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The Waiting Game
You’ve been wait-listed to the summer intensive of your dreams. Now what?
Springboard Danse Montréal accepted 45 dancers from its waitlist last year. Photo by Michael Slobodian, courtesy Springboard Danse.
You’ve found the perfect summer program. You audition, and wait weeks for the fated acceptance or rejection letter. An envelope with your dream school’s logo arrives. You excitedly rip it open to find that you’ve been…wait-listed. Your ideal intensive, that just seconds ago seemed within reach, has now slipped away. Or has it?
Few feelings are more frustrating than being placed on the waitlist. What exactly went wrong? Should you follow up or ask for another chance? Or should you make a commitment to your second choice? Ultimately, how you handle yourself while in limbo can make a lasting impression.
A Numbers Game
Most summer programs accept more dancers than they have spots for, knowing that some students will go elsewhere. Waitlists ensure they’re not left with empty barre space. Some programs never touch the waitlist, while others may extend an offer to nearly everyone, and most schools’ dependence on the list changes each year. Lack of space is the number-one reason a qualified dancer is wait-listed. It’s also a spot for dancers that the audition panel feels may not be as strong technically, but they see something special in.
Patel Conservatory in Tampa, Florida, aims to have 300 students attend its Next Generation Ballet Summer Intensive each year. After seeing more than 600 dancers on a 25-city audition tour (plus year-round Patel students), around 500 dancers are admitted. Seventy to 80 end up on the waitlist. Instead of first come, first served, dancers on Patel’s list are divided by level, then carefully ranked. “We want to make sure each of our levels have relatively even numbers,” says Patel’s dance department manager Claire Florio, who adds that dancers in later audition cities are more likely to be wait-listed if their level is already full. “Auditioning as early as possible certainly can’t hurt.”
Springboard Danse Montréal, a three-week program that connects advanced dancers with choreographers, has to be even more specific when letting dancers off the waitlist—they’re not just filling class levels, but casting performances, too. The program typically has 110 available spots. When one is given up, it needs to be filled with a dancer similar to the original. “If I lose a guy who’s amazing at partnering, I’m not going to replace him with a guy who can’t lift,” says artistic director Alexandra Wells, who pulled 45 dancers, of about 60 total, off the waitlist last year.
Increase Your Chances
Your first instinct when wait-listed may be to ask for another shot. But Alexei Kremnev, artistic director of The Joffrey Academy of Dance in Chicago, says this can only sometimes help sway your odds. “Dancers can contact our staff and we’ll decide if a reevaluation should be allowed,” says Kremnev. (Joffrey accepts 6 to 12 dancers from a waitlist of about 120 each year.) “But if you’re given that second chance, make sure you’re ready for it.” Ultimately, re-auditioning is only helpful if something went completely awry the first time, like sickness or injury.
Being wait-listed is not a rejection—it means you’ve already proven you’re a strong dancer. Stay on the program’s radar and let them know they’re still on yours. “The majority of dancers never even respond to our initial email that tells them they’re wait-listed, which is not a good idea,” says Wells, who recommends a response that does more than just state your interest. “We want dancers who have done their research and can explain why our program suits them, instead of someone who says, ‘I’m still free.’ ”
After your first email or call, occasional follow-ups are warranted. “Showing that you’re enthusiastic is always a positive,” Florio says. “With that said, sending an email every day will overwhelm our staff. If we let you know the date you’ll hear back, you don’t need to continue asking about it before then.”
Down to the Wire
You may be forced to put down a deposit for another program before you’ve heard back from your number-one choice. In this case, reach out to your dream program and explain your situation. Patel will let dancers know where they stand on the waitlist. Before agreeing to the other program, ask for a deadline extension, and check the deposit-refund policy. If you do choose another program, it’s a nice gesture to contact your wait-list school and tell them you’d like to remove your name.
Joffrey may continue accepting students from the waitlist up to two weeks after its own registration deadline, which means many dancers will have already chosen other programs. But Kremnev doesn’t recommend backing out once you’ve paid a deposit, since you’re unlikely to get that money back. “Focus on learning as much as you can wherever you end up,” he says, “because any summer program can have a positive impact on your career.”
Wells agrees: “Just tell us, ‘I am so disappointed, but I’ve already agreed to something else.’ If you made it this far, we like you, and you can likely come back to us next year. The dance world is a small family, and we’ll remember a dancer who’s not only talented, but is smart, professional and sticks to her commitments.”
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.
Last week in a piece I wrote about the drama at English National Ballet, I pointed out that many of the accusations against artistic director Tamara Rojo—screaming at dancers, giving them the silent treatment, taking away roles without explanation—were, unfortunately, pretty standard practice in the ballet world:
If it's a conversation we're going to have, we can't only point the finger at ENB.
The line provoked a pretty strong response. Professional dancers, students and administrators reached out to me, making it clear that it's a conversation they want to have. Several shared their personal stories of experiencing abusive behavior.
Christopher Hampson, artistic director of the Scottish Ballet, wrote his thoughts about the issue on his company's website on Monday:
I always knew my ballet career would eventually end. It was implied from the very start that at some point I would be too old and decrepit to take morning ballet class, followed by six hours of intense rehearsals.
What I never imagined was that I would experience a time when I couldn't walk at all.
In rehearsal for Nutcracker in 2013, I slipped while pushing off for a fouetté sauté, instantly rupturing the ACL in my right knee. In that moment my dance life flashed before my eyes.
My life is in complete chaos since my dance company disbanded. I have a day job, so money isn't the issue. It's the loss of my world that stings the most. What can I do?
—Lost Career, Washington, DC
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.
The encounter with man-eating female creatures in Jerome Robbins' The Cage never fails to shock audiences. As this tribe of insects initiates the newly-born Novice into their community and prepares her for the attack of the male Intruders, the ballet draws us into a world of survival and instinct.
This year celebrates the 100th anniversary of Jerome Robbins' birth, and a number of Robbins programs are celebrating his timeless repertoire. But it especially feels like a prime moment to experience The Cage again. Several companies are performing it: San Francisco Ballet begins performances on March 20, followed by the English National Ballet in April and New York City Ballet in May.
Why it matters: In this time of female empowerment—as women are supporting one another in vocalizing injustices, demanding fair treatment and pay, and advocating for future generations—The Cage's nest of dominant women have new significance.
Stephen Petronio brings a bracing season to New York City's Joyce Theater, where he has performed almost every year for 24 years . His work is exciting to the subscription audience as well as to many dance artists. He delves into movement invention at the same time as creating complex postmodern forms. The new work, Hardness 10, is his third collaboration with composer Nico Muhly. The costumes are by Patricia Field ARTFASHION, hand-painted by Iris Bonner/These Pink Lips. Petronio's work still practically defines the word contemporary.
Stephen Petronio Company also continues with its Bloodlines series. That's where he pays homage to landmark works of the past that have influenced his own edgy aesthetics. This season he's chosen Merce Cunningham's playful trio Signals (1970), which will be performed with live music from Composers Inside Electronics.
Completing the program is an excerpt from Petronio's Underland (2003), with music by Nick Cave. Video footage courtesy of Stephen Petronio Company, filmed by Blake Martin.
Never did I think I'd see the day when I'd outgrow dance. Sure, I knew my life would have to evolve. In fact, my dance career had already taken me through seasons of being a performer, a choreographer, a business owner and even a dance professor. Evolution was a given. Evolving past dancing for a living, however, was not.
Transitioning from a dance career involved just as much of a process as building one did. But after I overcame the initial identity crisis, I realized that my dance career had helped me develop strengths that could be put to use in other careers. For instance, my work as a dance professor allowed me to discover my knack for connecting with students and helping them with their careers, skills that ultimately opened the door for a pivot into college career services.
Here's how five dance skills can land you a new job—and help you thrive in it:
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."