Your Career: Should You Start a Company?
How choreographers decide
Jessica Lang sought advice from Mark Morris before launching her company. Photo by Takao Komaru, Courtesy Jessica Lang Dance.
Jessica Lang succeeded as an independent choreographer for 15 years, creating many works on ballet troupes such as Joffrey Ballet and Pennsylvania Ballet. But she began to wonder how the benefits of having a company would change the quality of her dances. “I wanted to know what it would be like to work with the same group of dancers, who were willing to embody my vision,” says Lang. She got exactly that in 2010 when she won a residency at The Joyce Theater, where she was given time, space and $25,000 to just play. After gathering a group of six dancers, Lang went to work. “I gave all of the money to the dancers, and had 240 hours to pretend to have a dance company,” she quips.
Dancemakers today have endless possibilities for how to structure their careers. The company model still works best for some, and companies now come in all forms, from full-time to pickup, project-based and loosely organized. Other artists prefer to come and go without the added administration of an organization. Understanding the challenges and benefits of each option can help you decide what’s right for you and your work.
Today, Jessica Lang Dance boasts 10 dancers with 30-week contracts, a full-time executive director, part-time staff and a robust touring schedule, which includes a two-week stint at Jacob’s Pillow this August. Recently, they had their Brooklyn Academy of Music debut, performed at the Kennedy Center and traveled to Istanbul. “It’s surreal, and still daunting,” admits Lang, who also continues to work as a freelance choreographer. “At 40, I have the experience as a choreographer. I could not have done this when I was 24.”
Before making the company leap, Lang sought advice from Mark Morris and Nancy Umanoff, executive director of Mark Morris Dance Group. “I knew they created such an incredible organization and I went to them seeking insight,” she recalls. Having and keeping a mentor has proven critical to Lang’s success, but you need more than mentorship to make it work. “You have to enjoy the business end,” she says. “Also, be up on your state laws.”
Philadelphia- and New York-based Gabrielle Revlock, 34, considers herself part of a generation of dancemakers who never seriously considered starting a company. “The trend is to stay independent,” she says. “I want to work on a small scale, keep a light footprint and be available to take on projects that interest me.”
Revlock leads a busy life as a dance artist that includes dancing with Jane Comfort and Leah Stein, in addition to her own work and her collaborative choreographic projects with Nicole Bindler and others. “I apply for a ton of opportunities, because I know that most I won’t get,” she says. Her attention to sustainability permeates the way she structures her rehearsals. For instance, in the past she’s created sections of work that could be rehearsed separately. “Things are always changing in the dance world,” she says. “I want the freedom to jump on whatever is best for me.”
She’s the first to admit that it’s a juggling act, dancing for other people and doing her own shows while managing touring, grants and residencies. “You can’t guarantee how much work you will have, so I made sure early on to establish some savings,” she says. “I also try to not take a job unless I really want to do it. It’s important to keep commitments because many projects lead to other projects.”
For Danielle Agami, launching Ate9 dANCEcOMPANY was about giving her devoted dancers a professional setting and access to a long-term process. “It had a lot to do with the need of local dancers to have a home for their dancing,” she says. She settled in Seattle at first, and after half a year relocated to Los Angeles with six dancers in tow. “Location is key. L.A. has so many opportunities,” she says. “Yet, it’s not overcrowded with dance, either.”
Today, with eight committed dancers, Agami operates with no paid staff and the grace of brave presenters who are willing to give her a chance. Even though the company is project-based, it has remained busy in its hometown, and toured to Moscow, Atlanta, Houston, Portland and Seattle.
Agami is frank about the difficulties of maintaining a company in today’s money-scarce environment. “The lack of staff and funds are problems, but still the hardest task is to sell the tickets,” she says. But for her, the decision to become a professional company came before the funds. “We are like a family,” she says. “It feels natural, yet it’s demanding to run a company. There have been some amazing and maddening moments.”
Booking a gig on a cruise ship can feel like you're diving into the unknown—dropping everything to live in the middle of the ocean without family, friends or cell service. But cruise jobs can also offer incredible rewards, like traveling the world for free and delving into a new style.
Is ship life the right fit for you? Here are some elements to consider.
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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.
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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.
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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."