What To Do If You're Waitlisted By Your Dream School
When it comes to college admissions, there's perhaps nothing more confusing than being waitlisted. It sends a mixed message, the middle ground between a "yes" and a "no." You may be elated that you still have a shot at your dream program, or discouraged that you weren't a school's first choice. But is it worth sticking it out, or are you better off accepting another school on your list? We asked program directors for candid advice.
Why Was I Waitlisted?
Susan Shields, director of George Mason University's School of Dance:
"It means we have some concern that you might not get as much opportunity as another person here. Sometimes it's fear that you might not be physically strong enough—we don't want anyone coming who might get injured. Basically we try to say, 'Would this dancer be competitive within the pool we have right now to be able to get parts?' "
Students in the Alonzo King Lines Ballet | BFA at Dominican University program
Rapt, Courtesy Dominican
Marina Hotchkiss, director of dance at Dominican University of California:
"We're a pretty small program, so I'm looking to find a group that can be very cohesive, so that nobody's drowning and nobody's twiddling their thumbs. I'm also looking for a good mix within the group so that they'll stimulate each other. I just recently waitlisted a student because I didn't have enough of a feel yet for who the group would be to see where she would fit in."
Michael Bearden, director of University of Oklahoma's School of Dance:
"We strive to keep our class sizes small and thus our acceptance rate has dropped from 30 to 25 percent over the last year. This means more dancers will be placed on our waiting list who may get in if accepted students decline."
Alonzo King Lines Ballet | BFA at Dominican University program
Rapt, Courtesy Dominican University
Why Stay on the Waitlist—and How to Get Off
When Chiara Ruff stepped onto the University of Oklahoma's campus, something clicked. Though she had already auditioned at several other dance programs, it was her first choice. Getting waitlisted didn't deter her. "There was a glimmer of hope," she says. She knew she hadn't had as much training as some of her peers (she started dance on the later side, at age 11), but still had a strong feeling that the program was the right place for her.
Ruff made sure to stay in touch with the school. After receiving positive feedback, she emailed periodically to let them know she was still interested and to express her enthusiasm. According to both Shields and Hotchkiss, this is essential information for dance programs when they're making final decisions. Hotchkiss finds that, while her reasons for waitlisting a dancer often have to do with technique, her reasons for taking someone off the waitlist have more to do with personality. "Often it'll be something about their character that is really attractive to me," she says, "where I feel like they're incredibly enthusiastic, they're curious." This was the case for Ruff, whose persistence paid off. "Because I made the effort of really trying to make the human connection, to show that I'm a hard worker and I'll get there, it kind of opened their mind," she says. Today, she's in her senior year at the University of Oklahoma.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
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Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
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While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
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We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
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The heart of his message: Be generous.
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