Like dance, figure skating blends both athleticism and creativity: Skaters perfect highly technical maneuvers like triple Axels and upright spins, often while weaving a narrative into their programs. To develop the lines, control, and artistry needed to execute a winning program, many competitive skaters rely upon the skills of dance coaches and choreographers.
Because being a movement director requires a deep understanding of how the body moves, dancers, choreographers, and teachers are uniquely set up for success in the field. Three experienced movement directors share their insights on how they got started, what’s involved in the role, and the challenges they face.
For ballet dancers looking to bridge the gap between school and company life, a pre-professional or trainee program is a logical step. These programs offer technique class alongside the chance to learn repertory and experience a professional dancer’s rehearsal schedule—occasionally with the promise of joining the main company by the end.
What does it take to become an arts multi-hyphenate? A healthy amount of initiative, a willingness to train and work in new ways, and an understanding of how the same skills honed in the studio can be valuable in other fields.
Thinking of starting an artist residency? Cheney, Teresa Fellion, of Middlebrook Arts Research + Residency Center in Jefferson, New York, and Mari Meade, of Moulin/Belle in southwestern France, share their experiences—and what they’ve learned along the way.
An undeniable part of any artistic project is amassing funding—a necessary step that many choreographers dread. But a fundraising event doesn’t have to be a sing-for-your-supper experience or a night of awkward networking.
After studying at the School of American Ballet for a decade and dancing with American Ballet Theatre for five years, Eleena Melamed knew she needed a change, but she wasn’t sure what. Now a managing director and head of strategic
operations at the investment firm The Carlyle Group, she credits forming a five-year plan for her successful career change—and she wants other dancers to do the same.
If you’re new to grant writing, it might seem that getting a grant is like trying to join a secret club. “It’s hard to get your first grant,” admits Charles Slender-White, artistic director of FACT/SF, a contemporary dance company that also funds the work of other dance artists.