Catch Up on LOFD - Previous Posts List

When I started writing Life of a Freelance Dancer, I knew that I wanted to place my writing in the simpler, old-school format that blogs used to be in when I first started reading them over a decade ago. I like the simplicity of having a continuous stream of thought flowing from page to page without the distractions of a home page that looks more like a website than a web log. While I am still quite happy with the format that I have chosen to write in, I do understand the lack of accessibility can make it difficult to look back and see what blog topics have already been written. Keeping this in mind, I want to help my newer readers out and refresh my dedicated readers memories by offering this list of all of my previous posts. Enjoy!

1.  What is it like to work as a freelancer?

2. How do I get work?

3. Dancing in the Last Frontier

4. Adjusting to new environments...fast!

5. Returning to my roots in Providence

6. Preparing for "limited" rehearsal gigs

7. Living with a host family

8. Dancing out of your comfort zone

9. How to pack for short-term & long-term gigs

10. The #1 question people ask

11. Picking the right pic

12. Choosing your home base

13. Summer Slow-down

14. Breaking out of my niche

15. Guest blogger - Boston Ballet Principal Lia Cirio - World Ballet Competition Gala

16. Freelancing isn't all glory

17. Working with what you have

18. A home-base experience - Dance Fusion

19. Guest blogger - Multidisciplinary Miami-based freelancer Priscilla Marrero - "Miami Light Project" experience

20. Continuing to better your technique in open class or on your own

21. How to negotiate a contract

22. Freelancer doesn't mean free

23. Freelancing her way to a company contract - Pittsburgh Ballet Theatre's Casey Taylor

24. Experience Post - "Works & Process" @ the Guggenheim - Avi Scher & Dancers

25. Why Nutcracker season is so important

26. Things I've learned freelancing thus far

27. Meet your link to getting hired - Lauren Menger

28. The importance of your freelancing friends

29. How to find and obtain health insurance

30. The importance of taking breaks

31. Ashlee Dupre - NY-based Musical Theatre freelance artist

32. Exciting news from Life of a Freelance Dancer

33. How to make your own performance reel

34. Making it work - My hurricane Sandy rehearsal experience

35. CONTACT: A networking event connecting freelance dancers

36. How to cope with the holidays away from home

37. Surviving Nutcracker - Act like a professional, think like a student

38. In the spirit of the holidays - Part 1 (8 wild moments)

39. In the spirit of the holidays - Part 2 (12 of my favorite moments)

40. Happy New Year - Retreat yourself

41. My failure in designing my own website

42. Please vote for "Life of a Freelance Dancer" to be top blog (No Longer Active)

43. Freelancing while in a relationship

44. My go-to warm up

45. Dos and Don'ts of freelancing

46. LOFD exceeds 10,000 views

47. Take advantage of opportunities

48. Video Break - Performing as Cassio in "Othello" w/Alaska Dance Theatre

49. The mental game of freelancing

50. Staying in the loop

51. Doing your taxes as an independent contractor

52. The fine line between submissive and aggressive

53. The best advice I've gotten (Life of a Freelance Dancer turns 1 year old)

54. Video Break - Performing "The Nutcracker" grand pas de deux

55. Returning to Providence

56. Have I been forgotten?

57. Social-media whore vs. savvy

58. Get in CONTACT with your community - 6/25/13

59. Emotional health - Cultivating things you enjoy

60. New York calling

61. The overwhelming feeling that I ALWAYS need to be in shape

62. Clearing up the fear of going to classy events

63. CONTACT (2nd edition) - In case you missed it

64. Memorable moments

65. Dancers and decisions in their dancing

66. The main pitfall of a freelance dancer

67. The art of continually reinventing yourself

68. Why artists are expected to have little self-value?

69. What I learned during my week off social media

70. The rules of taking open class

71. Sometimes I write articles for website design companies

72. Why 30 is a frightening age for most dancers

73. Freelancing is rarely forever

74. Finding your comforts in a hotel

75. Is it ever appropriate to burn a bridge?

76.  In the spirit of the holidays - 2013 edition

77. Check out my article in Dance/USA - Freelancing and Nutcracker season

78. The 12 shows of Nutcracker

79. The Principal problem

80. LOFD makes Dance Magazine

81. HIRE ME!!! - Desperation vs. Patience

82. The glory and challenge of young success

83.  LOFD listed among 49 creatives geniuses

84. Emotional training in ballet

85. Contract talk - Important items to have In writing

86. The replacement dancer

87. Falling ill as a dancer - Taking care of yourself

88. It's a Freelance Life video

89. Dancing in fear

90. The reinforcement gig

91. Travel post - Extending your trip following a gig

92. The frightful first day of work

93. Performing for no reviews

94. How to approach issues appropriately

95. Being the significant other of a freelance dancer

96. The, sometimes, life of a choreographer

97. Injuries: How to handle injury & preventable factors

98. Healthy competition - From student to freelancer

99. Create your own blog

100. 100th post - 100 things that inspire me

101. A freelance dancer's summer dream - National Choreographers Initiative

102. Should artists be shamed into taking "normal" jobs?

103. Stress-free travel tips from an "Economy" jet-setter

104. How to survive burn-out

105. Video Break - My new choreography reel

106. Why post so openly on social media

107. The rules of company class

108. Using independent contracting as a trial for full-time employment

109. How failure and risk helps me succeed

110. Reacclimating to home after being away

111. Why blog when it brings me no income?

112. Dance Informa magazine interview - Dancing multiple Nutcracker gigs

113. Using teaching to supplement your salary

114. 12 reasons dance is my religion

115. My 2014 highlights - Best in a year of a gypsy dancer

116. How much should I get paid?

117. Video break - My choreography - Pas de deux from Distinct Perceptions

118. Five qualities every "dancer-preneur" needs

119. Is it ever appropriate to sue a company

120. So you think you can freelance?

121. The art of self-promotion on social media

122. MRI talk - What is it like to have an MRI?

123. 8 ways to renew your inspiration

The art of continually reinventing yourself

A new option for my bio (Photo: Shalem Photography)

It is very difficult to market oneself as a dancer. We freelance dance artists are essentially the rebels of dance. The most common avenue to a professional career is to attend auditions or workshops to obtain a company contract. Freelancers may be seeking that, but for the most part they are looking for the next job. I have been asked to attend auditions to get freelancing gigs in the past, but turned down those possibilities of work because it isn't cost effective to pay for travel and accommodations for a potential 3 to 6 week job. For this reason, it is important that I remain a presence on the radar of companies and choreographers across the country. This isn't as simple as it sounds, especially since I don't want to send out the same template email, photographs, and footage each time I recontact an employer. Appearing as a fresh prospect, even if it is your fourth time contacting a company, takes a lot of time and a great deal of thinking outside the box.

I would say that I have contacted a majority of the numerous professional ballet companies and a handful of contemporary companies across the country at least once. While most of the emails I send out are ignored, a handful respond with, "we'll be in contact with you," or, "we would like to discuss using you." Most of those that speak of getting back in contact with me never do. Usually, it is only a company that has an immediate need that will respond. Just because a company didn't contact you doesn't mean that they didn't review your materials. It also doesn't mean that their needs haven't changed. It is the beginning of a new season and many companies are figuring out what they have and what their needs will be for the rest of their season. Also of note, just because a company says that they will keep your info on file if the need arises, doesn't mean that they will remember to contact you when that need does arise. For this reason, it is important to continue sending your information out to remind employers that you are still an available resource when needed. The only thing is that you don't want to appear to be the exact same person with the exact same experience each time you send your information. Dancers are built on the foundation that you must continue to grow and improve. How do you reinvent your marketing tools with limited material?

One of the most important items in your toolbox of marketing materials is your performance reel (You can check out this older post on how to create your own reel). Without any footage of your performance abilities, it will be difficult to obtain a job without going to a live audition or relying on word-of-mouth. As a freelancer, there may be times where you perform in a handful of works that you have easy access to footage from those performances. At other times, you may be working a great deal, but the performances aren't filmed. For instance, I was really hoping to get footage of myself performing as the Sugar Plum Fairy's Cavalier with Rochester City Ballet last season. But due to union rules with the orchestra that was accompanying the production, they weren't allowed to film the performances. Even if you have limited access to footage, your reel doesn't have to remain without an update for years at a time. I have set a loose rule for myself that I will update my reel every 6, or so, months. Not only does this give me an opportunity to add additional footage, but it gives me a chance to feel out what is working in enticing employers or when it isn't reading as effectively as I had hoped.

This past season, I had the wonderful opportunities to dance with Rochester City Ballet, Alaska Dance Theatre, Festival Ballet Providence, in the Philly Fringe Festival, and in a choreographic workshop of a piece that may potentially be Broadway-bound. Of all of these performances, I was only able to obtain footage from two of these organizations. Albeit the limited footage I had access to this past season, the film that I could get my hands on was plentiful. Last week, I sat on my couch and reviewed my previous 3 or 4 reels, evaluating what I did well and what could be improved upon. What I found was that all of my reels took clips of footage that were between 15 and 60 seconds long, which added up to anywhere from 7 to 10 minutes long. While I am proud of these reels, I realize that a potential employer that only watched the first minute or two of the reel would be missing out on the variety of dance works and styles that I excel at dancing. I needed to reinvent my approach to creating my reel and, so far, it seems to be working.

In creating my new reel, I decided that I should take smaller clips of my dancing and fuse them together into one work. What I like to call "highlights." Keeping the original music to these pieces would not be effective, since the music would change every few seconds. I started my 20-something hours of editing by seeking a piece of music that was interesting, but lacked any compelling vocal or moments that would draw you into the music. I wanted the focus to be on my dancing and not on the track that was playing. After finding a piece of music that fit the bill, I started by pulling all of the footage I had that showed me off at my best. I slowly began whittling down the hour of footage and finding moments in the choreography that were exciting or intriguing. This was a challenging process since it can be difficult to differentiate between something that looks great versus something that you had a special emotional attachment to performing. In the end, I was very happy with what I created. Not only do I feel that my new reel shows me in my best light. I feel that I have found a completely different way of showing employers what I can do. When I contact a company for the third time, they will likely recognize some of the footage. But they will be less likely to overlook me as a dancer that they have already seen and more likely to look at my new, fresh packaging.

Beyond recreating a reel every 6 months, I try to keep my resume and photos updated as well. It is much simpler to keep these fresh as your career flies by. Try to be patient with your photographs. The biggest temptation when you receive a brand new photo that shows off all of the hard work you've put in is to immediately post it to your Facebook, Instagram (Follow me), or website. Take one or two of these photos and satisfy your social-media urges. But hold a few back for future usage. If all of your photos are out there and you haven't been performing anywhere that has a photographer, you are going to run out of fresh material. These items are new even if they are 6 months old. That is if you don't show them to anybody. As for your resume, I would avoid any attempts to greatly change your format unless you see a friend's CV that you think would be an improvement. While you want to show that you've moved forward within your reel and photos, you want your resume to be easy to read and recognizable.

Me partnering Elizel Long (Photo: Shalem Photography)

The final way that one can reinvent themselves is to find new ways to put oneself out there. Try a new style. Change your look. Find new ways of getting exposure. Show your talents that aren't necessarily dance-related, but that define you as an artist. Make yourself compelling. I've said this before and I'll say it a million times. It is rarely the artist with the best technique that moves forward in the world of dance. It is most often the most competent artist who is most compelling to the general population that moves to the front of the stage and the forefront of people's memories. Don't change who you are to reinvent yourself, but do change your way of thinking. Those who are able to make themselves compelling will make themselves the most hire-able. The best way to remain compelling is to continuously reinvent yourself. It is always reinvention that brings people back to an old, reliable product!

Dancers and decisions in their dancing

Performing my work, "Gated Lies," in the Philly Fringe festival (Photo: Bill Hebert)

Have you ever gone to a performance and seen a dancer perform a piece that you are familiar with and thought to yourself, "What were they thinking?" I recently came across a video that a friend had posted on Facebook of Paris Opera Ballet dancer Dorothee Gilbert performing the solo and coda from Balanchine's Tchaikovsky Pas de Deux (click the link to watch, Blogger's Youtube feature decided it didn't want to find this video). Any knowledgeable Balanchine dancer or balletomane would watch this video and cringe. The solo is completed, for the most part, as it is typically executed. But when you start to watch the coda, you become acutely aware that Dorothee made some horrible decisions in dancing this piece. For instance, she is trying to be cheeky with the movement of her hips. While Balanchine dancers do lean into their hips to create a falling into the next movement motion, it is not executed with such vulgarity. She also exits in pique arabesques, which is not proper, and she changes the way that the fouettes are typically executed. While most classical pas de deux can be altered to highlight a dancer's strengths, this isn't the case for any Balanchine ballet. All Balanchine ballets are governed by the Balanchine Trust. If you want to alter the choreography, you must get the permission of the Trust or one of their associates. Why did Ms. Gilbert take the liberty to make these unacceptable changes? Lets discuss.

When I first entered the professional ballet world, I pretty much did whatever I was told. I was late to the game with my ballet technique and I had to make up a great amount of time in my final two years of training. I would only do what I was told to do, never rebelling or questioning. I never made any choices about my dancing and I was afraid that my intuition was wrong. As my career grew, I realized that, at times, I had a little more leeway in making a few decisions. Perhaps, I chose to execute a step with a certain accent or I emoted a little differently than I was told. But when it came to steps, I didn't feel like I had the privilege of taking even minor artistic liberty. When I entered the contemporary dance world, my mind was blown when I was told that I should do it my own way. I wanted to be told exactly what to do since that was all I knew. It took me well over a year to adjust to this difference. It was difficult for me to pick up choreography because I was so stressed about perfectly replicating the execution of a movement that had no name or clearly defined position. I was eventually told that there was no perfect and that I should decide how it would look. If the choreographer didn't like the decision that I made, they would tell me and I would find a new way to execute. In the end, I ultimately had more leverage in deciding how I would perform a piece. With all of this in mind, as I started to watch other dancers perform, I began to be a little more lenient in my judgement of their decisions, especially on a ballet stage.

Dancing Balanchine's "Rubies" w/Leah Merchant (Photo:Angela Sterling)

With all of this knowledge and experience existing in multiple facets of the dance world, I find that it is hard to put blame solely on dancers for making poor choices in their performances. If I'm in the studio every day and get to see why a dancer makes the decisions that they do, then I feel I have more of a right to be judgemental. For instance, looking at the video of Dorothee Gilbert that I posted above. Did Dorothee teach herself that pas de deux? Did she learn it from a video and change the things she didn't like? Maybe a Balanchine repetiteur set the piece on her and changed the choreography to suit her. Or even, perhaps, after that repetiteur left, Ms. Gilbert's coach felt that they could change the steps. There are so many possibilities that could have influenced the alterations and stylistic choices within the choreography. But in the end, the performance is judged as if she was the only one involved in creating her performance. It is true, she is the one dancing the piece. All of this criticism appears to be a reflection of her and the quality of her dancing.

Unfortunately, for dancers, we are thrown onstage without any of the support that created our performance. Company class teachers, ballet masters/mistresses, artistic directors, stagers, colleagues, and anybody else that influences technique and the performance that happens onstage are largely left uncredited aside from a name and title in a program. When the reviews come out, a critic may say, "Stevie danced an unmusical, mannered performance that lacked emotion and spark. She seemed nervous and had multiple missteps." While the dancer receives and consumes the criticism, nobody points out that the artistic director didn't leave enough time for rehearsals and Stevie, being the 2nd cast, only had one run-through of the piece prior to performing. It wasn't mentioned that her coach told her that her character is generally unemotional or that the conductor played a completely different tempo than what was rehearsed. It is a great stress to dancers who are being told exactly how to perform to make their own decisions, even if they disagree with their instruction. Not only is their reputation on the line, it is also possible that their job may be on the line.

Why am I pondering all of this on a blog about freelance dancing?As a freelancer, aside from having leeway to make decisions about where you work, you have much more freedom to make your own choices within your dancing. Outside of class, most of the work that freelancers perform is fast-paced and transient. There generally isn't enough time to develop the typical submissive relationship between those in charge and yourself that is ever-prevalent in the dance world. It seems to me that there is somewhere around a month-long grace period where everybody is on their best behavior when entering a new workplace. Those in charge are less aggressive during this time and those subordinate are less likely to rebel. For this reason, corrections and style tend to be suggestions, instead of demands. This grace period allows for a dancer to explore their own decision making and to truly dance as they would choose to do so. This means that dancers take greater responsibility for their decisions. It also means that one has the opportunity to truly dance as the artist that they are.

"My version" of the "Nutcracker" variation (Photo: Ruth Judson)

While freelancing allows one to make more choices in their dancing, it can also be frustrating when you feel that you aren't ever getting any coaching. Working for multiple employers doesn't really give enough time for artistic staff to identify the areas of your dancing that need more work. This is why it becomes important to self-regulate and keep up-to-date by doing your homework. I regularly read reviews, see performances, discuss technique with friends, and watch Youtube videos. Dance is founded on replicating movements that are shown to you. Use your best judgement and be vigilant with self-correcting. I would even suggest recording yourself dancing a piece you are working on or performing class work.

It is very freeing to be in charge of what choices you make while rehearsing and performing. Sometimes, a dancer can develop a relationship with a coach that brings out the best in that artist. At other times, an aggressive coach that has too little time with a dancer or is more interested in their own ego than developing an intelligent, confident artist can leave dancers suffering from decisions that weren't even their own. The next time you see a performance that leaves you befuddled, take a moment to think about the whole picture before laying all of the blame on the dancer for their performance. We exist in such a hard career. The more that artistic staff and critics can empower dancers to step out of the eternal student role, the better off the dance world will be as a whole.

Staying in the loop

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

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

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

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

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

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

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

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

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

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