Eduardo Patino, courtesy Kerollis

Why I Became a Dancing "Super Commuter"

What lengths would you go to in order to further your dance career? For some of us, we're willing to build our life and work in two separate cities to make our wildest dreams come true.

I recently learned that there is a term for people like me who travel between two major metropolitan areas. We "super commuters" make the choice to ride regional buses and trains up to six hours round-trip, multiple times a week, in hopes of furthering our careers while maintaining our lifestyles and affordable rents.

This ambitious career style is not for the faint of heart.

I moved to Philadelphia to dance with BalletX in 2011, after seven seasons with Pacific Northwest Ballet. After an injury, the company released me from my contract mid-season. My husband had just started an organizational business after I uprooted him 3,000 miles for this job, so I felt pressure to remain in the city that had only recently become our home. But a lack of opportunity in Philadelphia pushed me to seek work elsewhere. I turned my gaze two hours north to the capital of the dance world, New York City.

I began commuting between the two cities up to five times a week. While this has required a great deal of dedication and caused a fair amount of back pain, the rewards have come back to me ten-fold.

In my first six months of commuting, I was hired at Steps on Broadway and Broadway Dance Center as guest faculty. I also became head of the contemporary dance department at Greenwich Ballet Academy (a 50-minute train ride north of New York). Additional opportunities have come in the form of choreography commissions for the Columbia Ballet Collaborative at Columbia University and chamber ballet company CelloPointe, plus master classes for the Second Avenue Dance Company at New York University, and speaking engagements for the Actors Fund|Dancers Resource, Gibney Dance's D.E.E.P. series and Hunter College.

Rehearsing Columbia Ballet Collaborative. Photo by Eduardo Patino, courtesy Kerollis.

In 14 months of super commuting, I've gained new inspiration that I wasn't finding in my home dance scene.

I've also found that I'm not the only dance artist who does this. After months of sharing the same barre in Nancy Bielski's morning pro ballet class at Steps with a lovely dancer named Catherine Gurr, we ran into each other on my regular 8 a.m. Bolt Bus. She has also been making the trek to stay in shape for auditions while studying comparative literature at the University of Pennsylvania.

"I wasn't, and still am not, sure what the future would hold, so this is a good way to prepare for a life outside of dancing while also preparing for a dance career," says the former Ballet West trainee. By super commuting, she's gained connections in New York, received greater feedback at auditions and even obtained a few freelance performance opportunities along her way. This summer, she will travel across the country to dance with a regional ballet company where she is being considered for an apprenticeship.

The author and Catherine Gurr after morning ballet class with Nancy Bielski

One common thread found among super commuters is how keen we are in using our time in transit strategically. You are actually more productive when confined to a seat without distraction for hours on end. I use the bus ride to catch up on lost sleep and work on my podcast, Pas de Chát: Talking Dance, and blog, Life of a Freelance Dancer. In fact, I wrote this story while traveling.

Dancers are best known for their physical endurance. It should come as no surprise that our kind also possesses impressive emotional drive as well. Many artists are willing to do most anything to live out their dreams. Though it takes a special kind to travel far and wide.

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Skylar Brandt's Taste in Music Is as Delightful as Her Dancing

American Ballet Theatre soloist Skylar Brandt's dancing is clean, precise and streamlined. It's surprising, then, to learn that her taste in music is "all over the place," she says. (Even more surprising is that Brandt, who has an Instagram following of over 80k, is "in the dark ages" when it comes to her music, and was buying individual songs on iTunes up until a year ago, when her family intervened with an Apple Music plan.)

Though what she's listening to at any given time can vary dramatically, the through-line for Brandt is nostalgia: songs that take her back, whether to childhood, a favorite movie or a piece she's recently performed. Brandt told us about her eclectic taste, and made us a playlist that will keep you guessing:

Ailey II artistic director Troy Powell teaching an Ailey Workshop at NYCDA. Courtesy NYCDA

NYCDA Is Redefining the Convention Scene Through Life-Changing Opportunities

Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.

"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."

Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.

Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:

Courtesy The Joyce

Dance Magazine Chairman's Award Honoree: Linda Shelton

In an industry that has been clamoring for more female leadership, Linda Shelton, executive director of New York City's The Joyce Theater Foundation since 1993, has been setting an example for decades. As a former general manager of The Joffrey Ballet, U.S. tour manager for the Bolshoi Ballet, National Endowment for the Arts panelist, Dance/NYC board member and Benois de la Danse judge, as well as a current Dance/USA board member, Shelton has served as a global leader in dance. In her tenure at The Joyce, she has not only increased the venue's commissioned programming, but also started presenting beyond The Joyce's walls in locations such as Lincoln Center.

What brought you to The Joyce?

That was many years ago, but it's still the same today: It's a belief in and passion for the mission of the theater, which is to support dance in all of its forms and varieties—every kind of dance that you could imagine.

Diversity is so important in dance leadership today. How do you approach this at The Joyce?

Darren Walker said something interesting at a Dance/NYC Symposium, which was that The Joyce is a disruptor. It was nice to hear in that context, because we don't think of it as something new. We didn't have to change our mission statement to be more diverse. We've been doing this since day one.

Is drawing in new audiences and maintaining longtime supporters ever in conflict?

Of course. I call it the blessing and the curse of our mission. We do present more experimental companies that may attract a younger audience. But it's very tricky. You're not going to tell your long-term audience, "Don't come and see this because you're not going to like the music." We've had people walk out of the theater before, but it's a response. It's important to spark those conversations.

What experimenting have you done?

We've tried a "pay what you decide" ticket the past couple of seasons with some of our more adventurous programming. You would reserve your seat for a dollar and after seeing the show pay what you decide is right for you.

Do you have advice for other dance presenters?

Find opportunities to sit with colleagues from around the country. At Dance/USA there's a presenters' council where we come together and talk about what we're putting in our seasons and what we're passionate about. Maybe there are enough presenters to collaborate and make it possible to bring a company to New York or to do a tour around the country.

Also, remember what it's all about: making that connection between what's onstage and the audience. If we can do that, despite every visa issue and missed flight and injury and changed program and whatever else comes our way, then we should feel good about the job we're doing.

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