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
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.
With her fearless demeanor onstage, it's easy to see how Washington Ballet apprentice Sarah Steele attracted the keen eye of former American Ballet Theatre stars Julie Kent and Ethan Stiefel. Promoted mid-season from the studio company by artistic director Kent, Steele was cast by Stiefel as the lead in Frontier, his world premiere for The Washington Ballet, this past spring. For the space-themed piece, Steele donned a black-and-white "space suit" onstage, exhibiting dual qualities of strength and grace. Most evocative about Steele's dancing might be her innate intelligence—she was accepted to Harvard on early admission, and plans to resume her studies there in the future. But first, she'll dance.
Lots of college groups do stepping—a form of body percussion based on slapping, tapping and stomping—but Step Afrika! is the first professional dance company to do it. They are currently at New York City's New Victory Theater, presenting The Migration: Reflections on Jacob Lawrence, a show based on the painting series by Harlem Renaissance artist Jacob Lawrence about The Great Migration of the 1900s, when millions of African Americans fled the Jim Crow South and traveled by train to the North for a better life. The Great Migration transformed the demographics of the country, and Jacob Lawrence's paintings became famous for their bold color and evocative power.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
Efficient movement is easy to recognize—we all know when we see a dancer whose every action seems essential and unmannered. Understanding how to create this effect, however, is far more elusive. From a practical perspective, dancing with efficiency helps you to conserve your energy and minimize wear and tear on the body; from an artistic point of view, it allows you to make big impressions out of little moments, and lasting memories for those watching.
So much struggle and determination goes into your training that it can be difficult for early-career dancers to recalibrate their priorities toward simplicity and ease, says Laurel Jenkins, freelance performer and Trisha Brown Dance Company staging artist. "Your aesthetic might shift, and you might have to find new things beautiful." Mastering the art of effortless movement requires a new perspective and a smart strategy—on- and offstage.
As we approach Thanksgiving, there's much to be grateful for. Perhaps one of the most important things on your list is dance. Whether you're a full-time company member, an aspiring professional, an audience member, or you simply delight in dancing in your daydreams, this art form is a creative escape.
That's not to say that being a dancer is easy: Pursuing such a competitive career can be heartbreaking, especially when you're faced with rejection.
La Folía, a short dance film by director Adam Grannick that was recently released online, echoes these sentiments in under 12 minutes.
It took two years of intense nutrition counseling and psychotherapy to pull me out of being anorexic. My problem now is that I've gained too much weight from eating normally. Is there no middle ground? I can't fit into my clothes, but I don't want to go back to being sick.
—Former Anorexic, Weston, CT
Whatever your feelings about Wayne McGregor's heady, hyper-physical choreography, we can all probably agree on one thing: We'd really, really love to pick his brain. And tomorrow, Dance Umbrella, a UK-based dance festival, is giving everyone the chance to do exactly that.
"Women are often presented as soft, fragile little creatures in ballet," says Léonore Baulac. "We're not." The Paris Opéra Ballet's newest female étoile is discussing her unease at some of the 19th-century narratives she portrays. "It was real acting," she says with a laugh of La Sylphide. "James kills her by taking away her wings, yet she tells him not to worry and goes to die elsewhere onstage!"
Sitting in the canteen of the Palais Garnier, Baulac embodies some of ballet's contradictions in the 21st century. With her fair curls and dainty features, she could easily pass for a little girl's fantasy princess. As Juliet, she exuded a girlish ardor that felt entirely natural; her reservations notwithstanding, her Sylphide was committed and carefully Romantic in style.
Yet the 27-year-old is no ingénue. At Garnier that day, her sweater reads "I can't believe I still have to protest this s**t," a feminist slogan; last winter, Baulac proudly wore it over a Kitri tutu on Instagram. And her repertoire is as thoroughly modern as she is offstage. A versatile performer even by Parisian standards, she is equally at home in Nutcracker as she is in the works of Pina Bausch and Anne Teresa De Keersmaeker.