Guides & Resources

Dance Magazine 2018 Jobs Guide

Photo by Matthew Murphy for Pointe

Dancer Positions

Ad Deum Dance Co.

Houston, TX

Contact: Randall Flinn

713.501.2857

addeumdance@gmail.com

danceaddeum.com

Currently hiring: 3 women, 3 men

Starting pay: TBD


Ajkun Ballet Theatre

New York, NY

Contact: Natalie Young

646.202.1852

ajkun@aol.com

ajkunbt.org

Currently hiring: 4 women, 2 men

American Contemporary Ballet

Los Angeles, CA

213.878.9020

acb@acbdances.com

acbdances.com

Currently hiring: 4 women, 2 men

Starting pay: $250–$700 per week

Arch Contemporary Ballet

New York, NY

Contact: Annie Yang

408.835.0282

admin@archballet.com

archballet.com

Currently hiring: 1 woman, 3 men

Starting pay: DOE/hourly pay

BalaSole Dance Company

New York, NY

Contact: Roberto Villanueva

info@balasoledance.org

balasoledance.org

Currently hiring: 4 women, 4 men

Starting pay: please inquire

Ballet Arizona

Phoenix, AZ

Contact: Laura Cadieux

602.343.6518

lcadieux@balletaz.org

balletaz.org

Currently hiring: TBD women & men

Ballet Arkansas

Little Rock, AR

Contact: Catherine Fothergill

515.344.0880

catherine@balletarkansas.org

balletarkansas.org

Currently hiring: 1–2 women, 2 men

Starting pay: varies per week

Ballet Austin

Austin, TX

Contact: Eugene Alvarez

512.476.9151

eugene.alvarez@balletaustin.org

balletaustin.org

Currently hiring: 1–2 women, 1–2 men

Starting pay: DOE

Ballet des Amériques

Port Chester, NY

Contact: Shirley Rodriguez

646.753.0457

admin@balletdesameriques.com

balletdesameriques.com

Currently hiring: 2 women, 2 men

Starting pay: dancers are paid biweekly

Ballet Fantastique

Eugene, OR

Contact: Emily Rizo, company manager

541.342.4611

hbontrager@balletfantastique.org

balletfantastique.org

Currently hiring: 1–3 women, 1–2 men

Starting pay: DOE

Ballet Long Island

Ronkonkoma, NY

Contact: Jen Densing

631.737.1964

balletlongisland@aol.com

balletlongisland.com

Currently hiring: 2 women, 2 men

Starting pay: $12 per hour

Ballet Theatre of Maryland, Inc.

Annapolis, MD

Contact: Dianna Cuatto

410.224.5644

dianna.cuatto@balletmaryland.org

balletmaryland.org

Currently hiring: 2–4 women, 2–4 men

Starting pay: $345

BalletMet

Columbus, OH

Contact: sramey@balletmet.org

614.229.4848

lshy@balletmet.org

balletmet.org

Currently hiring: TBD women & men

Ballets with a Twist

New York, NY

212.732.1183

info@balletswithatwist.com

balletswithatwist.com

Currently hiring: TBD women & men

BodyStories: Teresa Fellion Dance

New York, NY

Contact: Teresa Fellion

646.662.5128

teresa@bodystoriesfellion.org

bodystoriesfellion.org

Currently hiring: 1–2 women, 1–2 men

Starting pay: per month

BODYTRAFFIC

Los Angeles, CA

Contact: Lillian Barbeito

310.923.2766

lillian@bodytraffic.com

bodytraffic.com

Currently hiring: 1 woman, 1 man

Starting pay: $600 per week

Charlottesville Ballet

Charlottesville, VA

Contact: Caitlin Lennon

434.973.2555

clennon@charlottesvilleballet.org

charlottesvilleballet.org

Currently hiring: 1–3 men

City Ballet of San Diego

San Diego, CA

Contact: Jo Anne Emery

858.274.6058

info@cityballet.org

cityballet.org

Currently hiring: 1–2 women, 1–2 men

Starting pay: $250–$500

ClancyWorks Dance Co.

Silver Spring, MD

Contact: Dr. Adrienne Clancy

301.717.9271

info@clancyworks.org

clancyworks.org

Currently hiring: 2–3 women, 2–3 men

Starting pay: ~$2,000–$2,500 per month

Cleveland Ballet

Cleveland, OH

Contact: Michael Krasnyansky

216.320.9000 x101

michael@clevelandballet.org

clevelandballet.org

Currently hiring: 4 women, 6 men

Dance Visions NY

Great Neck, NY

Contact: Beth Jucovy

516.482.2621

dancevisions.ny@gmail.com

dancevisionsny.org

Currently hiring: 1–3 women, 1 man

Starting pay: TBD

Dark Circles Contemporary Dance

Dallas, TX

Contact: Chadi El-Khoury

972.755.9169

ed@dccdusa.com

darkcirclescontemporarydance.com

Currently hiring: TBD women & men

Dayton Contemporary Dance Company

Dayton, OH

Contact: Crystal Michelle, associate artistic director

937.228.3232 x109

crystal@dcdc.org

dcdc.org

Currently hiring: TBD women & men

Starting pay: varies

DIAVOLO, Architecture in Motion

Los Angeles, CA

Contact: Amy Tuley, rehearsal director

323.225.4290

auditions@diavolo.org

diavolo.org/auditions

Currently hiring: TBD women & men

Starting pay: TBD, DOE

Felice Lesser Dance Theater

New York, NY

Contact: Felice Lesser

fldtny@aol.com

fldt.org

Currently hiring: TBD women & men

Starting pay: TBD

The Florida Ballet at Jacksonville, Inc.

The Florida Ballet

Jacksonville, FL

Contact: Linda Reifsnyder Jenkins

904.353.7518

ljenkins@floridaballet.org

floridaballet.org

Currently hiring: 2 women, 3 men

Starting pay: negotiable

Fort Wayne Ballet

Fort Wayne, IN

Contact: Lauren Ettensohn

260.484.9646

lettensohn@fortwayneballet.org

fortwayneballet.org

Currently hiring: TBD women & men

Starting pay: TBD

Interweave Dance Theatre

Boulder Jazz Dance Workshop

Boulder, CO

Contact: Daniel Morimoto

303.492.7945

info@bjdw.net

boulderjazzdanceworkshop.com

Currently hiring: 2–3 women, 2–3 men

Starting pay: class discounts

JKing Dance Company (JKDC)

JKDramatiCreations, LLC

Brooklyn, NY

Contact: Joyce King

jking@joycekingdance.com

joycekingdance.com

Currently hiring: TBD women & men

Kim Robards Dance

Aurora, CO

Contact: LaRana Skalicky

303.825.4847

info@kimrobardsdance.org

kimrobardsdance.org

Currently hiring: 2 women, 3 men

Starting pay: DOE

Les Ballets Trockadero de Monte Carlo

New York, NY

Contact: Tory Dobrin

646.456.3774

tory@trockadero.org

trockadero.org

Currently hiring: 1–2 men

Starting pay: $600 per week plus travel expenses

MADCO

Resident at Touhill Performing Arts Center

Saint Louis, MO

Contact: Emilee Morton

314.681.4923

emorton@madcodance.com

madcodance.com

Currently hiring: 4 women, 4 men

Starting pay: paid hourly

Madison Ballet

Madison Ballet Westgate Studios

Madison, WI

Contact: Rachelle Butler

608.278.7990

information@madisonballet.org

madisonballet.org

Currently hiring: 1–5 women, 1–5 men

Starting pay: $400 per week

MamLuft&Co. Dance

Cincinnati, OH

Contact: Jeanne Mam-Luft

jeanne@mamluftcodance.org

mamluftcodance.org

Currently hiring: 1–6 women, 1–6 men

Mark Morris Dance Group

Brooklyn, NY

Contact: Kelsey Ley

718.624.8400 x203

kelsey.ley@mmdg.org

markmorrisdancegroup.org

Currently hiring: TBD women & men

Minnesota Ballet

Duluth, MN

Contact: Robert Gardner

218.529.3742

balletmaster@minnesotaballet.org

minnesotaballet.org

Currently hiring: 1 or more women, 1 or more men

Starting pay: $425 per week

New Jersey Ballet

Livingston, NJ

Contact: Paul McRae

973.597.9600

paul@njballet.org

njballet.org

Currently hiring: TBD women & men

Starting pay: negotiable

NW Dance Project

Portland, OR

Contact: Caitlin Warren

info@nwdanceproject.org

nwdanceproject.org

Currently hiring: TBD women & men

Odyssey Dance Theatre

Draper, UT

Contact: Annie Van Alstyne

801.495.3262

avanalstyne@odysseydance.com

odysseydance.com

Currently hiring: 13 women, 9 men

Starting pay: $300–$700

Oregon Ballet Theatre

Portland, OR

Contact: Tracey Sartorio

503.227.0977

tracey.sartorio@obt.org

obt.org

Currently hiring: 1–5 women, 1–5 men

Starting pay: $700 per week

Oyo Dance Company

Inspiration to Movement

Columbus, OH

Contact: Elizabeth Weiss

614.253.6683

president@oyodancecompany.org

oyodancecompany.org

Currently hiring: 3 women, 3 men

Starting pay: varies

Pennsylvania Classical Ballet

Easton, PA

Contact: Yu Hong

610.762.9696

info@paclassicalballet.org

paclassicalballet.org

Currently hiring: 4 women, 2 men

Starting pay: varies

Peridance Contemporary Dance Company

New York, NY

Contact: Hannah Newman

212.505.0886

pcdc@peridance.com

peridance.com/pcdc

Currently hiring: 3 women, 3 men

Starting pay: hourly, plus performance payment

Regina Nejman & Company

New York, NY

Contact: Regina Nejman

rnejmancompany@gmail.com

reginanejmancompany.blogspot.com

Currently hiring: 1 woman, 1 man

Starting pay: per project

Roxey Ballet

Mill Ballet School

Lambertville, NJ

Contact: Mark Roxey

609.397.7244

auditions@roxeyballet.org

roxeyballet.org

Currently hiring: 8 women, 8 men

Starting pay: $400 per week

The Sarasota Ballet

Sarasota, FL

Contact: Barbara Epperson

941.225.6509

bepperson@sarasotaballet.org

sarasotaballet.org

Currently hiring: TBD women & men

Sarasota Contemporary Dance

Sarastoa, FL

Contact: Audrey Lehrer

941.345.5755

info@sarasotacontemporarydance.org

sarasotacontemporarydance.org

Currently hiring: 1 woman, 2 men

Starting pay: $10 per hour

SENSEDANCE

New York, NY

Contact: Byron Segal-Jacobs

212.717.6869

sensedance@sensedance.org

sensedance.org

Currently hiring: 1 woman, 1 man

Starting pay: TBD

SIDEWAYS Contemporary Dance

Roswell, GA

Contact: Charlotte Williamson

404.955.7232

charlotte@sidewaysdance.com

sidewaysdance.org

Currently hiring: 4 women, 4 men

Starting pay: $500 per year

South Carolina Ballet

Columbia City Ballet

Columbia, SC

Contact: Jason Cobb

803.799.7605

jcobb@columbiacityballet.com

columbiacityballet.com

Currently hiring: 5 women, 3 men

Starting pay: TBD

State Street Ballet

Santa Barbara, CA

Contact: Denise Grimm

805.845.1432

contact@statestreetballet.com

statestreetballet.com

Currently hiring: 2 women, 2 men

Starting pay: $450 per week

Verb Ballets

Cleveland, OH

Contact: Richard Dickinson, associate director

216.397.3757

info@verbballets.org

verbballets.org

Currently hiring: 1 man

Starting pay: DOE

Wonderbound

Denver, CO

Contact: Dawn Fay

303.292.4700

dfay@wonderbound.com

wonderbound.com

Currently hiring: 1 woman, 1 man

Starting pay: $750 per week

World Dance Movement—The International Festival

Royal Caribbean Cruise Lines

New York, NY

Contact: Daniela Iorli

212.582.1090

info@worlddancemovement.com

wdmitaly.com

Currently hiring: TBD women & men

Starting pay: TBD

WV Dance Company

Beckley, WV

Contact: Toneta Akers-Toler

304.252.0030

athtoler@msn.com

wvdanceco.com

Currently hiring: 3 women, 3 men

Starting pay: $300 per week

Yellowstone Ballet Company

Livingston, MT

Contact: Kathleen Rakela

406.222.0430

yellowstoneballet@gmail.com

yellowstoneballet.info

Currently hiring: 1 woman, 1 man

Starting pay: DOE

Yellowstone Ballet School

Yellowstone Ballet Company

Livingston, MT

Contact: Kathleen Rakela

406.222.0430

yellowstoneballet@gmail.com

yellowstoneballet.info

Currently hiring: 7 women, 5 men

Starting pay: DOE

ZiRu Dance

Redwood City, CA

Contact: Sarah Bryce Mann

415.857.5089

info@zirudance.com

zirudance.com

Currently hiring: 1 woman, 2 men

Starting pay: $300–$700 per week DOE

INTERNATIONAL

Canada

Shumka

Ukrainian Shumka Dancers

Edmonton, AB

780.995.0668

joe.hoffman@shumka.com

shumka.com

Currently hiring: 5 women, 5 men

Starting pay: TBD

Germany

Stuttgart Ballet

State Theater Stuttgart

Stuttgart, Germany

audition.stuttgartballet@staatstheater-stuttgart.de

stuttgart-ballet.de

Currently hiring: TBD women & men

Starting pay: monthly, open to negotiation

Monaco

Les Ballets de Monte-Carlo

Monte Carlo, Monaco

Contact: Kathy Plaistowe

+33.492.41.60.10

auditionselection@balletsdemontecarlo.com

balletsdemontecarlo.com

Currently hiring: TBD women & men

Teaching and Administrative Positions

Ad Deum Dance Co.

Houston, TX

Contact: Randall Flinn

713.501.2857

addeumdance@gmail.com

danceaddeum.com

Part-time

Administrator

Ajkun Ballet School

Ajkun Ballet Theatre

New York, NY

Contact: Natalie Young

646.202.1852

ajkun@aol.com

ajkunbt.org

Style: ballet, modern

Part-time

Ballet teacher

Ajkun Ballet Theatre

New York, NY

Contact: Natalie Young

646.202.1852

ajkun@aol.com

ajkunbt.org

Style: ballet, modern

Part- and full-time

Art administrators

Ballet Arkansas

Little Rock, AR

Contact: Catherine Fothergill

515.344.0880

catherine@balletarkansas.org

balletarkansas.org

Style: ballet, modern

Part-time

Administrative assistant

Ballet Fantastique

Eugene, OR

Contact: Emily Rizo, company manager

541.342.4611

hbontrager@balletfantastique.org

balletfantastique.org

Style: ballet, musical theater, modern

Part-time

Instructor

Ballet Hispánico

New York, NY

212.362.6710 x31

info@ballethispanico.org

ballethispanico.org

Style: ballet, ethnic, modern, jazz, tap

Part-time

Teaching artists and dance faculty

Ballet Long Island

Ronkonkoma, NY

Contact: Jen Densing

631.737.1964

balletlongisland@aol.com

balletlongisland.com

Style: ballet

Part-time

Dance teacher

Ballet Theatre of Maryland, Inc.

Annapolis, MD

Contact: Dianna Cuatto

410.224.5644

dianna.cuatto@balletmaryland.org

balletmaryland.org

Part-time

Office assistant, marketing assistant, faculty

BalletRox

Boston, MA

Contact: Carol Knox

617.224.7386

info@balletrox.info

balletrox.info

Style: ballet, musical theater, ethnic, modern, jazz, tap, hip hop, Latin

Part-time

Dance instructor

Blue Lake Fine Arts Camp

Twin Lake, MI

800.221.3796 x206

employment@bluelake.org

bluelake.org

Style: ballet, modern

Part-time, seasonal

Dance instructor

BodyStories: Teresa Fellion Dance

New York, NY

Contact: Teresa Fellion

646.662.5128

teresa@bodystoriesfellion.org

bodystoriesfellion.org

Style: modern

Part-time

Company manager, development associate, booking associate

BODYTRAFFIC

Los Angeles, CA

Contact: Lillian Barbeito

310.923.2766

lillian@bodytraffic.com

bodytraffic.com

Style: modern

Full-time

Development director

Charlottesville Ballet

Charlottesville, VA

Contact: Caitlin Lennon

434.973.2555

clennon@charlottesvilleballet.org

charlottesvilleballet.org

Style: ballet, modern

Part-time

Some teaching positions available

ClancyWorks Dance Co.

Silver Spring, MD

Contact: Dr. Adrienne Clancy

301.717.9271

info@clancyworks.org

clancyworks.org

Style: ballet, jazz, ethnic, modern

Part- and full-time

Teaching artists

Cleveland Ballet

Cleveland, OH

Contact: Michael Krasnyansky

216.320.9000 x101

michael@clevelandballet.org

clevelandballet.org

Style: ballet

Part-time

Ballet teacher

Columbus State University

Columbus Ballet

Columbus, GA

Contact: Kristin Barker

706.507.8327

barker_kristin@columbusstate.edu

columbusstate.peopleadmin.com/postings/3228

Style: ballet

Full-time

Artistic director, executive director, master teacher

Cornish College of the Arts

Higher Ed

Seattle, WA

Contact: Audra Vasquez

206.726.5082

careers@cornish.edu

cornish.edu/jobs

Style: ballet, modern, jazz

Full-time

Assistant professor of dance

The Dance Institute of Washington

Washington, DC

Contact: Carla Camargo

202.371.5696

ccamargo@danceinstitute.org

danceinstituteofwashington.org

Style: ballet, jazz, modern

Part-time

First Position coordinator, First Position teacher

Dance Visions NY

Great Neck, NY

Contact: Beth Jucovy

516.482.2621

dancevisions.ny@gmail.com

dancevisionsny.org

Style: ballet, jazz, modern

Part-time

Administrative intern

Dancewave

Brooklyn, NY

Contact: Lusheena Warner

718.522.4696

jobs@dancewave.org

dancewave.org

Style: ballet, modern

Part-time

Arts administration intern

Dayton Contemporary Dance Company

Dayton, OH

Contact: Crystal Michelle, associate artistic director

937.228.3232 x109

crystal@dcdc.org

dcdc.org

Style: modern

Part-time

Teaching artist

Dean College: Joan Phelps Palladino School of Dance

Franklin, MA

Contact: Marc M. Arentsen, dean

508.541.1606

marentsen@dean.edu

dean.edu

Style: ballet, musical theater, modern, jazz, tap, dance studies

Part-time and adjunct

Faculty in dance techniques and dance studies

Doug Varone and Dancers

New York, NY

Contact: Elizabeth Fort

212.279.3344

efort@dougvaroneanddancers.org

dougvaroneanddancers.org

Style: modern

Part-time

Volunteers (social media, development, company management)

Felice Lesser Dance Theater

New York, NY

Contact: Felice Lesser

fldtny@aol.com

fldt.org

Style: ballet, modern

Part-time

Executive assistant

Fort Wayne Ballet

Fort Wayne, IN

Contact: Lauren Ettensohn

260.484.9646

lettensohn@fortwayneballet.org

fortwayneballet.org

Style: ballet, modern

Part- and full-time

Teaching faculty

Island Moving Company

Newport, RI

Contact: Charles Kehres

401.847.4470

charles@islandmovingco.org

islandmovingco.org

Style: ballet, modern

Part- and full-time

Professional contemporary ballet dancer and teacher

JKing Dance Company (JKDC)

JKDramatiCreations, LLC

Brooklyn, NY

Contact: Joyce King

jking@joycekingdance.com

joycekingdance.com

Style: ballet, jazz, modern

Part-time

apprentice and/or intern/possible company member slot (send photo/resumé)

Kim Robards Dance

Aurora, CO

Contact: LaRana Skalicky

303.825.4847

info@kimrobardsdance.org

kimrobardsdance.org

Style: modern

Contractual

Faculty member, administrative assistant/academy coordinator

Koin & Co Dancers

New York, NY

Contact: Ali Koinoglou & Stephanie Noble

631.834.8055

koinandcodancers@gmail.com

koinandcodancers.com

Style: ballet, jazz, musical theater, ethnic, modern, tap

Part-time

Guest teacher

MADCO

Resident at Touhill Performing Arts Center

Saint Louis, MO

Contact: Emilee Morton

314.681.4923

emorton@madcodance.com

madcodance.com

Style: modern

Internship

Assistant manager

MamLuft&Co. Dance

Cincinnati, OH

Contact: Jeanne Mam-Luft

jeanne@mamluftcodance.org

mamluftcodance.org

Style: modern

Part-time, contract

Education and outreach director, dance instructors

Mark Morris Dance Group

Brooklyn, NY

Contact: Kelsey Ley

718.624.8400 x203

kelsey.ley@mmdg.org

markmorrisdancegroup.org

Style: ballet, musical theater, ethnic, modern, jazz, tap, hip hop

Part-time

Teaching artist

Minnesota Ballet

Duluth, MN

Contact: Robert Gardner

218.529.3742

balletmaster@minnesotaballet.org

minnesotaballet.org

Style: ballet, jazz, modern

Part-time

Dance instructor

Northern Plains Dance

Bismarck, ND

Contact: Hollis Mackintosh Heid

701.530.0986

dance@northernplainsdance.org

northernplainsdance.org

Style: ballet, modern, jazz, tap

Part- and full-time

Instructor

NW Dance Project

Portland, OR

Contact: Caitlin Warren

info@nwdanceproject.org

nwdanceproject.org

Part-time

Administrative

NYC Dance Arts

New York, NY

Contact: NYC Dance Arts

347.634.6539

nycdancearts@gmail.com

nycdancearts.com

Style: modern

Part-time

Dance instructor

Oklahoma City Ballet

Oklahoma City, OK

Contact: Ronnie Underwood

405.843.9898

runderwood@okcballet.org

okcballet.org

Style: ballet

Full-time

Director of finance

Oyo Dance Company

Inspiration to Movement

Columbus, OH

Contact: Elizabeth Weiss

614.253.6683

president@oyodancecompany.org

oyodancecompany.org

Style: ballet, modern

Part-time

Children's ballet instructor, office assistant

Peninsula Ballet Theatre

San Mateo, CA

Contact: Mimi Lonsdorf

650.342.3262

mlonsdorf@peninsulaballet.org

peninsulaballet.org

Style: ballet, jazz, modern

Part-time

Faculty

Pennsylvania Classical Ballet

Easton, PA

Contact: Yu Hong

610.762.9696

info@paclassicalballet.org

paclassicalballet.org

Style: ballet, modern

Part-time

PUSH Dance Company

San Francisco, CA

Contact: Karla Quintero

415.800.7943

info@pushdance.org

pushdance.org

Style: modern

Teaching artist

Regina Nejman & Company

New York, NY

Contact: Regina Nejman

rnejmancompany@gmail.com

reginanejmancompany.blogspot.com

Style: modern

Part-time

Intern (project-based)

Roxey Ballet

Mill Ballet School

Lambertville, NJ

Contact: Mark Roxey

609.397.7244

auditions@roxeyballet.org

roxeyballet.org

Style: ballet, jazz, musical theater, ethnic, modern

Part- and full-time

Workshops/faculty member

Russian American Foundation

Bolshoi Ballet Academy Summer Intensive

New York & Connecticut

rusamfoundation@aol.com

bolshoiballetacademy.com

Style: ballet

Full-time, seasonal (6 weeks, June–August)

Sr. staff/Russian interpreter (will be responsible for interpreting ballet classes from Russian to English as part of a prominent summer youth program; ability to conduct a stretch class for dancers is a plus)

SIDEWAYS Contemporary Dance

Roswell, GA

Contact: Charlotte Williamson

404.955.7232

charlotte@sidewaysdance.com

sidewaysdance.org

Style: jazz, modern

Part-time

Dance faculty and/or administrative assistant

SpectorDance

Marina, CA

Contact: Fran Spector Atkins

831.601.8510

franspector5@gmail.com

soectordance.org

Style: ballet, modern

Part-time

Teacher, administrator

Step Afrika!

Washington, DC

Contact: LaDraveous Lee

202.399.7993 x110

companymanager@stepafrika.org

stepafrika.org

Style: ballet, musical theater, modern, tap

Part-time

Teaching artist

Treehouse Shakers

Dance-Theater for Young Audiences

New York, NY

Contact: Emily Bunning

212.715.1914

contactus@treehouseshakers.com

treehouseshakers.com

Style: modern

Part-time, seasonal

Teaching artist, company manager

University of Arizona

School of Dance

Tucson, AZ

Contact: Patricia Choate

520.626.4106

pchoate@email.arizona.edu

uacareers.com/postings/23065

Style: ballet, modern, jazz

Full-time

Associate professor/professor of ballet

University of Hawaii at Manoa—Department of Theatre and Dance

Honolulu, HI

theagrad@hawaii.edu

manoa.hawaii.edu/liveonstage

Style: ballet, musical theater, ethnic, modern, jazz, tap

Part-time

Graduate assistantships

The University of Texas at Austin

Austin, TX

Contact: Andrew Carlson

512.471.5793

theatreanddance@austin.utexas.edu

apply.interfolio.com/46258

Style: ballet, musical theater, ethnic, modern, jazz, tap

Full-time

Dance faculty positions (1 junior rank, 1 senior rank)

Urbanity Dance

Boston, MA

Contact: Lea D'Arminio

617.572.3727

community@urbanitydance.org

urbanitydance.org

Style: ballet, ethnic, modern, jazz, tap

Part-time

Teaching artists (multiple positions)

Zaccho Center for Dance and Aerial Arts

Zaccho Dance Theatre

San Francisco, CA

Contact: Sonya Smith

415.822.6744

cdaa@zaccho.org

Style: aerial dance

zaccho.org

Part-time

Aerial arts instructor

ZiRu Dance

Redwood City, CA

Contact: Sarah Bryce Mann

415.857.5089

info@zirudance.com

zirudance.com

Style: ballet, modern

Part-time

Development coordinator

INTERNATIONAL

Canada

Canada's Royal Winnipeg Ballet School

Winnipeg, MB

Contact: Lindsay McKnight

202.957.3467

school@rwb.org

rwb.org/audition

Part- and full-time

RWB School artistic faculty (teaching)

L'École supérieure de ballet du Québec

Les Grands Ballets Canadiens

Montreal, QC

Contact: Lise Bernier

514.849.4929

lbernier@esbq.ca

esbq.ca

Style: ballet, modern

Part-time

Dance teacher

The Conversation
Health & Body

When Thomas Forster isn't in the gym doing his own workout, he's often coaching his colleagues.

Two years ago, the American Ballet Theatre soloist got a personal training certification from the National Academy of Sports Medicine. Now he trains fellow ABT members and teaches the ABT Studio Company a strength and conditioning class alongside fellow ABT soloist Roman Zhurbin.

He shared six of his top tips for getting into top shape.

Keep reading... Show less
Just for Fun
Glenn Allen Sims and Linda Celeste Sims (here in Christopher Wheeldon's After the Rain) are couple goals both onstage and off. Photo by Paul Kolnik, Courtesy Alvin Ailey American Dance Theater

No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.

Keep reading... Show less
The Creative Process
Rennie Harris leads a rehearsal of Lazarus. Photo by Kyle Froman

When Rennie Harris first heard that Alvin Ailey American Dance Theater had tapped him to create a new hour-long work, and to become the company's first artist in residence, he laughed.

"I'm a street dance choreographer. I do street dance on street dancers," he says. "I've never set an hour-long piece on any other company outside my own, and definitely not on a modern dance company."

Keep reading... Show less
Advice for Dancers
Getty Images

I've been struggling with a staph infection after an FHL repair for tendonitis. It took several months to treat the infection, and it's left me with pain and stiffness. Will this ever go away?

—JR, Hoboken, NJ

Keep reading... Show less
Dance on Broadway
Last summer's off-Broadway run of Be More Chill. Photo by Maria Baranova, Courtesy Keith Sherman & Associates

When Chase Brock signed on to choreograph a new musical at a theater in New Jersey in 2015, he couldn't have predicted that four years later, he would be receiving fan art featuring his Chihuahua because of it. Nor could he have he imagined that the show—Be More Chill, based on the young adult novel by Ned Vizzini—would be heading to Broadway with one of the most enthusiastic teenage fan bases the Great White Way has ever seen.

Keep reading... Show less
News
Courtesy Siberian Swan

As ballet's gender roles grow increasingly blurred, more men than ever are reaching new heights: the tips of their toes.

It's no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky's The Bright Stream. Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).

The one problem? Pointe shoes have traditionally only been designed for women. Until now.

Keep reading... Show less
Rant & Rave
Via Facebook

Camille Sturdivant, a former member of the Blue Valley Northwest High School dance team is suing the school district, alleging that she was barred from performing in a dance because her skin was "too dark."

The suit states that during Sturdivant's senior year, the Dazzlers' choreographer, Kevin Murakami, would not allow her to perform in a contemporary dance because he said her skin would clash with the costumes, and that she would steal focus from the other dancers because of her skin color.

Keep reading... Show less
Health & Body
Unsplash

You wander through the grocery aisles, sizing up the newest trends on the shelves. Although you're eager to try a new energy bar, you question a strange ingredient and decide to leave it behind. Your afternoons are consumed with research as you sort through endless stories about "detox" miracles.

What started as an innocent attempt to eat healthier has turned into a time-consuming ritual with little room for error, and an underlying fear surrounding your food choices.

Keep reading... Show less
Dancers Trending
Rachel Papo

Aside from a solid warm-up, most dancers have something else they just have to do before performing. Whether it's putting on the right eyelashes before the left or giving a certain handshake before a second-act entrance, our backstage habits give us the comfort of familiar, consistent choices in an art form with so many variables.

Some call them superstitions, others call them rituals. Either way, these tiny moments become part of our work—and sometimes even end up being the most treasured part of performing.

Keep reading... Show less
News
A.I.M in Andrea Miller's state. Photo by Steven Schreiber, Courtesy Google Arts & Culture

Raise your hand if you've ever gotten sucked down an informational rabbit hole on the internet. (Come on, we know it's not just us.) Now, allow us to direct you to this new project from Google Arts & Culture. To celebrate Black History Month, they've put together a newly curated collection of images, videos and stories that spotlights black history and culture in America specifically through the lens of dance—and it's pretty much our new favorite way to pass the time online.

Keep reading... Show less
Just for Fun
Samantha Sturm shared an outtake from a photo shoot. Photo by Ronnie Nelson via Sturm

If you're anything like us, your Instagram feed is chock-full of gorgeous dance photos and videos. But you know what makes us fall in love with an artist even more? When they take a break from curating perfect posts and get real about their missteps. These performers' ability to move past mistakes, and even laugh them off, is one reason why they're so successful.

Every time you fall out of a pirouette, just remember: The stars—and literally every. single. dancer.—have been there, too. (Even Misty Copeland.)

Keep reading... Show less
We Tried It
Brendan McCarthy, Courtesy Brrrn

Dancers today have an overwhelming array of options at their fingertips: New fitness tools, recovery trends, workouts and more that claim to improve performance, speed up recovery or enhance training.

But which of these actually meet the unique demands of dancers? In our new series, "We Tried It," we're going to find out, sampling new health and fitness trends to see if they're dancer-approved.

First up: Brrrn, the cold temperature fitness studio (the first and only of its kind, they claim) located in Manhattan.

Keep reading... Show less
Dance Training
Kelly Russo/Unsplash

Lately I've been having recurring dreams: I'm in an audition and I can't remember the combination. Or, I'm rehearsing for an upcoming show, onstage, and I don't know what comes next. Each time I wake up relieved that it was only a dream.

However, this is the reality of how I often felt throughout my dance career. Once I knew the steps, there was no undoing it. It was the process of getting there that haunts me to this day.

Keep reading... Show less
Dance Training
Sin #2: Misaligning the spine. Photo by Erin Baiano

Throughout your dancing life, you've heard the same corrections over and over. The reason for the repetition? Dancers tend to make the same errors, sometimes with catastrophic results. Dance Magazine spoke to eight teachers about what they perceive to be the worst habits—the ones that will destroy a dancer's technique—and what can be done to reverse the damage.


Rolling In

To get a 180-degree first position, dancers will sometimes let their arches roll forward. But turnout is not about forcing your feet open; it's about opening up in the hips. “Turning out is an activity, not a position," says Irene Dowd, who teaches anatomy at the Juilliard School. “If we stop sustaining that movement, our feet will passively roll in." Rolling in places stress on the tendons of the feet and leads to injury because the rest of the body compensates for the imbalance when your knees can't line up over your toes.

Dowd warns against using only the arch to combat rolling in. “Dancers will try to lift up their arches and pull up on the inside of the ankle," she says. This can result in the inflammation of the tendons in the ankle and lead to tendinitis, a painful overuse injury that's common in dancers. What she feels are “Victorian furniture feet—feet that aren't fully in contact with the ground" should be solid in three areas: the heel, the ball of the big toe, and the ball of the little toe. Imagine how your weight is being transferred from above, through the body and down the legs, rather than gripping the foot and lifting from the arch.

Misaligning the Spine

Distorting the back, either by crunching the lumbar vertebrae and splaying the rib cage open or by hunching the shoulders forward and tucking the pelvis under, affects every other part of the body. Since the proper placement of the torso is the foundation of any movement, a dancer with a misaligned spine will develop other deadly technique sins. Problems can ripple all the way down to the extremities and upward to the neck and head. The core will be loose, unable to provide essential support. A pelvis that either tips back or tucks under will limit the range of motion in the hips.

Christine Spizzo's students at the North Carolina School of the Arts constantly work on their placement. “The one directive I give in class more than any other," she says, “is tailbone down, navel muscles lifted." She emphasizes that the tailbone lengthens downward without tucking under, and the navel muscles lift upward, not inward. This opposition allows the external rotator muscles to be actively engaged at the top of the thigh. Spizzo uses the expression the Four Ts—“no tucking, tipping, tilting, or twisting of the pelvis"—as a reminder for students.

Clenching the Toes

Clenching, curling, knuckling—no matter what it's called, this condition hampers a dancer's ability to articulate the feet. Clenched toes also make the feet an unstable platform to stand on, creating problems for the rest of the body. The muscles and tendons of the foot, knee, and ankle must work together to perform a relevé or jump, says Edward Ellison, director of Ellison Ballet Professional Training Program in New York. Clenched toes will place unwanted stress on the joints of the legs, leading to imbalance and overuse injuries. On pointe, knuckling over can damage the bones and tendons of the feet.

Master ballet teacher Sara Neece of Ballet Arts in New York says that when the first joint of the toe presses down into the floor too hard, the second joint of the toe jams into the metatarsal. For Neece, the key to remedying clenched toes lies in “bringing sensation to those unused tendons" beneath the second joint, and teaching the toes how to work in a careful and deliberate manner. While seated, a dancer should prick the back of each clenched toe with a fingernail about 20 times. Sitting on a chair with the foot on the ground, she should drag it back toward the body, slowly raising it to demi-pointe with a forced arch. Teachers must pay attention to the response of the feet to this localized work, since overstressing the tendons can damage them. Another way to teach the toes to stretch out is to weave a strip of cloth over the second toe and alternate below and above successive toes, leaving it there during barrework and nondance activities.

Giving In to Extreme Hyperextension

Hyperextended legs, in which the straightened knee naturally curves behind the thigh and calf muscles, are prized in the world of extreme ballet bodies. Christine Spizzo sings the praise of a moderately hyperextended leg line, as the leg fits snugly in fifth position, and the arabesque looks gorgeous, with that slight curve offsetting the arch of the foot. However, dancers with extreme hyperextension must take special care. “The hyperextended dancer tends to have weak external rotator muscles," she says, so the legs are more prone to collapse in on themselves when landing from a jump, letting the body weight fall on the knees. This can result in damage to the joints that maintain the alignment of the leg, including twisted knees and sprained ankles. Even if the dancer understands how to avoid giving in to her hyperextension, she has to learn how to express herself fully while restraining her legs.

But Spizzo points to dancers such as international star Sylvie Guillem, who has used her extreme hyperextension to her advantage. The dancer must think of lengthening rather than straightening or locking the knee, even if it feels slightly bent. She must develop a heightened awareness of the turnout muscles from the top of the thigh down to the calf. “The muscles must be activated to not allow the dancer to give in to the hyperextension," says Spizzo. She uses the image of the barbershop pole to encourage dancers to apply that feeling of an infinite spiral to their legs. Somatic practices such as Pilates can help to strengthen those stabilizing turnout muscles. Spizzo insists that dancers stand with the heels together in first position and never be allowed to press back into that knee joint. To do this, “the quadriceps must remain soft. As soon as you grip, it pulls that kneecap back dangerously."

Using Unnecessary Tension

“Tension," says Daniel Lewis, dean of dance at the New World School of the Arts, “pulls you off balance. It tightens the muscles and causes injury." Stiff muscles are injury-prone muscles, which make free and confident movement impossible.

Unwanted stiffness can also limit your versatility as a dancer. “Modern dance is concerned with trying to go into space off-center and off-balance," says Mary Cochran, chair of the dance department at Barnard College. “If you spend too much time holding your body stiffly, it's hard to make the transition from working in-balance to working off-balance."

Rhythmic breathing helps dissipate tension. Think of the lungs as another limb and pace the breath with the dynamics of the music. Sustain a sense of motion in the body, even when you are still, advises Cochran. Doing so will help reverse the muscle memory of using tension as a form of stability.

Pinching Your Shoulder Blades

Although used as a strategy to open the chest in front, pinching your shoulder blades together immobilizes the back. The serratus anterior on the sides of your rib cage is so overstretched that it can't work. Edward Ellison says that pinched shoulder blades impede the freedom of the arms and the support of the upper spine. He feels that they “cause your weight to fall behind your axis, and strain the trapezius and rhomboid muscles of the back."

Irene Dowd suggests thinking about widening the tips of the shoulders to the side, to allow plenty of room for the chest. “It helps to think about the chest—full of your lungs, your heart, all those organs—as a sphere," says Dowd. “We need to have enough room for all those precious organs to breathe." To relax shoulder blades, sometimes she will tell students to focus on the movement of the hands. “Is the hand really a lively part of my being?" Dowd has her students ask. “The shoulder blade should support that hand."

Getting Stuck in a Rut

While physical habits impede progress, the deadliest sin is losing the drive to improve technique at all. Franco De Vita, principal of American Ballet Theatre's Jacqueline Kennedy Onassis School, says good technique begins with a dancer's approach to class. Being present and focused enables the dancer to learn combinations quickly—and correctly. “Not listening and changing the exercise is unacceptable," says De Vita.

Michael Vernon, chair of the ballet department at Indiana University, feels the worst thing a dancer can do “is to get fixed into doing something a certain way, being safe. I love young dancers who understand that you have to dance for tomorrow, and not yesterday." Keeping an open mind means more than just trying a different preparation for a pirouette. “Being open to new styles of dance and new ways of moving the body is vital to keeping the art relevant."

Dancers Trending
Photos via Polunin's Instagram

If you follow Sergei Polunin on Instagram, you've probably noticed that lately something has been...off.

Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:

Keep reading... Show less
Rant & Rave
Matthew Murphy

I write this letter knowing full well and first-hand the financial challenges of running an arts organization. I also write this letter on behalf of dancers auditioning for your companies. Lastly, I write this letter as a member of society at large and as someone who cares deeply about the culture we are leading and the climate we create in the performing arts.

Keep reading... Show less
Dance History
Bob Fosse rehearses a group of dancers for Sweet Charity's psychedelic "Rhythm of Life" sequence. Photo by Universal Pictures, Courtesy DM Archives

In the February 1969 issue of Dance Magazine, we talked to Bob Fosse about taking Sweet Charity from stage to screen. Though he already had a string of Tony Awards for Best Choreography and had spent plenty of time on film sets as a choreographer, this adaptation marked his first time sitting in the director's chair for a motion picture.

"When I started out, I wanted to be a Fred Astaire," he told us, "and after that a Jerome Robbins. But then I realized there was always somebody a dancer or choreographer had to take orders from. So I decided I wanted to become a director, namely a George Abbott. But as I got older I dropped the hero-worship thing. I didn't want to emulate anyone. Just wanted to do the things I was capable of doing—and have some fun doing them. By this time I'm glad I didn't turn out to be an Astaire, a Robbins or an Abbott." He would go on to become an Academy Award–winning director, indelibly changing musical theater in the process.

The Creative Process
Pat Boguslawski

If you've ever wondered where models get their moves, look just off-camera for Pat Boguslawski. As a movement director and creative consultant based in London, he works with top brands, fashion designers, magazines and film directors to elicit bold, photogenic movement for ad campaigns, runway shows and film. Boguslawski has collaborated with plenty of big-name talent—FKA Twigs, Hailey Baldwin, Victoria Beckham, Kim Kardashian—and draws on his diverse experience in hip hop, contemporary dance, acting and modeling.

Dance Magazine recently asked him about how he got this career, and what it takes to thrive in it.

Keep reading... Show less
Health & Body
Leon Liu/Unsplash

Let's say that today you're having a terrible time following your class's choreography and are feeling ashamed—you're always stumbling a few beats behind. Do you:

1. Admit it's your fault because you didn't study the steps last night? Tonight you'll nail them down.
2. Feel worthless and alone? You slump your shoulders, avoid eye contact with your teacher and fellow dancers, and wish to disappear.

Shame is a natural emotion that everyone occasionally feels. If you answered #1, it may be appropriate—you earned it by not studying—and positive if it motivates you to do better in the future.

Keep reading... Show less
Advice for Dancers
Getty Images

My hypermobility used to cause me a lot of trouble, but I've gained confidence and strength after reading about it in one of your columns. I now have a Pilates instructor who's retraining my body and helping me dance in a consistent way. Thank you!

—No Longer Anxious, Philadelphia, PA

Keep reading... Show less
Dance History
Wendy Whelan spoke with Balanchine legends Allegra Kent, Kay Mazzo, Gloria Govrin and Merrill Ashley. Eduardo Patino.NYC, Courtesy NDI

George Balanchine famously wrote, that ballet "is a woman." Four of his most celebrated women—Allegra Kent, Gloria Govrin, Kay Mazzo and Merrill Ashley—appeared onstage at Jacques d'Amboise's National Dance Institute Monday evening to celebrate his legacy. The sold-out program, called "Balanchine's Ballerinas," included performances of excerpts from ballets closely associated with these women and a discussion, moderated by former New York City Ballet principal Wendy Whelan. Here are some highlights of the conversation, filled with affection, warmth and fond memories.

Keep reading... Show less

mailbox

Get Dance Magazine in your inbox