"Create Your Own Project" series - Writing Your Own Budget

In the first two parts of our Create Your Own Project series, I talked about gaining fiscal sponsorship in order to accept tax-deductible donations and how to write a fundraising letter to obtain those investments. For the third part of this series, I will go into detail on how to write a budget for your project. As a dancer, you rarely have to worry about funding beyond, “Am I going to get paid by this presenter?” Now that you have decided to make art on your own, you have a lot more to worry about then simply collecting a salary. If you are following my series as a step-by-step process, you may find things a little backwards, as you will likely need to determine your budget in order to apply for fiscal sponsorship. In the end, there is no correct order to execute these items. But in order to gain the trust of donors and sponsors alike, you will need some semblance of a budget in place.

You want me to write a budget?

Where does one start when writing a budget? Again, I don’t think there is a proper place to start, but this is how I went about it. First, I looked at my project and picked apart major aspects of production that will require funding. Core-ography has a multitude of parts that need financing in order to execute the project fully. It involves dancers, film, editing, travel, choreography, and more. To make life easier, I broke my budget down into 7 categories. These areas that can't be executed without cost include equipment, artist fees, travel, legal fees, facility rental, salary, and unexpected costs. Each of these areas are important to the quality of my final product, so I took these broader subjects and broke them down a bit further.

One of the most difficult parts of writing a budget is the unknown. While there are methods to writing the financial requirements to fulfill your vision, it can be challenging to determine exactly how much money to seek out. If you create a plan that seems way out of proportion, you may turn off any larger-scale donors, grant-makers, or sponsors that see your financial plan as impractical. Especially for first time project-makers, if you create a budget that appears grossly over-projected, you may threaten losing the trust of those that want to see your project come to fruition. While funders give to artists because they want to share in their art, they also want to see the proposed product come to fruition.

Be practical when adding up the sum of your expenses, but don’t go too far in the opposite direction. If you plan for too little within your budget and later find that your expenses are much greater than you expected, you are going to run into some tight spots or risk failing to complete your vision altogether. Find a middle ground and try to come from a practical standpoint in your projections.

Now that I have shared the broader list of places that I need to raise money for Core-ography, let’s talk about how I broke down these categories. Since this project relies on my ability to film high-quality content, I know that I need a professional camera, lens, microphone, and tripod. There may also be additional accessories necessary; like an additional battery or travel case. Beyond this, I need a computer with high-quality editing software that can also handle loads of video footage.

In determining my needs, I didn’t suddenly become an expert on the essentials of a filmmaker. I reached out to my gloriously talented friend, Pacific Northwest Ballet videographer Lindsay Thomas (she is responsible for most of the videos from the PNB channel, like the one seen below), who is quite the expert at dance and film. She offered me suggestions for equipment, as well as less expensive second options in the event that I don’t meet my budget for costs. Whenever you find that you lack knowledge in an area of your project, brainstorm within your network to find friends and colleagues with expertise that can help guide you. The best projections come from somebody that has already been through what you are about to experience. Don’t be afraid to reach out.

Next, a major part of my Core-ography project is traveling on-site to work with each artist. My breakdown for this includes transport and accommodations. While I haven’t yet purchased my tickets for travel, I did a search on Orbitz of round-trip airfares to the cities I plan to visit. For some, traveling by bus or train is more feasible and much less expensive. Taking a general look at fares on plane, train, and bus, I projected that most round-trip plane tickets would cost about $500. Since 6 of my artists are outside of the northeast corridor, I must fly to work with them. When it comes to the other 6, it will probably be more financially responsible and even, possibly, easier to travel via train or bus. Beyond travel, I also researched the average cost of one week in a hotel room on-site. I may be able to defray costs by staying with friends. But I can’t project the possibility of this happening until I solidify travel plans. So, I included the cost of hotel accommodations with 8 of the 12 artists with whom I will be collaborating. Taking into consideration that I live in Philadelphia, have plenty of friends to stay with in New York and Seattle, and will likely figure out one more place, I projected 8 weeks worth of hotel stays.

From here, my next costs are artist fees, legal costs, and facility rentals. Obviously, you want to provide your dancers incentive beyond sharing their art and getting exposure. If an artist is providing you their time and skill, then you should be providing them with some compensation. Now, to get your artists on board and to make sure that they are committed to you and you to them, you need to have a contractual obligation between each other. Since this is your first time creating a project, it is highly unlikely that you understand how to write a legally binding contract. I do have a lot of experience with contracts, especially since I prepared and negotiated a three year contract at PNB. But this was with the assistance of AGMA personnel who negotiates contracts for a living. Even with my substantial experience with AGMA and working as a freelancer, I am still planning on reaching out to have an outside party take care of these documents. Lastly, I took into consideration that I need appropriate studio space to work with my artists throughout the weeks that we work together.

The final two areas that artists surprisingly leave out of their budget are salary for themselves and unexpected costs. If a dancer/choreographer is creating art and investing a great deal of time into their work, they must plan to pay themselves. Yes, artists often have passion projects. But passion doesn’t put food on your table or a roof over your head. It can feel selfish and pretentious to include a livable wage in your costs, but it is, perhaps, the most important part of your budget. Beyond this, I feel one should always include a bit of wiggle room for emergencies. Perhaps, I need to change my flight or the camera lens breaks after an accidental grand battement. For this reason, I would suggest that you always leave room for unexpected costs in your budget. Again, don’t be outrageous, but allow some wiggle room to assure yourself that a minor snafu doesn’t become a full-fledged crisis.

Keep your head from spinning and plan for unexpected costs (Photo: J.J. Tiziou)

One thing I keep in mind when sharing my budget with potential funders is that costs can be offset by donated equipment and space, shared accommodations, crowd-sourced funding campaigns, and grants. Rarely will an artist fund the entirety of their project through private donations. For this reason, it is important to project your budget to be fulfilled by an array of funding options. Just like a 401(k), the more diverse your portfolio of funding possibilities is, the more likely you will be able to meet or exceed your budget goals. Now, go ahead and project your financial needs and start figuring out how to get people and organizations invested in your art.

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

"Create Your Own Project" series - Writing a Fundraising Letter

Speaking at a fundraising event for Alaska Dance Theatre (2013)

(Be sure to read to the bottom for a complete example of my recent fundraising letter)

In my first post of LOFD's Create Your Own Project series, I talked about the importance of fiscal sponsorship (which allows you to accept tax-deductible donations). Now that we are clear on the benefits of funneling your funds through a non-profit organization in hope of increasing the chances of more generous donations, your next step is to write a fundraising letter. Read on to find out how to fine-tune your initial asking campaign.

I don't know many dancers who outright enjoy asking people to donate money to their cause. Too often, artists live on the edge of poverty. So, when it comes to asking for money, many dancers shy away from this fearful act. Dancers are hard workers and often prefer to achieve their accomplishments through their own grit and determination. But there is nothing wrong with asking for assistance in creating your art and having the ability to survive financially throughout the creation process. Where is one to start in preparing correspondence with potential donors?

This may seem counterintuitive, but the first place any inspired artist should begin is with a business plan (the next topic in my Create Your Own Project series). To gain fiscal sponsorship, you will likely need to complete a loose proposal for your project; which should include your mission, project description, goals, budget, etc. By this point in the game, you need to have a more solid plan in place. You never want to be lacking in data when a potential donor asks you where their money will go. If a prospective sponsor catches you off guard and you aren't immediately prepared to explain the finely tuned details of your project, you will likely lose that prospect.

After your business plan is in place, it is time to begin writing. Of course, always start with a simple greeting, like"Dear Mrs. Johnson" or "Dear Dance Supporter." If you know their name, make sure to address the letter directly to them. But if you are going to ask a friend to share your letter with other potential donors, you may want to use a more general greeting to allow them freedom to send the letter on to their connections. Keep the length of your message down to one single-spaced page using a 12-point font of your choosing.

Now that you have the structure of your letter down, it is time to work on your content. When I first started writing my current fundraising campaign, my natural inclination was to prove my value to my audience and tell them why they should support me. Luckily, a great friend and supporter of mine, who just happens to be a professional dance writer, stepped forward and offered to mentor me through this process. Without their advice, I would have been lost. Throughout the editing phase, I learned that a first asking campaign usually goes out to people that love and support you. Therefore, less time needs to be invested in writing about your worthiness of their support. My friend kept returning to this statement,  "Why does this project matter to your audience?" Essentially, patrons are more likely to support your work when your subject means something to them.

Your letter should be very concise and to the point. Start the body of your letter by drawing your reader into the subject matter of the project and ask why it is relevant to your audience. Next, speak directly about the project. Only include key details, as the finer details may cause the reader to lose interest before they get to the ask. Since most projects are deeply personal to the creator, it is easy to go on a rant about aspects of the work that are only important to yourself. This is why it is pertinent to have a neutral party edit your first drafts. The last thing you want is to offer information that is meaningless to the person reading.

After sharing the details of your hopeful creation, you need to ask for an exact amount of money and explain why you need that amount. If you need $500, ask for $500. If you need $10,000, ask for $10,000. If you are shy about asking and somebody does decide to give, you will receive the lower amount. But if you ask for what you need, and they choose to invest at a lower level, you are still ahead of the game. Be sure to include clear details on the allocation of their donation.

Now that you have talked about money, you should give a short summation of your background and qualifications. This helps to build trust in the integrity of the final product and shows your ability to follow through with your promises. Keep in mind that a donation is an act of trust. People give out of trust that you will be honest about your intentions and follow through with a quality product. Again, don't go overboard, as most of the people you reach out to already know your achievements and work ethic.

The final paragraph of your letter should restate the need for public support and offer information on how to donate. If you plan to correspond via email, be sure to include links to your past work and donation page. Also, check with your fiscal sponsor to see if you are required to include any fine print, as many do. Be sure to mention that you are willing to accept any level of donation if they are not able to meet your exact request.

Once you have completed a few drafts of your letter and let another pair of eyes edit your work, you need to determine your audience. Look at how much you are asking for and be practical. If you know somebody has been having financial difficulties or recently encountered a major expense (medical, car repairs, etc.), wait until later in the campaign to reach out to them when you are seeking smaller amounts to cover lesser costs. Try not to ask for money around big holidays or in the midst of tax season. Don't be shy, but ask yourself, "Would this be a big or small stretch for Mr./Mrs. ______?" From there, determine whether you'll send this letter via email or physically. Keep in mind that sending a letter in the mail is more professional, but will incur greater cost before you have received funding. You will need to retroactively put this into your budget. If you are trying to cut down costs, send your letter via email. I actually prefer email because it allows me to add a link to my choreography and donation page.

Now that you better understand the art of writing a fundraising letter, keep scrolling down to check out the letter that I recently developed for my upcoming project. With that said, readers of Life of a Freelance Dancer, please allow me to introduce my upcoming project, Core-ography.

(I am offering this as a tool. This letter/project is my property and can/should not be replicated or reproduced in any way, part, shape, or form. I retain the rights to the letter/project/intellectual property below)

Greetings Dance Supporter,

We’ve all been through times when immense growth and significant challenge seem to go hand-in-hand. Commonly, we look back at these experiences as positive building blocks in our lives. But did you feel you had to keep private and deal with things all on your own? Did you worry how people would judge you if you admitted that you were less than happy and content all the time?

My new project, Core-ography, tackles these questions through dance. We’ll travel the globe to tell dancer’s defining stories and promote the idea that it can be positive to share life’s most revelatory moments. Our Core-ography channel will be easily accessible on Youtube, making it available to audiences worldwide. I am writing you to ask for your help in making this unique project come to fruition.

Each artist will be interviewed to pinpoint their most defining experiences. After, we will collaborate to create a choreographic expression of their personal story as public art. This project brings superhuman dancers down to their most human qualities and inspires people to share without judgment.

Here is where your support is crucial. The initial phase of Core-ography costs $50,000. I am seeking 12 Core-sponsors to make a tax-deductible donation of $2,000, which will give us solid footing to work from for our first 12 artists.  Dancers from companies in New York City, London, Philadelphia, Los Angeles, Seattle, Atlanta, Washington D. C., Richmond, and more are already prepared to work on this project.

My experience spans more than a dozen years working with some of the nation’s most prestigious dance organizations. I have choreographed for the National Choreographers Initiative and won an Outstanding Choreographer award at the Youth America Grand Prix international ballet competition. I am excited to use my skills to offer mental health awareness through dance and film.

Your generous gift will cover the cost of travel, accommodations, facilities, legal fees, compensation, and more. Core-sponsors receive direct acknowledgement in artist videos and insider updates. Your support gives us legs to lift this project off the ground and into the studio. The remainder of costs for Core-ography will be covered by grants and a crowd-sourced funding campaign.

Please help me make Core-ography possible by sponsoring an artist today! If you are unable to be a Core-sponsor, donations of any amount are welcome and greatly appreciated. Donations can be made online via this link or by check (see below). Checks can be mailed to: Barry Kerollis, PO Box 63723, Philadelphia, PA 19147.

Choreography Sample
 

Barry Kerollis is a member artist of New York Live Arts, Inc., a non-profit tax-exempt organization. Contributions in support of Barry Kerollis’ work are greatly appreciated and may be made payable to New York Live Arts, Inc., earmarked for “the New York Live Arts member project of Barry Kerollis.” A description of the work and current project activities for which such contributions will be used are available from Barry Kerollis or New York Live Arts, upon request. All contributions are fully deductible to the extent allowed by law. (Note: A copy of New York Live Arts’ latest annual financial report filed with New York State Department of State may be obtained by writing to the N.Y.S. Dept. of State Charities Registration, 162 Washington Avenue, Albany, NY, 12231, or to New York Live Arts, 219 West 19^th Street, New York, NY, 10011)

Warm regards,

Barry Kerollis

Core-ography Founder/Choreographer

http://barrykerollis.com/

http://lifeofafreelancedancer.blogspot.com/

Greetings Dance Supporte

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.

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

8 Way to Renew Your Inspiration

Whether you are dancing in a full-time company or have taken to running your career on your own as a freelancer, there will be times that you may feel like you are losing your motivation. Sometimes, it can be a slow period when it comes to casting and, at other times, it can be the challenge of finding inspiring work. There are many experiences throughout a dancer's development that can push oneself off track to enjoying a sustained and successful career. Often, dancers just need a new perspective or experience to get them on the right track to building and growing their passion. Below I've listed a handful of ways that I have given my dance career motivation a shot in the arm.

- Youtube:

One of the best innovations to change the dance world was the creation of Youtube. Now, I know that this social media platform which focuses on short videos was never meant to specifically work as a venue for dance, but it has surely changed people's access to quality dance footage. When I was a kid, if I wanted to seek inspiration, I either had to raid my dance teacher's video cabinet or look at still pictures of dancers in periodicals. Today, if I want to see an inspiring performance or check out a specific artist, but don't have the money to pay for tickets or travel, I can easily search for the most inspiring performances online.

- Mentors:

Climbing mountains w/close friend & mentor, Boyd Bender

One thing I know for sure is that I would never have had a career if it weren't for a handful of very special adults that took interest in offering me opportunities and advice in my journey from pre-professional to professional. While I am now a full-fledged adult and completely in charge of my own career, when times get hard I know who to turn to. Maybe it was your first dance teacher, a former dancer, a former colleague, a random arts connection you met at a donor party, or a multitude of other people. These people are often the best to turn to for inspiration, as they probably have inspired you many times in the past.

- See a show:

This one can be tricky. A few months ago, a friend asked me if I was going to see a certain performance. I told them, "No. Being injured and seeing a show would probably only be depressing." Well, a few weeks later, I finally decided to see a dance performance and was really glad I had done so. Very few dancers were inspired to have a career without having seen some type of professional performance. If you are feeling a little uninspired, dress up, grab a drink, and go be a spectator in the audience. It may help you find the inspiration you are looking for. 

- Take class from a new teacher:

Sometimes, a lack of inspiration is purely situational. This can happen a lot when you are dancing in a full-time company, taking from the same instructors all the time. When I was a kid, I used to take class from multiple teachers a week. Then I would leave for the summer and have a whole new set of teachers. Add in master classes, summer program auditions, and pre-performance warmups, I had a variety of options to take class. Often, in a company, the instructor options are very few, especially if you live outside of New York City. Many dancers won't leave company class because they are afraid that the Artistic Staff will think that the dancer isn't taking class. If you don't live in New York City, where it is common to go to Steps on Broadway to warm up for your day, do some research about instructors and classes offered in your area. If you are concerned about your boss being upset, maybe try out their class on a day off. Often, a dancer only needs a new perspective to gain new inspiration.

 - Hang out with dance friends:

If inspiration is lacking, sometimes you need to be reminded of who you are. There is no better way to do this than to spend some time with friends who are involved in and equally passionate about your art form. Whether you are sitting and talking about dance or just enjoying the energy of other artists around you, your friends will understand and inspire you to continue growing.
  
- Take class in a new style:

When dancers are students, they often dabble in a multitude of different dance styles. As a youth, I remember thoroughly enjoying differing styles of dance, like Salsa, Flamenco, African, Hip Hop, Irish Step and more. Then we become professionals and we tighten up greatly. One thing I have found, as a pro, is that once we become very good in a niche of our art, we become afraid to step out of that niche and do something that we aren't as good at. Young students have no problem throwing themselves into a class and looking/feeling imperfect. But professional adult dancers tend to stay in their own style and fear looking bad in another. Well, give that up and run to a dance studio to take a hip-hop class or a salsa class. New inspiration is rarely found on a one-way road that you drive down day after day.

- Visit New York City:

This may not be a possibility if you are on a tight budget or live too far away, but a nice visit to New York City is often enough to light that fire that every dancer feels when they visit the Dance Capitol of the World. A few weeks ago, when I was having a less than inspiring time trying to figure out my injury, I hopped on a bus to spend a few days in this amazing city. Almost every professional dancer has some connections here. You can accomplish essentially every topic listed in this post in a short trip. Walk around, feel the vibe, see a show, take from a new teacher, try a new style, hang out with dance friends, and so much more. A trip to New York City is like drinking a few shots of espresso all at once!

- Take a few weeks off:

If all else fails, maybe you just need to take a few weeks off from your art. If you don't have the funds to do this, either start saving or ask around for random, small jobs (Task Rabbit, Craigslist, friends&family, etc.) that may be able to support you so you can take that break. Don't take a few weeks off without a plan to reenter the dance world because it may lead to more time off than you planned, which may be more damaging to this cycle. Plan how you will occupy some of your time and don't put the physical and mental stress that dancers are known to place upon themselves. If you do this appropriately and effectively, you'll come back hungry for more. As they say, "Absence makes the heart grow fonder."