Your Body, Your Health Care
Barry Kerollis found himself in a health insurance conundrum after leaving his job with Pacific Northwest Ballet in 2011. He joined a contemporary ballet company that did not provide insurance, so he continued his PNB coverage through COBRA for $520 a month, with $30 copays. But then he got injured. “I couldn’t afford to pay for my physical therapy because I was paying for my insurance,” says Kerollis, who is now a freelance dancer, choreographer and teacher.
Although Kerollis eventually got a $150-a-month plan that covers physical therapy and chiropractor visits, the policy includes a $50 monthly fee for his asthma—something considered a preexisting condition by some insurers.
Kerollis’ health insurance woes are common among dance professionals. However, with much of the Affordable Care Act phased in this month, the public has a bevy of new health benefit opportunities. The new law requires insurance companies selling policies through state or federal “exchanges” to abide by specific consumer protections. Those include no discrimination based on preexisting conditions, no lifetime limits or restrictive annual limits and free preventative care, such as mammograms and birth control.
“Freelance professional dancers or those who work for companies that don’t offer coverage is exactly the type of group the ACA is meant for,” says Sarah Dash, a research fellow at Georgetown University’s Health Policy Institute.
But the law has a catch: It requires everyone in the U.S. to have health insurance this year and will penalize those who don’t get a policy with a $95 fee or about 1 percent of their income, whichever is greater, when filing 2014 taxes. The penalties will also rise each year. Open enrollment ends March 31—a date that applies to purchases made through the state and federal exchanges or directly with private insurance providers.
“I encourage dance professionals to at least make an informed decision, and if you choose to take the penalty, do it after having shopped around,” says Amy Fitterer, executive director of Dance/USA, a national service organization for professional dance.
Going to the Marketplace
The ACA created the Health Insurance Marketplace, a.k.a. the exchanges, at healthcare.gov. This site, for all its well-reported glitches, allows individuals and small businesses to search for and purchase health insurance coverage in different levels (bronze, silver, gold and platinum). An application can be submitted online, by mail or by phone, and you can then see what policies are available, purchase one and learn whether you are eligible for any income-based subsidies.
This year, 16 states (including ones with major dance centers like California, New York and Nevada) and Washington, DC will launch their own marketplaces. The remaining states opted for the federal government to run their exchanges either fully or partially. All exchanges can be reached through healthcare.gov.
“The exchanges provide more comprehensive information about the plans that are available than any other single source,” says Adam Huttler, founder and executive director of Fractured Atlas, a national nonprofit arts service organization. “Having said that, there’s a lot of confusion and misinformation out there.”
One item to note is that only through an exchange is it possible to get lower costs on monthly premiums through tax credits. These can bring the cost of a plan down to as little as $50 a month. For a single person buying an individual plan, the income range for tax credit eligibility is $11,490 to $45,960. “The median income for dancers, just looking at U.S. Census data, is about $21,000 a year or $27,000 for those employed full-time, which means as a whole, dancers are going to get some significant help through tax credits,” Dash says. Depending on which state a dancer lives in, if she makes less than $15,856 a year, she may be eligible for Medicaid.
“The Affordable Care Act is not a magic bullet, but it does greatly improve the access and affordability of health insurance for dancers,” says Huttler, who notes that for the past decade, Fractured Atlas had directly enrolled artists in health insurance plans. “We helped artists understand their needs and options and get the most appropriate coverage. But that was a labor-intensive process and we couldn’t help everyone, so I’m very glad that we’re no longer needed.”
Questions—and answers—for every dancer
Q: There were so many issues with the launch of the healthcare.gov site. Can I just go and purchase a policy on my own?
A: Yes, but if you purchase a plan outside of the exchanges, just be aware that not all private plans will meet the same standards as those sold through them. You also cannot get tax credits if you buy insurance outside of a government-run exchange.
Q: What all is covered if I buy through an exchange?
A: All private health insurance plans will offer the same set of essential health benefits, including at least the following items and services:
- outpatient care
- emergency services
- hospitalization (such as surgery)
- maternity and newborn care
- mental health and substance use disorder services, including behavorial health treatment (such as counseling and psychotherapy)
- prescription drugs
- rehabilitative and habilitative services, such as physical therapy or chiropractic services
- laboratory services
- preventative and wellness services and chronic disease management
- pediatric services
Plans may offer additional coverage. You can see what each plan offers when you compare them side-by-side in the Marketplace.
Q: I’m 23 and I heard that I might be able to go on my parents’ plan. Is this true?
A: Yes! If a plan covers children, they can be added or kept on the health insurance policy until they turn 26—even if they are married, not living with their parents, attending school, are not financially dependent on their parents and are eligible to enroll in their employer’s plan.
Q: When I go on healthcare.gov and try to compare plans, I get confused. Can I get advice on how to decipher the differences?
A: Not all of the plans there will be the same, even those within the same tier (bronze, silver, gold and platinum). However, they all cover essential health benefits (see list above) and meet standards for cost sharing. Read the “summary of benefits and coverage”--you can ask for it, if it's not given--and look to see if there are any limits on coverage, such as a 10-visit maximum for chiropractic visits or physical therapy. There is a 24-hour hotline to ask questions: (800) 318-2596.
Q: Yes, I am a dancer, and yes, I am a smoker. Does this matter when I pick out a plan?
A: There will be higher premiums for tobacco users. In most states, insurers will be allowed to charge up to 50 percent higher premiums for people who use tobacco, and tax credits through the exchanges will not cover the tobacco surcharge.
Q: As a freelance performer, I travel to several different states throughout the year. What does that mean when choosing a policy?
A: Once you enroll in a plan, you have to keep the plan you signed on with until the next enrollment period (which will be Oct. 15 to Dec. 7, 2014) or a qualifying life event (such as marriage or divorce). If you are going to be moving around a lot, pay attention to what the out-of-network benefits are for your plan. Going out of network often means your out-of-pocket expenses will be a lot higher.
Hannah Maria Hayes is a writer with an MA in dance education from New York University.
Don’t Get Cut Off
Key dates for ACA Coverage
If you enrolled in a plan during 2013 through the Health Insurance Marketplace, your new plan is now in effect.
After this date, individuals and families will not be able to enroll in Marketplace health plans until the next Open Enrollment period—Oct. 15 to Dec. 7—unless they have a qualifying life event.
2014—Through the year
Individuals can enroll in Medicaid at any time during the year, not just during open enrollment. If you do not have health coverage for more than three months in 2014, you must pay a tax penalty, unless you are exempted. —HMH
Image courtesy iStock
Before too long, dancers and choreographers will get to create on the luxurious 170-acre property in rural Connecticut that is currently home to legendary visual artist Jasper Johns.
If you think that sounds far more glamorous than your average choreographic retreat, you're right. Though there are some seriously generous opportunities out there, this one seems particularly lavish.
Every dancer has learned—probably the hard way—that healthy feet are the foundation of a productive and happy day in the studio. As dancers, our most important asset has to carry the weight (literally) of everything we do. So it's not surprising that most professional dancers have foot care down to an art.
Three dancers shared their foot-care products they can't live without.
Dancers trying their hand at designing is nothing new. But they do tend to stick with studio or performance-wear (think Miami City Ballet's Ella Titus and her line of knit warm-ups or former NYCB dancer Janie Taylor and her ballet costumes). But several dancers at American Ballet Theatre—corps members Jamie Kopit, Erica Lall, Katie Boren, Katie Williams, Lauren Post, Zhong-Jing Fang and soloist Cassandra Trenary—are about to launch a fashion line that's built around designs that can be worn outside of the studio. Titled Company Cooperative, the luxe line of women's wear is handmade in New York City's garment district and designed by the dancers themselves.
Royal Ballet dancers Yasmine Naghdi and Beatriz Stix-Brunell recently got together for a different kind of performance: no decadent costumes, sets, stage makeup or lighting. Instead, the principal and first soloist danced choreography by principal character artist Kristen McNally in a stark studio.
The movement is crystal clear, and at the beginning, Naghdi and Stix-Brunell duck and weave around each other with near vacant stares. Do they even know they have a partner? And how should they interact? The situation raises a much larger question: How often do we see a female duet in ballet?
As a student, Milwaukee native John Neumeier appeared in an opera at the Lyric Opera of Chicago. As Hamburg Ballet's artistic director and one of the world's leading choreographers, Neumeier now returns to the Midwest to direct and choreograph a new version of Gluck's Orphée et Eurydice, a co-production of the Lyric Opera, LA Opera and Hamburg State Opera. Set to open in Chicago September 23 with the Joffrey Ballet, the ambitious work will see additional engagements in Los Angeles and Hamburg over the next two years.
How did you come to be involved with this collaboration?
It was initiated by the director of the Lyric Opera, Anthony Freud, but I had already been in contact with Ashley Wheater about a separate project with the Joffrey Ballet. The two things came together—and this was really interesting to me because Chicago was important at the start of my career. I was born in Milwaukee, but most of my training was in or near Chicago.
You've previously created version of Orpheus for Hamburg Ballet. What about this particular production caught your interest?
When I got this offer from Anthony, I just went back to the piece and tried to sense what it meant to me now. Gluck's Orphée was part of a push to reform opera and to make a complete work of art involving music, text and dance. What interests me—particularly in this French version we are doing—is that dance plays such an essential role. When Agnes de Mille choreographed Oklahoma!, it was considered a revolution in musical theater, because dance moved the plot along. In Orphée, we can see that the same idea had been realized several centuries ago: that dance would not be just a divertissement, but a theatrical element, literally "moving" the plot along and expressing in another form the emotion of each situation.
Another idea in Orphée which fascinates me is its directness in projecting profound human emotions—emotions not used as an excuse for vocal virtuosity, but expressed in simple and direct musical terms. In Orphée, we have a mythical subject which is related in an extremely relevant, familiar, human way.
What happens when drones become part of the dance? For Margaret Jenkins Dance Company's latest work, Skies Calling Skies Falling, video artists David and Hi-Jin Hudge used a drone hovering 200 to 400 feet above the ground to film the dancers performing in an industrial granary. The resulting footage will be projected onto the floor and walls of the Taube Atrium Theater, creating a dystopian backdrop to the live performance.
Alex Carrington of MJDC, Photo by RJ Muna
It's been 34 years since Sir Kenneth MacMillan's Mayerling touched down on American soil, when The Royal Ballet first performed the great English master's tour de force ballet stateside. On September 22–24, Houston Ballet becomes the first North American company to perform MacMillan's epic chronicle of the murder-suicide of the heir to the Austro-Hungarian Empire, Crown Prince Rudolf, and his 17-year-old mistress, Baroness Mary Vetsera. Chronicling the last chapter of the Hapsburg Empire, the ballet is known for its true-to-life realism, and for the role of Rudolf, which transformed the way male ballet dancers drive a story. It's considered a dream role for a male dancer. And with seven pas de deux with five different women, a deadly difficult one at that.
Driving Houston Ballet's Mayerling train is principal Connor Walsh, who nearly missed this opportunity to dance the part when Hurricane Harvey flooded Houston Ballet's theatrical home, Wortham Center. Now moved to the Hobby Center for the Performing Arts and back in rehearsal, Walsh took a break from his busy schedule to talk about the role of a lifetime.
Have you ever felt like your relationship to dance is something of an addiction? Not to worry, that's completely normal—it's simply the way our brains are wired.
This week, The Washington Post published an intriguing feature that looks at the science of what actually goes on upstairs when we're watching a live performance. The insight comes from the emerging field of neuroaesthetics, which uses tools like brain imaging to study the relationship between art and the brain.
Here are some of the most fascinating takeaways: