and in what position. You will need every possible ally. 

GS: I have found choreography by pursuing companies, as well as companies that have pursued me by word of mouth. Also, I have a Youtube channel with footage of my work.


Tell me about your first commission.



Q Dance - Royal Winnipeg Ballet (Photo: Vince Pahkala)

GL: My first commission, NeverDidRunSmooth, was with Hubbard Street 2. I was a winner of the National Choreographic Competition, as it was then called. I really didn't have much experience at that point, but a friend had told me that Hubbard Street wanted to take risks on new choreographic voices with their second company. So, I submitted a dance film I'd made in my living room and a duet I'd created for myself and a colleague. Sometimes that "risk-taking" talk is just marketing jargon, but in my case Hubbard Street really did take a risk. I was absolutely terrified to go to Chicago and do the residency, but it turned out to be the best possible experience. The dancers were very humble and open, and I learned a lot. I'd never been able to experience an intensive process before, where you create all day every day as your job. Until then, I'd snatch 45 minutes here and there, on lunch breaks and after work. The HS2 experience opened my eyes to what a choreographic process could be, with proper support. I loved the work we created together, and the company ended up touring it for two years. 


Do you survive solely off of your choreography or do you perform other jobs?

GL: Choreography is my biggest source of income these days, which is a little disconcerting. I do teach (both ballet and contemporary) and am trying to do more of that to bridge the gaps. I used to do lots of video editing for dance companies, but nowadays I mostly just do it for my own choreography.

GS: I survived solely off of my choreography in 2015-2016. I did dance here and there, but my income was from my choreographic commissions. It was crazy because it was my first year doing it, and it worked! I had no idea what would have come of it, but it was an incredible first year as a freelance artist.


How is freelance life different from company life in your experience?

Garrett Smith in rehearsal w/Milwaukee Ballet

GS: The difference is that you are basically a gypsy. You make homes all around you (hopefully). I love the idea of being in a company for a long time because of that family feeling and bond you create with them. It was incredibly hard to leave Houston after 6 years and start from scratch in Norway. Then from there to just leave everything altogether and not have friends around me on a daily basis. I think you have to be a pretty strong individual to be a freelance worker.


At what point did your performance career become secondary to your choreographic career?
 
GL: Performance has only gradually become secondary to creation, and it has been an organic process. 2013 was the first year that I had more work as a choreographer than as a dancer, and the proportion has been increasing steadily since then. Nowadays, I perform very seldom. It's really only when I am very curious about another choreographer's creative process and want to experience it from inside that I will perform.  


Working as a freelance choreographer vs. dancer, does it get lonely traveling solo?

GS: I don't mind the traveling so much. It can be exciting going to new places. What is great is that you actually have perspective and a true, legitimate comparison. I have worked for many companies now, and enough to know what I can be grateful for and what I won't complain about or take for granted.


What has been most challenging along your journey?

Gabrielle Lamb's Happenstance - Milwaukee Ballet (Photo: Jason Fassl)

GL: It has been very challenging trying to decide whether to try to form a company of my own.  Commissions remove so much strain, so I love to do them. On the other hand, I'd like more continuity, and I want to be able to build on past work through mutual trust with long-term collaborators. I feel like I could take even more risks that way. But I'm also very shy, and I feel pretentious about forming a company. It brings out all the demons.  

What do you do in between choreography gigs?

GL: During those down times, I take other choreographers' classes and workshops in order to get fresh input. And I do a lot of reading, about whatever subject I'm going to create about next. Currently, it's the theme of "water" for Sacramento Ballet. But I continue to be challenged by the periods between intensive creations. Those are the times I should be renewing myself and researching. But it's very easy to fall into pits of self-doubt and to imagine how much more talented and successful everyone else is. Social media fuels a lot of this panic, unfortunately, so I'm trying to impose restrictions on myself. But it's tricky, because social media seems to be a necessary tool for a choreographers. And besides, I quite often find out about interesting, useful stuff via Facebook and Instagram.   


What has been your most exciting choreographic experience and highlights?
 

Garrett Smith - National Choreographers Initiative (Photo: Dave Friedman)

GL: I am proud of the awards and fellowships I've won, obviously. It's hard to feel legit in this career, but those do help. I'm also proud of the works I've created for Ballet Memphis around themes devised by Artistic Director Dorothy Gunther-Pugh. Those curated programs, and my collaboration with designer Christine Darch, have enabled me to create works I never would have imagined on my own (Moult, Elapse). 

GS: My most exciting moments would have to be with my former home company at Houston Ballet. This was where I had my first big commission and also the second time being asked to come back with incredible designers and a budget that makes you feel like the real deal (haha). It is cool as a freelance worker to be your own employer and boss. You choose what jobs you want, but it is scary because it requires diligence and faith in yourself. There is not guarantee that you will get work and that directors will like you enough to put their faith in you.



Do you have experience writing your own grants for choreography? If so, any advice on the process?


GL: I do write my own grants, and I've had some successes as well as plenty of rejections. My advice would be as follows. Invest time and energy in writing as well as you can. Get somebody to proofread for you. Be clear and honest. No word salads. But sometimes you just have to make stuff up---lots of the time actually. So, don't get freaked out. Just start writing something as fast as you can and edit later. 



Do you have any advice for those who may be interested in a career as a freelance choreographer?


GL: 1) Be kind. 2) Just keep pushing forward with the knowledge that sometimes a rehearsal can switch in seconds. It's normal to feel exhausted, empty, and clueless; but if you can remain open, some little accidental detail may catch your interest and send you down a brand new path. This is unpredictable work that is totally dependent on the creativity and goodwill of other human beings. So be alert, be respectful, be patient. And be kind. 


GS: My advice would be to not doubt yourself and believe in your talent and hard work. There is never a guarantee that a normal job will last. Anything can happen, anyone can get fired (unless you have a permanent contract). But seriously, you might as well just go for your goals and dreams because there really are not guarantees in life either way.


Keep Up-To-Date with these Choreographers:

Gabrielle Lamb: www.gabriellelamb.com


Upcoming Projects:
- New creation for her own company at Baruch College in October (CUNY Dance Initiative: http://www1.cuny.edu/sites/6/about/centers-institutes/dance/2016-residencies/)
- New works for Kansas City Ballet, University of Utah, & Salt Contemporary Dance

Social Media:
Blog: http://www.gabriellelamb.com/#!blog/cx7y
Facebook: https://www.facebook.com/gabrielle.lamb.5
Instagram: @gabrielleclamb
Youtube: https://www.youtube.com/user/velvette26
Vimeo: https://vimeo.com/user4502601


Garrett Smith:

Biography: Norwegian National Ballet profile

Upcoming Projects:
- Bolshoi Ballet - 11/16
- Texas Ballet Theatre - 1/17

Facebook: https://www.facebook.com/Garrett-Smith-Choreography-170571929641189/?fref=ts
Instagram: @GarrettSmithChoreography
Youtube: https://www.youtube.com/user/adelicioustreat 

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!

A Positive Look at My Recent Failure

As I sit here at the Bill and Hillary Clinton National Airport patiently waiting for my delayed first flight home to Philadelphia, I can't help but think about my failure in winning the Visions Choreographic Competition at Ballet Arkansas. Five talented choreographers from Boston, Chicago, Oklahoma City, and San Francisco (oh yeah...and me from Philly) convened for a week in the southern state of Arkansas to create a teaser work to present onstage in 11 achingly short hours. We all took this risk in hopes of receiving positive critiques from the judges (amongst them Glenn Edgerton) and to potentially receive a commission with Ballet Arkansas. After a week of planning, creativity, and great effort, my dancers threw themselves into my work and gave a glimmer of what could potentially be a much larger scale piece. Alas, another deserving choreographer won that commission, and I sit here at my gate sipping my Starbucks coffee and writing about my failure. But this failure isn't a bad thing.

The dance world is and has always been obsessed with success. "Wow! She is only 15 years old and she just got hired by New York City Ballet!""He choreographed his first ballet and all of a sudden companies everywhere are seeking him out for new commissions!" "They filled in for a dancer who got injured with only a few hours notice and were almost immediately promoted!" These are not irregular conversation pieces I have come across throughout my dance career. Unfortunately, or maybe fortunately, these statements have never been said about me. And the reason for this is because those meteoric success stories are so rare that they are unlikely to happen to about 99 percent of us.

So many of us in the dance world dream of rising to the top with an ease of effort and the least amount of failure. But that just doesn't happen as often as we think. Give or take a few, five artists per dance-generation can proclaim these momentous stories all the way to the front page of Dance Magazine or Pointe. So, where does that leave the rest of us? If one wants to move forward, it forces the rest of us to suffer both small and great failures as we pass from success to success.

So, let's take a look at my very recent failure. I really began choreographing back in 2008 at Pacific Northwest Ballet's Choreographers Showcase. Since that first work, I have choreographed for the National Choreographers Initiative, Seattle's Men in Dance festival, the Philly Fringe Festival, Alaska Dance Theatre, multiple other PNB showcases, and won an award from Youth America Grand Prix. Nearly 6 months ago, I decided to apply for Ballet Arkansas' Visions Choreographic Competition. I was drawn to this experience for multiple reasons. First off, any chance to create on professionals is a success. Beyond this, my work would have the opportunity to be seen by a new community, a renowned figure in the international dance community, and some of my national colleagues. In fact, to be chosen out of 31 candidates to be a finalist for this venture was a great success. Do you see where I'm going with this?

When all 5 of the finalist's short works were presented yesterday evening, each of us had already achieved success by making it to the performance stage of this competition. As of 7 PM last night, none of us had failed in our risk of entering to choreograph. But by the end of the night, one choreographer would become more successful at this event than the rest of us. If none of us had actually had the aplomb to put ours work on the line, we wouldn't have had the chance to be successes or failures. At the end of the night, I was a failure. But it was neither a bad thing to fail, nor a negative part of my growth as a dance maker. It was an opportunity to work. It was an opportunity to be seen. It was an opportunity to fail. It was an opportunity to succeed. And without all of these opportunities, I wouldn't learn, improve, refine, and cultivate my art.

With success comes failure and with failure comes success. We, especially in the U.S., suffer from the negative connotation that arrives with the word failure. But interestingly enough, most of those of us who experience the most failure also experience the most success. The two go hand in hand and are quite reciprocal. My success in the Visions Choreographic Competition also allowed for my failure. And in the end, I created a new work, added more experience to my queue, expanded my creative network, and much more. I guess I could say that I am really grateful to have had the opportunity to fail. And with this new experience, perhaps, the next time I will succeed more greatly!

Core-ography gains attention in Philly Magazine

Last week was a very exciting period for me, which had me teaching at Peridance Capezio Center in New York City. Beyond that, I received good news on multiple fronts that I will share with you when I am able. With all of that good stuff happening, I was really excited to have an article come out in Philadelphia Magazine's LGBT section, G-Philly, about my upcoming Core-ography project. For me, this article was so exciting because it is the first public mentioning of this Youtube project. Seeing it in print made my heart flutter a bit, in anxiety and excitement, because it validated the fact that I am really making this project happen. No longer a seed, not yet a flower. Anyway, check out the article by clicking the link below and stay tuned in the next few days for my next blog in the Create Your Own Project series about writing a budget for your project. Cheers!

Core-ography Project in Philly Magazine

Teaching at Peridance Capezio Center - May 6, 13, and 16

Contemporary Stylings at How Philly Moves photoshoot - (Photo: J.J. Tiziou)

Hey all! As you can tell from my last post, I am currently developing a choreography project. And it is taking up a great deal of my time. But fear not! I will have a new informative post in my Create Your Own Project series coming out in the next few days.

In the mean time, I want to share some exciting news with you guys. Over the next few weeks, I will be guest teaching a handful of Contemporary classes at Peridance Capezio Center. So, if you live in New York City (or anywhere nearby), want to meet the man behind the blog, and get your ass whooped into shape, come check out my classes. I will be teaching two Advanced contemporary classes on May 6th and 13th from 11:30 am - 1 pm. Then, on Saturday May 16th at 3:30 PM, I will teach an intermediate level class. (Peridance Class Schedule)

Thanks to Ashley Carter for reaching out to me for this opportunity. I'm super excited to bring a bit of Philly's movement style up to the city for these few days of classes! See you there!

"Creating Your Own Project" series - Fiscal Sponsorship

"How Philly Moves" photo shoot (Photo: JJ Tiziou

Freelancers are more likely to start their own projects than company dancers. While those with company contracts spend much of their time focusing their energy towards getting promoted, freelancers often have extra time to flex their creativity muscles. For many years, I have been focused on simulating the season of an annually contracted dancer through my freelance career. As I traveled the world from company to company, I watched many of my other freelancing friends create their own projects. Well, now that I've settled down in Philly for the past 3 months, I've had more time to develop my own ideas and see where they take me. In a handful of coming posts, I'll be sharing more about a project that I am creating. But for the time being, I'd like to discuss fiscal sponsorship, an important aspect of raising funds for your own projects. 

When I first started brainstorming ideas to give myself a platform to work more on my choreography, I knew that I would need to navigate the tricky technique of fundraising. I don't like asking people for financial support and have always had great pride in my ability to do things on my own. But when it comes to major arts projects, very few artists can execute their plans without a solid base of funding. Most people's first fundraising thought darts straight into the land of crowd-sourcing (like Kickstarter, Indiegogo, and Rockethub, which I will discuss in a future blog). While this method of fundraising can be a great supplemental tool, there are many more strategic and fruitful ways to fund a project. 

Initially, the people that are going to provide the base of funding for your work will be your friends and family, as well as people that have shown previous interest in you as an artist. But without the ability to offer tax-deductible donations, you are unlikely to field sponsorship beyond $100. Most people don't mind giving a small amount of money without much benefit for themselves other than the gratification of giving and seeing somebody else's passion project come to fruition. Anything over $100 will be difficult to field without a benefit for the donor. What is the best perk you can give somebody who wants to offer a substantial gift? A tax deduction.

How does a lone individual like me offer tax-deductible donations when I am my one single entity. I'm not prepared to start a non-profit organization or field a board for my very first try at self-producing my art. In all of my research over the past few months, I have found that there is a way that I can offer such benefits to anybody that is inspired enough by my work to help commission my process. I can do this through fiscal sponsorship.

Fiscal sponsorship is when a not-for-profit organization (often 501(c)3) offers a pathway for funds an individual raises to be filtered through their company back to the creator in order to help them offer tax-deductible benefits to donors, often for a fee of 5-10% of the donation amount. Essentially, donations are legally funneled through the organization to appear as if the company is receiving the gift.

Beyond the benefit of receiving tax credits on donations, fiscal sponsorship also allows an individual to apply for grants in a way that they couldn't have before. Again, using the umbrella of the sponsoring non-profit, one can reach out beyond seeking offerings for individuals and apply for grants that are only available to not-for-profit companies. Using fiscal sponsorship, you can open many more pathways to receive larger amounts of funding to make your project a reality.

How do you find an organization to fiscally sponsor you? I did a great deal of research on my path to funding my work. After checking out a handful of potential sponsors, I settled on New York Live Arts (often referred to as NYLA). In order to apply for sponsorship, I had to sign up as an Associate Artist ($100 fee). From there, I had to write a proposal. This included information about my project, its mission, a loose timeline, a budget, and how I planned on raising funds. Once I submitted all of this information, I had to travel to New York City for an in-person meeting to discuss specific details of my project. I was lucky enough that NYLA was happy to fiscally sponsor me with no further questions beyond my proposal.

While I set my sights on NYLA for sponsorship, there are many other organizations that help artists gain a non-profit-like status. Among those I researched were Fractured Atlas and The Field. These organizations regularly offer fiscal sponsorship to artists. Along my path, I also found that you can reach out to any non-profit organization and request that they allow funds to be allocated through their organization. If you have a relationship that could open up this door, be sure to have clear terms on how this set up will work in writing. Every organization will be different in the percentage of funds they keep for helping you out,  how long it takes for that money to be released, how you apply for grants, what type of grants you can apply for, and much more. Be sure that all of this is clear before you sign any contract. Also be aware that you will be responsible to pay taxes on the money that you raise. Keep tabs on your expenses to make sure that you deduct the expenses to minimize how much you have to pay back at the end of the year.

Fiscal sponsorship is a god-send to many self-creating artists like myself. It is very unlikely for most individuals to receive larger donations without offering something to funders beyond your final product. With fiscal sponsorship, you not only open up the possibilities of greater funding, you vastly expand your pool of grant applications. If you ever consider creating your own work; whether for one show, a tour, an installation series, or anything else that inspires you, definitely look into connecting with a respectable non-profit organization that will allow your funds to be stream-lined through their system.

Is It Ever Appropriate to Sue a Company?

Let's Not Be Irrational! - Carabosse (Shura Baryshnikov) w/Catalabutte (Gianna Gino Di Marco) w/artists from Festival Ballet Providence in Sleeping Beauty - (Photo: A. Cemal Ekin)

I wish legal issues were never the case in this beautiful world of the arts, but, at times, they unfortunately present their ugly face. Working in an underfunded trade where anybody from the truest professionals to the thriftiest amateurs can put together a production can mean that a multitude of issues can present themselves in the process of getting a dance work onstage. While certain issues may arise from the beginning phases through to the performances of a production, luckily most of these items don't require contacting a third party to reconcile disagreements. When is it appropriate to reach out to legal counsel if certain issues or disputes reach a breaking point?

I am lucky that there have only been two issues that have ever pushed me into considering legal representation. The first time this happened was when I was working with a small, fledgling company as an employee and the second time was after choreographing for a larger-scale small-town production that involved a school. What I have found in my 8 years dancing with large-scale, well-funded companies and my 4 years traveling the country working as a freelancer with some lesser funded organizations is that problems are much more apparent in schools and companies with less money or less interaction with the professional dance world.

A handful of the issues that I have encountered throughout my time as a professional dancer and choreographer relate to money. But there is a surprising number of other items that I have either experienced or watched other dancers experience. A general list of issues that I have seen range from not getting paid appropriately (getting paid less, late, never getting paid at all, not receiving compensation for travel, etc.) to withholding dancer rights (workers compensation for employees). I have had my choreography altered against my knowledge, seen dancers per diem withheld, and watched abusive behavior inside the studio. Whether these items arise because of a lack of professional understanding, negligence, or devious behaviors, none of these actions are ever appropriate. Unfortunately, instead of admitting to these errors and working to resolve the situation, those few employers that committed these acts tend to fight a difficult battle instead of admitting to their erroneous ways.

The best way that I can offer up advice is to discuss the two times that I have considered reaching out to legal counsel. The first time was when a company decided to break my employment because I had been injured. When I got hurt, this organization decided to hide that I had a right to use workers compensation to regain my health. When I had to pull out of a program, the director went into a week-long rage against me and, eventually, fired me for what they claimed was a different reason than that they didn't want to finance the healing of one of their employees.

The second time that I encountered a situation that might have led me to speak with an attorney was when a small-town organization violated a choreography contract by adding their own choreography for a public performance into a work that I had already created. After finding my work on Facebook and not recognizing the movement, I reached out to the organization to resolve the situation. Instead of hearing the sincerest of apologies, I received an angry, defensive response naming articles in my contract where they tried to convince me that they could do whatever they wanted with my choreography.

While these were both very different experiences, there were certain similarities in them that differentiated these behaviors from other situations that may have been testy, but wouldn't be worth reaching out to a legal representative. In both situations, my rights were compromised. The first situation was a legal right as an employee, while the second was a violation of a contract. I have found that it is best to reach out as soon as possible to the source in order to work to resolve a situation. In most occurrences, people are reasonable and willing to work with you to maintain a relationship and make sure that all parties are content. But what made these two above situations distinctly different was the stressed and incensed reactions to my attempt to resolve the situation. When an opposing party responds with irrationality, it may be time to reach out for legal advice.

Irrational Puss n' Boots?

It is never a bad thing to reach out to a lawyer to use as a sounding board for extreme issues within the workplace. Being that I am an independent contractor and my partner owns his own business, we hold legal insurance that allows us to get counsel at no additional charge beyond our monthly fee. When stress, money, intellectual property, and/or passion for your work are involved, it can be easy to get lost in an irrational place. Speaking with a lawyer can help you determine whether your emotional reaction to the situation is legally rational or just protective.

After having a conversation with an attorney, the next step is to determine if you want to take the plunge and enter a legal battle to resolve your case. While there may be some situations that necessitate suing an organization, I have found that it usually isn't worth your time to spend the emotional energy that is required to fight for what is right. It is a sad, sad situation, but people in the arts are generally reluctant to go the lengths that it takes to protect themselves from wrongdoing.

The first reason for this is due to poor funding. This works on both sides. Rarely does an organization have the money to fight a legal battle. It is also rare that a dancer or choreographer has the funds to hire an attorney to represent them. Beyond this, the dance world often lets go of minor issues, which is representative of the submissive nature of dance artists. Lastly, the dance world is so closely connected that if a dancer is to sue a company, other employers may fear hiring that dancer out of fear that they will sue their own organization.

Two examples that I am aware of with dancers suing companies involved two friends of mine. The first situation was when a dancer was representing the other dancers of a non-unionized company. When the organization decided to stiff the dancers on per diem from their international travels, this dancer contacted a lawyer and started working to help the dancers collect their contractually agreed travel pay. At the end of that season, the dancer was not reengaged and lost their job.

The second dancer I know who sued a company was put in a position where they were essentially forced to break their contract. They sought counsel to make the company follow through with paying the rest of their contract for that lost season. While I don't remember whether they won or lost that battle, I heard whispers from others in the new company that we were dancing with blaming that dancer for creating that situation. This seemed odd considering none of us were present in that company when things went down.

Challenging times can make one lose faith in the dance world; a place of beauty, perfection, and dreams. While the modernized world has a system for those who have been wronged to fight to protect their rights, the dance world sometimes feels like it exists on another plane. I don't feel that it is appropriate for me to guide anybody towards seeking counsel. Instead, I can provide information to help dancers and choreographers make their own decisions. I have always been an advocate for dancers and choreographers to protect their rights. This would lend me to offering the advice to fight for them. At the same time, there is a great deal of time and emotional energy that must go into legally resolving situations. Consider how important the violation of your rights is to you and the amount of yourself you are willing to put into a legal battle. Also weigh the possible repercussions, fair or not, that you may experience for trying to protect yourself. While this dance world isn't always fair, it is our passion. And sometimes you need to give up a little of yourself to share in this beautiful place.

It is beautiful, isn't it? (A local sculpture in Philadelphia)

Video Break - My Choreography - Pas de Deux from Distinct Perceptions

Proud director of these four talented students from Alaska Dance Theatre

This past weekend was quite exciting for me and a few kids from Alaska Dance Theatre. After months of preparation, two of my students placed in the top 12 in the Junior and Senior Contemporary divisions at the Youth America Grand Prix semi-finals in Philadelphia. We also had our male competitor win 3rd place in the men's Contemporary division. To seal the deal, I was recognized with a special award for Outstanding Choreography. It was a very exciting weekend for all of us. Who knew that dance was alive and well in Alaska ;-)

It's been awhile since I've posted a Video Break from my writings. So, in honor of our success this past weekend and to fulfill your ever-growing curiosity about my choreography ;-), I am posting the complete pas de deux from Distinct Perceptions, a ballet that I choreographed at the National Choreographers Initiative this past summer. Enjoy!

My 2014 Highlights - Best in a Year of a Gypsy Dancer

This year FLEW by!!!

This year has been a very fascinating year for me. I have had some really high high's and some really low low's. From experimenting with what it would feel like beyond my performing years to living like a gypsy in, sometimes, frightening situations, it has been a wild year that has shaped and formed me into the person that I am today. As 2014 comes to an end, I surely have grown by leaps and bounds and am very different than I was when it started. Instead of looking back at the times that challenged me, I'd like to remember the moments of greatest growth, change, and achievement. I hope you enjoy and that you are looking forward to another year in the Life of a Freelance Dancer in 2015.

In costume for Company C's gala performance

1. My year in dance began quickly and abruptly. After spending the first few weeks of 2014 worrying that I wasn't going to find any freelancing work, I got an emergency phone call from Company C Contemporary Ballet. They needed a principal caliber dancer to replace a company member that was injured earlier that day. If they couldn't find a replacement, they were considering cancelling their shows. After four different connections had suggested they reach out to me, I received the call to fly out almost immediately, learn two ballets in 4 days, and have my San Francisco debut at the Yerba Buena Center for the Arts. It was quick, exciting, and quite rewarding.

2. After spending a week with Company C in Walnut Creek and another week in San Francisco, I found myself traveling quite a bit. Between January and December, I spent at least 24 hours (and up to 3 1/2 months) in San Francisco, Walnut Creek, Fort Wayne, Lafayette, New Orleans, Baltimore, Oakland, Los Angeles, Irvine, New York City, Anchorage, and am now flying as I write on my way to Seattle to close out the year. It has been a crazy year to say the least. When I look through my Instagram page, I'm still amazed at the multitude of places I visited this year.

3.  One of the most rewarding performances I had this year was dancing the role of Romeo with Fort Wayne Ballet. I only had a week to learn the entire three act ballet, which at times felt like an impossibility. Luckily, I had a great partner that I instantly connected with and we turned out a miracle of a performance in an extremely short period of time. I also found a new level of emotion in my dancing, as I was able to tap into places that I didn't even know I had. I never thought I would have the ability to genuinely cry onstage.

Fort Wayne Ballet's Romeo and Juliet w/ Lucia Rogers (Photo: Jeffrey Crane)

4. While I don't always end up living in the most ideal of conditions while traveling for work, every year I have the pleasure of meeting some really fantastic people that open their doors for me to live with them. Another reason that Fort Wayne was also so rewarding was because I got to spend two weeks with my hosts, the Possemato family. Not only did they provide a beautiful home. They treated me like family and made sure that I was more comfortable there than I would be even in my own home. Also, right prior to that, I got to spend a few days in San Francisco with my host mother from my time in Los Angeles with Barak Ballet.

Swamp tour w/friend and former colleague William Lin-Yee

5. One of my favorite gigs this year was dancing with Lafayette Ballet Theatre in Louisiana. While I have reconnected with a great many past friends since I began freelancing, I haven't had the opportunity to dance with any of my former colleagues from Pacific Northwest Ballet. Through the kindness of my friend Lindsi Dec, PNB Principal, I was connected and given the opportunity to dance besides three friends that I haven't seen since leaving Seattle.

Touring a New Orleans cemetery

6. To sweeten the deal in Lafayette, I was able to extend my trip and fly out of New Orleans. I had never been to this gem of a city before and, let me tell you, did it catch me off guard. I lived on the edge a lot last year and visiting New Orleans was probably one of the most daring trips I took. I jumped on a Greyhound bus for 2 1/2 hours and booked my hotel while wheeling my bag through the downtown area as I walked towards the French Quarter. Before I was in my hotel room (which was right in the heart of Bourbon Street), I already had a hand-grenade in hand. I had been traveling and working so much, that I didn't plan one part of the trip or do any research. I just showed up and let the magic of this musical city haunt me and take my breath away. I can't wait to go back and experience the magic that this city has to offer!

At Company C gala w/former SAB peer, Chantelle Pianetta

 7. One very special part of this past year was the fact that so many of my friends and colleagues supported me in my efforts to obtain work this year. As I stated above, four people suggested me as a replacement to dance with Company C in San Francisco. I also obtained work through the kindness and trust of friends in Louisiana, Oakland, and Anchorage. As I've stated in past posts, it is your connections and your network of friends that carry you through this unique career. I am so grateful to those friends!

8. While I didn't get to perform in the final performances with Oakland Ballet (I did get to dance in the Bay Area Dance Week and Oakland Art Murmur), I did have the wonderful opportunity to work with Robert Moses. Robert really threw me out of my comfort zone during the 5 weeks I got to work with him. He taught choreography in a style that was very challenging for me and at a lightning fast pace (I tend to start learning slow and catch up halfway through). The first few days, I felt very let down, as I was left out of much of the creative process. Then, all of a sudden, Robert had me perform my own interpretation (with improv) of a solo he had taught me. From there, I had a duet that opened the ballet, a few solos, and closed the ballet. Throughout the nearly 20 minutes of his new work, I only left the stage for about 2 minutes and was featured throughout. This was an amazing accomplishment for me, as I felt that I was struggling so greatly that he wouldn't end up using me at all. This was my greatest disappointment in suffering my injury.

One of the houses I stayed in (on left) while couch surfing in San Francisco

9. While my time trying to find a place to lay my head during the challenging period where my housing fell through with Oakland Ballet was the absolute lowlight of 2014 (and perhaps my entire career), the sense of humanity and kindness that I received from pure strangers that let me stay in their homes for periods of time was definitely an important lesson. I would probably be one of the last people to welcome a stranger, let alone letting them sleep in my home. But it was the kindness of the many people that took me in that really restored my faith in people and showed me that there really is so much good in this world.

10. Sometimes, I feel like California is beckoning me to move to the state. I spent a total of three months in the Bay Area (San Francisco, Oakland, and Walnut Creek) and Los Angeles this year. I love these cities so much and am so happy that my career brought me to these communities for such extended periods of time this year.

I missed him, especially.

11. After my injury in California, I got to come home to Philly to recover. While it definitely wasn't a highlight to be injured, getting to spend 7 weeks at home was extremely valuable for me and my partner. Not only did I spend this time healing my body, but I used it to heal my mind and reconnect with a more normal lifestyle. This was the longest I had been home since the summer of 2012.

12. Perhaps, the biggest highlight of my year was being selected as one of the four choreographers for the National Choreographers Initiative. I had applied to NCI two times prior to being accepted into this prestigious workshop experience. It was a very humbling honor to be selected besides three amazing choreographers; Philip Neal - former New York City Ballet Principal dancer, Gabrielle Lamb - 2014 Princess Grace Award winner for choreography, and Garrett Smith - a young, prodigious choreographer currently dancing with Norwegian National Ballet. After three weeks of work with some amazing dancers that were hired from ballet companies across the country, I got to present my first nearly full work (I'm waiting for a commission to create the final movement) since I left Seattle in 2011.

Dylan Keane, Jackie McConnell, & Evan Swenson rehearsing my ballet @ NCI

13. While I was at NCI, I got the phone call from Alaska Dance Theatre asking if I was willing to move to Anchorage to be their next Artistic Director. I never applied for the job and I wasn't sure if I wanted to transition out of performing full-time. So, I was lucky that I needed some more time to heal my body and that they were willing to let me take the job on an interim trial. While, in the end, I chose not to stay on full-time as Artistic Director, getting the experience of running the artistic operations of an organization, influencing the community to feel inspired about dance, and training the young, talent of the Last Frontier was truly an invaluable experience that will only push me further on my hopeful path to becoming an international representative of ballet and dance.

14. This year, I achieved a handful of goals that I have been working towards for many years. All the way at the beginning of the year I was featured in an article for Dance Magazine. Twice after that, I was featured in Dance Informa Magazine. I also found myself featured on a major blog with over 60,000 subscribers as one of 49 Creative Geniuses Who Use Blogging to Promote Their Art. It was an honor to be listed besides names like Daymond John (Shark Tank) and Will Wheaton, among others. I also scored an agent to represent me for choreography after showing at the National Choreographers Initiative.

Sunset along the Seward Highway outside Anchorage

15. One thing that I haven't really shared on this blog is that while I love the work that I do, there is an insane amount of pressure and stress involved in being a traveling dancer. The lack of familiarity, having to prove myself immediately upon arrival, not having the comfort of home to return to, the instability of regular income, the hustle of finding work, constantly learning choreography at breakneck speed, and much more can be wildly stressful. Over the last year, I developed severe anxiety and stress symptoms, to the point where I had a lump in my throat (for nearly 6 months), stress palpitations, and severe insomnia. Having the stability of nearly four months of work in Alaska gave me the break that I needed to relax a bit and relieve my stress. Getting to return to the same home every day and not wondering where the next paycheck would come from really helped me find my way back to a healthier place. Also having a roommate that I really bonded with and easy access to breathtaking, healing natural beauty helped. Three years of non-stop travel definitely requires extended breaks in one place here and there (even if it isn't home).

16. Lastly, I feel like this is a highlight of every year for me. I got to reconnect with so many friends that I haven't seen since my training days. As a national freelancer, moving from company to company, it is amazing to see so many friends that I trained beside who have become incredible, talented artists. This dance world is so small and it is so rewarding to revisit past memories and create new ones through art. Beyond this, getting to meet and dance with so many new artists is equally gratifying. Now, I can add them to my tight knit network and continue this cyclical ballet pattern.

Going away party at Alaska Dance Theatre

I can have a tendency to focus on the negative or on items that I feel need to be fixed. I feel it is only natural for most dancers to think this way, as it is how many of us were trained to achieve the feats that we have accomplished. Looking back on this list of my 2014 highlights, even with the challenges that I faced,  I really must say that this was a pretty damn successful year. Cheers to even greater successes in 2015! Happy New Year!

The Rules of Company Class

I started writing this post back in July while creating at the National Choreographers Initiative, but quickly got distracted by the intensity of the choreographic process. It has been awhile since I posted, as I have been swamped while working the past few weeks in Anchorage, Alaska. While it is a few months since I started writing this blog, I feel that this topic is very relevant and hasn't been addressed much. So, I'd like to share. Enjoy!

National Choreographers Initiative dancers taking company class onstage

Back in October, I posted the rules of taking open class while prepping to dance with Barak Ballet in Los Angeles. Nine months later, I am back in the LA area having a completely different experience working as a choreographer for the National Choreographers Initiative. Each of us four choreographers have been offered the opportunity to teach company class for the professionals that have been brought in for this 3-week choreographic laboratory. I love teaching, so I happily took the director up on her offer. Having spent my first hour and a half on the other side of company class and digesting my vast experience taking class in an array of company cultures through freelancing has inspired me to gather a list of general rules for company class from both the teacher's side and the professional's side.

- Company class is a time for dancers to warmup their bodies and to improve their technique. This should generally be on their own terms. Some days a dancer is exhausted and just needs to wake their body up. Other days, a dancer may not have much rehearsal or may be understudying much of the day. During these periods, a pro may use class to push their technique to the next level. Company class is not an equal effort day to day.

- Company class instructors should approach class from an external perspective. Warmup should be approached very differently than classes that would be given to academy students. Yes, professionals need to be pushed, corrected, and kept on task. But company class should be nothing about the instructor and all about the dancers.

- It can be really effective for an instructor to offer combinations that relate to the work that is being prepared for performance. This offers the dancers an opportunity to perfect challenging sequences in choreography.

- Expectations of a dancer in company class should be very individual. If there is not a developed relationship with a group of dancers, it can be rude to make assumptions about why a dancer is acting a certain way in class. If a dancer changes my combination, I am assuming that they are making an important decision for themselves. Back to the first rule in this post, some dancers may be tired or hurting. Company class is a vehicle for the rest of the rehearsal day. Their is often an assumption that dancers must take class like they are students until they retire. Do every combination 100%, even if it doesn't feel good on your body. Of course, it is the dancer's responsibility to remain reasonable about their choices. For instance, if my back is sore from my recent injury, I may not perform arabesques or attitudes derriere in adagio or grand battements at barre. I am not being lazy. I am being smart about my body and extending the length of my career by making an educated decision to leave a combination out.

          (My mom sneaked video taking company class at PNB circa 2008)

- Apprentices and less experienced professionals should approach company class like they approached school class. It takes time to develop an understanding of what your body needs. I didn't start altering my approach to company class until I had my first injury three years into my career. At that point, I recognized that overworking any position in arabesque may be more detrimental to my dancing than beneficial.

- Instructors should try their own combinations with the music to make sure that the tempo is comfortable, doable, and what they imagined the exercise to be. To speak and hear a combination versus executing a combination is a very different experience.

- If a dancer is entering class with an established company, they should ask other dancers if they can stand in any specific barre spot before claiming space. If there aren't many spots available and you are waiting for dancers to show up and claim their regular spot, wait away from the barre until the instructor walks in. Typically, somebody will point you in the right direction of a dancer's place that isn't in attendance.

- I strongly believe that those who teach class should still be taking class. I find that I teach much better when I am checking in with my body and reminding myself what it feels like to dance. 

- If you are going to leave class early, you should always give the teacher a wave as you leave. To walk up and thank the teacher directly, as you would at the end of class, interrupts the flow for those who are continuing with class. Quietly grab your stuff, walk to the door, and wait for the teacher to acknowledge your exit.

- Generally, new or auditioning dancers should pay attention to the hierarchy of individuals in a class. If a dancer has been with the company for many years or is a Principal dancer, let them dance where they want to dance in center. Some dancers could care less about hierarchy, but some are very particular about this order.

- It is the instructors job to be sensitive about when to push dancers in class. I am a dancer that always appreciates corrections. As I stated before, some dancers just want to warm up and focus on their technique in rehearsals. If an instructor feels that a dancer is being lazy, then they can bring that up outside of class and try to push a dancer to work harder. One common error I see is that instructors make judgements about dancers that they barely know. A dancer that is altering a combination or skipping a combination is not necessarily a lazy dancer. Only when their is a developed relationship between a teacher and a professional is it fair to make a judgement.

- Teachers that don't teach to their ego are generally the most respected teachers.

- Do offer corrections to technique, but be careful when offering corrections in style. Once a dancer becomes a professional, for instance, they are very unlikely to change certain parts of their dancing. For instance, if a dancer takes their pirouette preparation from a straight back leg, they may not be willing to execute this from a bent back leg. If they have figured out how to execute a beautiful pirouette from one position, why force them to change it unless it is for choreography that requires unison.

- This is a pet peeve of mine, not necessarily a definitive rule. It is merely a suggestion. Professionals generally don't need to be given specific combinations for plies and stretching. Plies should be about telling the body that class is beginning and stretching should be about limbering your own individual needs. If a dancer doesn't know how to execute these on their own, they probably shouldn't be professionals. I tend to shut down if I am given an extravagant plie combination.

- In most companies that I have danced, it is generally acceptable to wear what you wish for class. When dancers are forced to wear a dress code or to take off their warmups, I have found that dancers are generally treated with a lower level of respect in those workplaces. 

- Instructors should learn to trust the dancers that they are teaching in their decisions. There is not often enough trust in dancers to make their own decisions.

- This is kind of a given. It is more common for dancers to talk in company class, whether catching up with a friend or discussing choreography for a later rehearsal. While it is ok to chat here and there, don't be disrespectful and talk throughout all of center. Show the instructor respect and offer your attention for a majority of class.

- One rule that I am a big advocate of is to support your fellow dancers. If somebody executes a major feat, show your appreciation. I'm also one of the first people to start clapping to the beat when a dancer accidentally ends up having a solo across the floor. Comaraderie and support go a long way in a difficult and competitive career.

- It is acceptable to miss company class here and there if your body really needs a break. Don't make a habit of missing class. If there is an instructor whose class you don't mesh well with, try to find a way to take another class to warm up, like open or academy classes.

- Now that you are a professional, don't approach class like you know everything. There is always something else you can learn.

- While most unionized companies don't require dancers to attend company class, keep in mind that this is more of a technicality than a pass to miss class. Beyond that, a great deal of casting, especially for incoming choreographers, takes place during class.

Company class can be a blur (PNB company class onstage circa 2004)

 - This is my own personal rule. I feel that company class, whether for a classical or contemporary company, should still be a classical ballet class. Ballet is the basis for most technical dance. When company class starts turning into an instructor's interpretation of a mix of classical and contemporary styles, dancer technique will suffer. Keep class as class.

- Whether you like the class or not, always thank the instructor and pianist after class. It is in our culture to clap at the end of class. If you really loved class, hoot and holler. Walk up to the pianist and shake their hand. Walk up to the instructor and say thank you. Instructors appreciate applause and recognition as much as dancers do. Most of them still are or once were in your position.