The Great Debate: Should Auditions Cost the Dancer?
During her senior year of college, Erika Leeds flew to Philadelphia for an open call. She was one of more than 100 people who paid $25 to audition, with the hopes of landing a job. "Once we got there, we were told that there were currently no open spots in the company," says Leeds. She stayed for the promise of getting seen but walked away disappointed. "This whole thing was crazy: I paid to fly up here and audition, and they weren't hiring and barely saw us dance."
In other industries, paying a future employer for an interview would be considered unethical. Yet in dance, it is common practice. Many companies offer the explanation that it is expensive to hold open calls and in exchange for that fee, they are providing a class. Now, cash-strapped dancers and even some company leaders find themselves questioning this norm.
Just Saying No
In August, Brooklyn-based downtown dancer and choreographer Raja Feather Kelly was asked to help advertise an open call. When he saw that there was a fee to attend, he immediately posted on Facebook: "I just don't think dancers should pay to audition. NO!" The post stirred up discussion among the modern dance community. Some choreographers lamented the higher cost of booking space when it is used for an audition rather than a rehearsal, while others admitted that it should still be part of a company's budget. Dancers expressed frustration at being expected to contribute to a company they didn't even dance for yet. Too few jobs seemed to come as a result, and there was a sense that some companies might be holding auditions opportunistically—to collect money or advertise an upcoming show. Dancers' confidence in the process was waning.
Raja Feather Kelly. Photo by Andy Toad, Courtesy Kelly.
Kelly sees another path. "It is very possible to take class, see dance shows and meet people you want to work with without having to audition, much less pay to audition. That is how people really are getting work," he says. "Dancers need to take responsibility for building relationships." In the long run, the cost for classes and tickets ends up being more expensive, but this type of investment is likely to have a bigger payoff.
Are There Any Benefits?
In the ballet world, where companies are spread out, making connections often comes with the cost of travel and auditions. To counter that, Kansas City Ballet artistic director Devon Carney made a compromise: an audition tour. Beginning in 2014, he expanded auditions beyond New York City and Kansas City, aiming to reach a major metropolitan area in each region of the U.S. While it does cost non-AGMA members $25 to attend a KCB audition, Carney insists that bringing open calls to a broader community has made the process more affordable. "The alternative is traveling further, which costs the dancer more, and the room is more crowded," he says. To date, Carney has hired from open calls in Houston, San Francisco, Boston, Kansas City and New York City.
Kansas City Ballet artistic director Devon Carney leading rehearsal. Photo by Jessica Kelly, Courtesy KCB.
What About Videos?
If you're considering submitting video auditions to forego travel costs, be aware that you'll often pay as much as $35 per application. Why? "It's a more stringent process," says Carney, who receives about 500 submissions every season. Unless you think you're the perfect fit, you may want to save a little cash and stick to open calls. "Ultimately, it's best way to get the most time in front of a director."
We knew that New York downtown dance darling Okwui Okpokwasili was a big deal. Critics and audiences have been raving about her dance-theater works for years, and the new documentary about her, Bronx Gothic, has attracted the attention of the larger arts community.
But never in our wildest dreams did we imagine she'd show up in a Jay Z video, along with flex dancer Storyboard P. Though we're slightly less surprised to see Storyboard in Jay Z's "4:44" video than we were to see Okpokwasili, we're jazzed that two of our favorites are featured on such a huge platform. (We're also feeling #blessed that we didn't have to subscribe to Tidal to watch this.)
Throughout the years, choreographer Seán Curran has worked with a diverse array of talented collaborators—from Kyrgyz music ensemble Ustatshakirt Plus to the the Grammy Award–winning King's Singers. But perhaps none are as meaningful as his most recent group of co-choreographers: At-risk teens from the after school program and nonprofit The Wooden Floor.
Curran has been in residence with The Wooden Floor since June, where he's worked with students to build choreography based on their lives and communities:
Their creation will be shown July 20-22 at The Wooden Floor Studio Theatre in Santa Ana, California.
"Besides the stage, baking is my other happy place," says New York City Ballet corps member Jenelle Manzi.
Four years ago, she thought her baking days were over when she was diagnosed with gluten intolerance. Manzi had been dealing with pain, frequent illness and joint inflammation for nearly 10 years. Once she cut out gluten, Manzi gradually started to feel better, noticing a transformation in how her body felt and functioned. She found her joints were less inflamed, and she got sick less often.
New York City Ballet soloist Unity Phelan and American Ballet Theatre soloist Cassandra Trenary spend every day making their hard work look effortless and graceful both in the studio and onstage. That's exactly what makes them the perfect spokesmodels for the dance-inspired activewear line, Belle Force.
To celebrate our 90th anniversary, we excavated some of our favorite hidden gems from the DM Archives—images that capture a few of the moments in time we've documented over the decades.
This image was captured during a 1978 New York City Ballet tour that took the company to Copenhagen—home turf for Adam Luders (right), who trained at the Royal Danish Ballet School and briefly danced with the company before joining NYCB as a principal dancer in 1975. Next to Luders is (of course) George Balanchine, in conversation with ballerina Suzanne Farrell. And looking on with a smile? NYCB's current ballet master in chief Peter Martins.
On March 8, 2016, Rami Shafi found himself inspired to film an impromptu dance video of his best friend, Aaron Moses Robin, improvising on Gay St. in New York City's Greenwich Village. Thus was born Pedestrian Wanderlust, a collection of dance videos that has grown to include a monthly improv jam.
Shafi works with anyone who wants to take part in the project, filming videos in locations chosen by the dancers and later adding music. The videos are shot on Shafi's iPhone in one take and, other than the starting and ending points, are entirely improvised. The editing afterwards—including the music choice—is minimal. "I don't like to edit too much. It's just what it is," says Shafi. "I usually can do the editing on the train ride home."
Many people see dance and choreography as separate pursuits, or view choreography as a dance career's second act. For some dancers, however, performing and choreographing inform one another. "That's just the kind of choreographer I am. I feel things so deeply in my physicality. I have to do it to know it," says Jodi Melnick, who is a prolific performer of her own work. She also maintains an active practice as a performer for other choreographers: Throughout her career, she's worked with Trisha Brown, Twyla Tharp, Tere O'Connor and Donna Uchizono, to name a few.
Though a dual career can be fulfilling, simultaneously inhabiting the roles of dancer and choreographer requires focus, organization and a great deal of energy.